Then went outside to watch P. parade ( Parts 1 & 2 )

[Alan Ford]

Up to just a few weeks ago, it was assumed that Reddish Shirt Man in Hughes is shielding his eyes.

He's not-----------------he's taking a drink from a bottle:

Apropos!

Let's imagine that there were a way, logistically, of making the Mr. Lovelady who appears in Bell/Wiegman/Altgens be Reddish Shirt Man in Hughes. (There isn't such a way, but let's forget that for a moment).

OK. So we would have two candidates for Reddish Shirt Man in Hughes---------------------------

Candidate A: Mr. Billy Lovelady
Candidate B: A different male, who is wearing a reddish shirt over a white tshirt

Do any of the known images of Mr. Lovelady (in Bell, in Wiegman, in Altgens) support the notion that he is holding a bottle in his right hand, as Reddish Shirt Man in Hughes is doing?
Not at all.

Do the images of PrayerPerson in Wiegman support the notion that they are holding a bottle in their right hand, as Reddish Shirt Man in Hughes is doing?
Yes.



Is it possible that Mr. Lovelady just left his Coke down in the very few seconds separating the last Hughes frame from the first Bell frame in which he appears? And that somebody came forward to vacate the spot just left by him, and that this somebody just happened to have something in their right hand which they brought to their mouth? Sure, all of that is.................... possible. But the commonalities between PrayerMAN in Wiegman and Reddish Shirt Man in Hughes (location; orientation of body; holding something in right hand that is brought to the mouth) make the conclusion that Reddish Shirt Man is PrayerMAN in Wiegman the commonsense conclusion.

But, of course! Reddish Shirt Man is not covered in shadow, whereas PrayerMAN in Wiegman is.

Given, however, the bizarre shadow down Mr. Lovelady's right side in that same film (Wiegman), it is no stretch whatsoever to say that PrayerMAN in Wiegman is the same person standing in the same spot as Reddish Shirt Man in Hughes----------------only with a fake shadow added over their person too.

Does anyone whose wits have not been entirely befuddled by Warren Gullibility seriously believe that the 'investigating' authorities would have left alone a clear, facially-identifiable image of Mr. Oswald standing in the doorway?

(Note: It may even be that the reason a fake shadow was added to Mr. Lovelady's right arm was to hide the very fact that he wasn't holding anything-----------telltale discontinuity with Reddish Shirt Man in Hughes, whom they wanted folks to believe was Mr. Lovelady.)

 

[Alan Ford]

Apropos!

Let's imagine that there were a way, logistically, of making the Mr. Lovelady who appears in Bell/Wiegman/Altgens be Reddish Shirt Man in Hughes. (There isn't such a way, but let's forget that for a moment).

Now let's re-remember it!

Green arrow: the object being waved (whatever/wherever it is!)
Yellow arrow: Reddish Shirt Man, in the same place as we saw him just an instant ago in Hughes



You cannot--------------in the time it takes for the limousine to travel half its own length---------------find a real-world way to make Reddish Shirt Man into this guy we see in Bell returning from a rightwards lean to a normal erect posture at a spot where the left side of his body is at least as far east as Ms. Reese's right elbow:



No way, no how

 

[Alan Ford]

You cannot--------------in the time it takes for the limousine to travel half its own length---------------

Well! It's even worse than that...............

The synced Towner/Bell clip ends with the frame below. Note where the limousine flag is; note that Reddish Shirt Man has NOT moved from his position behind the black man by the white west column:



I've viewed the Bell footage on The Lost Tapes, and guess what? It shows that these Bell frames---------------



-----------------do NOT in fact offer the first glimpse of Mr. Lovelady's red shirt. That comes even earlier. Note where the front of the limousine is in these two frames from The Lost Tapes:




We are talking a fraction of a second for Reddish Shirt Man to move over to the Lovelady position. Here's the distance the limousine covers in that time:



But it's even worse than THAT. The fraction of a second required for the limousine to travel those few feet is shortened FURTHER when we watch the full, digitally restored Towner doorway sequence from The Lost Bullet, as posted by the excellent Mr. Robin Unger over at the Education Forum. It goes several frames further on than the synced Towner/Bell clip posted above. And the figure (a.k.a. Reddish Shirt Man) standing behind the black man by the white west column (and partially obscured by the flapping object) has not budged. He can still be seen in the selfsame position at the end of the sequence:



Not even a super-high-speed westwards kangaroo hop across the fourth step could bring Reddish Shirt Man over to the Lovelady spot in time.

Mr. Lovelady simply cannot be Reddish Shirt Man.

 

[Alan Ford]

Friends, in the interests of linguistic felicity, I move that this man in the doorway lose the cumbersome title 'Reddish Shirt Man' and instead be referred to henceforward as Coca-Cola Man



Alternatively, of course, we could just call him by his real name: Mr. Lee Harvey Oswald.

 

[Zeon Mason]

So if Oswald / Red shirt Man in Hughes film did NOT move from the west wall  then the reddish blob to the east and down in front of  steps which is the flapping/ moving anomaly ( in Towner film)  is too far from Oswald/Cokeman, to be a flag being unfurled (imo).

Then there is still the problem where Oswald is in Wiegman film.

If Oswald did not move after Hughes film, or in Towner film, then he cannot be prayerwoman (PW) nor close enough to Lovelady to be the reason for shadow anomaly of Lovelady in Weigman film.

Also, since there are 2 different type cameras capturing PW from  different perspectives distances, and time, there is to be expected some variation in measuring distance in each film frame of PW body/ elbow relative to wall/ column etc.

If the Babuska lady (Beverly Oliver)  film disappeared entirely ( allegedly confiscated) then it’s not that implausible to suggest that maybe Towner film was altered in some way also, just like Weigman and Altgens.

[Alan Ford]

So if Oswald / Red shirt Man in Hughes film did NOT move from the west wall  then the reddish blob to the east and down in front of  steps which is the flapping/ moving anomaly ( in Towner film)  is too far from Oswald/Cokeman, to be a flag being unfurled (imo).

Then there is still the problem where Oswald is in Wiegman film.

If Oswald did not move after Hughes film, or in Towner film, then he cannot be prayerwoman (PW) nor close enough to Lovelady to be the reason for shadow anomaly of Lovelady in Weigman film.

I've already addressed these points, Mr. Mason

 

[Alan Ford]

Not even a super-high-speed westwards kangaroo hop across the fourth step could bring Reddish Shirt Man over to the Lovelady spot in time.

Mr. Lovelady simply cannot be Reddish Shirt Man.

The FULL Bell doorway footage is, more even than I had realized, an utter calamity for the eccentric chapter of Team Keep LHO Off Them Steps known as Team Make Coca-Cola Man into Lovelady:



Look how early we get our VERY first glimpse of Mr. Lovelady's shirt. Note where Mrs. Kennedy is at this time:



At this VERY SAME time, Coca-Cola Man is STILL just where he was in Hughes: over behind the black man who is standing by the white west column:



We are no longer talking of a tiny window of time in which Coca-Cola Man can move over and be the Mr. Lovelady we see in Bell. No, we are talking ZERO TIME, for we are talking simultaneity. Mr. Lovelady and Coca-Cola Man are, at this given moment, in two different places.

Mr. Lovelady is not visible in Hughes because he is standing not far from the center railing, and is thus blocked from Hughes' view by young Ms. Toni Glover.
When the foliage clears in Bell, we see him still standing there, leaning over to his right and then returning to normal standing posture.

There is simply no logistical way to salvage the claim that Coca-Cola Man is Mr. Lovelady

 

[Alan Ford]

Rethink Time For Ford?

Is this man waving a small flag?

It would be nice to explain the waving object in Towner which appears to be in the doorway as in fact being something waved by this man, or by the woman in black behind him:



But I honestly have serious doubts. While a noticeable object does appear to flutter over/behind the man's head in the later frames here, during those frames which sync up with Towner the noticeable object appears to our view too far right (east) to account for what Towner is showing:



Furthermore, the WHITE and BLUE we see behind the foliage but in front of Mr. Lovelady in Bell remain weird and unaccounted for:



I still think this may be a flag of some description being waved by Coca-Cola Man (a.k.a. Mr. Oswald)