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

[Chris Davidson]

There could never be two heads there at the same time, it would have been a dead giveaway. Therefore, a little more creative artistry was in order.
The shadow knockout under the chin/across the neck wasn't done very well, but the white chested extended shirt was.

[Zeon Mason]

Now if Someone can insert a body that represents Oswald’s 5’-9” 135 lb body into the gap between Prayer Woman and Lovelady and about a step or 2 up from the ground level and try to simulate the movement that is described by Mr Ford “as flapping”, that would be most helpful.

Perhaps also see how an Oswald model of a figure unfurling a flag would look in this space.

Also try placing the Oswald figure over against the West wall where the red shirt man in Hughes film is , raising the object to his mouth level, then show the body move  eastward and down a step or 2  into this same gap ( where the shadow of Lovelady is) then have the body move back up and over to the west wall just above the Carl /Roy /Jones /Lewis black man.

I’d like see if it looks like the black solid image of the body of a man radically shaking back and forth as Mr.Ford posted earlier misrepresenting my proposed move to if Oswald or whether such model movement will demonstrate if my proposed movement of Oswald could be the reason for the extra blob of red and white instead of a flag being unfurled .

[Alan Ford]

Here is the requested 2 frame GIF depicting my W2 pose with a Weisberg full frame image. The doorway frame required reprocessing with a camera tilt to match the reference frame. Note that while reviewing my notes I realized I transposed the values for “TorsoRot” for the W1 and W2 positions. I’ve corrected that mistake in this and future forthcoming work. I’m redoing the animations, but  I don’t expect substantive changes. Not sure what to do with the Bobblehead GIF?

Many thanks, Mr. Hackerott, your going to this trouble is genuinely appreciated.

Is it not evident from this overlay that 3D Lovelady's posture is simply wrong?

Compare this far less tortured orientation:



To get a perfect alignment, imagine the 1967 photographer moving a little east, and Mr. Lovelady's head following him (without any other movement of his body).

[Alan Ford]

There could never be two heads there at the same time, it would have been a dead giveaway. Therefore, a little more creative artistry was in order.
The shadow knockout under the chin/across the neck wasn't done very well, but the white chested extended shirt was.

Mr. Davidson, are you suggesting that W2 ('lower') Lovelady is authentic, but W1 ('upper') Lovelady is a messy merging of 2-into-1?

If so, is this the issue you're getting at?:

[Alan Ford]

Now if Someone can insert a body that represents Oswald’s 5’-9” 135 lb body into the gap between Prayer Woman and Lovelady and about a step or 2 up from the ground level and try to simulate the movement that is described by Mr Ford “as flapping”, that would be most helpful.

By all means explore a scenario, Mr. Mason, but I do wish to be clear as to what my claim is:

Mr. Oswald is the man in the reddish shirt in Hughes. He is standing behind the black man. He does not move from this position, and is still there in Wiegman (as PrayerMAN), facing forward just like in Hughes, but now with fake shadow covering his person so as to prevent identification.

I am putting him on the fourth step up throughout the motorcade sequence. Note the brickwork behind the white west column, and its position relative to that fourth step up:



Now look at PrayerMAN in Wiegman, and how close his right elbow is to the back edge of the brickwork. This cannot be PrayerWOMAN back on the landing-----------the distance from elbow to brickwork is just too small.



Pres. Kennedy having passed the building, Mr. Oswald is no longer waving the flag-------------his little stunt is done.

 

[Alan Ford]

Pres. Kennedy having passed the building, Mr. Oswald is no longer waving the flag-------------his little stunt is done.

What happened next?

Here's what Chief Jesse Curry was telling press 11/22:



I believe one Depository woman in particular (Mrs. Jeraldean Reid?), who had seen Mr. Oswald walk off those steps carrying a long paper sack, which he unaccountably discarded by the mailboxes, immediately attracted the attention of Officer Baker:



As for what happened after that, well, sorting out fact from damage-control fiction gets a little trickier...................................

[Alan Ford]

Well!

There will be those in Team Keep LHO Off Them Steps who are still clinging for dear life to the notion that Reddish Shirt Man in Hughes is not Mr. Lee Harvey Oswald but Mr. Billy Lovelady, and that he simply moves a little to his left for his appearance in Bell-----------------



I have a question for these folks. Given your belief that the only thing that should be in front of Mr. Lovelady is the head and/or clothing of the black man standing down by the white west column, how do you explain the fact that Mr. Lovelady in Bell emerges from behind some object or objects colored BLUE and WHITE?



Here's with extra saturation to clarify that that blue is NOT foliage but something in that doorway:



And the white cannot be the west column, because we see Mr. Lovelady's head go further west than its eastern edge

 

[Alan Ford]

Friends, kindly take note that the source image I've been using above for CE142 shows Det. Montgomery angling the paper sack towards the camera. This gives a somewhat diminished sense of the sack's full height.



Also! Mr. Darnell is filming at an angle to the object being held up by the woman. This angle reduces somewhat the object's apparent width.

Making allowance for these factors, I believe this object is none other than CE142:



What do YOU believe it is? What do YOU believe sent that woman behind the street works barrier to the mailboxes? What do YOU believe is keeping the object, which is being held out away from the woman's body, from plunging vertically? What do YOU believe is inducing Officer Baker (as shown in Mr. Sandy Larsen's splendid GIF below) to make a beeline for that woman?