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

[Alan Ford]

So he had the perfect alibi ... but told investigators he was in the lunch room.

Don't embarrass yourself, Mr. Kneringer:



 

[Alan Ford]

Question!

How come Mr. Bell is in so much shadow?



Here, a few minutes before the motorcade, is the north-south-facing pedestal he will supposedly be on come 12:30pm:



Answer!

He's not on the pedestal (the man in the white shirt is)-----------he's a little further west than the man in the white shirt = a little further west than we thought.................



Explains a thing or two!



 

[Alan Ford]

Here's how I see it......................

Ms. Maddie Reese is standing in the center of the doorway, on the very first step up. Right behind her is the center rail:



This allows us to reconstruct the width of the doorway as seen in Bell:



Mr. Bell was in sun for 'Bell 1' (= filming Houston St., lower image below), but moved west a little to get a better view on Elm, and so was in shade for 'Bell 2':



Here's about where he is (though perhaps I've put him a little too far east) for Bell 2 (dark gray lines), which is the sequence that shows the doorway. (I am also including Ms. Tina Towner's LOS to doorway, also in dark gray. Please disregard----for now----the light gray line!)



This explains nicely what Bell is showing:



-------------Ms. Reese is on the first step up in center of doorway
-------------Ms. Ruth Dean is showing up in blue behind her
-------------Mr. Lovelady is returning to normal stance after craning his neck (we got a glimpse of that in Towner)

Establishing POV for Bell as well as for Towner, and identifying Mr. Lovelady's craning of the neck in Towner, also explains nicely how these could be simultaneous sequences. Use the blue of Ms. Ruth Dean as your common point of reference:



If Mr. Bell had filmed the entrance head-on, with its centre rail directly in front of him (see light gray line on map above)---------------



----------------then he would be showing more of Mr. Lovelady than Towner's POV allows----though not as much as the glorious full-width shot his own 11/22/63 POV gives us!

And he would be clearly showing Messrs. Roy Edward Lewis and Lee Harvey Oswald over west, as already seen in Hughes and again in Towner:



 

[Alan Ford]

Alternatively!

This is the base of the white west column-------------



-------------and Ms. Reese is after all standing one step up just on the west side of the center rail.

Bell's angle is a little to the east of this:



Ms. Ruth Dean in blue is standing against the center rail. The foliage is covering the heads of Ms. Reese and Ms. Dean. Mr. Lovelady has been leaning on his right foot and craning his neck to see Pres. Kennedy: we are now seeing him straighten up again:



I think the blue and white that are showing up just beside Mr. Lovelady (to our left as we look)  MAY be related to, respectively:
----------Mr. Roy Lewis' waving of an object
----------Mr. Oswald's white tshirt

Remember remember remember!: Just fractions of a second before this, Towner is showing the following:



And just a couple of seconds before that, Hughes is showing this:



So the challenge stands:

Explain, with reference to Hughes-Towner-Bell, how Redshirt Man in Hughes can possibly be Mr. Lovelady!

 

[Alan Ford]

Not Mrs. Dean. Probably the lower of the men with their hand over their eyes in Altgens.

Hmmm.... I think the blue belongs to Ms. Dean but what I have been seeing as Mr. Lovelady's head sticking out in Towner may in fact be the right elbow of the gentleman you refer to:



So-----------------where in the heck is Mr. Lovelady?

In a fraction of a second, Bell will be showing this:



And yet Towner will still be showing this:



Looks like I was right the first time: he's been blacked out of Towner, just as he's been partially blacked out of Wiegman



[Credit for Towner gif: Mr. Chris Davidson, who first spotted the problem WAY back...........]

Boy, they really HATED what was on the west side of that doorway!

 

[Alan Ford]

Well!

Mr. Carl Edward Jones is carrying something in his right hand in Couch:



Recall that Mr. Jones said he was sitting on the steps at the time of the assassination.

Now cf the flapping object in Towner and the upraised arm holding it (-------disregard red arrow please!---------):



 

[Alan Ford]

Hmmm.... I think the blue belongs to Ms. Dean but what I have been seeing as Mr. Lovelady's head sticking out in Towner may in fact be the right elbow of the gentleman you refer to:



So-----------------where in the heck is Mr. Lovelady?

Looking again at Towner, I think the white of Mr. Otis Williams' ample upper frame and raised right arm is NOT the warmer tones we see just above Ms. Dean's behatted head. Those are from Mr. Lovelady after all, who is at this time two steps down from the landing:



Although Wiegman's early doorway frames will show Mr. Lovelady a step higher, it shows everyone else in the same position, and so allows us to make a handy figure-to-figure comparison:

-Mr. Roy Edward Lewis (purple arrow)
-Mr. Lee Harvey Oswald (partially obscured in this Towner frame by flapping object) (light green arrow)
-PrayerWOMAN (behind Mr. Oswald--not visible in the below Wiegman frame but evident in Towner) (olive arrow)
-Ms. Ruth Dean (metallic blue arrow)
-Mr. Otis Williams (blue arrow)
-Mr. Billy Lovelady (orange arrow)
-the person (=Mrs. Sarah Stanton IMO) shielding eyes with both hands (pink arrow)



Mr. Lovelady has been cast into partial (fake) shadow in BOTH Towner and Wiegman (they had to harmonize the sunlight conditions across the two films). The red arrow in Towner above marks where the artificial shadow was placed.

Thankfully, Bell, with all it shows of Mr. Lovelady, helps us see what was really there:



 

[Chris Davidson]

If the red arrow in the gif is actually the lower west edge of the concrete structure, horizontally flipping a frame and aligning it, might help with the people location. Just a thought.