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I would like to make the point that when considering different scenarios, it may be that all are troubling- to some extent. You correctly point out that in his very first statement, Marrion Baker referred to the 3rd or 4th floor, and he made no reference whatsoever to the snack room. That is definitely troubling, and it troubles me. But, it's not as though there's nothing troubling about the alternative story. Sometimes, you have to go with what is least troubling.
I have to assume that the plotters put thought into Oswald's whereabouts after the shooting and whether it could be linked to the 6th floor. If it couldn't, then he was instantly exonerated, and they had to know it. The doorway was way too far away from the 6th floor to let Oswald remain there to be found there.
I have the very strong belief that Oswald left the doorway early, and it's because of the Wiegman film. Roy Schaeffer has communicated to me and others that he believes there was a commotion in the doorway. And that is what is suggested by Wiegman's behavior because he was filming down Elm Street. The action was dead ahead. He had already passed the TSBD doorway. So, why suddenly swing around and do a second pan of it? I say Wiegman must have heard something or seen something in the corner of his eye which provoked him to turn back. I believe it was a commotion, and that commotion involved someone, probably Bill Shelley, telling Oswald to go to the lunch room. And then the discrepancies between the 1st Wiegman Doorman and the 2nd one, who is only seen flashingly in the film, suggest a speed of movement on Wiegman's part that was physically impossible. Let's remember: Wiegman was moving; he was swinging around to his right. But before he could reverse direction and go back to his left, he had to come to a stop. The Laws of Physics tell you that. Wiegman had to come to a dead stop before he could begin to accelerate in the opposite direction.
It would be different if it was just an angular change. He could have veered off in a different direction without stopping. But, we are talking about doing a 180 here. And you can't do a 180 without first coming to a complete stop.
What I'm saying is that, just as in the Zapruder film where they removed frames to hide the slowing and stopping of the limo, they removed frames from the Wiegman film to prevent us from getting a good look at the Doorman on the 2nd pan. But, because we can stop the film and freeze the frame, we can study him all we want. And he's a different man.
Look: I know that you accept that the Altgens Doorman was Oswald, and that the 1st Wiegman Doorman was Oswald, and there is no reason not to. But, that means that the 2nd Wiegman Doorman would also have to be Oswald. Was he?
Lovelady wasn't Doorman, period, so you know that guy can't be Lovelady. But, was he Oswald? He doesn't look anything like Oswald. He is the antithesis of Oswald. Oswald's face was angular and gaunt; this guy's face is round and cherubic. Oswald had hair; this guy looks bald. Oswald had a long neck; this guy had a short one.
So, if he wasn't Oswald, and he couldn't be Lovelady, who was he, and how did he get there?
I don't know who he was, but, whoever he was, he wasn't really there. They must have been put him into the film because at the time there was no Doorman.
Again: You know that the Altgens Doorman and the first Wiegman Doorman were Oswald.
They had to be, right? But, are you actually going to say that the 2nd Wiegman Doorman was Oswald? This fat-faced guy?
He can't be. Oswald must have left. If you don't think he went to the lunch room, fine, but he definitely went somewhere. He didn't stay in the doorway. By putting this guy in, they went to a lot of trouble to cover up the fact that Oswald left and left early.
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