Oswald in the doorway: the blog of the Oswald Innocence Campaign, by Ralph Cinque

Backes, I don't belong to Mensa either, but I sure know how to spell "means".

Backes says he doesn't care what Lovelady is doing with his right arm. Well, I care because he's got to be doing something with it. Somehow, it's at the same level as his other arm which we know is resting on the table. So, what is his right arm resting on? It has to be resting on something, and it can't be the table. He can't be holding it in mid-air either.

There is more I can say about this, but as I said, it's like Mensa puzzle, and I am waiting for one of these guys to proffer something, which Backes hasn't done.

And then in regard to the other comparison concerning the forearm on the desk as opposed to just the elbow on the desk, Backes said that the frames do not correspond in time.

But, that is not true. The two frames do correspond very closely in time. I realize that on the right the big cop and Oswald have moved over to the right, and they haven't done that on the left. But in that version they NEVER do it. They never move to the right. They simply never go over there.

Here it is, the whole clip, in slow motion, from Three Shots That Changed America.  See if you can see that big cop and Oswald move to the right.

So, if I was going to wait until the big cop and Oswald move to the right in that film, I would be waiting forever. It never happens. And it couldn't happen. That's because this version, which is most certainly NOT the Charles Buck film, was a reenactment. They didn't have the big cop, and they didn't have Oswald. So, they couldn't have them move right because that would have shown their faces partially, and it would have been the wrong faces. So, they had to do it the way that they did and keep their backs to us at all times.  

No, you're not going to make it into Mensa, Backes. But, how about Densa for dense? You're a shoo-in over there.