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

We don't have to argue about this, Backes, because I am going to Dealey Plaza to reproduce it. We'll find out if those street signs fill the doorway the way they do in the Hughes film. 

And, we already know that the Hughes film is dirty. We know it because of that fake Doorman they put into it, hovering above Carl Jones, which he was not doing.

Doorman was never over there, and that's true whether you think he was Oswald or Lovelady. 

And, we also know that the Hughes film is dirty because of the phony, goofy, distorted Lovelady figure that appears after the shooting. Lovelady was gone at the time- off to the railroad tracks.

What happened to his plaid shirt? Why does it look so freaky? It's because he was an unstable image. It took him a second or two to settle down.

On the left is what they were going for, but it took them a while to get there. The weird, freaky guy on the right is proof that it was all a trick. A photographic trick. That guy wasn't there at all. 

So, knowing that they focked with Hughes film, why should we trust anything in it, including those road signs? 

And speaking of them, anybody can draw a line. You don't have to be a physicist to do that. 

But, if that sign post was along the curb, how could there be so many people between it and the curb? Why, to our eyes, does the road sign seem deeper in the picture than the light pole? It's because of the sea of people there are between it and us. 

Forget it, Backes. We're going to see if we can reproduce it. I'll put someone on the pedestal too. Although, by rights, I'll have to put two people on the pedestal because Toni's mother was standing in front of her on that pedestal. And that's definitely. We'll see about this.