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

Let's try looking at the version of this made by WFAA Television, the ABC affiliate in Dallas. Here is Charles Buck, who took the film. He introduces it, and it is all, supposedly, his work. 

Here they are coming out of the elevator. There is the big cop with Oswald. Behind them is a guy in a Fedora hat. Notice that all the men, including the big cop, are about the same height. 

Now, the beauty of this film is that it's all Charles Buck. They didn't splice in that footage of Oswald with his shirt completely on being led around by the detectives, which was from another time. 

Note above that we've still got the man in the Fedora hat on the right, and behind the big cop we've got a man with no hat and very short hair. The next thing you know, they're turning into the Homicide Bureau.

So, that's the big cop and Oswald. And here's the train that's following them:

Note, you've got Oswald on the far right. The big cop is out of view. Behind Oswald is a man with a bald spot in back. Then there is the man in the Fedora hat. And last seen behind him is a young man with longer hair. He seems rather suave, so I call him Suave Guy. This is an important frame because it's the last we see before we get into the Squad room. 

 It gets dark once we get inside the Squad room. Above, you can see the big cop and Oswald at the front. And behind them, there are three men, but it's impossible to correlate them with the figures we saw going into the room. Maybe the guy behind the big cop is the guy with the bald spot from the previous frame, but we don't see  Fedora Man, and we don't see Suave Guy. 

Next, we have Lovelady at the desk. The big cop and Oswald are in front of him. Don't recognize the other two. I'm afraid Fedora Man and Suave Guy are gone forever. Note also that we don't see this frame in Four Days. Notice how Lovelady is turned left towards us. That never happens in Four Days. Supposedly, David Wolper saw fit to cut this out. 

Then the guy in back, whom I call the big Linebacker Cop, gets in the way and takes up the whole screen. And by the way, he is definitely not Suave Guy because his hair is too short. 

Next, they do the bait and switch. This is where they jump to the other film. It looks similar to the preceding frame, but note two things: the watcher on the left is gone; and the Linebacker Cop's shoulder is higher an narrower. 

Look at them side by side:

Higher, narrower shoulder on the right. Wider, lower shoulder on the left. This is where they gave us the slip. From here, it proceeds exactly like the Four Days film.

Look familiar? It's the same as in Four Days, except blurrier. Here is Four Days:

I've got the arrow there to show that the big cop is already moving right towards the door, but Lovelady isn't interested. But these are, essentially, the same frame:

So, why did David Wolper edit out all those frames in the Squad room that preceded this? I am referring to the dark trudging along by the cops and the view of Lovelady when he was turned left, towards us. I don't believe Wolper did. That was all made later, much later, and it was added to this film. And that Lovelady who was turned left was a different Lovelady, whom I call DeNiro Lovelady. 

From this point, it proceeds exactly like Four Days except blurrier. 

There's not much point in showing it all. However, I will include a frame which shows the great disparity in size between the big cop and Oswald. 

 Note that I lite that up. But, if we compare it to the opening of the same film. 

And that huge disparity jumps out at us. 

So, the bottom line is that A Year Ago Today, as they are showing it today, is, like Four Days in November in that it is a hodgepodge of different films. However, they went about it very differently. In Four Days, they spliced another movie into the hallway. In A Year Ago Today, they spliced another movie into the Squad room.