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

bpete complains that one Lovelady is turned right while the other Lovelady is turned left. But, that's the problem: the one who is turned left is always and only turned left, while the one who is turned right is always and only turned right. 

Unlike what Backes said, the top one is not from some European film. It is from the David Wolper film Four Days in November. Here's the gif, and as you can see, the Lovelady figure is never turned left. He starts off in profile and immediately starts turning right. He is turning right because he is following Oswald. He wants to keep his eyes on Oswald. 

But, in the other version, the Lovelady figure is turned left, and he never turns right. He doesn't seem interested in Oswald. He has no desire to look at him. And you don't see the Oswald figure moving to the right anyway. He and the big cop are just walking interminably into the back wall. 

There is nothing that matches about these two versions of the walkby footage. The Loveladys don't match. The cops don't match. The action doesn't match. No two frames are the same. The second is from Three Shots That Changed America from the History Channel. The Loveladys are turned differently because they were turned differently. And that is the plain truth of the matter. Why don't the big cop and Oswald turn right?