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

I have stated already that the footage of the walk-by of Lovelady is completely different in Three Shots from how it is in Four Days. There are simply no frames that occur in both during the Lovelady sequence. 

In Three Shots, it breaks away as soon as Lovelady is glimpsed, and the entire part where the big cop leads Oswald to the supply room, opens the door, and then mills there, is completely absent from Three Shots. 

Instead, Three Shots breaks away to newscasters in a studio at that point. And what you hear the man say is that he hopes that this assassin was not a part of any political hate group because it would rend the political flesh of this country. But, why at that point would he make any assumption about it involving only one assassin? Do you see how from the very start it was a foregone conclusion?  

But, then it jumps back to the scene and shows some footage of a big cop leading Oswald into a room. 

 You don't see the above frame in Four Days. Then it goes to cops in suits standing outside the room. 

Notice that it seems rather dark inside the room now. It didn't seem so dark before. Presumably, it is the same room, and Oswald is inside. 

And then, finally, it gets to a frame that actually occurs in the other movie, Four Days. It's the one of photogs being photographed by other photogs. 

The above is from 3 Shots but you see one about identical in 4 Days. It is momentous because it is the first frame that actually looks the same between 3 Shots and 4 Days. 

After that it goes to the shot of Oswald in the room alone as the door is closing, and that too appears to be about the same as in 4 Days. 

3 Shots does not have the one of the detective examining Oswald's pistol that you see in 4 Days. 

So, there are distinct differences in how these films were cut and spliced together. But, the actual Lovelady portion is completely and totally different without one identical frame between them, not one. And that is very disturbing. 

But, I'll leave you with another problem. If the big cop led Oswald into the interview room, and then there were other cops in suits milling around outside the door, how was there room for everybody?

With those cops milling around in front of the door as seen in Three Shots, it's making that bend there mighty crowded, since we also have photogs there, and then other photogs shooting those photogs. 

I think it's time for bpete to take out his arrows and his x's again and figure out a spot for everybody at that little bend in the road because it's getting mighty crowded. 

I suggest that the whole idea of trying to make this work based on the schematic is futile. 

But, of course, the worst thing is that the two Loveladys don't match, and the whole clip of the procession walking by Lovelady is completely and totally different. There is no matchup whatsoever. 

 It doesn't work, people. In one, the big cop is moving to the right; in the other he isn't and doesn't. The men are aligned differently. The Loveladys are turned differently. And the two Loveladys are vastly different men. There is just no way of reconciling these as the same moment in time and space. It is obviously two different renderings of the same event. 

The twain shall never meet between these two. They are obviously different movies.