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

So here we have that door wide open and the big cop and Oswald and the other guy staring into it. What exactly are they looking at? It's just a small room, not much bigger than a closet. Is there something in there? Is there someone in there? And what are they contemplating? The big cop walked Oswald back there, so presumably he brought him there to leave him there. But, he doesn't since subsequently we see the photogs shooting in the other direction.

So, why did the big cop change his mind? Was it because the room was too small? Was it because no one was there? Was it because someone was there whom we can't see who told him to put Oswald elsewhere? We just don't know. 

But one thing is for sure: there was a BIG TRANSITION between A and B, what I call THE GREAT REVERSAL that got completely cut out of this movie, and I want to know why. 

I know damn well that nobody was ordered to turn the cameras off. And I also know that nobody would have chosen to turn them off. So, what happened to the march past Lovelady? 

There was no march past Lovelady. There was none going in and there was none going out. They fabricated the one going in, but they weren't going to do it again for the going out. There was no need. Once was enough. So, they just cut it all out. They gave it a big whopping haircut. That's what we're looking at. The only thing that was there was this, which is to say, nobody.