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

There are no two versions of the walk-by footage that are the same. Every single is different. But, we can gather that they're all based on two fundamentally distinct versions of the walk-by footage: one which started with the muscular, Herculean Lovelady before they slimmed him down, and other of which started with the pale ghost-like Lovelady who was embedded in. So, those two Loveladys are very different, and every honest person will admit it. 

But, there are also differences involving the other men. Here I have the man who is ahead of the big linebacker cop circled. I want you to notice that in one, his hair looks short and neat and tapered, and in the other, his hair is longer and curlier. 

 If you want to say that they're different men, hence different hair, you can, but it doesn't end your problems. That's because the big linebacker cop is in the same position relative to Lovelady, and clearly the big cop in the white hat and Oswald are passed Lovelady, so the difference in time between the two frames can't be that great. It's already a problem that in one, the big cop and Oswald are moving right, and in the other they are not, and the clip ends before they do. But, if the arrangement of the other men is also different, then it clearly means that they are different versions, and you need to stop denying it. Although we can't see the face of the clock on left, we know what it says: slightly past 2:00, just as on the right. 

Again I want to stress that there are no two versions of this walk-by bull shit that are the same. Four Days in November offers one version. Three Shots That Changed America offers two versions: the original which I have and the revised one that is much shorter with the slimmed down DeNiro Lovelady. There is also a version with Roger Craig in the inset which is different yet, but similar to what we see in Four Days. In A Year Ago Today we see the weird splicing of both versions. And I think I've found the transition frames.

On the left is the curtain frame with the big linebacker cop blocking the view of Lovelady. You see that extra man on the left side. But then it reverts to what we see on the right, with the extra man cut out, and the man in front of the big linebacker cop more directly in front of him. You get more the idea of a straight line of men. However, the big cop with the white hat is already veering right and therefore more visible than he is on the left, where he is left of the other man. You have to realize how little time there is between these two frames, like an 1/18 of a second. It's a colossal amount of change for such a short amount of time. This is what takes us from one version to the other.

And after you see the big cop and Oswald milling around at that open door, stalled about what to do, it doesn't go to the cameramen clicking away at Oswald in a room on the other side. Remember how we see that in Four Days? Well, in this version it jumps to this frame:

This is a guy examining a pistol, presumably Oswald's pistol. But, where are we now. What happened to the part about getting Oswald settled in his interrogation room? Why did they cut that out of this version? Editor's choice? In 3 Shots you don't get either one of those. It just goes from the big linebacker cop getting in the way and covering up DeNiro Lovelady to these newscasters:

So, they weren't interested in the photogs either. Maybe they realized that it was a strange thing to have some cameramen shooting other cameramen instead of all the cameramen shooting Oswald, as you would expect. 

There are no two versions of this phony footage that are the same. Every one is different. And none of them are real. Lovelady was never there. This is a Nazi propaganda movie, pure and simple. The whole thing is completely concocted, and never satisfied, they concocted it in different ways.