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

So, we are supposed to believe that one very short clip from rather long footage received a great deal of attention from editors, where one editor said:

"With the long footage of Oswald being paraded through City Hall, we need to shorten it. So, when they get to the little room in back of the Homicide Division, remove the first half of it because it bores me." 

But, another editor said:

"With the long footage of Oswald being paraded through City Hall, we need to shorten it. So, when they get to the little room in back of the Homicide Division, remove the second half of it, where it ends. So, remove Oswald but keep the guy at the desk because he may become important someday."

Yes, there is a combined version, but it's not because it happened that way; it's because it was spliced together that way. 

Look at the stupid, ridiculous story this tells. It was a passage through one small tiny little room. Why should it involve so much footage and so much coverage of the backs of those cops? It is WAY too long. It is way too tedious. It is way too complicated. 

It is the merger of two different films that were spliced together. And here is how they accomplished the bait and switch:

It all hinged around that big cop with the broad shoulders in back. He played the role of the curtain. He covered up the one Lovelady and when he stepped inside, wahlah, you had the other Lovelady. 

And I even found the splice point:

Above, you have two different films that were spliced together. It occurs at the 39:04 mark: 

http://www.youtube.com/watch?v=bNKMO7MbGgw

Hey, it's a clean splice, I'll grant them that. They really finessed it. But, it jumps from one film to the other right in the middle of the 39:04 second. The collage above- which transitions faster than the human eye can see and faster than the human hand can act- is a smoking gun. But, there are plenty of differences:

Why, on the left, should the cameraman have ever gotten behind that big cop so that his back was all you could see?  Why, on the right, is the perspective suddenly so different where the desk and the right side of the room are suddenly in view? Why is the big cop's shoulder higher and narrower on the right? Why is the big cop at top of the frame in the white hat veered over to the right on the right but not on the left when we are talking about the difference of a tiny, infinitesimal fraction of a second? Why is the angle of the top of the filing cabinets so much steeper on the right? They are two different films spliced together.