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

This is a larger frame of the second pan of the doorway from Wiegman. Notice that you have Doorman looking quite clear, but the figures next to him are blurred. Why? It's all one frame. If the camera was still enough to capture Doorman sharply, how could the figures next to him turn out so messed up? Let's look at it closer. 

Why should there be such distortion there on the right, and why is Doorman exempted from it? That's about as weird and freaky as it gets, is it not? So, why is he so different from them? How could the photographic conditions be so different for him than they were for them? It's because he wasn't there. They stuck him into the film. And that's why they had to make it just a split-second glimpse of him because his stiffness and immobility would have rung through if people had several seconds to gaze at him. He wasn't there. He obviously wasn't Oswald (and Oswald was the only Doorman). So that in itself, the fact that he isn't Oswald, is proof positive that he wasn't there because there weren't two Doormen. There was only one: Lee Harvey Oswald. 

Notice that Carl Jones is focused on Kennedy, and so is Popeye. Most of the people are. But Doorman is just staring straight ahead, like a Cigar Store Indian. At a time like that? He is divorced from the scene. He is outside of it. He has nothing to do with it. He is just a piece of art who was installed in the film to convince people that Doorman was still there. He wasn't. He had left. He had begun his trek to the lunch room, as he was ordered to do.