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

The Wizard has sent me and Amy Joyce an MP4 of the Phenix film of the Oswald shooting. This is the other KRLD film, that is less often seen than the other. But, it is a gold mine, and I wish I could post it here, in motion. But, I am going to post frames from it and discuss them.

We have seen the above frame before many times and in better condition, but when you see it in motion, you really get the sense of a quick signalling head glance from Oswald. And that's from Oswald to Bookhout.

This frame shows the extreme angle from which Bookhout approached Oswald. It's a far cry different from the Jackson photo.

That frame shows the degree to which Oswald crouched down after being shot. But after that, he went high on his toes. Now, how do you explain that in such a catastrophically injured man?

How do you go from one to the other after being shot? The above image is from the other KRLD film. 

So, now the melee is underway, and I want you to note that Phenix, like all the other cameramen stayed with the shooter, that is, with the mob around the shooter. Doesn't it seem odd that not one cameraman decided to stay with Oswald? Wasn't he still the most important person in that garage? Wasn't his condition and fate most in question, and not the shooter's? 

The above frame is very important, so I made it large. It shows Leavelle in his Easter suit hovering over Oswald. Note the time: 8 seconds. So, 8 seconds into it, Oswald has not been picked up. From this point, the action and the camera are going to move right to follow the melee. I should think it would have been more appropriate to stay on Oswald, but this cameraman, like every other, followed the melee to the other side, and beyond; past the corner. But note that time of 8 seconds.

So now, the melee is underway. Isn't it wild, isn't it awful, blah, blah, blah. But, in this rendering, like every other, there are a lot of noise shots, and shots where the camera is inexplicably pointed to nothing. Like the frame below, where it's pointed to the ground in the corner. 

Then this one, pointed to a man's back.

Yeah, I know, it was wild; it was pandemonium; and blah, blah, blah. But then, we are back to the cubbyhole in plain view. It is the 15 second mark. And now Oswald is gone. The "room" if we can call it that, is all filled up now with men, mostly in suits, but there is not hide nor hair of Leavelle or Oswald. They are gone. So, that's 7 seconds. Do you really think they could have picked Oswald up and carried him out of there in 7 seconds? Don't you tend to be slow and careful in moving a severely injured person? And Leavelle was reportedly handcuffed to him. So, how did he pick him up? 

After that, the camera remains pointed down the length of the open area. There is no need to leave now because Oswald is already gone. 

All these men filling up the area- on cue no doubt.

Thinning out some now at the 28 second mark.

That's Graves, who is finally making his way inside. He wound up way over to the right. You wonder why, if getting the shooter inside was the goal, that they went so far right.

And now, Holy Mother Pluck, there was a woman there! This is the end, the 37 second mark, and you see a woman casually and calmly walking through the door. So, she was there the whole time? She must have been, right? Well, who was she? 

As I said, this Phenix film is gold, and I am so glad I have it. Thank you, Wizard.