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 Bell-Ringers, Signposts and Formulas 

Note: The entries highlighted in green were added after the original list was compiled in the early part of 2007. This is not to say they weren't always present, only that they were missed, forgotten or not recognized until subsequent information or subsequent events called attention to them and gave them enough weight to qualify.

Bell-Ringers

In the early 1900s, Ivan Pavlov gave his name to the conditioned response experiments he conducted with dogs in the late 1890s. He conditioned the dogs to salivate in anticipation of being fed by ringing a bell. So, when someone says that a given reaction to a given stimuli is Pavlovian, that's what they mean.

All of us have things like Pavlov's bells that get our attention and produce involuntary associations. Yours will include your name, birthday, place of birth,  life changing sights, sounds and experiences, etc. These are not clusters of things that can occur randomly, frequently and generally. Individually, they apply to large groups of people. But clustered in ways that are applicable to fewer and fewer people eventually apply to only one person on Earth. They are your historical/psychological  fingerprints on your subconscious choices of words and actions. They say who you are.

Signposts

Knowing only a small fraction of the things that made Mark Fuhrman a national celebrity allows you to use them as signposts to some specific sources of ideas he expressed or the way he expressed them.  They  begin as  five or six of your bell-ringers when you see them repeatedly in unnecessarily inaccurate or improbable clusters that point to those sources — especially movies. When you follow those signpost and stop at the indicated destinations, you look around for clear patterns unique to Fuhrman. You invariably find new things that add to your knowledge of his bell-ringers (for example...).

This is how the overwhelming majority of Fuhrman bell-ringers listed below were discovered. I had to list them to test their validity. Only Mark Fuhrman could confirm them. He did exactly that by sheer repetition and the way he combined them to produce other signposts in his subsequent public displays or my subsequent discovery of them.

Mark Fuhrman bell-ringers

It's easy to identify many Fuhrman bell-ringers because he inserted them repeatedly, sequentially, erroneously or artificially in his testimony, interviews, books and in his movie. They are also in other people's books, short stories, pen and ink drawings, Greek and Roman mythology, Shakespearian plays, historical events, movies and TV shows that are uniquely meaningful to him.

Initials: MF-FM, PM-MP, BM-MB, MD-DM, OJ-JO, AD-DA, AA, DD, RR and MM. Note that all of these initials are reversible. Wherever you see one set (BM, for example) the reverse set (MB) is implied.

Numbers: Any number can be a Fuhrman bell-ringer if it has special meaning to him and follows a logical pattern. Neither 7 nor 9, for example are Fuhrman bell-ringers by themselves. Neither was 79 because it wasn't reversible until Fuhrman's first book became a bestseller in '97. But. like 25 becomes Fuhrman's birthday when you put a space between the 2 and the 5 (the year is 52), 79 becomes O.J.'s birthday when you put a space between the 7 and the 9 (Agatha Christie's The Man in the Brown Suit). U.S. Presidents, for another example, can be called up by the order in which they assumed the office, most notably, 7 for the 7^th President, Andrew Jackson (Old Hickory / The Caped Crusader) and 13 for the 13^th President, Millard Fillmore.

Some numbers, however, work like magic to tell you all sorts of things about Fuhrman when you follow them up in context. You don't always know why they appear when and where they do to tell you so much, you just know that they do (75, for instance, is interesting but not magical until you turn it around to 57, which give you a Queen of Diamonds, a bottle of ketchup and a political assassination conspiracy). Those numbers are: 5, 11, 12, 13, 17, 21, 22, 23, 24, 25, 29, 31, 32, 33, 42, 44, 48, 52, 57, 71, 75, 84, 86, 89, 92, 98 101, 214, 222, 714 726 and 666.

Two digit numbers, are reversible. The key to discovering the reversibility rule was in the numbers 21 and 31. I had 12 and 13 from the 12^th and 13^th of June when Bundy Murders were committed (12) and Fuhrman became officially involved in the case (13). I also had 11 and 22 from the driveway coins and 33 from Larry Bird's number. When I saw them clustered with several other Fuhrman bell-ringers or a few others but in a specific way, I knew that I had promising territory to explore. But it wasn't until 31 kept popping up when a relevant number to me at the time would have been 32 of 13 that I realized what Michael Jordan's 21 number had in common with it. 21 and 31 were 12 and 13 in reverse. Then I notice that all of the two digit bell ringers followed the same pattern as the initials. All of them were reversible.    

The three digit numbers can appear in any order. Also, the numbers 101, 214 and 714 give you the formula for extracting Fuhrman's two digit bell-ringers. Just ignore the first or last digit and the zeros. Dropping 2 from 214 gives you 14. Dropping 7 from 714 also gives you 14. Dropping the 4 gives you 21 (the same as 12) and 71 (the same as 17). Taking the 0 out of 101 gives you 11,

Separating digits in any two or three digit number compatible with a month and day or day and month on a calendar can give you a calendar date. For instances, 2 5 (25),  is February 5, Mark Fuhrman's birthday. 2 14 (214) is February 14, Valentine's Day.

666 means that you can also extract the first or last two digits that are not fixed Fuhrman bell-ringers from three or more consecutive digits (66 is not a fixed Fuhrman bell-ringer) because using it as a formula for a pattern gives you the same two numbers either way. 726 is divisible by spaces, decimal points, hyphens and slashes. In Fuhrmanese, 726, 762, 627, 672, 276 of 267 is the same number.

Four digits or more cannot be rearranged or reduced to three digits. You can take the first two or the last two and ignore the others, but you cannot use the numbers between the first or first two and the last or last two (Don't know why that's so, but it is. It's the pattern that repeats whether or not you're looking for it) .

Clock time is a separate category of numbers associated with the Swiss Army watch.

The question you have to ask is why do these numbers come up so frequently in movie contexts that relate directly to Mark Fuhrman? Asking this question is how you find scores of 101 connections to Fuhrman's history. It's how you find other Fuhrman bell-ringers, like gold, diamonds, emeralds, time travel, trains, bridges and bays.  The frequency (number of occurrences) question is one of the things that gives extra weight to items in the Mothers poem photo, and the confluence of Fuhrman-Faye-Denise-Shipp related evidence used against O.J. Simpson.

• Doubles: The number 2  in not a Fuhrman bell-ringer or "magic number" per se. It  is, however, a Fuhrman bell-ringer as a pair, a double meaning, a double identity or a duplicate like a double set of coins or shoeprints, the double letter M in "MM" or the double number 2 in 22. It is also a bell-ringer in a  transposition of letter or number sets like BM and MB or 23 and 32. They are doubles because they do double duty. With one set you get two.

• Threes: The number 3 is significant as the month of March and it's standard position on a calendar wristwatch indicating any current month. By itself, it means nothing. Look for it in three parts of a whole like the third act of a play, the three sides of a triangle, the third strike in baseball (lots of things with sports in general including a "hat trick" in hockey), a 3-2-1 countdown, a 3-part group, a 3rd of 3 parts or 3 out of 4 items in a group.

• Second place: The number 2 is significant as the second in a fixed order like the second month of the year, a 1-2-3 count or a 3-2-1 countdown. You see this number with a line of succession like the second place finisher in a  race that wins when the first place finisher  is disqualified or a Vice President who rises to the top with the death  of a President (In 1933 Germany, Adolph Hitler maneuvered the president into giving him the chancellorship, the second most powerful position in the government. When the president died in 1934, Hitler abolished the position of president).

You also see the number 2 as the second item on a list, which is more important than the first, like Fuhrman's mention of Sgt. Rossi, with the redundant "W/C commander" (W/C means watch commander) in his second Bundy notation. This tells you that the second item, not the second numbered item is what counts. It tells you some things that Fuhrman associated with Sgt. Rossi, his double reference to commander and their priority in his thinking when he wrote the notes.

• One: As with the number 3, a 1 by itself means nothing. Look for it in the ace of spades or one person who stands out in a group literally or figuratively. You see it in first place awards like gold plaques, medals and trophies. Also look for it in base currency, especially the American dollar. You see it in Presidents with a one dollar bill featuring George Washington, a dime,  (one tenth and in a dollar) featuring Franklin D. Roosevelt  and a penny (one one hundredth of a dollar) featuring Abraham Lincoln.

 Formulas

Plausible deniability is a recurring theme in trying to gather crucial information on Mark Fuhrman, Brad Roberts, Ron Phillips and Bill Pavelic. The way it's done is to offer alternate explanations for whatever incriminating information you turn up. The more the better because of the normal human tendency to reject more than one correct solution to a question. Plausible deniability therefore allows you to bury essential facts in a blizzard of ancillary or misleading information.  A considerable amount of fact checking is necessary to pick out one right answer, multiple right answers or to determine that there are no right answers on the list.

Multiple choice questions that you encounter and solve routinely in various forms can be deceptive because you normally guess right. The green light that says you can drive safely through a busy intersection, could be green on all four sides. You could be imagining that it's green when it's red. However, you know that your first choice has an overwhelmingly high probability of being correct so you go on green.

Within that set of circumstance you have the formula for a booby-trap. The essence of a booby-trap is that it plays into the fact that the people who are targeted by it don't question what it might be beyond what it appears to be. That's what makes stereotypes and clichés effective. Green means go, read means stop and that's that.

Fuhrman shows in his writing, his drawings and the photos he posed for how plausible deniability and multiple choice questions work together to reveal a wealth of significant information about him and to hide it. He uses plausible deniability and deceptive multiple choices so frequently that they become signposts. If you think you see something in his work that has built-in plausible deniability (like tombstone symbolism) you are more likely than not to be right. But if you repeat from memory something that you are sure Fuhrman wrote without checking the primary source you are as likely as not to be wrong. That's because he uses a formula found on the "easy" part of I.Q. tests to deceive you on the "hard" part. It goes something like this -- Fill in the blanks:

1) Mary had a little_ 

    a. shoe

    b. cupcake

    c. lamb

    d. cathedral

    e. all of the above

2) 5 10 _ 20 25.

     a. 15

     b. 11

     c. 0

     d. 13

     e. 37

3) M T W T F _ S

     a. T

     b. S

     c. Q

     d. W

     e. M

Fuhrman's trick, like the test-makers, is simply to lead you to the obvious answer (the easy part of the test) and replace it with something else (in the hard part). Instead of giving you a lamb, he gives you a cupcake, but it morphs into a lamb because he makes "Mary had a little" so much bigger than "cupcake" and lamb "makes more sense." Instead of giving you 15 on the second question he slips in a 30 (a number that isn't even on the list of proposed solutions. You could easily recall 30 as the right answer because you forgot that you supplied the 15 and 30 is the logical progression of what he said, not what he actual wrote. That's the formula for turning your intelligence against you.

The third question might take a little more thought than the first two unless you recently looked at a calendar or something else caused you to immediately flash on the days of the week. The first two, however, give you all the context clues you need to get the "correct" answer right away. In other words, the blank is automatically filled in before you look at the proposed solutions. You don't have to think. All you have to do is regurgitate the answer already firmly implanted in your mind. That's why stereotypes that fit obvious evidence work as well as they do in the face of demonstrable evidence that the contradicts the obvious. It requires extra mental steps to see beyond the obvious.  

Movies and TV shows: The bulk of Fuhrman's imagination and strategically faulty memory that he displayed  in court, in interviews, in his Murder in Brentwood book and the movie he produced in mid November 2002, are superimposed on overlapping scenes and formulas from movies and TV shows. Starting anywhere on the Bundy and Rockingham crime scenes you can therefore trace to movie and television scenes a vast amount of Fuhrman's associations with items of evidence, what he said about them and what he said about himself.

Fuhrman does a considerable amount of borrowing from different movies and transposing key elements in them to tell or to illustrate "his" stories. To see where these things came from you therefore have to follow them wherever they lead. That's why The Smoking Gun books could not be laid out for the most part in a way that includes everything from one source in sequential sentences, paragraphs or even in the same chapters. That's not what Fuhrman did to tell his stories. He took some of this and some of that from many sources and combined them in different ways. It is utterly confusing when you don't know the formulas. It's easy when you do.

On Fuhrman's formula signposts you see his history, his general appearance, the way he dresses (neckties, footwear, bomber jacket), the way he stands (pigeon toed) and the way he walks (toes pointed straight ahead). These signposts show you his attention to detail, his preparatory research and his predilection for flexibility. This is Fuhrman the information gatherer, the time-shifter, the liar, the racist and the truly gifted detective who chooses when to report accurate observations and logical deductions and when not to. The man that these signposts point to never does anything big for one reason and draws his inspiration mostly from movies and TV shows.

The operative word in any explicit or implicit definition of a formula is "always." The extent that everything a formula entails remains constant is the extent to which it works. Variations of the names "Jane," "Ram," and "Clark," for instance, are Fuhrman bell-ringers that appear frequently in his formulas taken from the movies. However, these formulas don't always originate there. Sometimes they originate with historical events and movie stars.

A prime example is what Fuhrman did with Jane Fonda's stock speech starting in 1983 about her words and deeds during his stint in the Marines that gave her the nickname "Hanoi Jane." The least of it, although the most talked about because of the photo that came with it of her sitting at a North Vietnamese anti-aircraft gun in 1972 and saying, "I wish I had one of those murderers [American airmen] in my sights." That gun was located just outside of Hanoi where American POWs, most of them airmen captured after their plains were shot down by ground fire, were being held and tortured into "confessing" war crimes for "peace delegates" like Jane and former U.S. attorney general Ramsey Clark. One of the biggies was an interview she did on Radio Hanoi in 1974 condemning American military support for South Vietnam and urging the Hanoi government to hang tough because the "American people" were with them in their "just struggle."

Jane took full responsibility for her actions. She said that she was ashamed of her poor choice words. She apologized for any pain she might have caused. She said she was not a Communist, but a piece activists who sometimes used inexcusably poor judgment in the way she went about it. She said in a 1986 National Public Radio interview that Robin Williams did it the right way in the movie Good Morning Vietnam. Nowhere in the media did you see or hear anyone other than right-wing racists and crazies count her speech in 1971 at a large Entertainment Industry for Peace and Justice meeting in which she said, "The only possible just peace in Vietnam is victory for the Vietcong." She said a lot of things like that regularly before the fall of Saigon in 1975. She apologized only when the heat was on her in '83 as a consequence of Sylvester Stallone's Rambo the Vietnam War Memorial's completion and angry Vietnam vets dogging her at every Jane Fonda Workout book or video promotion. She added that she was proud to have been a part of the peace movement. 

Mark Fuhrman simply turned her "apology" speech into his "apology" prologue in Murder in Brentwood by substituting "Communist" for "racist" and what she said about American GI's in the American and North Vietnamese media with what he said about "niggers" on the McKinny tapes.

It worked for him as it did for her and Fuhrman had a good reason to believe it would. It was a successful formula and Fuhrman knew the formula as well as Jane's PR people did.

It came from Richard Nixon's failure to come clean on his part in the Watergate scandal. Instead of admitting he was guilty of anything he said, "Mistakes were made." He resigned under intense media and Congressional pressure to have him impeached. The lesson learned from polls taken after he resigned was that most Liberal Democrats as well as Conservative Republicans, said that they would not have objected to Nixon staying in office if he had admitted what he did and apologized. Jane Fonda took her cue from what Nixon didn't do and Mark Fuhrman took his cue from what she did. He took no liberties with her formula. He just took her name and her bad acts out of it and filled in the blanks with his own.

In Murder in Greenwich, producer Mark Fuhrman shows exactly what he did in a scene where he and Weeks get files on the Martha Elizabeth Moxley case from a hostile Greenwich cop. Weeks complains that half of the pages are blacked out. Fuhrman tells him that the problem is "algebraic" and all they have to do to fill in the blanks is "find the value of x." The value of x with respect to the Moxley case is the Skakel gardener. With respect to Jane Fonda it's Martha's middle name, the gardener, her lover on her FTA tours and the cop who gives them the files. We learn in a scene with a woman Fuhrman names Hildy Southerlyn that the cop's name is Lancaster. This is the order in which these characters appear in Fuhrman's movie.

In a book call Jane Fonda: Heroine For Our Time by Thomas Kiernan published in 1982, you get this information in this order:

Jane Fonda's activism was inspired by a Communist women she met in France in 1968 named Elizabeth Vailland who fought the Nazis in World War Two. Jane headlined an "anti-war" entertainment tour of Pacific Army bases in 1971, including Fort Lewis, Washington, the closest military base to Fuhrman's home in Eatonville, Washington. The advance man for the tour was Fred Gardner. He wrote a book in 1970 about the 1968 court martial of 27 soldiers at the Presidio Army Base between San Francisco and the Golden Gate Bridge. Among the performers who toured with the show where Donald Sutherland, Elliot Gould (the newspaper man in Capricorn One with O.J. Simpson) and Peter Boyle (the monster in Young Frankenstein). Bert Lancaster joined Jane's Entertainment Industry for Peace and Justice in June, 1971. He was the murderous Army medical officer in The Cassandra Crossing with O.J. Simpson. 

This book version of Jane Fonda's story leading to her apology is Fuhrman's formula for telling his story that led to his apology. Whenever you see Fuhrman involved in a project with bell-ringers clustered together or sequenced like these, you know that you are looking at a formula. You know how it applies to Fuhrman. And you know where he got it. In this case all of it was contained within fifty-seven consecutive pages of one 300 page book.

In case you didn't notice, Jane's politics have no more to do with the formula than Nixon's or Fuhrman's. It's based on a fundamental tenet of Christianity to forgive the sinner who repents and shows it by acts of contrition and other good works.

Jane did it with her efforts on behalf of American Vietnam vets who were getting shafted by the VA and by her exercise and nutrition campaigns aimed at getting and keeping all Americans healthy. For most people of all political persuasions, her detractors quickly became stereotypes of obnoxious, unreasonable people living in the past. In Fuhrman's Murder in Brentwood he does the same thing with stories about going out of his way to help a black man accused of murdering a white man, of showing reflexive human compassion for a black woman whose uncle was murdered. He then went on to do "good works" as a super detective in Connecticut, Washington and Oklahoma. In his Murder in Greenwich movie he shows the stereotypical harasser as a teenager following him out of a diner taunting, "Say, nigger, Detective Fuhrman. say nigger."

Most Fuhrman formulas come out of six consecutive minutes or less of scenes from movies or television shows. The first things you see are movie clichés with a sequence of Fuhrman bell-ringers attached to them. These clichés include:

A killer in gloves, a mask or dark knit cap

A killer dropping something incriminating at the murder scene.

A killer dropping something incriminating at the murder scene to frame someone.

A bleeding killer leaving behind distinctive shoeprints or footprints.

A cop killing and framing people.

A murder victim laying on his or her side at the foot of stairs.

A three-way struggle involving a man attacking a woman and a man coming to her rescue.

A clock or watched stopped at a time set by the killer to indicate a false time of death.

A car parked hastily at extreme angle to the curb.

A killer leading the investigation of a murder he committed.

Red herrings.

When you get beyond the clichés you can pinpoint specific scenes from some movies or TV shows that Fuhrman uses in "his" stories by specific elements in those scenes that appear nowhere else. This is not a Fuhrman invention. It's done all the time -- in the movies.

Michael McClinton bell-ringers 

9

14

21

22

25

32

45

1992

Avery Brooks

Bald Head

Boxing

Carson

Casino

Chamber

Chicago

Christmas

Diamonds

Dunlap

Foreman

Goldie

Gun

Hammer

Hotel

Icing on a cake

January 29

Left Hand

Michael

Mickey

Milwaukee

O.J. Simpson

Paint

Palace

Pimp

Police

Randall

Robbery

Security

Shekel O’Neil

Shine

Snow

Spencer

Station

Tape Recorder