Like all of us, Mark Fuhrman has a long list of  bell-ringers, things that catch and hold his attention more than others. Like us, his are specific to him in the sense that all of us have particular things that grab our attention more than others. Yours will include your name, birthday and place of birth. They might also include peanut shells because of peanut shells all over the floor of a local pub where you had life-changing experiences and skunks because you were sprayed by one as a kid. You might have a stronger reaction to Cincinnati, Ohio than most people because you were raised there or because your name is Pete and your favorite athlete is Pete Rose of the Cincinnati Reds.

The pub had a name. So did the street where it was located and the most interesting people you met there. You would therefore associate peanut shells with people, places and things that nobody else would -- like Sally, Woodward Ave., Wayne State University, sailboats, Lake Erie  and logarithms. Your imagination will include some of these elements whenever see a peanut shell or hear the name of the bar or the ginger ale. Maybe you got sprayed by the skunk because a fellow Boy Scout tossed a Frisbee into a bush and you went looking for it. Skunks, Boy Scout, Frisbee and the guy who threw the Frisbee are woven into that experience. The word "skunk," the sight of one or the picture of one will, on some level of consciousness, recall all 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 move. You see them again in books, pen and ink drawings, and especially in movies and TV shows uniquely meaningful to him.

Initials: MF, FM, BM, MB, OJ, JO, AD, DA, AA, DD and MM. Note that all of these initials are reversible. Wherever you see one set not composed of the same letter the other set is implied.

Numbers: Any number can be a Fuhrman bell-ringer if it is specific in context to something that has special meaning to him. There are, however, a few of them that work like magic to tell you all sorts of things about Fuhrman when you follow them up in the contexts they appear. They are: 5, 11, 12, 13, 17, 21, 22, 23, 25, 31, 32, 33, 52, 57, 71, 75, 101, 214, 714 and 666. Note that all of the two digit number, like the two letter initials are reversible. The three digit bell-ringers give you the formula for interpreting all numbers of thee digits or more as two digit numbers. Just ignore the zeros, decimal point and the number or numbers after the first two. The question you have to ask is why do these numbers come up so frequently in a movie context that relates directly to Mark Fuhrman? This is how you find scores of 101 connections to Fuhrman's history, his other bell-ringers (like gold, larkspurs, time travel, bridges and bays), the Mothers poem photo and the confluence of Fuhrman-Faye-Denise and 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 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 by itself 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. You also see it 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 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. You will see it in Presidents, a dollar or fractions of a dollar like 1/10 (a dime -- from a French word meaning  1/10 part) or 1/100 (a penny).

 Formulas

Movies and TV shows: The bulk of Fuhrman's imagination and strategically faulty memory he displayed  in court, in interviews, in his Murder in Brentwood book and the Murder in Greenwich movie he produced in 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 a vast amount of Fuhrman's associations with the evidence and what he said about them and about himself to movies and television.

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 the 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 cinematic 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, aviator jacket) and the way he walks with his 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.

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 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 movies or television shows. The first things you see are are movie clichés with Fuhrman bell-rings traceable to one movie or a sequence of bell-ringers. 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.

Bleeding killers leaving behind distinctive shoeprints or footprints

A cop killing and framing people.

Murder victims laying on their sides at the foot of stairs.

Cars parked hastily at extreme angles to the curb.

Red herrings.

A killer leading the investigation of a murder he committed.