A clock tells time by the duration of a given event—by a standard measure of speed, distance and activity. Time travel is, therefore, not as exotic as it sounds. The hard part is bringing your body with you on pause while you fast-forward or rapid-rewind to where you want to be. If you’re alive you have to be getting older with every move you make.

Think of a jet pilot, a Pony Express rider and a caveman going from Missouri to California and the things in motion around them when they do. Who will have aged more by the time he gets there—and what will he be able to do? Now imagine a black baseball player winning a spot on the 1946 Detroit Tigers as a starting pitcher. Give him a winning personality, a strikeout average of 18 batters a game and a batting average of 446. What you have done is no different than putting a pony express rider at the controls of a 747. You have created an impossible situation—a temporal paradox. There is no such thing as time and place, only places in time and only so much room for so many things to happen within those boundaries. That’s what makes the subject of time travel so enduringly fascinating. What are the boundaries of free will for a contemporary of one place in time who visits another?

In Millennium, Dr. Arlo Mayer presents the classic temporal paradox of building a time machine, going to the past and killing your prepubescent father. If you did that how could you have been born? If you hadn’t been born how could you have built the machine? To get around this problem, Mayer believes that a cautious time traveler would be free to do anything that would preclude a paradox, and would avoid detection for that reason. He believes that time travelers are already here and hopes to find proof of his theory in places where no one would be left alive to absorb their influence and pass it on.

We see him searching for evidence of their existence at a 1989 airline crash site. He is wearing a hat, glasses, one leather glove and he is putting his bare finger inside of a woman’s shoe. The expression on his face when he pulls it out, looks at it, and wipes it off tells you that it had blood on it—enough to leave the kind of fingerprint that Fuhrman said he found on Nicole’s back gate. What does blood combined with a shoe, a leather glove, a hat and a pair of glasses within an 8" radius of a detective’s hand sound like to you (see chapter 2, page 15)?

In Millennium, Louis Baltimore leads her elite team from the future through a temporal passageway called "the gate" onto a doomed commercial jet in 1962. They rescue the passengers in flight by disguising themselves with wigs and uniforms to look like the flight attendants they are going to replace. They stun them from behind and transport them to the future. There, they replace everyone aboard with lifeless doubles and return the plane to its own time and place to crash.

The weapon they use is called a stunner although it can be used to kill. When something goes wrong and two of the weapons get lost almost thirty years apart, Louise has to come back to the past to get them. For her the timeframe is the same. In the Bundy case there was a difference in time between pieces of evidence that were supposedly left in the same timeframe. The heel of a Swiss Army knife held in the left hand to cut Nicole’s throat had been used first to stun Ron and the heel of a German Stiletto held it the right hand was used to stun Nicole. Both of those weapons are still missing.

Like the iron-capped heel of little Rhoda Penmark’s shoe in The Bad Seed, Millennium gives the heel of the woman’s shoe a duel meaning with respect to the Bundy murders because Mayer is holding it with his gloved hand. Louise, in a brunette wig, is wearing gloves when she uses her stunner on her passengers starting from the back of the plane the way a soldier attacking a column of enemy soldiers would do it. It was the way the man who attacked Ron and Nicole did do it, with Ron walking behind Nicole the first to be stunned. Louise does not loose her hat or her white gloves, but one member of her team dressed the way she is dressed loses her cap—and gets her white gloves bloody.

I’ve been looking for a cluster like that since I first saw the photo of Fuhrman’s pointing finger in Murder in Brentwood. The only other places I’ve seen anything close were in Jack the Ripper with Michel Caine, The Electric Horseman with Robert Redford and Jane Fonda, Three Days of the Condor with Redford and Faye Dunaway, and Time After Time with Malcolm McDowell and Mary Steenburgen. The wire-rimmed glasses and the deerstalker cap are hard to see on the floor of the hotel room where Jack the Ripper assaults H.G. and runs away, but they are there.

What’s missing is one of the killer’s bloody gloves. But that is more than made up for in the fact that we have already seen the gloves recovered in the Ripper’s black doctor bag by a lone bobby searching H.G.’s house. And we have the Ripper himself. We see the bottom of his shoes as he runs away.

In Jack the Ripper with Michael Caine, a lone bobby recovers a bloody leather apron, but the killer is also a doctor with a black bag. In Dressed to Kill Michael Caine, is a doctor with a split personality, one of whom is a throat-slashing woman called Bobbie. He is alone when he finds the case where the murder weapon came from. It has an indentation in the weapon’s shape—like the Swiss Army knife case that Fuhrman said he and Roberts (a "Bobby") found on O.J. Simpson’s bathtub. Officer Robert (Bobby) Riske found the first bloody glove.

We have a similar cluster of clues in two Jack the Ripper movies, two time travel movies (one of which is a Ripper movie), two Robert Redford movies and the Bundy crime scene photos supplemented by Fuhrman’s interpretation of the evidence. Fuhrman’s account has the killer running away as we see him do in Time After Time. The spacing of the shoeprints on Bundy says he walked slowly. We see Dr. John Leslie Stevenson, a.k.a. Jack the Ripper, walk slowly away in the opening scene of Time After Time after he butchers a woman and closes his musical pocket watch with his bloody-gloved hand.

"Bruno" Willis’ wife at the time, Demi Moore, plays a barefoot psychic (Psycho) in The Butcher’s Wife (1991) named Marina (in Psycho the barefoot victim in the shower is Marian—the last two letters are transposed). She goes to New York with her new husband Leo (George Dzundza who plays Nick’s partner Gus in Basic Instinct). She wrongly believes him to be the man of her dreams. When they pull up to his butcher shop and he parks the way Fuhrman said O.J. parked his Bronco, the friendly, neighborhood hoodoo women, Molly and Gina, are there to meet them. Children playing in gushing water from a fire hydrant close by have made the ground at Marina’s feet wet. More importantly, the butcher gets his feet wet.

Marina buys a pair of $350 shoes for $3.50 in a series of serendipitous meetings and mix-ups that bring together unlikely couples who were meant for each other. While she is in a clothing store (Denise Brown worked in a clothing store near Mark Fuhrman home in Redondo Beach) she meets Stella, played by Mary Steenburgen. Stella and Leo will fall in love and free Marina to marry a doctor of psychiatry named Alex.

Steenburgen’s real life husband in 1991 was Malcolm McDowell, her leading man in Time After Time. One scene in that 1979 movie reaches through time to unite it with The Butcher’s Wife, Millennium, and Fuhrman’s conduct at O.J.’s 360 N. Rockingham estate—especially his discovery of the spot of blood near the door handle of O.J.’s white Bronco. For now, I will just remind you that Fuhrman said he was drawn to the Bronco because of the extreme angle at which it was parked and invite you to study the picture of McDowell as H.G. Wells in the deerstalker cap made famous by Sherlock Holmes. The cigarettes on the taxi’s rear-end sign, by the way, are Camels.

Start anywhere you like: The sever angle of the taxi to the curb (The Butcher’s Wife, the Rockingham crime scene)? The fact that Herbert George Wells was widely known by the initials of his first and middle name, H.G. (Orenthal James Simpson was widely know as O.J.)? H.G.’s unusual shoes (the Bruno Magli’s O.J. was supposed to have worn when he drove the Bronco on the 12^th where extremely rare)? H.G.’s close inspection of the handle on the white strip of the taxi’s door (Fuhrman’s close inspection of the Bronco door handle is what led to making Rockingham a crime scene)? The trees, the park bench and potted plants (O.J.’s Rockingham estate was tree-lined, he had a park bench near his front door and potted plants lining the sidewalk.)?

Any of those starting points will carry you around the three-movie, one crime scene circuit and back to the street in 1979 San Francisco where H.G. flags down the taxi. The way the driver "takes off" to the Ripper’s hotel combines Fuhrman’s story of O.J.’s "flight" from Bundy to Rockingham in his Bronco, with the limousine that takes him to the airport, and the airplane that flies him to Chicago where a taxi takes him to his hotel. In Millennium, Camel-smoker Louise Baltimore’s rapid acceleration when leaving the airport with pilot/NTSB investigator Bill Smith prompts him to say, "Did the tower clear you for that takeoff?"

Because we’re talking about time travel we can back up to the red and green (Christmas colors) taxicab in Time After Time that picked up a passenger before the blue and white one (police car colors) stopped for H.G. From where he is standing, the FM on the taxi’s green and yellow sign would read MF. Because H.G. is playing the part of Sherlock Holmes the way Fuhrman did on Rockingham with the Bronco, the parking angle, the door handle and the piece of wood that form the basis for searching in and around O.J.’s house take on special significance. Instead of the piece of wood where Fuhrman said that O.J. ran his car into a pile of wood from a picket fence, you see a series of metal poles. One has a missing sign. Another is bent from where a driver apparently ran into it from a severe angle. HG is standing between them.

Most of the movies in the Fuhrman Collection leave room for doubt, however small, that he saw the movie and got something from it that he incorporated into the Bundy murders, the Rockingham investigation, his notes, his testimony and his books. Time After Time leaves no doubt whatsoever. What clinched it for me was the meeting in Jack the Ripper’s hotel room between him and H.G. when the Ripper tells H.G. how brilliant he was in tracking him down, suggests that he add "detective" to his list of accomplishments and calls him a regular Sherlock Holmes. In Murder in Brentwood, Fuhrman makes a point of saying how brilliant he was at tracking deer (deerstalker cap). That’s what I was looking for to externalize my impression that his whole act with the Bronco sounded like a man trying to look like Sherlock Holmes.

When you see what happens with the taxicabs in Time After Time on H.G.’s way to the hotel you know that there’s going to be more. Twenty-five minutes later would you be surprised to see the Ripper stepping out of a taxi similar to the one H.G. got into? Would it surprise you to see a similar parking angle or a white car in front of the taxi? With all the different vehicles parked at an angle in all of these movies, the one constant is the color of at least one vehicle in the shot. What do you get when you cross a white car with a white van? How about a white SUV?

From the start of the movie with the Ripper in 1893 London giving the victim a coin for her service as a prostitute, up to the confrontation in the 1979 San Francisco hotel room, there had been numerous links between Time After Time and the Bundy killings. The fact that H.G.’s friend, John Leslie Stevenson, was a doctor with a black bag and that a lone bobby found the bloody gloves in them was a tenuous link to Rockingham. But, from the moment H.G. set foot on the streets of San Francisco, the links to Rockingham came one after the other, the most explicit of which was the scene where H.G. was forced to sleep on a park bench. In the foreground is a children’s playground with sand, monkey bars, a swing set and a slide, the identical playground fixtures O.J. had on the opposite side of the wall where he parked his Bronco on the night of June the 12^th 1994.

Time After Time has its lighter moments, two of which dovetail into The Butcher’s Wife by way of Fuhrman’s conduct at Rockingham. That is to say, there is no connection without Fuhrman’s role in making Rockingham a crime scene. Fuhrman saw a severe angle in the 2-degree angle that O.J.’s Bronco was parked. He noticed the stick that was out of place and the tiny spot of O.J.’s blood near the Bronco door handle. He theorized that the killer was bleeding and that he saw himself in the mirror after the murders. Fuhrman found the glove.

The first comedic link between Time After Time and The Butcher’s Wife has to do with the location of O.J.’s Bronco relative to his children’s playground inside the compound. It has to do with Fuhrman’s discovery of one glove inside the compound and O.J.’s claim that he was inside the compound chipping golf balls into the playground sand when he was supposedly on Bundy butchering his ex-wife, Nicole, in a jealous rage. For a frame-up to work someone had to have been watching him.

In The Butcher’s Wife, Alex the doctor, who is jealous of Marina’s psychic talents, is inside of his house. He is wearing a white golf glove to practice his putting. His lesbian friend Grace, who sold the butcher’s wife her shoes, is watching him. She comments on his new, white shoes without telling him about Marina’s. When she tells him about Marina’s vision of her finding the woman of her dreams the news so unnerves him that he smacks the ball harder than he intends to and breaks a window. Alex is going to be more shocked when he learns that the new woman in Grace’s life will be his present girlfriend Robyn (a bird).

Another light moment in Time After Time is when H.G., observing how a native hails a cab, tries to duplicate it. The native is a woman in a big, floppy hat. She takes off the hat and waves it while standing on one foot and extending the other behind her. When she does it, it looks perfectly natural. When he does it with his deerstalker cap and spats on his shoes, it looks perfectly ridiculous. But it seems to get immediate results and he is pleased with himself when he figures out how to open the taxicab door without too much fiddling around with the handle. That’s all part of the sequence in which you see the two cabs parked at a similar angle to that of the butcher’s white car in The Butcher’s Wife. H.G.’s taxi carries him to Drum Street where his sudden appearance gives the Ripper quite a turn. Alex, the doctor in The Butcher’s Wife, is banging away on his desk with drumsticks when Marina’s sudden appearance in his office gives him quite a turn. So, if you thought the stick was missing from The Butcher’s Wife/Time After Time connection, think again.

H.G.’s time machine in Time After Time has something interesting in common with Marina’s clairvoyant powers—interesting because it is not likely to have happened by chance. To answer a friend’s question about how he knows he’s going forward or backward in time, H.G. says it’s a matter of going east or west. Marina tells Alex that she does it by circling left or right. On a map, east is right and west is left. Either way, the path to past or future goes around like the hands on a clock. A clock happens to be one of Marina’s most prized possessions. H.G. has four of them on a wall and one on a desk below them in his basement where he keeps his time machine. All five clocks are set for the same time. For a frame-up against O.J. to work as the evidence showed it did, there had to be five conspirators with synchronized timepieces for Ron Goldman’s expected arrival at 10:30.

In explaining a safety feature of his time machine, H.G. extracts a key from the device that acts like a leash to hold the machine in the same time as the person holding the key. Without the key any trip in time is one way. That’s why Jack the Ripper has to get the key from H.G., to allow him to go to Time After Time as needed to evade the law without being followed by the person with the key. And that’s why he kidnaps H.G.’s love interest played by Mary Steenburgen and threatens to cut her throat if H.G. doesn’t cough up the key.

Steenburgen, the living link between Time After Time and The Butcher’s Wife, is also the key to everyone’s happiness in an ideal future as the woman who was truly meant to be the butcher’s wife. Leo calls her an angel. He is first drawn to her by her blues singing in a bar (the bartender’s name is Luis, pronounced "loo-eese"—yeah, sounds a lot like Louise) and their love is forever sealed by a charm she believes is meant for her. Molly gave it to Leo to give to his wife not knowing who his wife will be when all is said and done.

The key to that scenario is the pricey brand of shoes, like Nicole’s Bruno Maglis, that Marina had a sudden impulse to buy at Grace’s boutique and wear on the job in Leo’s butcher shop (do I really have to interpret that one?). Steenburgen’s character, Stella, had gone to Grace’s store to buy something dowdy for a church recital (Sydney Simpson’s dance recital was linked to the shoes O.J. wore there). While Marina is trying on the expensive shoes she overhears Stella’s conversation with Grace and talks her into buying the sexy gown she was tempted to buy when she first saw it. Maria tells her that she sees her wearing it in a nightclub and singing.

Stella’s singing turns Luis’ bar into a nightclub. Call it something of a self-fulfilling prophecy if you will, but it works like Molly’s charm.

Molly was Demi Moore’s name in We’re No Angels (1989) and Ghost (1990). You will be forgiven if you mistakenly recall that Molly was also her name in The Butcher’s Wife. With the mix and match of names and actors from different movies showing up in the same movies with the other person’s name or playing the other person’s character, how is it possible not to run them together in your mind on occasion?

Seeing "Bruno’s" real wife as The Butcher’s Wife looking into a $350 shoe she buys for $3.50 may not remind you of her as Molly in Ghost looking into a 4 million-dollar shoebox with Carl. It may not remind you of Dr. Mayer looking into a shoe in Millennium. But what would you think if you knew that Karl Alexander was a co-writer of Time After Time, the other time travel movie we talked about and Nicholas Meyer wrote the screenplay? Do you think you might get some name/character/prop spillover out of that mix? What if you knew that Nicole Simpson wore Bruno Maglis—that O.J. was as ignorant of expensive brand name shoes as Marina and you wanted to frame him for butchering his ex-wife by wearing rare, expensive shoes to the slaughter?

Moore is Michael Caine’s daughter Nicole Hollis in 1984’s Blame it on Rio (in Die Hard John McClane’s wife is Holly). Nicole has an Electra complex (electricity = Juice) and her father sees her as surrogate wife (Ann Frances and Walter Pigeon in Forbidden Planet—the footprints of her father in the form of a hideous monster from the ID?). The first time you see Demi Moore as Nicole she’s carrying her father’s shoes.

The only way you can make these connections in Blame it on Rio is if you’re thinking about Demi Moore as Bruno’s wife. You have to be looking for specific references to shoes and direct parallels between one or more of the principles in the 1994 murder investigation of O.J. Simpson. The fact that Demi Moore played someone named Nicole in 1984 is not enough. What makes it significant is the age difference between her character (Nicole) and her character’s father, the forbidden sexual attraction and the fact that she had something to do with his shoes.

We see "Bruno’s" wife as Molly for the first time in We’re No Angels (December, ’89) with Bruno Kirby as a deputy. Seven months later we see her again as Molly in Ghost (July, ’90) at the same time her husband Bruno is playing John (Jack the Ripper) in Die Hard 2 (July ’90). This time our hero is in a New York airport, Holly is on an inbound plane and there are two Lorenzos putting their feet down and digging in their heels.

Meanwhile, with Bruce "Bruno" Willis’ real-life wife Demi Moore playing Molly in Ghost, it’s hard to ignore the scene in which Carl Bruner (Bruno) played by Tony Goldwyn (Goldman) and Molly (Magli—pronounced Molly) are going through the contents of a Reeboks shoebox. Reeboks was the only brand name for shoes O.J. owned that he could name. They were the shoes he said he was wearing when Ron Goldman and O.J.’s ex-wife Nicole, were being butchered by a man wearing Bruno Magli Lorenzos.

Watching Molly Jensen and Carl Bruner deciding what to do with ticket stubs from a concert, it’s hard not to think of the recital ticket Nicole left for O.J. It’s impossible not to recall the sequence in Die Hard with John’s bare feet, the name "Bruner M," a terrorist named Karl and John’s footprints you can see in blood through a windowpane. It’s hard not to notice that Carl Bruner is over 6’ tall (like Fuhrman) or that you see him swinging a hammer. How can you not notice that that he is muscular (like Fuhrman), that he’s ambidextrous (like Fuhrman—he writes with his left hand and threatens to cut Molly’s throat with a knife he holds in his right hand? How can you not notice that he gets the knife from Molly’s kitchen and that it looks like the one in Nicole’s kitchen that Fuhrman said she picked up to protect herself from O.J.? How can you not notice that he walks with the toes of his feet pointed straight ahead?

In Murder in Brentwood, Fuhrman thought enough of Ghost to list it in his index—which is more than he did for Faye Resnick or Denise Brown. This is the movie about love, greed, betrayal and murder that he says in his book is about "love, jealousy, and murder." That’s what Shakespeare’s Othello was about and the reason I named my first book about Fuhrman Iago in Brentwood. The fact that Fuhrman substituted jealousy for greed and betrayal while leaving out any reference to Faye or Denise looked enough to me like guilty knowledge that I followed up on it in links to the movies. This is where I found the smoking gun, in the unbroken chain of connections between Mark Fuhrman and the movies.

I followed Fuhrman’s suggestion of visiting a video store and seeing how cops behave in the kind of screenplay he said he was trying to write with Laura Hart McKinney. Before I made it to the crime genre I notice Somewhere in Time. I hadn’t seen it in fifteen years but recalled something important about a penny, a tape recorder, a heart, a pocket watch and a woman with a name like McKinney. The name was McKenna. The watch is what drew him back in time to be with her. The heart was from the name of the play she was starring in. The tape recorder helped to send him back in time and the penny from the wrong place in time ruined everything.