Wouldn’t it be great to look inside of Mark Fuhrman’s head to see where he got the idea of calling O.J.’s blue knit cap a ski mask, and why he said it was black when he knew it was blue? If it were anyone’s head but Fuhrman’s we may have no library of images from which to select a possible source let alone a very likely one. By the same token, when you have a whole library as your source the task becomes one of narrowing the list of possibilities to a manageable number.

We’ve already dealt with the blue knit cap O.J. Simpson wore in The Naked Gun and the black one he wore in The Naked Gun 2 ½. We’ve seen both on the heads of an assortment of people who were tied to Fuhrman’s version of O.J.-the-killer in one way or another. And the ski mask, starting with Prom Night has become a killer-costume cliché.

Therefore, when you see a killer in O.J.’s 1992, action movie CIA Cod name: Alexa wearing a black ski mask you may consider that to be a weak link to    Fuhrman—even with a German Stiletto in his left hand and then in his right. But O.J. plays an LAPD homicide cop named Nick, and the hero is a tall white guy named Mark. Kick-boxer (bloody shoes) Lorenzo (Bruno Magli Lorenzos) Lamas plays Mark. When Fuhrman told police psychiatrists how much he liked to beat black men bloody, he mentioned one of the ways he stayed in shape for it. He said that on the way to work, he used to practice his kicks.

Considering the fact that a ski mask is essentially a knit cap with holes in it for the eyes and sometimes the mouth, one could easily mistake one for the other. In CIA Code name: Alexa, for example, if you hadn’t seen the bad guy with his ski mask drawn down over his face in ones scene, you might think that the black knit thing on top of his head in the next scene was a cap. Not quite as menacing as the ski mask though, is it?

Here, another reminder is in order. First of all, to counter charges that he was a racist based on what he said on the McKinny tapes and how he said it, Fuhrman argued that he was "play acting." He said that the character he was playing was a composite of many characters. Secondly, to explain the Paul Conrad cartoon he kept on his desk of the swastika rising from the rubble of the Berlin Wall, he said the only thing he could say. He said that he was impressed with the power of the image and the skill of the artist to say so much with that one image. To anyone who knew the history of Nazi Germany the image did, indeed, speak volumes.

Fuhrman did not mention Leni Riefenstahl’s Triumph of Will or Olympiad. If you know how much the power of images meant to the success of Adolph Hitler’s Nazi state, you know that he didn’t have to. How does Fuhrman’s "misidentification" of the knit cap grab you now?

Want more?

OK. A few scenes from Sydney Pollack’s 1975 thriller Three Days of the Condor ought to do it. Here we can tie the owner of a black knit cap to the owner of a Ford Bronco. We can tie the driver of the Bronco to a man with one leather glove and a blue knit cap he lost by a buzz-in metal gate at the scene of a bloody murder. All of this takes place in New York, New York. Faye Dunaway plays the Bronco owner, a photographer named Katherine who is called Kat by one of her neighbors. Robert Redford plays Joe Turner, the man with one glove who appears to have lost his blue knit cap by the gate.

The "lost" cap in Three Days of the Condor looks like a continuity error that a man like Fuhrman with an eye for detail would have noticed. Joe Turner, CIA codename: Condor, is goofing off in front of the security door of a CIA front with his cap pulled over his face. The receptionist sees him on her monitor and buzzes him in. The buzzer unlocks a metal gate and two glass doors. When the gate opens, there is Turner taking off one of his gloves and stuffing it into the pocket of his jacket. The cap goes with the glove but the way the scene is edited it looks like it has simply vanished not to appear for 19 years by a gate at a bloody murder scene in Brentwood, California.

Again, we’re talking about the possible origin of evidence that Fuhrman—who said that he merged several movie characters into one—associated himself with at Bundy and Rockingham. We are talking about a blue knit cap that Fuhrman called a black knit cap and a ski mask. We are speaking of them in connection with two leather gloves, one he was photographed pointing to and another that he said he found.

Keep in mind O.J.’s naturally shed hand hair in the murderer’s dark brown gloves and the glove that had to be missing from O.J.’s bedroom for those hairs to be planted if O.J. had never worn the gloves. Keep in mind the single black glove that was missing after Fuhrman and Roberts searched the room where they "found" the socks on O.J.’s Oriental rug. And remember: 1) All but one of the leather gloves that could be traced to O.J. were accounted for. 2) The dark brown leather gloves in evidence could not be traced to O.J. 3) They did not fit his hands. 4) Both gloves were photographed in a cramped space on the ground.

The width of Nicole’s walkway and the space where her body lay between the gate and her steps was no bigger than the elevator in Three Days of the Condor. The dirt area where Ron Goldman’s body and the leather glove near his boot were found was roughly the same size.

What makes that worth noting is the fact that several elements of the crime scenes can be identified in the elevator where Max von Sydow as professional killer Joubert arranges a "coincidental" meeting with his victim Joe Turner. He is wearing dark brown leather gloves and a brown hat, which he removes inside the elevator while he sizes up his victim.

Max von Sydow is a blond-haired, blue-eyed, Swedish-born actor with an accent that sounds very close to German. In one of his earlier starring roles in an English-language film (The Quiller Memorandum, '68) he played the leader of a secret neo-Nazi group. He has played Jesus Christ the Son of God and in Stephen King’s Needful Things he played a curio shop owner who was really the Devil himself. He is about Mark Fuhrman’s height (6’ 3") and he wears glasses. His given name is Carl Adolph.

In Three Days of the Condor, Joubert is also known as Lucifer. He admires Condor’s resourcefulness but notes that his amateur status gives him an edge. Professionals, he observes are easy to lay traps for because you can predict what they will do. This is what the Bundy killer would have had to know about the Robbery/Homicide Division and the DA’s office to make them think that O.J. did all of the things that the evidence, supplemented by Mark Fuhrman’s dramatic discoveries and cinematic theories, said he did.

Joubert joins Turner in the elevator and spots a glove on the floor. He picks it up and asks Turner if he’d dropped one of his. No, he has both of his gloves. With Fuhrman as the killer on Bundy behind the frame-up of Simpson, the entire sequence, from Joubert’s accidental-on-purpose encounter with Turner (who is about Ron Goldman’s height) to Turner’s flight in a Bronco without his blue knit cap, begins to make sense as a source of inspiration. It never did compute as a spontaneous sequence of actual events originating in the conscious or the subconscious mind of O.J. Simpson.

Where would Simpson see himself in any of that? And why would he? He wasn’t the one trying to break into Hollywood by borrowing characters and themes from movies, making composites of them and writing them into a script. Fuhrman was. And why assume that Fuhrman was working on only one script? There is much to say that he was working on two, that he wrote a starring role for himself in the one he really expected to sell and that his best ideas had already been written, performed and recorded on videotape. Fuhrman and the movies are like a little boy and a fat man. Separately they don’t give you much of a bang. But when you put them together you get a couple of atom bombs.

Fuhrman pointed to one glove on camera. He said he found the matching one. But there was another glove he didn’t note that a sharp guy like him could not have overlooked—a black leather glove that wasn’t there.

He searched O.J.’s bedroom where he said he found bloody socks on an Oriental rug. Det. Burt Luper, the next detective to search the room found only one of two black gloves. That’s the Little Boy and Fat Man effect. Had Fuhrman not done so much to associate himself with the cap and the three gloves, as well as the German woman’s glasses and the # 10 envelope they came in, there would be little to tie him to Three Days of the Condor. But even the fact that Joubert is wearing a brown hat with his glasses as he handles the envelope is a reminder of Juditha Brown as well as her slain daughter Nicole Brown Simpson.

And yes, there is more.

History is a one way street. When the people who made Three Days of the Condor gave the part of Katherine to Faye Dunaway and introduced her to the audience as she was heading  out of state to go skiing with Christmas caroling in the air, they weren’t looking ahead to 1992. They could not have foreseen Faye Resnick’s Christmas holiday skiing trip to Aspen with Nicole in 1992. They didn’t know that Mark Fuhrman would marry a woman named Caroline. When they decided that Katherine would climb into a Ford Bronco wearing a black knit cap, they were not thinking ahead to Nicole’s murder and to incriminating carpet fibers that would be fond on the cap that Fuhrman would say was black. If there was any connection between those things and crucial evidence in the Bundy case, it had to have started with the movie.

Katherine’s Ford Bronco could just as easily have been an American-Motors Jeep or an International Harvester Scout, as far as most people knew or cared in 1975. Any sports utility vehicle was a rare sight on the streets of just about any American city. Most people couldn’t tell them apart. By 1986, when Kathleen Bell saw Fuhrman’s pea green and white 1980 Scout in Redondo Beach, all SUVs still looked pretty much the same. In 1992 when Kato Kaelin met Nicole and Faye on the Aspen ski trip, Mark Fuhrman was still driving his 1980 Scout. He drove it on the night of June 12, 1994.

To frame O.J. the Bundy killer had to drive a vehicle that looked enough like O.J.’s white ’94 Bronco for prosecutors to call it one if they thought O.J. was guilty and different enough for the killer to claim they were nothing alike. To meet all of those requirements you couldn’t do better than a pea green 1980 Scout. First of all, most people wouldn’t have known one if they saw it. If they tried to describe it the closest they could come would be a Jeep, a Bronco or a Blazer. That was the best Robert Heidstra could do with the SUV that he saw. When you factor in the similarity between the vehicles any discrepancy could be chalked up to witness error—but a small error that most people trying to describe a Bronco might make. The same is true of color. Heidstra said, "white" at first then backtracked and said "light—could be white." He never said it was white again.

In Three Days of the Condor the killing takes place inside of a building with four concrete steps leading up to a buzz-in gate. On Bundy the killing took place outside and the gate which was about four feet in front of the bottom step of a four-step concrete stairway. That’s the start of a sequence in which things are either virtually the same or the exact opposite—all within the span of five minutes. When you know that Robert Redford is ambidextrous and you see Max von Sydow with a .45 in his right hand and a .22 automatic in left, how may exact opposites begin to look like mirror images?

Joe Turner approaches the building through the front gate, just like Ron Goldman. Like Goldman, he is carrying a package. Like Goldman he rings a buzzer at the gate for a woman to let him in. According to Fuhrman’s scenario Goldman sees that the gate and the door are open and he goes inside, the victim of the world’s worst timing. With Joe Turner it was the opposite. In both cases, the package they carried was, on the face of things, the key to their fate, and recently purchased food was a part of the crime scene.

We know that Joe Turner would have died a violent death (like Jack the Ripper victim Emma Turner) if he had not left unexpectedly for food. The envelope with Juditha Brown’s glasses in it was supposed to make us think that were it not for the glasses Goldman would not have arrived unexpectedly at Bundy and been killed because of it.

Fuhrman theorized that Ron saw Nicole’s body where O.J. had beaten her to the ground in a jealous rage then O.J. killed them both. But when you see the woman in Three Days of the Condor laying dead on her left side with some of her hair covering her face and her glasses lying in the same relative position as the envelope on Bundy you have to pause. Is there any way that someone didn’t carefully and artfully pose both of these shots?

If Faye Dunaway wasn’t in Three Days of the Condor you might argue that the Eyes of Laura Mars had nothing to do with either shot. But she was, and you know full well that it did. You know because she played a photographer in both films who took photos "that are not me." Through The Eyes of Mars she saw a man killed in an elevator and she saw more than one person murdered in one room. Through the lips of Katherine Hail you heard her say that she wished she had Joe Turner’s eyes. He saw the murder victims that Katherine didn’t. But he also killed a man in a violent struggle. She watched him do it.

Through the eyes of Laura Mars you notice that the bodies lie in the same relative position to each other—on square tiles. While the make-believe victim has black hair, black pants and a gold jacket, the real one has a black dress and gold hair.

We don’t have to compare the gate with the desk or superimpose one picture on the other to see what the victim’s extended arm in the movie still has to do with Fuhrman’s extended arm in the Bundy photo. You don’t need a mirror or much of an imagination, either. These things speak for themselves. So does the fact that   another female victim in the movie had her blood spilled on an Oriental rug.

Well, it speaks for itself if you know that Nicole’s blood, not Ron’s, was found on the socks that Fuhrman and Roberts said they found on O.J.’s Oriental rug. In 1975 most people would have called the female victim on the tiles an "Oriental." The empty container by her hand and shoulder are not made of the soft blue plastic material that Fuhrman said he found near the Rockingham glove (Turner’s gloves are in his pockets) but they are plastic and they are blue.

What doesn’t speak for itself is the name of the victim, what her name has to do with Fuhrman, and what was in the blue plastic container. The woman’s name is Janice; a name often confused with the name of Fuhrman’s second wife Janet. She’s the one that Fuhrman said he would have killed along with the man she was having an affair with if he’d caught them. The blue container held a. computer tape which Joe turner alludes to in this description of his job that he gives to Katherine:

"We read everything that’s published in the world. We feed the plots, dirty tricks, codes, into a computer and the computer checks against actual CIA plans and operations. I look for leaks. I look for new ideas…"

Janice is about to feed the computer some of that information on tape when a killer—a marine named William Lloyd dressed like a mailman—blows her away with a silencer-equipped submachine-gun. Lloyd and another assassin are acting under Joubert’s direction. Lloyd is about Joe Turner’s height and the only person in the movie with a hat size and a shoe size we get to see. He is a martial artist. His shoe size is 11. From there you have to go up to size 12 to get to the shoes Fuhrman wore to have his picture taken with Nicole’s dead body.

So, how do we go from a fictitious marine on detached service to the bad guys with size 11 shoes, to a real ex-marine on Bundy who wore size 12? In Three Days of the Condor Cliff Robertson as CIA Deputy Director Higgins takes an elevator to a garage on the 12^th floor where shoeprints among other things are mentioned. The first floor we see is numbered 11. And when the door opens on 12 who do you think is waiting in the garage for the VIP in the limo? Right, a United States Marine. You don’t get to see his shoes but you know they were looking as good as the rest of his uniform.

Incidentally, the killer posing as a mailman was the one Turner killed in front of Katherine. Anything can happen in a fight, which is why a trained killer will avoid one if he can make a sure kill instead. Without Katherine’s intervention during Turner and Lloyd’s desperate struggle Lloyd would have won quickly and easily. But the first thing he did wrong, besides underestimating his opponents was to go on his mission out of uniform. Turner noticed just in time that he was wearing the wrong kind of shoes.

Lloyd’s shoes had rubber soles, as did the Bruno Magli Lorenzos and Ron Goldman’s boots on Bundy. Joubert’s shoes had rubber soles. Turner’s boots had rubber soles, too. Turner (Robert Redford) also walked with the toes of his feet pointed straight ahead, like Fuhrman.

Three Days of the Condor borrows a scary idea from Alfred Hitchcock’s 1963 classic The Birds and makes it scarier. Everyone working with Turner in section 17 has the code name of a bird. A bird symbolizes the United States. That bird figures prominently in the design of insignia representing the President, the CIA, the Post Office, the elite United States Marine Corps, the powerful U.S. Army and the almighty American dollar. What if the birds in a movie that could never come to pass stood for people and organizations in government that could destroy us for real if enough of the wrong bigwigs flocked together to do it?