Sherlock Holmes was known for paying attention to important details others missed and making brilliant deductions that almost invariably solved the crime. When the situation called for daring, Holmes was the first one over the wall to meet it. You knew that the action was about to begin when he said, "The game is afoot!"

Holmes didn’t mean the game was an animal although the traps he set like the trap that caught the werewolf hunter in Silver Bullet or O.J. Simpson in The Naked Gun make a bear trap a perfect metaphor. It works for Fuhrman the O.J. buster, the bear hunter and the man who wore the shoes that could have trapped him if he made the wrong step. Holmes didn’t mean the game was a foot—like the foot that wore the size-12 Bruno Magli Lorenzos or the socks that were supposedly between them on Bundy. He meant that events were moving rapidly and that immediate action was called for to prevent a crime, to nab a villain or to prove that his analysis of the crime and the criminal was correct.

The way Mark Fuhrman described his brilliant theories and his daring behavior on June 13, 1994, one would think that he was Sherlock Holmes. Who needs shoes when you have the bloody shoeprints that the shoes left on the murder scene and blood on the ankles of the socks above where the top of the shoe would have been? I’d seen that somewhere else. Mark Fuhrman’s description of Bruno Magli boots as "loafers" told me where. Cat’s Eye has Robert Hayes as John, the ledge walker on the ledge of a building and a pigeon pecking at his ankle gives you a clear picture of the blood on the socks. For those who insist on a black sock Cat’s Eye gives you another man wearing slippers and black socks in the same place with a pigeon pecking at his ankle. In the 1978 movie Capricorn One, pigeon toed O.J. plays a character called John Walker. Robert Walker, who wore very distinctive shoes in Alfred Hitchcock’s Strangers on a Train, plays a killer named Bruno.

Others had called the Bundy killer’s Bruno Maglis loafers, but they weren’t the people with the bleeding killer theory deduced from the blood drops next to the shoeprints. They didn’t find the socks with the blood "in the right place." They didn’t have a reputation for paying close attention to important details that other people missed. Ordinary folks could be easily excused for making an error like that even after the man who sold Bruno Magli Lorenzos (but not to O.J.) called them boots. But what excuse could Fuhrman have with his note about the heel print in his first book? And why would he write "footprints" in his notes then slip up and say "footprints" in court when he meant shoeprints?

The first ledge walker in Cat’s Eye has been set up for a crime he didn’t commit with incriminating evidence planted in his white Ford Mustang. The second man is a high-stakes gambler and a violently jealous killer. If you insist that he wear boots, you won’t see him in them but you do get a shot of him with a picture of a boot. He is a rich, older guy who decapitated his younger wife when he caught her with John, a younger man. Any way you look at it, the footwear and the socks that O.J. was supposed to have worn when he killed his ex-wife are represented in the ledge segment of Cat’s Eye.

I don’t have to remind you of the mismatch you get when you put the two socks together or where you saw that specific mismatch of colors before. I don’t have to remind you that Mark Fuhrman found the socks on O.J.’s rug and commented on how they didn’t match the room. This is just for the record—and for the people who didn’t follow the trial, didn’t read Fuhrman’s book and skipped that part of this book to get to this part.

The ledge segment of Cat’s Eye takes place in Atlantic City, New Jersey, the Los Vegas of the East Coast. Los Vegas was where Fuhrman said he went to follow up on the case of a black Los Vegas man whose body was found in the trunk of a car in LA. The retired soldier had been bludgeoned to death with a hammer. I know you’re thinking about that Nazi bird with the sword in its right talons and the hammer in its left. I know you’re thinking about Fuhrman’s story of the plastic sheet in the trunk of O.J.’s white Ford Bronco and the way he made it sound like O.J. was planning to wrap Nicole’s body in it and bury her. Perhaps you flashed on an image of Anthony Perkins as Norman Bates in Psycho putting the body of Marian Crane played by Janet Leigh into the trunk of her white Ford or Bigger Thomas in Native Son (1986) putting Mary’s lifeless body in her steamer trunk.

Coincidence? What did coincidence have to do with Fuhrman and a real killer putting a body in the trunk of a car?

He mentioned in his book two unsolved murders that he worked on with Brad Roberts. Both bodies were coincidentally reported in their territory after O.J.’s defense team exposed Fuhrman for the violent racist he was in 1995. He used both murders to illustrate how wrong they were. In the first instance, he went out of his way to clear a black man that he alone figured out was innocent of murder in spite of the incriminating evidence against him. In the second instance he put his arm around the victim’s daughter in a "spontaneous" gesture of compassion. This was the case of the retired soldier found in the trunk of a car and coincidentally investigated by Fuhrman in time to include in his best selling book.

Am I suggesting that coincidence is a less reasonable explanation for the timing of that retires soldier's murder than a carefully thought out plan? Yes, I am. Do I think Fuhrman killed the man himself just to make a point in his book? Yes I do. I think Fuhrman would have murdered a busload of people if he thought he could get away with it just to get a fee plane ride to Los Vegas.

You can’t judge Fuhrman's sense of proportion by your own. You have to walk in Mark Fuhrman’s shoes with your eyes on the movies and see what things look like from there. It helps if you see him walking the way I did on ABC’s Primetime Live with Dianne Sawyer. Take a lesson from the English cricket fans in Alfred Hitchcock’s 1938 masterpiece The Lady Vanishes. Desperate for news of England’s standing in a cricket match while stranded in a foreign country by an avalanche, they give the impression of fearing war with statements like "England on the brink!" They intercept a phone call meant for someone else and hang up when the person on the other end of the line proves not to be a cricket fan. When they get a newspaper that talks only about baseball one of the men says, "They have no sense of proportion."

Speaking of shoes and The Lady Vanishes, a pivotal moment in the film comes when the young heroin, Iris, notices that a "Catholic nun" is wearing high heels. That’s when Iris and the hero, Gilbert, realize there has been an identity switch and the English woman whose identity was assumed by a German is in mortal danger. You will recall that Nicole Brown Simpson was Catholic. She was born in Germany. She wore Bruno Magli shoes that she bought when she flew to New York with Faye Resnick or one of her sisters to shop at Bloomingdale’s. Remember, Nicole’s sister, Dominique, was wearing Nicole’s Bruno Magli shoes when Det. Tom Lange questioned her about seeing O.J. wearing Bruno Magli Lorenzos.

With that in mind, think of the scene in Die Hard (1988) when Bruce Willis who was born in Germany to a German mother and an American serviceman father kills his first terrorist. Willis plays a New York cop named John McClane who has just flown to LA, to be with his wife Holly. He tries on shoes from a German he has killed at the foot of some stairs. The shoes are too small, which is what Fuhrman said about Kato’s shoes (ever wonder why he said that?). McClane comments that the man’s feet are smaller than his sister’s. The only way you can make a closer connection between the Bruno Maglis that were not on Nicole’s feet (she was barefoot) and the ones that Fuhrman said O.J. stamped in blood is with a set of footprint instead of shoeprints stamped in blood. 

In the opening credits of Die Hard while John is at LAX with a big toy bear waiting for his limo to pick him up, you see the name Bruno Doyon. He plays a terrorist named Franco. Remind you of anybody we’ve talked about before? How about Frank Drebin in The Naked Gun? With the camera trained on his shoes that point straight ahead as he walks, you can’t escape the fact that Leslie Nielsen as Frank, O.J. Simpson as Nordberg or Mark Fuhrman as either of them, could have been wearing those shoes. The great majority of people walk with the toes of their feet angled outward.

The Naked Gun was released during the 1988 Christmas season when the action in Die Hard, released only five months earlier, was supposed to have taken place. That just sets you up to see the real Bruno Magli connection in a sequence of actions beginning with Hans, the chief terrorist posing as an escaped hostage.

In that sequence, Hans sees that John is barefoot. But John has the drop on him so he has to hide his true identity. While the two men are laughing about John’s bare feet the camera pans up from the feet to a listing of people in the building. On the 34^th floor is someone named Bruner M. Within the next five minutes the character played by Bruno gets killed and John ends up with bloody feet from the glass broken in their bloody confrontation.

In the Bundy killing the crystal of Nicole’s Swiss Army watch was broken. In Fuhrman’s first confrontation with O.J. the windshield of O.J.’s Mercedes Benz (reverse the capital letters) was shattered. When O.J. heard about the killing he broke a glass and clamed that he broke it accidentally. If the killer knew that O.J. was bleeding before the killing and could somehow inform him that Nicole was slashed to death, O.J.’s "accident" would have been easy to predict. It would not have been a sure bet, but for a gambling man, it would have been a smart one.

In Die Hard you never see the bottom of Bruno’s shoes. But when John kills a terrorist named Marco played by an actor named Lorenzo you do see the bottom of his shoes. Did you notice the "o" on the end of Franc and Marc—the people killed by John? Could Fuhrman have been thinking about these connections when he called the Bruno Magli shoeprints "footprints" in his notes and on the stand? Only if he wore them to leave their imprint in blood.

The big thing here is not the bloody left foot in Die Hard as much as the bloody footprints and the one right heel print you see through the high-rise glass. The fact

that Fuhrman said "footprints" twice long after he wrote it incorrectly in his notes and made a point of mentioning the heel print in his pointing-finger-photo long after that, says a lot. But it isn’t the whole story.

Die Hard was released in the middle of 1988. The action takes place on Christmas Eve. We’ve already mentioned Faye Resnick traveling with Nicole around Christmas and you know what happened on New Year’s Day, 1989. There is no record of O.J. buying Bruno Maglis. There is a record of Nicole buying them—a record that could have been easily established by Denise in a wig or Faye with a "borrowed" credit card and a forged signature.

Die Hard (’88) puts the relationship between Nicole and O.J. in the context of a time before the first 911 call attributed to Nicole in 1989 or the first Bruno Magli Lorenzos were sold in 1991. The "g," by the way, in Magli is silent so Magli rhymes with Holly... In one scene John sets off a fire alarm on the 32^nd floor and Hans orders one of his men to call 911 to say it was an accident. When a cop does arrive to see if there is any trouble, the terrorist posing as a guard in the lobby is watching a football game between Notra Dame and O.J.’s alma mater USC. On the verge of panic as he sees the approaching emergency vehicle turn and leave, John tries to tell the 911 operator who thinks he’s a nut case that he is facing a true emergency. He shouts into his radio-telephone, "Do I sound like I’m ordering a pizza?" If you just flashed on Jane Fonda as Corie in Barefoot in the Park, perhaps this will help to explain it:

Two weeks before Nicole was murdered, she had a pizza party at O.J.'s home. In item five of Fuhrman’s notes he mentioned a handwritten note on an upstairs coffee table with the phone number of Cara California Pizza Kitchen and a pizza menu by Nicole’s left leg. There was no pizza menu by Nicole’s left leg. The left leg in the crime scene photos was drawn up like Janet Leigh’s in the shower scene of Psycho and a Thai food menu was under her right foot. It is as though he was trying to draw attention away from the actual death scene photo of Nicole’s bare feet with the kind of mistake you would expect in a set of rough notes. But like a dream with its own internal logic, all of the "errors" in his notes followed a logical stream of images and ideas from one movie to the next with himself at the center of the composite piece.

The framing of Marian’s feet in the shower scene of Psycho is part of one continuous sweep of the camera that includes the larkspur wallpaper and the newspaper wrapped around nearly $40,000 in cash. The picture described in chapter 8: "Twenty Two" with the "Adam" letter and the flowers in Fuhrman’s Murder in Brentwood is creepy enough all by itself. But the flower he drew on the letter and the one he placed on the ground below the letter brings it to a Norman Bates level of creepieness. It belongs to the delphinium family of flowers like the purple ones against the gate. Like the flowers on the walls of Marian’s room at the Bates Motel, it, too, is a larkspur.

The super-sleuth who tracked down the nomenclature of the flower is Charlene Hancock. "Charlie" is a former teacher of children with learning disabilities like dyslexia and a calibrator of Chris Springer, the author of If O.J. Didn’t… Charlie recalled seeing Fuhrman in an A&E program about LA detectives before the murders. His notes struck her as being written by someone who knew in advance of the murders that they were going to be seen on television and practiced them because he "wanted them to look nice" for the camera. I had the same impression, which was strengthened by the size of the words in the "Adam" letter and the clarity of their formation—another penmanship medal winner, for sure. But you can imagine how I felt when I realized the flowers on one wall of the Bates Motel bungalow # 1 were larkspurs.

Given Norman’s obsession with birds I had always considered the floral pattern of wallpaper to be an inconsistency. Now that I could see the "lark" in the flower I knew better. I now understood how Nicole’s handwritten note that Fuhrman said he saw on her coffee table came to be associated with the menu under her foot. Yes, the pizza part of it combined with the bare feet came mostly from Die Hard, but the shower scene sequence in Psycho begins with Marian’s handwritten note on a small  table. Instead of the telephone number in Nicole’s note, Marian’s note consists entirely of arithmetic for the money she stole minus the $700 she paid for her used white Ford.

Marian’s note is more significant than the obvious symbolism of money in the newspaper and its headlines associated with of a beautiful blonde’s stabbing death by a Jekyll and Hyde personality. The phone number in Nicole’s note that Fuhrman thought was important enough to write down was 575-5713. Remember, this is his 5^th note. Notice how close the first three digits are to the 555 used for telephone numbers in the movies. To get there you have to do some arithmetic. Minus the 7 you get 555.

The first five digits of the phone number in Fuhrman’s fifth note can be written by the position and the transposition of the first two alone. That means the first five digits can be view as a group. With five-digits you have the number of digits in the money Marian Crane stole. With the 13 left over you have the number of the small room in which Mary Jane Kelly was butchered by Jack the Ripper.

When Marian Crane from Phoenix (a mythical bird) checks into the Bates Motel she uses her boyfriend’s first name for her last name. She signs in as Marie Samuals from Los Angeles. Mark Fuhrman, student of Hollywood and solver of unsolved crimes is not likely to have overlooked the fact that Mary Jane Kelly called herself Marie Jannette—or that the real name of Janet Leigh, who plays Marian, is Jeanette Helen Morrison.

Marian Crane wrapped in a plastic shower curtain combines what the Bundy crime photos show with what Fuhrman said about Nicole and O.J. The shower in bungalow # 1 of the Bates Motel was actually a bathtub as well as a shower. On Bundy, Nicole had run water for a bath when she was knifed and O.J. was supposed to have dashed home and taken a shower after he did the knifing. Before the killing you see Marian telling Norman that she "stepped in a private trap." You hear Norman say that she eats like a bird (a crane is a bird). You see him spying on her covertly and when her life’s blood has drained away you see her feet framed by the camera the way Nicole’s were framed by the camera and the fence. You see here left cheek pressed against the bathroom tiles. You see her killer wearing ankle-high boots with rubber soles. You see him walk with his toes pointed straight ahead.

Mary Ann Nichols was, of course, the first victim in the 1988 Jack the Ripper movie with Michael Caine. And Janet Leigh, who played Marian Crane, was the mother of slasher-flick scream queen Jamie Lee Curtis. With all of that you’d think there would be more of Janet Leigh in the Fuhrman collection, wouldn’t you?

There is.

In the Manchurian Candidate (1962) Janet Leigh as Rosie meets Frank Sinatra as Maj. Ben Marco on a train. B.M. may remind you of Bruno Maglis. Frank may remind you of Drebin while "Crane" on a train may remind you of Harriet Bird, the stranger that Roy Hobbs met on a train in The Natural. That, in turn, could bring to mind John calling himself "Roy" in Die Hard or the magician in The Lady Vanishes who tried to kill Gilbert and Iris with a knife. The magician was another stranger on a train. If you noticed his shoes you know where the shoes in Hitchcock’s Stranger’s on a Train came from—the shoes you see for a long time before you see the man who is wearing them. The man is a sociopath named Bruno. Bruno kills a woman named Miriam and frames an innocent man.