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Chapter 1

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Iago to Othello as they see Casio leaving Desdemona: "Was that Casio that he would sneak away so guilty-like knowing you were coming?"

Fuhrman to defense attorney Uelmen: "The vehicle was carelessly, haphazardly parked…. The rear end was jutting out into the street several inches, if not maybe a foot farther than the front…."

Under the accumulated weight of suggestions like Casio’s "guilty-like" exit, everything Casio said and did with respect to Desdemona made him look like the man Iago described. All of the evidence that Casio and Desdemona were having an affair could be traced to Iago. Likewise Fuhrman’s "guilty-like" interpretation of how O.J. parked his Bronco. There was nothing unusual about it. Where you will see a lot of cars parked at incriminating angles like the one he described is in the movies.

The appearance of guilt is an essential component of a frame-up. But because a frame-up is an illusion, it must also have essential characteristics of an illusion like distorted angles of observation combined with the power of suggestion to get people to see things that aren’t there. It would require carefully arranged props, duplicates, the means to switch one look-alike item for the other, "invisible" confederates, etc. Every bit of physical and circumstantial evidence against O.J. showing the literal or figurative hand of Mark Fuhrman has those characteristics.

So do the movies.

What we’re talking about here is a list of objects, names, circumstances and scenarios associated primarily with Mark Fuhrman that correlate strikingly with objects, names, circumstances and scenarios in the movies. We’re not talking about anything as general as someone parking at an extreme angle to the curb, a killer wearing leather gloves or a blonde female picking up a butcher knife in a kitchen to protect herself from a man. We’re talking about large clusters of these things in movie after movie in an unbroken series of connections like brain cells talking to each other—exactly like brain cells talking to each other—with scattered bits of information joined by a network of common bonds.

Obviously my brain cells were involved in finding the links that I found. My brain cells configured by nature and by nurture in the military and in the world of professional design, told me that Nicole’s body and someone with training in artistic composition carefully arranged the objects in the photo at Ron Goldman’s feet. I knew that the killer had military training, practice, and backup plans for every foreseeable contingency. I knew that he improvised when something happened that he could not have anticipated. I knew that he enjoyed his grisly work. I knew that he had multiple reasons for everything he did and multiple explanations for everything that didn’t add up. I knew that he placed Nicole’s body on her side the way actors fall in movies – to keep from getting hurt.

In Murder in Brentwood Fuhrman said, "Vary rarely do you find a smoking gun…." He said witnesses often tell stories that are weak, confused or contradictory. He said that enough circumstantial evidence, on the other hand, could tell you what must be the truth. I agree. You are about to see a star-studied universe of circumstantial evidence.

ADDENDUM

 “If” is a word you use to test the validity of an assumption.

 If, for example, you assume that a crayon box contains crayons it remains an assumption until you open the lid and test what’s really in the box. You have to extract each crayon and draw something with it. That’s what I attempted to do with the links to Mark Fuhrman that I drew in The Smoking Gun…

 If the knit cap found on Bundy was planted by someone inspired by O.J.’s appearance in The Naked Gun series there should be more links to the Bundy murder scene in those movies. Strong ones. If Fuhrman was the killer, there should also be links to other movies where a cop or a criminal drops a glove or a cap. There should be links to the murders in other O.J. movies as well as links to actors, producers and directors in those movies. There should be links to the writers, the movies and the actors or characters in the movies that Fuhrman mentioned in Murder in Brentwood. If my assumption was correct, there should be ghosts, bleeding killers, leather gloves, golf clubs, cats, birds, distinctive shoes, someone in someone elses shoes, baseball bats, incriminating “matches” and important men in red ties with white spots.

 If my assumption was correct I should find links that I didn’t know existed.  I found rain, trains, blood and water, and tombstones. You’ll find them, too, in Mark Fuhrman's Murder in Greenwich.