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Chapter 26

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Chapter 25

Roads to "Bruno"

Who knows what Cybill Shepherd and Angela Lansbury where thinking when they agreed to star in the 1979 remake of Alfred Hitchcock’s classic The Lady Vanishes without Hitchcock? I think I saw it once in the early ’80s, but I’m not sure and the tape is out of print so you can’t buy or rent it. The only reason I think I remember it is because I can imagine Shepherd and Lansbury doing a marvelous job even if the movie sucked.

Charlotte Rampling is another actress who leaves an impression—whether or not you share the same birthday. In addition to being a fine actress she has a look about her that makes her a convincing player in a wide variety of roles. She has the perfect look for Laura Fischer in The Verdict (’82) with Paul Newman, Roxanne Hart and James Mason as an attorney known as "The Prince of Darkness." She is the ideal Margaret Krusemark in Angel Heart (’87) and Mrs. Fitzwaring in D.O.A. (’88). Comparing that progression of roles to the roles Fuhrman assumed on his way to meeting Laura Hart and writing his best-seller gives you a strong indication that he watched those movies and got something out of them that he put to use.

These are all core movies, like international airports that feeder airline routs from many points on the globe connect to. From these hubs you can trace the rout of Fuhrman’s stories as well as his history of involvement with Laura Heart, the Simpson’s and Cathy Randa.

The birthday girl in The Birds (’63) is Veronica Cartwright as Cathy. She and Angela Cartwright, who plays Penny in the TV series Lost in Space, are sisters. Like Fuhrman, Angela was born in 1952. Like Charlotte Rampling who shares the same birthday with Fuhrman, both of the Cartwright sisters were born in England. Notice how well suited the androgynous nickname for Veronica is to the blood of the male and female murder victims found in the Bronco. The nickname is Ronnie.

In The Birds, Cathy has a birthday party that’s invaded by birds. In 1972, Barbara Hershey, whose birthday is the same as Fuhrman’s, changed her last name to Seagull when she accidentally ran into a seagull with her car and killed it. She was Harriet Bird in The Natural. In her first starring role she was Cathy in the TV series The Monroes. Cathy links The Birds to Three Days of the Condor (’75). Remember, Three Days of the Condor takes place during the Christmas shopping season, the time of the year when Nicole purchased the leather Aris gloves with a credit card. Joe Turner sees Cathy in a sporting goods store making a purchase with a credit card. He follows her to her Ford Bronco and gets her attention by calling her name.

Cathy Randa was O.J.’s secretary on the morning of June 13, 1994 when Fuhrman trained his flashlight on the package in the Bronco for Orenthal Enterprises marked, "Attention Cathy." She had been his secretary since 1975 when Faye Dunaway starred as Cathy with Robert Redford as Joe Turner in Three Days of the Condor. Fuhrman was the only detective to identify her name on the package while distancing himself from knowledge of Orenthal Enterprises by calling it "O.J. Enterprises."

The timing of Cathy Randa’s employment as O.J.’s private secretary to the release of Three Days of the Condor with Cathy in a Bronco is the first direct link to O.J. Simpson. The first direct link to Mark Fuhrman and the Bronco is with Charlotte Rampling, as Mrs. Fitzwaring in D.O.A. Rampling’s character does not have a first name that we know of. She is called Mrs. Fitzwaring or Mrs. Michael Fitzwaring. That’s M.F. either way. The shot of her—a woman who committed double homicide— standing next to the man with the white-spotted red tie doesn’t link her to the Bronco. The two shots of her in a stable with both ends of a white horse do. No flashlight shines on the horse’s rear end. But when a car pulls into the stable with it’s headlights illuminating Rampling’s face, you can’t be sure if you’re looking at the same horse that has turned around or another horse from a different angle with Mrs. Fitzwaring who had done the turning.

The blood in the car that pulls out of the stable with Dex bound in the rear doesn’t have blood in it yet. Before the scene is over it will. First it has to crash though some wooden high hurtles. A chauffeur with black leather gloves but without his cap has to get his hands on it. Nick’s forbidden lover Cookie, who is also his employee’s daughter and Nick’s sister, has to be in the car. A windshield has to get broken. Then Cookie’s blood can spill. The chauffeur accidentally shoots her in the head.

We’re not going to get into Native Son, but you can see where the makers of D.O.A. (’87) probably did whether they intended to or not. In both screenplays (either version of Native Son and the ’87 version of D.O.A.) the beautiful daughter of a wealthy, attractive, philanthropic woman is nothing but trouble for the chauffeur. She gets drunk, puts him in an untenable position and, in the process of trying to save himself, he accidentally kills her. In the process of writing a scene involving a chauffeur in an untenable position with respect to the drunken daughter of an attractive, wealthy, philanthropic woman, things can easily get out of hand in borrowing an idea or two from a proven winner. Everything about O.J.’s white Bronco leading to Fuhrman’s discovery of the bloody leather glove and his best-selling book screams, "BORROWED IDEA!"

That means the entire sequence of events was scripted like a screenplay. It means that the major players were scouted for their parts, that the sets and props were chosen for effect and that the main action was rehearsed before the film was shot in one take like Alfred Hitchcock’s Rope. There is only so much rehearsing one can do for a high-profile double homicide. The Brett Cantor murder in July of ’93 fills the bill nicely for some aspects of the ’94 Bundy Drive investigation that could be worked out by Fuhrman only with a real police response in West LA.

Look at the movie links to Brett Cantor and the Bundy murders by way of Veronica Cartwright. She has a crewmate in Alien (’79) named Ash (Sydney Ash in Action Jackson, Madeline Ashton in Death Becomes Her). She has a crewmate named Kane (People vs. Cain used to climb O.J.’s Ashford wall), a black one named Parker (the way O.J. parked his Bronco) and one named Brett. Kane and Brett are the first two crewmembers the alien kills. Ash is the android with blood that looks like milk when Parker knocks his head off of his shoulders the way Helen does to Maddie in Death Becomes Her. In The Believers, Helen Shaver is the love interest of Martin Sheen. His first wife Lisa (Janet-Lane Green) was electrocuted (killed by the juice) in her bare feet (one of Nicole’s bare feet was next to an outdoor electrical outlet). Her death involved coffee dripping on a table (Fuhrman’s pizza menu on a coffee table), a pair of rubber-soled shoes, a carton of spilt milk and a pair of socks used to mop up the spill. Cantor and carton are spelled with the same letters.

I don’t have to remind you of Lisa Bonet in the leaky roof scene of Angel Heart where water in the pitcher turns to blood. Any liquid in the right context can stand for blood. In The Believers, the man who spills the milk that kills his wife Lisa, is a blood relative of Charlie Sheen. He’s the actor in Major League who plays Vaughn, the Cleveland Indians’ (Mohawks) pitcher with the distinctive haircut. Vaughn has a black teammate who practices Voodoo and wants to cut up a live chicken to perform blood sacrifices like the ones Lisa Bonet performs in Angel Heart. His coach is Lou Brown. Charles Cyphers plays the general manager. Margaret Whitton is the evil team owner.

With a spilt milk/blood link from Lisa killed by "the juice" to Lou + Cypher + Margaret, how can you not make the connection to Lou Cypher and Charlotte Rampling as Margaret Krusemark in Angel Heart? Did you notice how many literal and figurative blood links there are in the Fuhrman collection? Most of the Veronica Cartwright links are blood links of one kind or another. Through his two sons, Charlie Sheen and Emilio Estevez, Martin Sheen has blood links to Major League (’89) and Loaded Weapon 1 (’93) where cocaine is being distributed through "Wilderness Girls" cookies. Fronting the operation is Destiny Demeanor. Cathy Ireland is "Miss. Demeanor." She was Pat Corley’s girlfriend the year before in Mr. Destiny. Look For Pat Corley again with Bruce Willis in Moonlighting. By the way, Bruce Willis and Allyce Beastly, another Moonlighting regular, play uncredited parts in Loaded Weapon 1.

Loaded Weapon 1 is a spoof of action cop movies and thrillers like Lethal Weapon, Cobra, and Basic Instinct. It is packed with references to those films in addition to the genre’s cinematic clichés. In a takeoff of the scene in Lethal Weapon where Roger Murtaugh invites Martin Riggs home for dinner, Samuel L. Jackson as Wes Lugar invites Emilio Estevez as Jack Colt to his home for dinner. Mrs. Lugar’s isn’t there when they arrive so the two detectives eat pizza with Det. Lugar’s daughter and younger son. Mrs. Lugar comes home with an assistant store manager. Det Lugar offers him coffee. Mrs. Lugar says she wants to take him to her mother’s. Her husband "reminds" her that her mother has been dead for 6 months. When she reacts with horror to the news it reminds him that he might not have passed on the message.

Just as a pizza in the Fuhrman collection is meaningless without a related death, the name Cathy means nothing without a reference to the package Fuhrman spotted in the rear of O.J.’s Bronco with "Attention Cathy written" on it. In Basic Instinct, Catherine Tramell gets a ride to the police station in the back seat of Gus’ car. George Dzendza the German-born actor who plays the butcher in The Butcher’s Wife is Gus.

In a twist on the scene with Nick and Gus on their way to giving Catherine a lie detector test and the two that follow, Kathy Ireland in Loaded Weapon 1 gets a ride home to her place of business (Orenthal Enterprises) in the back seat of Colt’s car. Colt = horse. Horse = Bronco. The car in that scene is not parked at an odd angle as George Dzendza parked his in The Butcher’s Wife, but it is in a later scene with Samuel L. Jackson at the wheel. Soon after that, Kathy Ireland completes the birthday connection to Mark Fuhrman, Sydney Simpson, Jason Simpson, Charlotte Rampling and Jennifer Jason Lee, when she goes into his house and lights candles with a picture of a zebra on the mantle in back of her.

Before we move too far away from Cathy Ireland’s takeoff on Sharon Stone as Catherine Tramell, it’s probably a good idea to recall what Catherine told Nick and Gus about the relationship between writing and lying. She said, "Writing teaches you to lie…You make stuff up, it has to be believable. It’s called suspension of disbelief." Suspension of disbelief does not apply to satires like Loaded Weapon 1 where you see Kathy Ireland in Emilio Estevez’s boots and him in her shoes without having to believe they did it by accident. That’s a literal depiction of what the Bundy killer did with Nicole’s Bruno Magli pumps and his Bruno Magli boots. He even says, "We wear the same size pumps." Fuhrman and O.J. wore the same size boots—often referred to as shoes.

When you see Estevez as a composite of Sylvester Stallone in Cobra, Mel Gibson in Lethal Weapon, Clint Eastwood in Dirty Harry and Michael Douglas in Fatal Instinct, how do get away from Mark Fuhrman’s screenplay? How do you get away from the "composite character" he said he was creating for himself on the Laura Heart McKinny tapes and his idea for a strong female protagonist doing a "man’s job"? Figuratively speaking, that’s a woman filling a man’s shoes. To induce suspension of disbelief by creating a believable character, his task as a writer was to put himself in her shoes.

Suspension of disbelief can go only so far.

One of the best cinematic examples of what you can and can’t do to tell a convincing story involves the decision to cast Angela Bassett as Tina Turner—as opposed to Demi Moore—in What’s Love Got To Do With It. Here was a great actress and dancer who bore a close enough physical resemblance to Tina for the audience to see her as Tina. The one big drawback was her body-builder physique. She had biceps and triceps that most men would envy. The idea that a short, frail-looking guy like the real Ike Turner could physically abuse someone who looked like Angela Bassett was a nonstarter. Had the producers not used a tall, powerful-looking actor like Laurence Fishburne who could be equally charming and menacing the movie would have flopped.

Herein lies the secret of creating any successful illusion, including a frame-up. Pick your props and cast your characters wisely to direct and to misdirect your audience’s attention where necessary. Don’t worry about getting every detail right. Get all of the big things people expect to see, avoid all of the big things people will not accept, and concern yourself only with the details that could trip you up if you got them wrong. One of the details that could have tripped up the Bundy killer was the trail of blood on O.J.’s driveway leading out of the Rockingham gate. The only way the killer could have known about it in time to make last-minute adjustments in his plan was to have an observer with binoculars and a line of sight to the Bronco and the gate. Goldie Hawn as Helen in Death Becomes Her watching Ernest with Maddie, who is supposed to be dead, serves as an excellent role model there.

The official story of O.J.-the-obsessed-killer tells us that his cut finger around the time that Ron and Nicole were stabbed to death was too much to accept as an unrelated event. That’s true. However, there is no evidence showing a greater likelihood that the connection was to O.J.’s actions after the murders than to the killer’s actions after the cut. Indeed, if O.J. had cut himself too close to the time the killing was planned to begin (10:35) the killer would have had to work the cut into the evidence he intended to leave at Bundy and Rockingham. If he had to make a last-minute adjustment to the blood evidence he intended to leave behind, there were bound to be imperfections in that evidence or the stories that were supposed to account for it.

The Aris gloves illustrate the point. Finding both gloves on Rockingham makes more sense than finding one of them on Bundy. The cap, the glasses, the nature of the victims’ wounds and the bloody shoeprints in O.J.’s size and his ex-wife’s brand were enough to tell a convincing story of O.J.’s guilt. But a close examination of the blood drops O.J. deposited on his driveway would have confirmed his alibi and exposed the frame-up for what it was. Ergo, the real killer had to create a false blood trail from Bundy to Rockingham by planting blood and ideas. Explaining the blood of "O.J. the killer" from a cut on the finger of his left hand without a corresponding cut on the glove required that the glove come off.

All of the evidence connected to O.J.’s cut finger and Fuhrman’s pointing finger in the official story is associated with gross anomalies. That part of the evidence fits neither O.J. as the killer fleeing in panic nor a killer out to frame him with the forethought to use Juditha’s glasses to make Goldman look like an unexpected visitor. The only way "O.J.’s" blood does make sense on the Rockingham glove, the murder scene and the socks is as an improvisation to cover an unexpected addition of O.J.’s blood to the physical evidence on Rockingham. That’s evidence that was out of the killer’s control. None of the evidence against O.J. that was out of the killer’s control makes sense with O.J. as the killer. It makes plenty of sense as a last-minute adjustment to an otherwise well planned and well executed murder/frame-up.

You will recall that the glasses Ron Goldman was bringing to Nicole were found in the street next to the curb. In order for Fuhrman to find the leather glove, he first had to gain entry to O.J.’s Rockingham estate. Using the pointed wooden stick and the Bronco for an excuse, he climbed over the wall to open the Ashford gate. You will notice in a continuation of the surveillance scene in Death Becomes Her when Goldie Hawn climbs over Madeline Ashton’s gate that she is wearing leather gloves and holding a pair of glasses where she falls next to a curb.

Fuhrman’s tale of the glasses brings Goldman to the murder scene though the sheer bad timing of delivering them while O.J. was attacking Nicole. That scenario was made necessary by the earwitnesses who heard a man say, "Hey! Hey! Hey!" followed by an argument between two men that couldn’t be understood over the barking of the dogs. An impartial examination of that evidence tells you that the guy who said "Hey! Hey! Hey!" in "a clear voice" couldn’t have been Ron Goldman. The man arguing with him couldn’t have been O.J. Simpson.

That leaves the killer and an accomplice entering the murder scene unexpectedly and a killing taking longer than it should have. And that leaves a startled killer afraid that his partner would leave a second set of bloody shoeprints. All of which creates a problem with the story of O.J. flying into a murderous rage after catching Ron with Nicole. Fuhrman’s answer to that in Murder in Brentwood is his theory of Ron the unexpected witness to O.J. battering Nicole. The closer you look at that story the less sense it makes for a detective who pays close attention to detail, unless it was a story he was forced to tell by unanticipated events.

Suppose O.J. had parked his Bronco on Ashford where he usually parked it. Is there any way the limo driver could have missed it? The answer is no way. He would have been forced to wait where he did wait for over half and hour with the Bronco in sight. That would have made him a great witness for the false timeline that would have allowed O.J. plenty of time to get back from Bundy, after the killing, clean himself up and hide both gloves next to Kato’s bungalow. If O.J. had not cut himself before the murders the need to leave the left-hand glove at Bundy would not have existed. But I don’t think the idea of putting O.J.’s blood on it came from out of the blue—unless it was the Blue Moon Detective Agency. You see that in the first regularly scheduled episode of Moonlighting in 1985 where a bleeding killer named Michael with a bloody leather glove takes David Addison hostage.

This show is called "Gunfight at the So So Corral." It features Pat Corely as an aging professional hitman named Franklin Tate dying of cancer and tall, handsome Tim Robbins as an ambitious hitman from Detroit named Fremmer. Unless you’re listening closely, is sounds like Fuhrmer. You will recall the LA to Detroit connection in The Naked Gun when O.J., as Nordberg gets slung from beneath the front end of a car as it comes to a sudden halt and ends up stuck under a bus headed for Detroit. In Gunfight at the So So Corral" Fuhrmer comes from Detroit to LA on a bus. In the first shot of the first scene you see the bus door open and someone in boots and jeans step down. The camera follows the man’s shoes as he walks into a hospital with his toes pointed straight ahead like O.J. and Fuhrman. You need two things now for a recreation of the Bundy killer’s walk from Nicole’s front yard to the back. One is pair of wet shoeprints. The other is a blood trail next to the boots.

For the wet shoeprints you can refer to half a dozen movies in the Fuhrman collection. For the blood trial, all you need is the scene in Loaded Weapon 1 where the camera follows the boots of Det. Jack Cold after he wounds a killer in a gunfight. Only the red drops next to Colt’s boots don’t end with a wounded killer. They end with an open bottle of ketchup laying on its side with its contents dripping on the floor. This happens to be a close approximation of what the Bundy killer had to do to create the illusion that O.J. cut himself on Bundy and left of blood trail that started there. Instead of ketchup he used real blood—the blood of a victim.

This scenario fits the method of operation Fuhrman boasted of using when he told Laura Hart in 1985 about his arrests of people on bogus charges then manufacturing the evidence to fit his story. The example he gave involved a simple way of using his victim’s blood evidence to match his lie before the victim had a chance tell anyone the truth. He said that he would bust a junkie on trumped-up charges then tear open a scab on his arm and claim that the fresh bleeding is what caught his attention and led to the arrest. Everyone would see the bleeding and assume that the junkie’s ridiculous story about a cop known for paying close attention to details like that had to be a lie. Everyone knows that junkies are liars and everyone expects them to lie about the arresting cop when they get caught.

The trick, of course, is to tell a lie that matches people’s expectations of what the truth is most likely to be in a given situation. If you can create the right circumstances you can let those circumstances do most of the lying for you by preparing your target audience to accept what you have to say as long as it’s consistent with what they already believe.

Most people accept Fuhrman’s story of meeting Laura Hart by chance in February of 1985. But there are several things wrong with his story that are more consistent with the fictitious Laura Fischer’s "chance" meeting with Frank Galvin in The Verdict. When that movie, with Charlotte Rampling as Laura, hit the wide screen in 1982 Fuhrman was on leave from the LAPD seeking a disability discharge. In the legal process that followed his law suit when his claim was denied his psychiatric evaluation became public record. Among other things, it showed that he had done a considerable amount of research to fake the symptoms of the condition he said he was suffering from before he filed the claim. It also showed that from the start of his police career in 1975 he devoted more unproductive time to trying to make "the big bust" than he did to making sure that he did his assigned jobs proper.

Thorough research and meticulous planning are hallmarks of Fuhrman’s approach to every big move he made in his police career. It would have been out of character of him not to research and plan his next move if his disability claim had been successful. Indeed, he must have had something in mind when he went through all of the trouble he did to get his disability pension on a fraudulent claim. He said in his book that he was a big fan of Joseph Wambaugh, the cop-turned-novelist and screenwriter that he said he was trying to emulate with the composite character he created on the McKinney tapes. At the time she started the tapes she was Laura Hart. She and Fuhrman agree that she was sitting alone in an outdoor café when Fuhrman approached her and struck up a conversation that led to their agreement to work together on a screenplay. Fuhrman said that their relationship also involves an intimate affair. The way she stumbled over the question in court suggests that that much of Fuhrman’s account was true.

In Sidney Lumet’s The Verdict, Paul Newman is an alcoholic looser of an attorney named Frank Galvin who gets a chance at redemption when a friend tosses him a case of malpractice. The defendants are two prominent surgeons and the Archdiocese of Boston, which runs St. Catherine’s the hospital where a botched surgical procedure results in the patient’s brain death. Galvin has a good case that he is sure he can win even against Edward J. Concannon, a.k.a. "The Prince of Darkness." Concannon is the most ruthless and successful attorney in Boston. Galvin doesn’t know that Laura, the attractive woman sitting alone at the bar he frequents was carefully selected by Concannon to be appealing to him. Her job is to win his trust and learn his secrets so Concannon can counter his moves before he can make them.

Concannon is paying Laura for the part she is asked to play, but the big payoff she expects is a position with his firm that will put her back in the big time. She gave up her own law practice to devote to herself to her marriage to another lawyer. She has recently divorced him. When Gavin finds out what she did to him, he punches her in the face hard enough to knock her to the floor and draw blood. She does not protest—and he never figures out what she did to help him win the case and become a better man. The movie’s major characters all face trials of one kind or another, which may or may not depend on the verdict in the lawsuit. Each of these trials is a subplot of The Verdict that went over the heads of most people. I doubt, however, that Mark Fuhrman missed the point. It’s the kind of thing you have to pay close attention to detail to see—like the observer sitting in back of Roxanne Hart in the closing scene of the movie when Gavin is giving his closing arguments to the jury. It’s Bruce Willis. You get a good look at him only on the wide screen as the camera zooms in on Roxanne Hart.

The name Roxanne Hart meant nothing to me until 1987 when I saw her with Ed Harris, Bruce McGill and Robert Lesser on HBO television as Jenny in The Last Innocent Man. A young Ed Harris with a full head of hair is the pathologist with bloody gloves in Coma (’71) who jokes about keeping his wife in line with his knowledge of how to get away with murder. Bruce McGill (BM as in Bruno Magli) is the private eye in The Last Boy Scout (’91) who gets caught having an affair with Bruce Willis’ wife Sara. Robert Lester is the man on the airplane in Die Hard (’88) who gives Bruce Willis the advise about taking his shoes and socks off and walking around barefoot on the rug making fists with his toes.

In The Last Innocent Man, Roxanne Hart as Jenny is at a party given by a famous writer named Jonathan Gault. Ed Harris, as attorney Harry Nash, has gotten acquitted of murdering his wife. When Jenny hears Nash tell his partner how much he despises Gault she butts into the conversation with a snide remark. Nash counters by saying, "Look, if I was the surgeon, I wouldn’t have to like the guy on the table, would I?" She inhales the smoke from a cigarette, blows it out and says with a wicked smile, "I hadn’t thought of that. Surgeons have bloody hands, too." Remind you of the surgeons in The Verdict? Figuratively speaking they had blood on their hands. One of them tried to wipe them clean by forging a key document. Literally speaking, surgeons don’t have bloody hands. They have bloody gloves.

It was on the Laura Hart McKinney tapes that Fuhrman said, "I’m the key witness in the biggest case of the century. And if I go down they lose the case. The glove is everything. Without the glove—bye, bye."

Roxanne Hart looked awfully familiar to me in The Last Innocent Man, but that was it. Before then (1987) I could not have connected her name with her face on a bet. If Fuhrman was unable to make the connection between the fictitious Laura Fischer and the real Roxanne Hart before February 1985 the name of screenwriter Laura Hart has to be a genuine coincidence. But given Fuhrman’s history of compound "coincidences" as stepping stones in his writing career and his timely involvement in O.J. Simpson’s life, coincidence seems like the least likely explanation.

Where Charlotte Rampling’s "Laura" in The Verdict comes together with a memorable screenplay appearance by Roxanne Hart is in the 1983 made-for-television movie Special Bulletin. That’s the very next thing Hart appeared in after The Verdict in 1982. It was 1983 version of what Orson Wells did on radio in 1938 with H.G. Wells’ classic War of the Worlds. Note the transposition of 38 and 83, a play on how George Orwell named his futuristic sci-fi classic 1984…He finished writing it in 1948. Special Bulletin proved once again how difficult it is for some people to separate a legitimate news report from a staged performance if you give the performance the a news look and sound of news that people are familiar with. Instead of Martians landing in Grovers Mills, New Jersey, Special Bulletin has terrorists with an atomic bomb treating to blow up Charlotte, North Carolina.

The finer you draw the line between fact and fiction, the harder it is for more and more people to see the truth. I was one of the people initially fooled by Special Bulletin because of the circumstances under which I saw it. I don't know why I had my TV tuned to whatever station it was on, but I was busy with something else and not paying much attention.

The first thing that got my attention was the announcement of a special bulletin by somebody who looked and sounded like a network news anchor. I didn’t know who he was, but I figured he could have been a new guy. I didn’t notice the phony network because I thought I knew what network I was watching. I didn’t know any of the actors so I didn’t know they were acting…until I started noticing something peculiar about the way some of the people on "live" camera were talking. People who should have been cussin’ like troopers were using language suitable for "all audiences." Then I started noticing other little tings that didn’t look or feel quite right until it slowly dawned on me that I had been had.

Once I began to question the reality of what I was seeing the more obvious the act became. If I saw it again I could probably tell you the point at which I started to see the light. I’m pretty sure it was at least ten minutes. What was embarrassing then, was the fact that I didn’t see the clues that were staring me in the fact all along.

That was the feeling I got when I was watching the O.J. case, thinking from the evidence presented by the prosecution, that O.J. had to be guilty, and it suddenly hit me that I’d seen all of the evidence somewhere else. Some of it I’d seen in the Army in a course on silent kills but most of it came straight from the movies, only cobbled together like spoof of more movies than I could name. Starting with the knit cap the killer left on Bundy I found a chain of movies that eventually led here.

It turns out that anywhere I started in the Fuhrman collection would have eventually lead to Bruce Willis. He appears in Loaded Weapon 1 dressed as he was in Die Hard when he was trying to call the police emergency number on channel nine and the dispatcher wouldn’t take him seriously. Remember him saying, "Do I sound like I’m ordering a pizza?" The office security number that the dispatcher was looking at as he said those words had four of the seven digits in Fuhrman’s notes for Cara’s Pizza. All four of them were in the same position: 205-5723 vs. 575-5713. Still not convinced? There’s more….