Chapter 14

One-eye references are scattered throughout Murder in Greenwich. I expected to see some but not so many of them in one concentrated timeframe and not in so many forms. I thought I would have to search harder than I did to find one. Instead, I had to stop counting because I had more than enough to represent every sense in which I knew one eye was significant to Fuhrman if my Iago hypothesis was correct.    

According to my hypothesis, the Bundy murders were essentially a gristly publicity stunt to promote Mark Fuhrman as a national celebrity at the expense of O.J. Simpson. To meet every requirement for achieving that objective in a way that was consistent with the evidence he needed four accomplices who matched a long list of unique characteristics. He had to have a demonstrable link to all of them and they all had to be in the right places at the right times or be unaccounted for at the right times.  

Did all of those people exist? Yes, they did: Brad Roberts, Ron Shipp, Faye Resnick and Denise Brown. Were all of these people in the right places at the right times or unaccounted for at those times? Yes, they were. Did Mark Fuhrman go on to do the things my Iago hypothesis predicted he would do if he masterminded the killings and carried them out for the reasons I proposed? Yes, he did.  

Our primary focus here is on the one-eye theme. What did it mean to the killer? What did it mean to Fuhrman? How do we know? How do we test an idea as complicated and unlikely as the Iago hypothesis in any respect without confirmation from the killer? We can’t.  

With respect to the one-eye theme and scores of other themes, Mark Fuhrman’s Murder in Brentwood gave me all the confirmation I needed. His Hypothesis of a Murder chapter told me absolutely that he got his ideas from the movies. There was zero evidence on Bundy or Rockingham for the scenario he proposed but abundant evidence in the movies – lots of movies. When he talked about O.J. going into the maid’s room to wash up after killing Ron and Nicole and seeing the face of a murderer in the mirror, it sounded to me as though he was talking about himself. It also sounded to me as though he was talking about Arnold Schwarzenegger in Total Recall and The Terminator.  

Yes, it is possible to draw parallels between any murder and some movies but Murder in Brentwood is saturated with them. They are all over Bundy and Rockingham and thoroughly intertwined in Fuhrman’s observations, discoveries, notes, testimony and theories – enough to fill over a thousand incomplete pages of text and pictures.  

Fuhrman said he saw things that only his partner Brand Roberts confirmed – on a TV show, not in court – a partner who met every qualification of the killer’s partner. That’s quite a feat for an accomplice who existed only in theory until Regnery published Murder in Brentwood. I saw those things in Magic, Guilty Conscience, Jennifer Eight, The Dark Corner and Innocent Blood. I saw them in Angel Heart (’87) with Robert De Niro as Lucifer and Mickey Roark is a private eye named Angel. Angel’s alter ego blows the brains out of a morphine-addicted doctor named Fowler by putting a bullet though one of his eyes. Angel doesn’t recall doing it. He doesn’t even know why he is always around when somebody ends up murdered. When he sees himself in a mirror with blood on his hands he doesn’t know that he’s looking at a murderer. 

According to my Iago hypothesis, someone matching Fuhrman’s description of Roberts and Robert Heidstra’s description of a man he heard arguing in Nicole’s courtyard was a lookout at Bundy. He needed covert surveillance experience, a vehicle that blended into the area, a cell phone and a good set of eyes. A Rockingham observer would have required a vehicle that blended into the area, covert surveillance experience, a cell phone, a bugging device and a telescopic lens. He could have used a telescope, a good pair of binoculars or a camera with a telephoto lens. The killer didn’t have to know what he used, only that he could use something to see clearly at a distance in dim light.   

The killer needed another accomplice close to Nicole’s mother to steal her glasses and drop them in the gutter outside the restaurant where Ron Goldman worked. He had to create the illusion that Ron was not an intended target and O.J. killed him because he happened to be there. The glasses were critical to the story he wanted to tell. He had no way of knowing they would be in an envelope so he had to check to be sure. In the process, he left a blank fingerprint in blood on a lens that he didn’t realize was there until the envelope was taken into evidence. He took the lens from the police lab to hide the fact that the killer wore latex gloves under the leather ones to keep from leaving his own trace evidence in the leather gloves. By taking only the lens he gave the glasses one eye. 

The killer therefore had to have access to the Piper Tech lab. As the first lead detective on the case Fuhrman would have had that access. 

Fuhrman says noting in Murder in Brentwood about the missing lens. It’s not as though he could have forgotten it with the envelope containing the glasses in the same shot as the photo of him pointing to the leather glove. And it’s not as though it was outside the framework of the case he was making in the book against the police who relieved him and the prosecutors who turned a blind eye to their mistakes.  

The missing lens had nothing to do with race and everything to do with Fuhrman’s contention that the police and prosecutors mishandled evidence, lost evidence and covered up their mistakes. He made a long list of police and prosecution errors. He listed three critical pieces of evidence that he said disappeared: the empty knife box he said he found on O.J. ‘s bathtub rim, the clothes in O.J.’s washing machine, and the fingerprint in blood he said he found on Nicole’s back gate. The missing lens was the strongest possible corroboration for his claim of seeing the bloody fingerprint on the gate. But the only people who said they saw what looked like a fingerprint in blood on the lens were Dr. Henry Lee and Dr. Barbara Wolf, forensic pathologists employed by the defense.   

Fuhrman’s Murder in Brentwood book did not give me enough to make an airtight case for the special significance he attached to the missing lens. His Murder in Greenwich movie did. It gave me the one eye association with a camera lens, time travel, a van, a uniformed policeman, a detective, a lie detector test, a bird, a dog, a pair of glasses, a dairy product, a red queen and a deck of cards. Murder in Greenwich even zeroed in one eye of murder suspect Morris Banks, the only suspect in the movie with glasses.  

The Murder in Greenwich movie also manages to insert one-eyed jacks where you wouldn’t see them unless you were looking for them. Between the book and the transcripts of Michael Skakel’s trial there isn’t enough for Fuhrman to dismiss the man he calls Morris Banks in the movie as a murder suspect. His real name was Ken Littleton. He had severe psychiatric problems. He was an alcoholic. He had long blackouts and fits of rage. He was a compulsive thief who could have killed Martha if she had caught him steeling golf clubs, which were never found. He told his former wife enough to make her believe he did kill Martha. She taped what he said and turned it over to the Greenwich police.  

Fuhrman shifts time around in his book and his movie to give the man he calls Banks an alibi he didn’t have. Fuhrman accepted his claim that he failed the Greenwich Police lie detector test because he was nervous about his arrest in New York for burglary. He stole over a thousand dollars worth of marine equipment. In a voiceover, Fuhrman says, “So he steals some knickknacks off of Nantucket Island and our super cops think he’s Jack the Ripper.” That’s when the camera begins to jerk back and fourth between shots of Banks, the machine, the detectives and the polygraph examiner then zooms in on Banks’ eye. Now Banks is a “Jack” with one eye – a one-eyed Jack. In the movie One-Eyed Jacks, Marlon Brando (MB) is a thief and a liar. 

You see something similar in the Halloween pumpkin carved into a Jack O’ Lantern with fire burning out of control inside. You’d never get a one-eyed jack out of a Jack O’ Lantern if there wasn’t something unusual about one of its eyes. There is. The carved pumpkin is angled to the camera so that you see only a small flicker of light in the left eye. Otherwise it’s dark. You see the fire in the triangular nose and in the crescent-shaped mouth. In the right eye, the flame roars out of the socket.  

Note the triangle carved in the pumpkin for the eyes where the fire is coming from. Note the color and shape of the pumpkin. Remember the ribbons of toilet paper draped over the tennis court net before the scene shifts to that fiery icon. Remind you of anything? Want a hint? Okay… the opposite of orange is green. What is green, rectangular, universally recognized, inflatable, practical and symbolic – with a picture of George Washington on the front? How about a U.S. one-dollar bill?

George Washington’s picture is appropriate because he was the country’s first President. On the back of the bill you will see both sides of The Great Seal of the United States. The symbol you’re used to seeing on the podium of Presidents and the Oval Office desk is on back of the bill. It features an eagle with spread wings, a vertically striped shield over its body and thirteen stars surrounded by a ring of spotted pickets and a cloudburst of light over its head. The eagle clutches an olive branch in its right talons and arrows in its left. The ribbon in its beak says, “E PLURIBUS UNUM,” from Latin meaning, from many, one.”  

Most American’s can figure out the symbolism of the eagle, shield, arrows, olive branch and stars on the back of the one-dollar bill from a rudimentary knowledge of American History. The symbol on the left of the big “ONE” is where you might get stumped unless you know a little about the Masons.  

Look closely and you will notice that the “pyramid” inside the circle isn’t really a pyramid. The top third of it is missing and what you see at the top is not a continuation of the pyramid. It’s a triangle with an open eye inside of it and rays of light surrounding it. The eye in the triangle represents the all-seeing eye of God. It’s a Masonic symbol, which is sometimes represented by a five pointed star or the letter “G.”  

You can glimpse what the symbols look like in context and how some Masons perverted them in the movie From Hell (2001) with Jack the Ripper as a Masonic physician on a crazy mission to save the Monarchy. The lead detective on the case finds clues left by the killer at the feet of a murder victim he saw in a vision. The pattern of those clues led him to believe there might be a Masonic connection to the Ripper. He goes to the library and reads selections from a book on Masonry to see if other clues he collected lead in the same direction. They do.  

Although some Masons would deny it, the triangle enclosing the eye probably represents the Holy Trinity, God the Father, God the Son, and God the Holy Ghost. Mason’s are supposed to be nonsectarian. But the Trinity of God is a Christian concept. I would therefore expect to see the eye with and without the triangle depending on how the person who uses the symbol sees himself and how he sees someone else who might be identified with Masons.  

Masons are everywhere. They are Protestants, Catholics, Jews, Moslems, Mormons, Democrats and Republicans. There are white ones, black ones and brown ones on every continent. If you or someone in your family isn’t one, you probably know someone who is – only you might not know that he is a Mason unless you share the “secret” handshake.  

Look again at the Murder in Greenwich scene with Fuhrman collecting photos and news clipping to take with him to Connecticut to write his next book. Notice the handshake in the Fuhrman-Nixon photo. Notice that the upper-right section of the frame hides most of the face in the photo behind it. You can’t identify that person because you can see only half of one facial feature, his eye. Now imagine that the eye is in the circle of the trophy. What do you get? You get the Masonic eye without the triangle. The five-pointed star is in the flag between Fuhrman and Nixon. Keep in mind that Fuhrman is going to one of the original 13 American colonies, to solve the 22-year-old Martha Moxley murder mystery.  

You need little imagination for this exercise. Just look at the Reese’s peanut butter cup-like pattern forming the perimeter of the trophy circle. It’s identical to one in the book about Masons that the detective in From Hell finds to help him solve the Jack the Ripper murder mystery. He already knows that somebody else, probably the Nichols gang, killed the Ripper’s first suspected victim. Her name was Martha. George Washington was a Virginian Mason, a member of Lodge 22. His wife’s name was Martha. Murder in Greenwich makes it easy to recall the number 22 because Fuhrman or Martha’s ghost use it more times than necessary and at least once inaccurately.  

On Fuhrman’s office room wall you see several photos and certificates. He was a high school jock. He served in the United States Marine Corps. He says in Murder in Brentwood that he was one of the LAPD’s best pistol shots and an avid hunter and fisherman. So, where on that wall are photos, plaques or certificates of Fuhrman the high school jock, Furman the marine, Fuhrman the pistol shooter, Fuhrman the hunter or Fuhrman the fisherman? Why are none of the certificates recognizable? And what kind of trophy is that next to the Furman-Nixon photo?  

The trophy was probably supposed to be generic but one shot before and after the trophy shot gives you something that turns the arching leaves around the chevron into a compass. On the left of Fuhrman’s laptop keyboard are two pencils of equal length nearly touching on the ends and splayed at the points – like a Masonic compass. The only things you have to do to get the Masonic square and compass in the trophy are to invert the chevron, superimpose the pencils and spread the points a little wider. The photo of Martha Moxley on the laptop monitor gives you the connection to Master Mason George Washington.  

The Rosary Murders has a Catholic woman named Mrs. Washington switching on her TV set when a nun who is about to be murdered leaves her room. In Murder in Greenwich Weeks changes the TV channel from a Fuhrman story reported by a man with a name similar to a murdered priest in The Rosary Murders to a story about George Washington.  

George Washington’s Masonic lineage goes back to the master stonemasons that built the medieval cathedrals of Europe. The square and the compass were tools of their profession. The square was for making perfect right angles. The compass was for making perfect circles. In medieval Europe perfect geometric shapes had divine significance.   

Masons do not have a monolithic organization like the Catholic Church. It’s a fraternity with roots going back to Egypt before the birth of Christ. Some Masons take their fraternity membership more seriously than others, studying Masonic teachings as if they were Biblical and protecting secret rituals as though their lives depended on it. Some people who are not members take it more seriously than some who are. And some non-members are so closely associated with members that they have the same network of personal contacts. Richard Nixon was not a Mason but Gerald Ford, who succeeded him as President in ’72 when he resigned in disgrace, was a Mason. Dwight D. Eisenhower was not a Mason. Harry S. Truman, the man Eisenhower succeeded was a Mason.

Masons have to profess a belief in God. It’s hard to see where Fuhrman had any religious beliefs. However, he has plenty of negative things to say about other people’s religious beliefs. The Masonic symbolism in his movie could therefore mean that he only borrowed it from the dollar bill as a slick allusion to Washington D.C., the Kennedys, their religion and their money. The McKinny tapes give Fuhrman’s only personal reference to God where he says of himself as a brutal street cop, “I am God.” 

Still, you have to go a long way to link Fuhrman to God unless your idea of God is the Devil, a.k.a. Satan, Lucifer, the Serpent, Beelzebub, Father of Lies. Everything linking Fuhrman to the movies is close together in time space or relevant character appearances in his book and movie renditions of them. The rest requires only miner shifts, expansions, reductions, distortions, superimpositions or rotations. He used all of those tricks to make his trophy from the Mason’s square and compass in From Hell.  

Furman never refers to himself as a detective in Murder in Greenwich. He lets the characters he created do it for him. He was in fact no longer a detective with the LAPD and he did not have a private investigator license. When Dorothy Moxley calls him “detective,” he tells her that he isn’t one and asks her to call him “Mark.” When she suggests bringing in an independent consultant he says, “That’s what I thought I was.” On the other hand, he performs as a detective, gathering evidence, interviewing witnesses and analyzing information on behalf of a client. When other people in the movie call him detective he does not object. As a writer out to solve a mystery, he is a detective.  

Taking the Heat (’93) features Lynn Whitfield as NYPD Det. Carolyn Hunter (remember Holly Hunter in Copycat?) and Tony Goldwin as Michael Norell. He’s a YUPPY eyewitness to the murder of a storeowner named Lou Valentine. Joe Grafasi, whom you saw as the Pier 32 foreman in The Naked Gun and Omar the between lives bureaucrat in Chances Are, is Valentine. George Segal, the Moran gang killer and victim in The St. Valentine’s Day Massacre is the D.A. Greg Germann is Assistant D.A. Kennedy. Peter Boil, Wizard in Taxi Driver, is the judge.  

Shortly before Christmas, Michael goes to Valentine’s sporting goods store. It’s a little after 10:00 P.M. The store is closed. Michael gets in by flashing his American Express Gold Card and reminding Valentine that he ordered an expensive pair of skis. The store has several mannequins in ski caps. It has Nike running shoes, tennis racquets, a poster of a black man and a white blonde woman who look like O.J. and Nicole, and a bag of Lee “The Happy Mexican” Trevino golf clubs. While Michael is waiting for his credit card to clear, he goes behind a curtain to the lavatory. Alan Arkin as a gangster named Tommy drives up to the store in a stretched Lincoln limo and enters with his top thug Muff.  

Tommy and Muff don’t know that Michael is in the store. Tommy is angry because Valentine is behind on a debt and Valentine boasted about getting away without paying. Tommy selects a driver from the Lee Trevino golf bag and tells Muff to tee him up. Muff sits Valentine down in front of a table and puts a golf ball on his head. Tommy stands on the table with the head of the club next to Valentine’s head. Valentine sweats and blathers, afraid that Valentine will kill him if he moves or if he doesn’t.   Tommy swings and misses – the ball. He bashes Valentine’s brains out.  

Hearing the angry words leading up to the killing, Michael leaves the lavatory and peeks through a small slit in the curtain. You don’t see the golf club whacking Valentine in the head but you hear it and you can see the horror in Michel’s eye as he sees it. Then you see Tommy wiping his fingerprints off of the golf club shaft as the credit card machine finally kicks in. Tommy and Muff look to the curtains. Muff goes behind them but sees only Nike shoeboxes and mannequins in the hallway. He sees no one in the lavatory and no way out. When he leaves to report that no one was back there Michael climbs down from an exposed beam in the ceiling and reluctantly calls 911 to report finding a body.  

Michael and Carolyn’s first encounter is not pleasant for either of them. She is a uniformed police sergeant with a bad attitude about him calling her “Miss.” He is a YUPPY trying not to get involved in the case more than he has to. Tommy was under police surveillance so they know when he entered and left the store. They don’t know when Michael entered and left but the time of his 911 call makes it likely that he saw more than he said he did. Carolyn almost tricks him into revealing the truth. She doesn’t get the truth. Michael doesn’t get his skis. Don’t worry. She will make detective and he will get her in bed. After all, he’s a hunk, she’s a babe and it’s that kind of movie. You know the formula.  

All of this is in Murder in Greenwich. Keep in mind Fuhrman’s flexibility with moving things around. Remember that the name Michelle is the female equivalent of Michael and Mathers is a one eyed Jack with an elbow patch. Recall the similarity between the fictitious Pat Lennon in The Rosary Murders and the real Tracie Savage in the O.J. case.  

Taking the Heat makes this recall task easy. You see Det. Hunter in her blue suit and again stepping through a door in a blue negligee with a patch on her eye and a Penguin air conditioner beside her bed. Her suit is the same shade of blue that Michelle Blanchard as Mathers’ secretary wears. The jacket comes off because of a heat wave and a power outage. When the power returns she and Michael can do with the fresh air.  

Murder in Greenwich does not imply sex between Mathers and his secretary – but it could imply sex between Fuhrman and a black woman who wasn’t a secretary, a reporter who wasn’t black or both. All the secretary does is walk through a door in a blue suit and say, “Yeah, I can do with the fresh air,” and walk out. The scene begins with a Pier 17 view of the Manhattan skyline from under the Brooklyn Bridge. To see it all, you’ll need the skyscraper/taped interview scene in The Resurrected. But when you see the Pier 17 view of the Manhattan skyline from under the Brooklyn Bridge in Taking the Heat. Mathers’ secretary looks different. You see it just before you see the air conditioner and Michael in bed with Det. Hunter. 

The white actress who plays Holly the secretary in The Resurrected is Laurie Briscoe. “Det” is the abbreviation for detective and for Detroit, where LA reporter Tracie Savage got her journalistic start. Doris Biscoe is a slim, black, beautiful, Detroit TV news reporter who plays herself in The Rosary Murders. She wears a blue suit while reporting the murder of a nun named Mother Honora. The similarity between the nun’s name and “Honor thy mother” in the Ten Commandments is a key to solving the rosary murders. The key to understanding the Pier 17 scene in Murder in Greenwich is what Mathers and Fuhrman say about a condom. In Taking the Heat, Michael tells Carolyn, “I’ve been wearing a condom all day.”  

Fuhrman’s Murder in Greenwich director Tom McLaughlin wrote and directed a film in the Friday the 13^th series. Tracie Savage starred in one.

The Resurrected, set in Providence Road Island, is an updated version of H. P. Lovecraft’s “The Case of Charles Dexter Ward.” Lovecraft was an occult fiction writer and a ghostwriter for Harry Houdini. He was born in 1890 and died in 1937.  In Cast a Deadly Spell Fred Ward is L.A. private detective Phil Lovecraft hired to find a priceless book of magic. Hypolyta Kropotkin gives him a magic bracelet. In Witch Hunt, Kropotkin unleashes the power of the bracelet to send a raven out of his mouth to pluck out the evil eye of Fenn Mocha.

Think about Mocha tossing down a cigarette that turns into a snake. Think about Fuhrman in snakeskin boots accosting Hildy Southerland, her tossing down a cigarette and Fuhrman telling Weeks, “I’m just shaking the tree to see what falls out.” Does this remind you of a story in a best-selling book about a tree of knowledge? Does it remind you of the full name on the Bundy “Mothers” poem in Furman’s first bestseller? 

In Witch Hunt, the eye you might expect to see on the wall of a private detective is on the wall of Kropotkin the witch for the same reason it appears as a Masonic symbol. It represents the all-seeing eye of “Providence.”  Sometimes Providence is used as a synonym for God, the will of God or the guiding light of God – or the Devil if you believe that the Devil is the Supreme Being. Whether or not you are a believer you know the story of the tree of knowledge and the Serpent in the Garden of Eden with Adam and Eve.  

Lovecraft is to Providence what Poe is to Baltimore (although Poe was born in Boston Mass). He called himself an Atheist but the inscription on his tombstone is tantalizingly ambiguous. It says, “I am Providence.”