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Fuhrman and McClinton RELATED LINKS: Pinpointing Source The Gun Hammer Model P Picture Gallery
The key to understanding how movies and TV shows can be used to get into the heads of Mark Fuhrman and Michael McClinton is to recognize where your own pools of creative material come from. They come from things you experienced directly or vicariously that have special significance to you – your name, your birthday, your hometown, your jobs, your hobbies, your habits, your travels. They come from your favorite sports, athletes, music, performers, books, authors, movies, TV shows, actors and characters. They come from all you think you know about yourself, your family, friends, neighbors, associates and their orbits within your universe of intellectual and emotional memory.
Whenever you encounter the word “familiar,” think: “memory.” Whether or not you are conscious of the memories that make something you see or hear seem familiar, you know the feeling. If you didn’t get that feeling with Michal McClinton it is because you don’t know enough about the story telling patterns of Mark Fuhrman. When you hear a story, the familiar ingredients arranged in a familiar way are what make the story intelligible. You can therefore tap into memories of the storytellers as well as your own if you know enough about the methods they used to select and combine them.
Michael McClinton, formerly of Milwaukee, Wisconsin and Carson, California has movie/TV story telling patterns in common with Fuhrman that are seen elsewhere only in an interview with Brad Roberts and the book allegedly written by Mike Gilbert. They converge in an unsolved Las Vegas murder case that Fuhrman wrote about in his Murder in Brentwood book and alluded to his Murder in Greenwich movie. Following these signposts in McClinton’s Palace Station testimony provides braded threads of reason to believe that he was employed by Fuhrman and Roberts to commit the unsolved murder in Las Vegas and to help Gilbert set up O.J. in the Palace Station.
The murder victim’s name was Robert Charles Hurd, Jr. He joined the Army in 1943 and served most of his military career as a combat engineer in WW II, the Korean War and the Vietnam War. He separated from the Regular Army at Fort Leonard Wood, MO in 1971 with the highest enlisted rank in the Armed Forces, sergeant major, pay grade E-9. He served the rest of his enlistment as a sergeant major in the Army Reserves. His last know residences were on 2259 Larchmont in Pomona, California, 1745 Rockwell in Las Vegas, Nevada and 4963 Smoke Ranch Road in Las Vegas on March 21, 1994 where he was bludgeoned to death with a hammer four days shy of his 75th birthday.
You don’t get any of these facts about retired Sergeant Major Robert C. Hurd from Fuhrman’s account of investigating his murder. Fuhrman omits his name and gets his retirement rang wrong. What you do get in the real story are a lot of Fuhrman bell ringers that he went out of his way to avoid.
Birthdays, March, 17, 21, 75, MM (as in Michal and Mark and Michael McClinton), FM and MF (as in Fuhrman/McClinton or McClinton/Fuhrman), hammer, Vietnam, Pomona, Carson, ranch and Las Vegas are Mark Fuhrman bell ringers. His mother Billie’s birthday is March 28. She has lived in Henderson, Nevada, a large suburb of Las Vegas, since the mid 1960s. She sat in on the first Ted Binion murder trial in Las Vegas where the defendants Sandra Murphy and Richard Tabish were found guilty. Murphy was sentenced to 25 years to life in prison. Tabish got 22 years to life. 22 and 25 are two more Fuhrman bell ringers. 22 comes up 6 times in his Murder in Greenwich movie, once erroneously and three times gratuitously. Fuhrman’s movie has Fuhrman-McClinton bell ringers that his book doesn’t have.
All of these things loop back to McClinton in Judge Joseph Bonaventure Jr’s preliminary trial courtroom and Judge Jackie Glass’ criminal trial courtroom against O.J. under McClinton’s plea agreement with Clark County Prosecutor David Roger.
A May 31, 2000 article in the Las Vegas Review quotes Billie Fuhrman as saying, “I’m 77, and I would give the rest of my life if Judge (Joseph) Bonaventure was in (Lance) Ito’s place and (David) Roger and (David) Wall were in Marcia Clark and (Christopher) Darden’s place” The article continues, “Meanwhile, she believes her son ‘has risen above what happened’ with his investigative work, which led to a grand jury indictment of the long-dormant Martha Moxley case. Michael Skakel, a Kennedy, now faces trial in connection with the 1975 slaying.... Mark Fuhrman, who wrote ‘Murder in Brentwood’ and ‘Murder in Greenwich: Who Killed Martha Moxley?” was one of the investigators in the Simpson case. He testified that he had never used a specific racial slur, but a screenwriter’s audiotaped conversations with Fuhrman proved otherwise.”
The Murder in Greenwich movie that Mark Fuhrman co-wrote and produced staring Christopher Meloni as Fuhrman aired on November 15, 2002. Fuhrman’s movie is the focus of the third Smoking Gun book. The first two books argue that the inspiration for his stories as well as the story of the Bundy murders told in the evidence left by the active killer follow the same story-telling patterns – overwhelmingly from movies and TV shows. Specific scenes in these movies and TV shows can be positively identified in many instances by the specificity of their content and the context in which they appear – according to Mark Fuhrman, Brad Roberts and their LAPD supervisor Ron Phillips.
Nothing is subtle, arbitrary or coincidental about these killer-Fuhrman-Roberts-Phillips ties to movies and the Fuhrman-Roberts-Phillips roles in the Bundy murder investigation. They are blatant, systematic and within the power of Fuhrman, Roberts or Phillips to stage. They have concrete links to Fuhrman’s special interest in O.J. and Nicole Simpson going back to the baseball bat incident in 1984 and to themes, plots, characters, scenarios and screenshots from scores of movies and TV shows he identified in his 1997 book.
Signposts
Mark Fuhrman has rare mental characteristics that identify his work like a thumbprint:
The concept of “signposts” in tracking Fuhrman’s thumbprint on high profile criminal cases through movies comes from these Fuhrman traits. Backtrack clusters of them from any O.J. criminal trial destination point and you will see the path of a plan leading there.
The photos of the glove, the envelope and the blue knit cap on Bundy, for instance – the close-up of the evidence and the one showing Fuhrman’s face – are Fuhrman signposts. He initiated the event, inserted himself in the photos and the photos point the way to a big event for him down the road. He told the photographer that he had something to show him. By his account and the photographer’s, the photographer asked him to point to it. However, by no account and by no logical extension was it necessary for Fuhrman to pose with his face showing and his body blocking other evidence on the ground. By no account and no logical extension was it useful in photographing the glove, cap and envelope, for Fuhrman to pose in an artificial kneeling position in front of the other evidence including Ron Goldman’s body.
It would have taken only a second or two for Fuhrman to point to the glove and step away. It was his decision to appear just as he did in that photo and in the close-up of his pointing finger from a slightly different angle. It took more than a second or two to set up both of those shots. The photos had to be taken before Fuhrman completed his notes (item 17) and when Fuhrman was in charge of determining what would be photographed. That was before Robbery/Homicide Division detectives Phil Vannatter and Tom Lange arrived on Bundy to take over the case from West L.A.
The apparent coincidence of Fuhrman posing in a photo pointing to the killer’s glove on Bundy and then initiating the sequence of events that led to him discover the matching glove on Rockingham was a “perception problem” for the RHD detectives. A conspiracy of ill-fitting lies by Fuhrman, Phillips, the two RHD detectives and one uniformed police officer (Robert Riske) shifted the time that the pointing finger photos were taken was all it took to fix the perception problem. This “slight” diversion from the truth was not only essential to preserving the most damaging physical evidence against O.J.; it was entirely predictable because it fell within the scope of habitual LAPD practices.
Again and again, you find time shifts in Fuhrman’s accounts of what he and Roberts did on Bundy and Rockingham and in his flawed reconstructions of events on the night of the murders from Pomona to Brentwood. The only consistent explanation for these recurring time shifts is straight out of science fiction – time travel. He does it in such a way that you can pinpoint the movie and TV sources they came from by the details surrounding his conflicting references to time.
You will see this pinpointing of movies and TV shows again with Michael McClinton’s testimony about the gun he displayed in the Palace Station Hotel and the secret audio recording he made afterwards.
According to McClinton, O.J. told him to display the gun and to “act menacing,” as he and O.J. were entering the door where two sports memorabilia dealers claimed that they were robbed at gunpoint. Hearing O.J. say “menacing” on McClinton’s tape after the incident made it easy to “hear” him say it earlier when and where McClinton said he did. It was the same trick as seeing O.J. wear a blue knit cap in The Naked Gun and brown leather gloves on Monday Night Football made it easy to “see” him wearing them on Bundy years later.
The genius of this time shifting mind trick is its simplicity. All it takes is transposing familiar images as in popular movies, or sounds as in O.J.’s voice on tape from one time and place to a different time and place with a story that fits the sounds and images. It was used by the Bundy killer in choosing the cap and gloves and leaving them where he did. It was used by Mark Fuhrman in telling his story of the cap and gloves in words and pictures. It was used by Michal McClinton in telling his story of the gun.
Between the Bundy killer stopping Nicole Simpson’s wristwatch at 10:03 when she and Ron Goldman were actually killed 30 minutes later to other instances of time shifting in that case there are enough of them to make time travel a signpost.
Other examples of signposts in tracking Fuhrman’s plans through movies and TV shows is his explicit references to movies, TV shows and characters in movies and TV shows to describe himself or his actions. With the character you get the actor who plays that character. By following the actor you get other roles with names and scenes that match up to Fuhrman’s stories as well as the metaphors and analogies he chooses to tell them.
You shouldn’t get Michal McClinton repeatedly when you follow Mark Fuhrman signposts – but you do. You get them repeatedly on narrow paths of inquiry that take you through “Mike Gilbert’s” book to a courthouse in Las Vegas and an unsolved murder case in the same city 14 years earlier, the murder of retired Sergeant Major Robert Charles. Hurd, Jr. –Jasper
Page 232 of Murder in Brentwood: Chris [Darden] and I got nowhere on my testimony preparation. He asked me questions like, who were my favorite sports stars? (My answer: George Foreman, Michael Jordan, Larry Bird)
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