The title Fatal Instinct (’93) lets you know that you are going to see a silly amalgamation of serious suspense thrillers like Fatal Attraction with Glenn Close as Alex Forrest and Basic Instinct with Sharon Stone. To get every joke you have to see every movie the way the filmmaker does. Carl Reiner makes that as easy for you as he can by throwing in an unmistakable cinematic cliché wherever he can fit one in. You may have been surprised to see Assante in the red pumps, but if you were following a Bruno Magli train of thought from the ones Nicole bought for herself to the ones most people imagined were on O.J.’s feet when he killed her, you might have anticipated the switch.

A scene beginning with the shoes of an unidentified character is a cliché that you know you’re going to see. Usually, the director gives you enough clues in the trailers or in a previous scene to put pictures in your head of what that person looks like. You are kept in suspense long enough to make a good guess before the guess is confirmed or invalidated by a slow pan up the character’s body to his or her face. Occasionally you see someone in someone else’s shoes. You need to have all of these possibilities open for any of them to work. You knew, for example, that you were going to see The Terminator in the street tough’s boots before you saw his face. In that case, it was the confirmation of what you knew that gave the inch by inch revelation of his body clad in all of his victim’s clothes that gave the scene its punch.

The fact that the picture was in your head before you saw it is one of those crucial facts that most people never stop to think about. The Bundy Drive killer gave it a considerable amount of thought. Only he wasn’t imaginative enough to use that knowledge without drawing straight lines to the movies he borrowed his best ideas from the way that Carl Reiner did in Fatal Instinct—without the laughs.

Take any movie in the Fuhrman collection—Mortal Thoughts (’91)—for example, and ask yourself how the crime scenes at Bundy and Rockingham would have looked and how Fuhrman would have described them without it. If Demi Moore hadn’t gotten blood on the handle of the Ford Econoliner, do you think that Mark Fuhrman would have found blood near the handle of O.J.’s Ford Bronco? Do you think anyone would have found blood smears on the inside door of the Bronco or that the killer would have worn Bruno Maglis with a bloody heelprint only inches from Fuhrman’s pointing finger? You won’t when you know the rest of the story.

In the carnival sequence of Mortal Thoughts where Demi Moore as Cynthia Kellogg slashes the throat of her best friend’s abusive husband, the Ford van in which she does it appears to be very light in color. Light is how Robert Heidstra, the dog walker who heard the killing in progress and saw the SUV he couldn’t identify by name turn south on Bundy, described the vehicle’s color. The prosecutor could not get him to swear that it was a Bronco or that the color was white. The time was around 10:45 P.M. and the lighting conditions weren’t the best so he couldn’t be sure.

Fuhrman said something similar about an eyewitness a couple of blocks away who said that he saw an SUV in an alley. According to Fuhrman, the man said that he thought the vehicle’s color was blue. Fuhrman theorized that the man saw O.J.’s white Bronco, but that it only looked blue because of the poor lighting. The International Harvester Scout that Fuhrman drove on the 12^th was pea green and white.

The moral of those stories is simple: Depending on the lighting conditions, the view of the observer and the description your audience wants to hear, the color of a motor vehicle at night can be whatever you say it is. No one in the criminal justice system puts a hell of a lot of weight on discrepancies in what witness say about a car or a truck’s color unless it helps them make their case. People often get the colors wrong. Right or wrong, if other circumstantial evidence is strong enough, and the color doesn’t fit that evidence, it will be ignored. This is not news to an experienced police detective. In the late ’70s an innocent Tennessee man was convicted of rape and imprisoned for five years largely on the basis of the white, hardtop, government jeep he drove to deliver mail. The real rapist also drove a jeep—a commercial, dark green convertible.

Mortal Thoughts would be instructive enough for the magic color change and the blood on the door handle. But that’s just the beginning. Remember Fuhrman’s theory of the stick getting wedged under the Bronco and flying out in front of it as he came to a panic stop? After Cynthia kills James in Mortal Thoughts and cleans up the van, the dead man’s brother, Joe thinks the van looks suspicious. He drives it away to do some investigation on his own. You’ll never guess where he finds a spare key for the van. Well, maybe you will. He gets it from under the front bumper.

Eight detectives in all searched Orenthal James Simpson’s property. One room they wanted access to was locked. Guess who found the key? I’ll give you a few hints: The only part of his badge number that he wrote legibly on his notes was very close to Joe Friday’s badge 714. He said that he wanted to be a writer like Joe Wambaugh. He testified in court that he saw something suspicious about the extreme angle at which O.J.’s Bronco was parked. The actual angle was two degrees—somewhat less than the angle at which Cynthia parked the van to clean it.

We can’t forget that Cynthia Kellogg is really Demi Moore, that James is really Bruce Willis and that they were married to each other in real life when they appeared together in Mortal Thoughts. We can’t forget that her character’s name in two movies only one movie removed from Mortal Thoughts was Molly. Remember that my primary interest in her therefore had to do with shoes—men’s shoes (Michael Caine’s shoes in Blame it on Rio and Patrick Swayze’s shoebox in Ghost) and women’s shoes (the expensive ones that Maria bought and worked in as The Butcher’s Wife).

Now let’s look at the other half of the couple and see what we have that fits the bloody shoe evidence at 875 South Bundy. Actually, we don’t have to go any farther than his nickname, Bruno, and the blood trail he made in Die Hard. We therefore have so much in the way of a Bruno Magli connection to the movies with Bruce and Demi that the rest you get with Mortal Thoughts may seem at first like piling on. It may seem that way until you add the slit throat to the bloody shoes and the fact that the Bruno Magli Lorenzos went on sale in 1991, the same year Columbia released Mortal Thoughts. First we have Jim "Bruno" Urbanski in a pair of bloody Nikes. Then there’s Cynthia "Molly" Kellogg in a similar pair of high tops with rubber soles. He is the victim. She is the killer. She is also a good liar who comes close to getting away with murder.

The truth of what happened in the van isn’t that straightforward. The victim was an abusive SOB who shot hoops when he should have been working, roughed up his wife, stole her money, embarrassed her in public and tried to rape her best friend. That’s what he was up to when she killed him. If the two women hadn’t driven away from the hospital until they were sure that he had bled to death, then conspired to cover up what happened, Cynthia might have gotten a medal instead of a long stretch in prison.

On the other hand, as the movie ends, there is no sure way of knowing that anyone but the woman she blames for the murder is going to do hard time. It depends on how the lead detective tells the story. Glenne Headley plays Joyce, the woman in Mortal Thoughts who’s going to do the time. If I hadn’t run into Glenne Headley when I was looking for women in the Fuhrman collection with androgynous names I would have found her through her starring roles with Michael Caine in Dirty Rotten Scoundrels and Warren Beatty in Dick Tracy. In Dirty Rotten Scoundrels Caine was Laurence Jamieson. In Heaven Can Wait, Beatty was Joe Pendleton.

Once again, we’re talking about the free association of ideas and a man who got his association of ideas for murdering two people and framing another from the movies. Mark Fuhrman is never more than one movie or one actor away from his personal history and his story of the murders, the events leading up to them and his part of the investigation. They are all linked in an unbroken chain like charms on a bracelet.

The "Twenty Two" episode of The Twilight Zone is one of the charms that you cannot get around. Just look at the toy leopard that Barbara Nichols as Elizabeth carries to the airplane and drops in her panic to escape. Look at where the leopard spots show up in the Fuhrman collection, starting with Glenne Headley in Mortal Thoughts.

The idea for this book came from my sister Sara’s independent observation that Fuhrman had no imagination with respect to the movies and her impression that he saw himself as Tarzan. That was her reaction to my first draft of the Fuhrman at the Movies chapter of Iago in Brentwood and to what she’d heard him say about men and women on the McKinney tapes. She had a few questions about him and the knife used on Ron and Nicole. When I told her how tall Fuhrman was, that he was a body builder and a hunter, she repeated what she’d said about him thinking that he was Tarzan and she added, "I bet his wife’s name is Jane." I could tell by how she said it that she would have been surprised if it wasn’t. When I told her that I thought his second wife’s name was Joan, she was surprised. But I didn’t feel comfortable about my answer because I hadn’t assigned any significance to her name before then. I had to look it up to make sure.

We all know now that his second wife’s name was Janet. What threw me was her second name, Hackett. Joan Hackett was an actress. Considering the context in which Sara and I were speaking, you can see exactly were "Joan" slipped into my thinking. By looking at the context in which certain names appear in the Fuhrman collection you can zero in on where they slipped into the evidence left behind by the Bundy killer and where that evidence converges with Fuhrman’s record.

The names of all three of Fuhrman’s wives converge with the Bundy murder scene and an O.J. impersonator in the link between "Twenty Two" and Tarzan and the Leopard Woman (’45). "Twenty Two" gives us his first wife Barbara and the leopard skin. The leopard skin takes us to Tarzan and the Leopard Woman written by Carroll Young. Fuhrman’s third wife was Caroline. Tarzan and the Leopard Woman gives us Brenda Joyce (Headley was Joyce Urbanski) as a blonde Jane. The young brother of the Leopard Woman, seeking to prove that he is a warrior, attacks her with the claws attached to the leopard suit he’s wearing. His plan is to kill her and take her heart back with him to his people as proof of his great deed. Fortunately, Boy surprises him. They join in a death struggle. Boy survives only because Cheetah the chimp uses a stick to take out the leopard boy with a sharp blow to his head.

A stick, multiple slashing wounds and a glass heart were included in the Brentwood crime scenes. Mark Fuhrman was still collaborating with Laura Hart McKinney on "his" screenplay. The Bundy crime scene included evidence of one male attacker and one male and female victim. Only this time the attacker won. The killer assured the success of his attack on Ron and Nicole by hitting them in the head to start with.

A careful examination of all the evidence says that Ron must have been hit first. Fuhrman somehow figured that it was Nicole. There was no locked gate in the Tarzan movie to interfere with the logic of Fuhrman’s scenario. There was on Bundy. The evidence says the gate must have been locked if he was right, but if the gate was locked he could not have been right because Ron could not have gotten inside.

Once people were convinced that O.J. was the killer there was no limit to the exculpatory evidence or flaws in logic they were willing to overlook.

Tarzan faces a similar situation in Tarzan and the Leopard Woman when he notes that the wounds on a dying man that were supposedly inflicted by a leopard and the absence of teeth marks that leopards use to cut their victim’s throats don’t add up. What’s really going on is an elaborate plan to frighten British colonialists away from native North African territory. The killers are led by a doctor pretending to be something he isn’t and a beautiful woman who is worshiped like a queen. The killers are native North Africans dressed as leopards. Their queen is a stunningly attractive women played by an African-American actress from Montana named Acquaintta.

The Leopard Woman devises a simple plan to discredit Tarzan before he can figure out who the real killers are. She says, "No enemy is more harmless than he who has been killed by ridicule." By having her men release hungry leopards on a column of hunters that include Tarzan and the district commissioner, she convinces everyone but Tarzan that he was wrong. But Tarzan still doesn’t have the whole picture until he hears a bird (where have we seen a bird before?) imitating the notes that Boy plays on a flute. Tarzan sees the flip side almost immediately and declares, "If animal can act like man, man can act like animal."

Jane and Boy, who where there when the real leopards attacked the hunting party, still think he’s seeing something in the evidence that isn’t there. As a prank, boy throws Jane’s leopard rug over his head and crawls though the jungle near a clearing where Tarzan can see him. Tarzan, primed to see a man who kills people dressed as leopard, springs in to action. When he sees how easily he was fooled by Boy in Jane’s leopard rug, he gives up and joins the laughter at his own folly.

Jain, the murder target of Forrest Whitaker’s character in Diary of a Hitman has her problems with her sister Kiki’s leopard-skin coat. Sherilyn Fenn (Laura in Fatal Instinct) is Jain. A dark-haired Sharon Stone is Kiki. The problem is what to do about getting Kiki out of her apartment before Whitaker, as Dekker, decides he should kill her. She was only there in the first place to drop off a package for Jaine’s infant son Billy.

On her way over to Jaine’s place some animal rights advocates had spray painted her coat red and she spends more time than Dekker can afford trying to get the stain out. She doesn’t know how close she comes to becoming a murder victim just by being in the wrong place at the wrong time. She doesn’t even know that Dekker is in the apartment until he shows himself to expedite her departure.

That may not be the smartest thing for him to do, but he has not been himself lately and has gone as far as to see a psychiatrist about the nightmares that are depriving him of sleep. Unlike Fuhrman who told his police psychiatrists that he killed people without remorse, in Diary of a Hitman, Dekker’s conscience is starting to get in the way of his personal and professional judgment. He feels guilty for having an affair with his neighbor’s wife, for not being able to protect a boy from his abusive father and for the people he killed that he isn’t sure deserved it. He has stolen something for reasons he can’t explain and brought needless heat on himself because of it from a relentless cop. He was sent to kill Jain and her baby but slowly finds himself falling for both of them. Only Kiki doesn’t know that as Jain hustles her out the door. Nether does Dekker.

Since we’re talking about Forrest Whitaker and Sharon Stone, whose last movie before the ’94 murders in Brentwood was for Paramount, perhaps we should list a name that gives us another link to the ’64 murders in Philadelphia Mississippi. The name is Bedford—as in Ku Klux Klan leader Nathan Bedford Forrest.

The middle name fits in Diary of a Hitman at a point that has special significance to Mark Fuhrman because of his well-researched attempt to get a fraudulent psychological disability pension from the LAPD. He boasted of killing people, of beating up blacks and dreaming of doing other violence to them. That is the Klan philosophy. It was Nathan Bedford Forrest’s philosophy. John Bedford Lloyd plays Dr. Jameson, the psychiatrist that Forrest Whitaker’s character goes to see. He is Andrew’s Brother in Philadelphia. Tom Hanks, of course, is Andrew. In Trading Places with Dan Aykroyd, John Bedford Lloyd is Andrew.

We haven’t forgotten the "Twenty Two" link to Tarzan and the Leopard Woman and Diary of a Hitman, nor have we wandered away from it with more talk about the 1964 murders in Philadelphia Mississippi. They all meet in the Bundy killings and in Mark Fuhrman’s associations to those killings. John Bedford Lloyd is like the leopard collar on Dan Aykroyd’s disguise in Dragnet that links Aykroyd and Hanks to Diary of a Hitman, Tarzan and the Leopard Woman and "Twenty Two." He is the common denominator between an actor named Forrest and an actor who played a famous character called Forrest. He is the common denominator between an actor named Michael who played a con man named Jamieson (Michael Caine as Lawrence Jamieson in Dirty Rotten Scoundrels pretended to be a psychiatrist), an actor named James, and the city of Philadelphia.

Which Philadelphia, you ask; the one in the state where Diary of Hitman was filmed, or the one in the state where Michael Schwerner, James Chaney and Andrew Goodman were murdered by the Klan? In the language of big dreams, the two are interchangeable. Look at it this way…Suppose you had to identify the city with a symbol that any literate person would understand. In Dan Aykroyd’s Ghostbusters II (’89) the Ghostbusters use the Statue of Liberty to rally the people of New York to their cause. If the Statue of Liberty stands for New York, what would you use for Philadelphia? What do they use in the movies? In Changing Places Dan Aykroyd uses the Liberty Bell.

Now that we’re talking about a bell as a symbol for something much bigger than a city we can expand that concept to include the bell at the fictitious College of St. George in O.J. Simpson’s birthplace, San Francisco. The bell stands for a ruthless secret society of wealthy, white, Anglo-Saxon Protestant men called The Brotherhood of the Bell (’70). That’s also the name of the movie. It stars Glenn Ford as Andrew Peterson who has been an ignorant Brother of the Bell for twenty-two years, and Will Geer as his father Mike. James McEachin, who played Lt. Brock in Perry Mason from 1986 to 1995, is a LAPD detective. That’s a white Andrew, a white Mike and a black James.

Looking for something about the Klan? Will something about a clan, do it for you—something to do with white racism in America?

On a television talk show where kooks or all sorts are encouraged to step up and speak their minds—so the host can ridicule them—Andrew makes a last-ditch effort to expose the sinister dealings of the Brotherhood. A black man in sunglasses and a dashiki steps to the microphone and introduces himself as Chief Wabensi. When the host asks what he is a chief of, he says, in flawless standard American English, "In the land from which I was brought, I was of a clan of chiefs." He then gives a speech about American racism in general that no one in the white audience wants to hear. He says that all black people know about The Brotherhood of the Bell because it’s nothing more than the "white power structure."

Remember the Leopard Woman’s observation, "No enemy is more harmless than he who has been killed by ridicule"? That, of course, is what happens to Andrew and Chief Wabensi as Bart Harris, the host, knew it would because that’s the way his show is structured.

When the chief gets done, a woman calling herself a patriot takes his place with accusations that Andrew is a Jew whose real name is Abraham Warsaw and the real evil conspiracy is one run by Jews. When she finishes making an ass of herself, which she is as oblivious of doing as the self-aggrandizing Chief Wabensi is, Bart gets a "sudden thought" about a Catholic conspiracy. When his audience begins to boo, he turns on them and tells them how stupid they are for buying any conspiracy claim. He calls Andrew a ding-a-ling and shakes a bell at him util Andrew loses it and attacks. The only possible winner, of course, is Bart.

That’s a Jew (Ron), a Catholic (Nicole), an image assassination (O.J.) and a sure-fire formula for stifling intelligent discussion of racism or conspiracy in the double homicide of two white people allegedly at the hands of a black man. Just mix it up in the same pot and let the "kooks" do the serving for the other side. The Bundy Drive killer left enough clues behind to keep conspiracy theorists going in different directions forever, and to keep conspiracy bashers laughing at them. It was easy.

A minimum of five people had to be involved to account for all of the evidence of a frame-up against O.J. Simpson. As far as I could see, Fuhrman and Roberts may have been able to carry out a workable murder/frame-up themselves. Given Fuhrman’s intelligence, he may even have been able to do it alone. But once I started doing radio interviews, I saw the advantage of a conspiracy involving at least five active people. You can’t get anyone in the media who counts to stop laughing at the idea long enough to examine the evidence.

It works in real life the way it does in The Brotherhood of the Bell. Chief conspirator Dean Jagger turns the question of a small secret society working within the cover of a forty-thousand-member college fraternity into a joke. He says, "Anytime 40,000 people can keep a secret for 22 years I would consider that something of a miracle, wouldn’t you? The reporters are only too willing to laugh along with Jagger who answers a follow-up question about Andrew’s real allegation with another joke. "It must be terribly secret because I wasn’t even aware I was a member." Please note that Jagger, in the movie, is bald. Note the frequency with which wigs appear in the Fuhrman collection or bald wig dummy heads like the one rolling around in the back of Glenne Headley’s van in Mortal Thoughts—the one that reminds Cynthia of slashing James Urbanski’s throat. When pathologists perform an autopsy on a murder victim they shave the corpse’s head.

In Chapter 8: Twenty Two, I made quite a bit of the toy leopard that Barbara Nichols as Liz Powell dropped in her panic-driven flight away from the airplane that she knew meant death for all aboard. She knew it the instant the flight attendant appeared in the door. The evidence at 875 S. Bundy Drive in Brentwood says the killer arranged things so that Ron would have to come to the front gate and Nicole would have to come out of her front door to let him in. As soon as she did, the killer knew that she and Ron were dead. He’d seen it in his mind again and again long before it happened with minor variations but the same end result. Hiding behind the tree next to the front gate, he pounced on his victims like a leopard man in Tarzan and the Leopard Woman.

Although TVs and VCRs allow us to see movies out of sequence, we can’t act on them before they were made. That bit of common sense combined with the records of when certain items of evidence were purchased or offered for sale allows us to get a sense of when the killer made up his mind to plant particular pieces of evidence. The killer’s Aris Isotoner Light gloves had the same 70263 style number as the men’s Aris Isotoner Light gloves that Nicole purchased a week before Christmas in 1990. The sales clerk entered the number by hand and typed in "8" by mistake instead of "3." That is a common error, especially with dyslexics who occasionally see the 3 and its mirror image at the same time. Don’t forget that O.J. was dyslexic and that the killer knew it.

Mel Brooks is billionaire Goddard Bolt in Life Stinks (’91) who accepts a bet that he can’t survive on the streets of LA for a month without his wealth. All he has of value are his shoes. He spends his first night sleeping on a sidewalk with his forehead pressed against a Pepto-Bismol carton. A homeless man named Sailor reads the mirrored name on his forehead and names him "Pepto."

When I saw the name, the first thing I thought of was Pep in Dragnet. While dressed as gang members, Joe and Pep are pulled over by PAGAN members driving a police car and dress as cops. When they leave Joe says, "Bogus cops. No matter how many times I see that little maneuver it never ceases to disgust me." Pep reply’s, "You mean people dressed up in strange clothes pretending to be something they aren’t?" They are on their way to the PAGAN convention in the desert. There, they jump into a water-filled pit to save the life of a woman who is going to be sacrificed to a deadly snake.

Substitute "phony cops" for a "phony O.J." and real cops using strange clothes to implicate O.J. and you’ve got Mark Fuhrman leaving the PPL seminar in the desert to take two lives. You have him and Brad Roberts together at Bundy and Rockingham on the night of June 12, 1994. What’s supposed to put O.J. on Bundy are the Bruno Magli (Molly) shoes, O.J.’s blood, and the bloody leather Aris Isotoner lights—the Christmas gloves with cashmere lining and a V stitched in the palm.

For the Bundy killer, V could easily stand for Victor, especially if he were in the United States Armed Forces as Mark Fuhrman was in the early ’70s. In the military’s phonetic alphabet at that time, V was Victor. Actor Brian Thompson, the nameless street punk who gets his heart snatched out in The Terminator (’84), the a nameless thug in the pilot for Moonlighting (’85) and The Night Slasher in Cobra (’86) is Mean Victor in Life Stinks (’91). Victor and his partner steal Bolt’s wingtip shoes. Fortunately, they do it in the "front yard" of a bag lady named Molly who happens to have a pair of men’s shoes in Bolt’s size. She is kind enough to given them to him. That’s right, Molly gives Bolt her shoes to wear. And he wears them. Lesley Ann Warren is Molly.

Men’s shoes belonging to a woman named Molly played by a woman named Lesley? Did a light just go on? Remember, the reason I started looking for matches to androgynous names in the movies was to learn whether the idea of using men’s Bruno Magli’s on Bundy could have had something to do with Nicole’s Bruno Maglis and with the name Leslie. Leslie Nielsen’s footsteps in The Naked Gun (’88) got me going on the idea when I noticed that Nielsen and Simpson were about the same height, might have been able to wear the same shoe and would definitely have left the same pattern of shoeprint behind. They walked with their toes pointed straight ahead. Five out of six men walk with their toes pointed outward, like five of the six men on the elevator in the beginning sequence of Life Stinks wearing identical shoes. That is, identical shoe styles. It is unlikely that all six men could have worn the same shoes or that they would show no sign of wear on the soles and heels like the Bruno Magli shoeprints on Bundy.

Unlike Simpson and Nielsen, five out of six men are under 6’ tall. Few of them wear size 12 shoes. Fewer still could have afforded to buy Bruno Magli Lorenzos in 1991 or ’92 and wait util 1994 to wear them. Only 299 of them were sold in the United States and the only place they were sold was at Bloomingdale’s in New York where Nicole bought her Bruno Maglis. These minority traits combine to make a strong circumstantial case against O.J. on the strength of the shoeprints alone—until you see the opening credits of Life Stinks with Fuhrman’s book, his notes and Pepto as your reading guide. Reversing the initials of Mel Brooks gives you BM. In explaining his 41 uses of the n-word, Fuhrman cited Joe as Wambaugh as his "unconscious mentor" fiction writing and Wambaugh’s 14 uses of the word. Frequently used words in his notes are abbreviations or initials (S/B is southbound, GSW is gunshot wound"). He said that the similarities were not coincidental.

The rare, size-12 shoeprints on Bundy made by a man over 6’ tall who stepped in blood and walked with his toes pointed straight ahead practically rules out a coincidental match between O.J. and the killer. It matches up extremely well to Fuhrman’s mention of a coffee table and Life Stinks (’91) with spilt coffee standing in for blood. When you’ve seen the Spilt Milk links from the moves to Bundy Drive including the blood in the spilt milk of a Terminator 2 victim, you can’t help noticing the cream in the spilt coffee. You can’t help noticing that the men in Life Stinks wearing carbon copy shoes slip in the coffee because of the slick leather bottoms. The correction for that problem is in Mortal Thoughts with the rubber soles of Bruce "Bruno" Willis and Demi "Molly" Moore.

For those of you who still think I’m reaching with Michael Caine’s Spilt Milk drink in Mr. Destiny, and the idea that the Bundy killer could have substituted blood for milk, Mark Fuhrman’s screenplay with its strong female lead should settle that question. Has there ever been a stronger female lead than Sigourney Weaver as Ellen Ripley in the Alien series?

Well, maybe Linda Hamilton as Sarah in Terminator 2: Judgment Day. In Mr. Destiny, Hamilton’s maiden name is Ellen Ripley. The two leading men that both "Ellens" have in common are Michael Biehn and Michael Caine. In Alien (78), a character named Cain is attacked by the alien and spews blood all over the place when the monster bursts from his chest. In Alien and Aliens (’86), you learn that a crewmember named Ash and one named Bishop are androids when they bleed a liquid that looks like milk. Bishop cuts himself on the finger of his left hand with a knife. He is not the killer that Ash was but his bleeding finger causes Ripley to see him as one.

So, now we know why the liquid on the bottom of Goddard Bolt’s shoes was likely to have made an impression on the Bundy killer. How about other evidence on Bundy that relates to the moves and to Fuhrman? In his book, Fuhrman expressed great interest in the FBI/ BATF shootout with white supremacist Randy Weaver in Ruby Ridge Idaho, 40 miles south of the Canadian border. Fuhrman mentioned that his Idaho home was 50 miles south of the Canadian border.

Weaver became a fugitive in 1991 and put under surveillance for 18 months. He was shot on August 22 ’92. He surrendered 11 days after the raid began on the 21^st. In Life Stinks, Sailor tells Bolt that the cords on the back of a man’s neck signal when he is going to die. He calls them "the elevens"–as in the eleven cents photographed on Nicole’s driveway after the twenty-two cents were photographed in the same area. If you recall only one scene from the movie chances are it’s the one where Bolt tries to make money by coping the song and dance of a young black kid. As he does his dance he points to the cup and sings, "Hot two, hot two, ziggity zig bam boo. Hot two. Hot two… Sounds like twenty-two to me.