At first glance Jane Fonda and Mark Fuhrman may appear to be birds of different feathers. Few people are better known as a dove than Jane and there is no better example of the American hawks that made her look like a true peace advocate than a Nazi poster boy like Det. Mark Fuhrman, USMC and LAPD. That's why we're going to give their respective image-making careers a hard look beginning with the birds that symbolized the Vietnam debate, the United States of America and Nazi Germany’s Third Reich.

When the Vietnam war-and-peace debate took the American eagle's olive branch from its talons and put it in the beak of a Judeo-Christian dove no arrows were necessary to define the bird of prey on the opposite side. A hawk was close enough to an eagle to call to mind the requisite image. In 1969 the debate become a right/left issue when conservative Richard Nixon took over the White House and the war from Linden Johnson. By 1973 enlightened people were supposed to believe that the American war effort was pointless if not evil. Jane and her friends routinely equated the American Armed Forces and its leaders with Nazi Germany’s.

In 1971 Jane Fonda established an organization called Entertainment Industry for Peace and Justice (EIPJ). Its aim was to unite the entire film and television community against the American war efforts in Vietnam and Cambodia. They got what they worked for with the Communist victories in 1975. They then recorded their version of the war and the peace movement’s success that virtually ignored what was happening in Vietnam until 1978. Cambodia took another year. You would have had to go back to Josef Goebbels’ Nazi propaganda machine and the decade preceding WW II to find a similar peace movement success story. A beautiful, talented, popular, well-connected, prize-winning actress/ moviemaker was profoundly involved in that effort, too. Her name was Leni Riefenstahl. She did in 1934 what Jane did in 1971.

1971 was the year Mark Fuhrman joined the Marines. Judge Ito sealed his military records, so all we have are Fuhrman’s two versions of what he did until his discharge in 1975. He told Laura Hart McKinney and the LAPD shrinks that he was a machinegunner in Vietnam in 1975 and boasted of killing without remorse. He told F. Lee Bailey that he was in Vietnam in 1975 but said he was an M.P. and never left the ship.

We cannot know from the available facts whether either story is true, but both stories tell us what he wanted his audience to believe and why. By telling Bailey that he was an unremarkable serviceman unlikely to have killed anyone in Vietnam, he avoided all of the hawk/dove issues that could have hurt him with Ted Turner’s CNN and Court TV. If the McKinney tapes ever came to light he could argue as he did when the tapes did come out that he was playing a part to make himself more marketable to Hollywood producers and book publishes like Dove Press.

Before we proceed we have to get some things straight about the evolution of liberal and conservative politics in America and how one segment of the extreme left became identified with the extreme right.

On today’s far right we have white supremacists who claim to value individual rights above all. What they mean is their individual rights. They once believed that their property rights included the right to own Negroes and other lesser beings if they could afford to buy them. Today they dress their bodies in modern clothes, their ideas in modern rhetoric and their antebellum intentions in the good old American flag. They were at the forefront of the 1936-1941 peace movement that saw no threat to vital American interests in Japan’s conquest of Asia and therefore no reason for Americans to stand up against them. Ditto Hitler’s eagle in Europe. Ditto the Nuremberg Laws and German concentration camps. They called WW II "Roosevelt’s war."

On the far left we have Americans who have always championed the rights of the poor and downtrodden masses. They have stood firm for the economic rights of workers and the social equality of all—all white people, that is. The "Black Codes" passed in the South following the defeat of the Confederacy were for their benefit. The Knights of Ku Klux Klan rose to power to fight the Reconstruction laws passed as a response to the Black Codes. The politicians in the former Confederacy who drafted those second-class citizenship laws for blacks were later known as Dixiecrats. Dixiecrats and Klansmen remained potent forces within the Democratic Party until the election of John F. Kennedy started their defection to the Republicans who had more in common with them on issues of race.

Only then did the Klan join forces with the Nazis leaving the Communists alone on the far left wing of American politics. Where an individual stood on issues involving race, rather than class, now determined where the line between left and right could be found. By this standard it was easy for the Communists and their liberal supporters to call Vietnam a race war of white Americans and their black and brown lackeys against yellow peasants in Indochina.

The debate that ended the Vietnam War for the United States (as opposed to the Vietnamese and their neighbors) in 1975 left Jane’s EIPJ shoulder to shoulder with the victors in Hanoi. In addition to Hollywood to pound home the message of how wrong it was to oppose them, the Hanoi government had many American politicians, two Medal of Honor winners and a paraplegic ex-marine who was born on the Fourth of July. The far right had the government of Hanoi and Hanoi Jane.

In 1978 when the country of Vietnam that Jane fought to unite under Communist rule began its murderous conquest of Indochina, no one was left to oppose it but the murderous Khmer Rouge. In 1978 Jane won an Oscar for her role in Coming Home. Her reputation as a dove wasn’t hurt by the fact that Hanoi’s war continued through ’78, ’79 and the first half of the ’80s. It wasn’t hurt by the fact that the hawks she flew with in the ’70s were still fighting after they defeated the anti-Communists in 1975 and murdered upward of four million people before the decade was over.

No Vietnam veteran could have been indifferent to the Vietnam debate. We were at least half of what it was supposedly about. The Vietnamese, Laotians and Cambodians were supposedly the other half. The timing of Jane’s Academy Award put a lie to the doves’ claim of concern about their welfare. Vietnam vets who allied themselves with Jane publicly were treated well by the media just as our POWs who cooperated with their captors in Hanoi were treated well by them. Those who condemned the United States were released—to Jane Fonda.

The victims of the peace movement’s success were literally ignored to death. If you type in EIPJ on a worldwide web search engine the only thing you are likely to find on it is the book I published in 1995. It’s the one I dedicated to Dennis Hammond a United States Marine who was not released to Jane because he would not denounce his country. The reputation of one celebrity was thereby shown to be worth more than the lives of any number of people who weren’t celebrities. Jane’s EIPJ never said a disparaging word about Poll Pot’s "killing fields" in Cambodia or Hanoi’s campaign of genocide in Vietnam and Laos. American POWs, like Dennis, who were listed as MIA were mostly forgotten.

American public opinion on the subject of genocide did not break down along liberal or conservative lines. For 70 % of the American people it broke down along racial lines. Whites mattered to whites, blacks to blacks and Hispanics to Hispanics. Asians mattered only to Asians if they were from the same part of Asia. If you want to call Jews a race, Jews mattered to Jews. The message was clear. As Quick told Sugar Ray in Harlem Nights, "It’s not how many you shoot, it’s who you shoot."

United States Marines got special treatment in the media as mindless, conscienceless servants of our government, which was represented by the EIPJ as the greatest evil in foreign and domestic affairs. That is pretty much how the Klan and the Nazi’s see the American Government. They, too, believe that Americans should fight only for Americans, real Americans like themselves. They, too, use ancient religious symbols and high moral principle for their actions. They too believe that God is on their side and the government is in league with the Devil.

You can be sure that Three Days of the Condor was in production before public opinion persuaded our Congress to cut the legs out from under our besieged allies in Cambodia and South Vietnam. You can be sure that Gunnery Sergeant William Lloyd USMC was paired with contract killer Joubert for a good reason and that Jouber’s alias was Lucifer for the same reason. You can be sure that the costuming department knew what it was doing when it gave Joubert and Higgins brown coats and the same distinctive hat. You can be sure that Mark Fuhrman saw the same things I did. You can see them all only by looking through his eyes.

One EIPJ loyalist on the right side of a camera in the right place at the right time was worth more than a division of marines. These same people or their handpicked successors are in charge of the media today, not the least of whom are Jane’s third husband Ted Turner and her friends, Barbara Walters, Geraldo Revera and Robert Redford to name a few.

No analysis is necessary of the relationship between Jane and Ted from any Vietnam veteran’s point of view. But to get a better picture of what Jane and her other friends in the media have to do with a history buff’s calculations of success in the Bundy murder/frame-up, another brief history lesson is in order.

For 16 years after Jane Fonda got into hot water with her supporters by going too far in her zealous support for the Hanoi government, she avoided the issue. What she did that upset her friends so much wasn’t her visit to Hanoi in 1972 as part of a "peace delegation" that American POWs were tortured to participate in. It wasn’t the fact that some of them might have been tortured to death or that she gave the Communist a badly needed morale boost at a critical time in peace negotiations. It had nothing to do with the concrete reasons her visit gave Hanoi to believe that enough influential Americans were arguing the "inevitability" of an American defeat to make it a self-fulfilling prophesy. Her friends were upset with her for being honest about her intentions of helping to bring about a Communist victory by persuading the American people to quit.

As long as Jane did her thing in the States where she could be most effective, that was fine. But when she donned a North Vietnamese Army helmet to pose with their anti-aircraft gunners and when she broadcast a blatant pro-Hanoi/anti-American propaganda speech on Radio Hanoi, she blew it. Now her right-wing critics could sell themselves to middle America as true patriots with proof that the so-called dove they hated most was a hypocrite and a liar. By association, so were her friends. Guilt by association was the game both sides were playing.

Fortunately for Jane, the media could play the guilt by association game better than anyone could. By associating her critics almost exclusively with the racist-right, it soon became impossible for anyone else to criticize her with impunity. If I could see all of that, so could Mark Fuhrman. The difference is, I fought the stereotype of racist Vietnam vets who dishonored the justly proud uniforms we wore. He embraced it. The only thing the uniform meant to him was being a member of an elite fighting force that everyone on the planet knew was "bad." The idea that "Mexicans and niggers" could occupy positions of authority in the same organization was enough to turn him against the Corps. That’s where his head was when he joined the LAPD under Chief Daryl Gates in 1975.

For those of you who still think I’m injecting something into Fuhrman’s thoughts that weren’t necessarily there, I urge you to read Murder in Brentwood. Read what Fuhrman has to say about Forest Gump on page 281, a movie that Hanoi Jane would have loved. Read his apology in the prologue and see how he manages to link Jane only three pages later to her second husband and the McKinney tapes. Study his apology carefully for what he does and doesn’t say about the tapes and his part in the O.J. murder investigation. Then read a transcript of Jane’s 1988 apology on 20/20 for what she said on Radio Hanoi in 1972. Compare the two. Remember that his first wife’s name was Barbara and his second wife’s name was Janet. With Jane, Fuhrman also gets Ted to go with Bundy and Turner to go with Jack the Ripper and Three Days of the Condor.

Jane Fonda’s words adapted to Mark Fuhrman’s special circumstances will speak for themselves. But it’s not as though Fuhrman reached back seven years to Jane’s historic 20/20 interview with Barbara Walters after he got busted. His image assassination of O.J. Simpson follows the Jane Fonda/EIPJ model used against unrepentant Vietnam vets for a generation and his explanation of the swastika cartoon he kept on his desk parallels what Jane said on 20/20. Fuhrman said in his book that he kept the cartoon because he was impressed with the powerful statement contained in that one image. Jane said, "I know the power of images."

Director Sidney Pollack also knew the power of images and the power of super stardom when he teamed Jane with Robert Redford in Barefoot in the Park and The Electric Horseman. You may also have seen Fonda and Redford in The Chase where he lies dead outside at the foot of four concrete steps in the end, the victim of a crazed killer after being accused of a murder he didn’t commit. When you see the position of his body and recall the name of the character in a similar position in Three Days of the Condor, you have a close composite of how the bodies of Nicole and Ron were found on Bundy.

One of the most striking things about the pictures of Redford’s murdered character in The Chase is how it corrects for differences between the body of Janice in Three Days of the Condor and Nicole’s body in Fuhrman’s book. In Three Days of the Condor the victim is a black-haired Asian. In The Chase the victim is a blond-haired Caucasian. In Three Days of the Condor the body is inside of a building. In The Chase it’s outside. In Three Days of the Condor the victim lies on her left side, like Nicole; her watch is on her left wrist like Nicole’s; but her arm is extended like Fuhrman’s. In The Chase the victim’s hands are in front like Ron’s and Nicole’s. Like a left-hander, Redford wears his watch on his right wrist. He lies on his right side, like Ron, and his wrist is turned so that the face of his watch would be against the pavement, like Nicole's.

Robert Redford is ambidextrous like Fuhrman. He writes with his right hand but shoots and throws with his left. In The Natural, a woman played by Barbara Hershey shoots him in his left side. He made a baseball bat from a tree as a boy that had been struck by lightning and he burned a lighting bolt into the barrel. Lightning equals electricity. Electricity equals Juice. Juice equals O.J. Simpson. In Three Days of the Condor, Redford plays a man falsely accused of murder. Afterwards you see him in a Ford Bronco at night parked at an extreme angle, the way Fuhrman said O.J.’s Ford Bronco was parked at night after he killed Ron and Nicole.

Later in the movie you see the Bronco in a gas station where Fuhrman said he was during the killing buying gas and a soft drink with a credit card. You get a bonus with the fact that it’s Catherine’s car, and Catherine was using a credit card when Joe Turner decided to kidnap her. With Robert Redford as Joe Turner you get other connections to O.J. and the Bundy killings that you can’t get with any other actor. You get a movie that links Redford to Ted Turner through Jane Fonda, the de facto minister of propaganda for Communist Vietnam he was later to marry. With that connection comes CNN, Court-TV and, through them, the Fuhrman version of the Bundy murders.

The Electric Horseman is a light comedy. The closest thing it has to an act of violence by one human being against another is Redford’s character Sonny Steele tackling Jane’s character Haley Marten and hitting her in the face before he sees who she is. Sonny is a retired sports hero everyone knows and loves. Like O.J., his name and face are worth tens of millions of dollars in product endorsements and it has become synonymous with a popular breakfast food. He doesn’t drive a Ford Bronco, but the last syllable of his real last name is ford and he does ride a bronco as a five times all-around champion rodeo cowboy.

In 1991’s The Naked Gun 2 ½ O.J., as Nordberg, gets stuck under a red Ford truck while lying on a wooden board with wheels. He moves with the speeding getaway truck then gets slung forward under a light green car and ends up under a white bus headed for Detroit. In two scenes of 1979’s The Electric Horseman the name of singer Diana Ross who came from Detroit (a.k.a. Motown), married a white man and settled in New York City, fills the screen as a Los Vegas marquee performer. Only five weeks before the Bundy murders in 1994 O.J. purchased his German Stiletto at Ross Cutlery. Had that knife come up missing the way the killer’s shoes had, Fuhrman could have made a strong case for it being "the" murder weapon.

In ’79, ’91 and ’94 the Redford/Simpson/Ross connection would have boomed inside of Mark Fuhrman’s head like a gong in a sarcophagus. 1979 is when O.J. played the boxer opposite the white girl who played Goldie in Goldie and the Boxer. In 1979 O.J. had recently moved to LA from New York, bringing Nicole with him to live in his new Rockingham estate. Ross played famous singer, former prostitute, alcohol and heroine addict Billie Holiday in Lady Sings the Blues.

One Billie gets you two. Two gets you three.

Billy D. Williams and Morgan Fairchild (yes, another MF) star in Deadly Illusion, a 1987 movie in which they have sex and she frames him for murder. Dirty Harry was the only Clint Eastwood character that Fuhrman mentioned, but he would have felt something about another Eastwood character considering the wood he found in front of O.J.’s Bronco on the east side of Rockingham and the fact that the character’s name was Bronco Billy. Billie Fuhrman is Mark Fuhrman’s mother.

Between 1979 and 1994 Robert Redford’s costar in The Electric Horseman became as successful in selling commercial products and political ideas as both of the characters they were playing rolled into one. Jane Fonda almost single-handedly created the billion-dollar exercise videotape industry while simultaneously demonstrating how popular a collaborator in a genocidal Communist regime could be as long as she fulfilled a common need. If a Communist collaborator could do that a smart Nazi sympathizer could, too—on a smaller scale, of course.

The trick was to put the truth about racism in America to practical use by getting a prominent black man to take the fall for killing a Jew. It can’t get any easier than that. And you couldn’t have had a better teacher than Hanoi Jane. If Jane did make that much of an impression on Fuhrman you would expect to find traces of it on the crime scenes at Bundy and Rockingham as telling as any other properly documented and collected trace evidence. You get it in The Electric Horseman and Coming Home.

How do you document evidence of a Hanoi Jane-inspired killer on Bundy? Would a video camera in her hands help? That’s what Willie Ford used to document the black socks Fuhrman "found" on the rug in O.J.’s bedroom. In The Electric Horseman you see that Jane is wearing a pair of black socks and a pair of boots that she bought at Bloomingdale’s in New York. Her boots have noticeable heels but the reason they are noticeable is because of the issue Sonny made of where she bought the boots and the ground that they had to walk on. One of her heels literally tripped her up.

On the Bundy crime scene boots from Bloomingdale’s in New York tripped O.J. up. So did a leather glove, a knit cap and an envelope with a woman’s glasses in them. In The Electric Horseman Jane and Redford wear leather gloves. He’s wearing the gloves when he uses a knife to puncture the tire of her car (keep that in mind when you see what happens to his bat in The Natural). Jane is wearing a knit cap as she takes off her glasses with a leather glove on her left hand. In one scene you see Steele in his cowboy hat take off one of his gloves to give Haley an important message in an envelope. In another scene you see her wearing her prescription glasses as she makes a phone call and in yet another scene you see her giving him her glasses to help him hide his identity.

One of the most interesting things about that is the fact that Fuhrman, who bought 20 acres of property in northern Idaho, rides horses and raises livestock calls his ranch a farm. He calls himself an outdoorsman and lists the game he hunts as: elk, mountain lion, bear and dear. He goes out of his way to play down the cowboy image that fits his arrest style as a cop and his lifestyle as a retired cop so well. He talks about the high quality horse and trailer he bought as a Christmas present for his wife and the "nag" he rides since he prefers hunting and fishing to riding. Where, you might ask, is there a conflict that requires all that explaining?

If he were not a racist (the first cowboys were black) and a student of western history it might not matter. If he hadn’t been photographed with his body in the same frame as the glove, the knit cap, the envelope for the glasses and the heelprint of the size-12 boot from Bloomingdale’s in New York, it might not matter. If he hadn’t seen The Electric Horseman with Robert Redford galloping south across Bundy’s Field on a 12-million-dollar horse called Rising Star, it would not have mattered. If his star hadn’t risen on the Bundy field of blood, if he hadn’t lived south of it, and if he hadn’t mentioned a 12 lb. fish in the same paragraph as the horses he might not have tipped his hand. A 12-million-dollar horse can be described as 12-million dollars on the hoof if you measure its value by the pound. Like people, domesticated horses wear shoes. Before Steele let Rising Star go free, he took off the horse’s shoes.

This connects to the first two installments of the Die Hard series and the bloody shoeprints that Fuhrman mistakenly called footprints. When we get to that you’ll see why it was most likely a Freudian slip and how Jane’s character in The Electric Horseman is tied to it. For now we’ll just recall that in The Naked Gun series, Jane is the woman who reminded Frank Drebin of his mother. She was the woman Frank was insanely jealous of, the woman with a name that looks so close to Janet, Fuhrman’s second wife, which sounds so close to Janice the murdered woman on the tiles in Three Days of the Condor. We want to remember that Fuhrman once threatened the life of a man who showed too much interest in his mother as well as saying he would have killed his second wife and her lover if he had caught them together. In The Electric Horseman Sonny Steele sums it up with a gesture that could express the end of a movie scene as well as the end of Nicole Brown Simpson’s life—and Mark Fuhrman’s rising star.