Go to
Chapter 9

Table of Contents

We still have a lot of Matlock ground to cover but to see it in context we need to fill in some gaps we had to leave with the finger in "Mr. Awesome" and the Assistant DA’s name in "The Foursome."

I can’t be 100% sure of what made me think of Lauren Richmond when I saw Nastassia Kinski as Irena in Cat People going to a New Orleans train station. I do know that as soon as I saw the building the image of Amy Stock as Lauren Richmond asking Ellis Blake to explain the ball marker and fingerprint evidence she planted leaped into my mind. Irena’s brother has been killed. She has been told what kind of creature she is and seen the proof of it firsthand. Now she is just trying to get as far away from New Orleans as she can. She pulls out three bills and asks the ticket agent, "How far will this take me?" "He reply’s, "Where do you wanna go?" She tells him, "North." He tells her, "Richmond." He gives her the ticket and change.

A train ticket north from New Orleans should have put her in Chicago. Richmond is northeast of New Orleans, but the instant Irena flashed the three bills and asked "How far…" I knew what the answer was going to be. It was not a premonition and I don’t think it was a discrete memory. Through a process of elimination I believe I can pinpoint what it was.

I had seen the movie once in a theater when it was released in 1982 so I can’t rule out the possibility that a few of my brain cells retained the connection to that unimportant detail for 18 years. But that’s the problem; it was not important to me back then so there was no reason for me to have hung onto it for 18 seconds. Furthermore, twenty-two dollars for a train ticket from New Orleans to Richmond (the capital of the Confederacy) in 1982 seemed too cheap, so I doubted that the ancient memory of Richmond would have overridden a more reasonable guess of Jackson, Mississippi or Memphis, Tennessee.

Another complicating factor in making one quick jump from the paper money to the name Richmond was my uncertainty about whether the twenty I thought I saw might have actually been a fifty. The singles were easy to identify but no matter how many times I ran the tape, froze the frames or enlarged the ones that seemed to give the best resolution of the bill with two digits, the best I could do was rule out a ten.

When it occurred to me that anyone would have had the same problem much of the mystery went out of the fact that I knew what the train station ticket agent was going to say the instant I saw the three bills. It wasn’t only because of the three bills Lauren Richmond used to frame Ellis Blake. It wasn’t only because of the twenty-two cents that stood out in Blake’s change or the fact that I had seen "The Foursome" a few short weeks earlier. It wasn’t only because I had pictured Amy Stock less than a minute earlier when Irena was entering the station. It was because of a myriad of associated thoughts that coalesced around the idea of train stations in the Deep South and the railroading of an innocent man.

This further confirmed to me that the Bundy killer made similar associations, leaving behind clues he thought looked "right" under the prevailing circumstances. I’m not talking about things that had to have been planned years in advance like securing the gloves in ’90 or ’91 and the shoes in ’91 or ’92. I’m talking about decisions that had to be made on the spot involving the blood evidence that was supposed to have come from O.J.’s cut finger, the way O.J. really parked his Bronco and all the decisions that had to have been made with Nicole’s blood and the twenty-two cents.

If you’re overlaying that kind of thinking onto a map of memories and aspirations associated with Nazi ideals and the Jim Crow South to railroad an innocent black man for murder, how can you not think of Lee and Grant? If you’re a KKK-booster and film buff fixated on O.J. and Nicole’s daughter Sydney and you planted swastikas in the locker of a cop named Purdy for marrying a Jew, how can you not think of Lee Grant and Sidney Poitier in Norman Jewison’s In the Heat of the Night? How can you not think of the tune sung by Ray Charles in that 1967 Oscar-winner, composed by Quincy Jones, the famous black father of Nastassia Kinski’s daughter Kenia?

This is another movie that belongs in the Mark Fuhrman Television Guide to Assassination because TV is where he most likely saw it for the first time and where he most likely watched it again and again.

Name almost any important feature of the Bundy murders and the odds are better than even that In the Heat of the Night has it in some form. The gloves, for example, belong to Larry Gates as Eric Endicot, a man that Poitier as Philadelphia homicide expert Virgil Tibbs tries to railroad for a murder he did not commit. Endicot is the richest, most influential man in the county enclosing Sparta Mississippi (LA Laker Magic Johnson, who shared O.J.’s number 32, played college basketball with the Michigan State Spartans). He is wearing gloves when Tibbs and Rod Steiger as Sheriff Bill Gillespie come to his greenhouse to interview him. He takes off the gloves and puts them down next to a plant. Tibbs thinks the victim was killed in the greenhouse.

Larry Gates is a doctor in Invasion of the Body Snatchers. Sidney Poitier is a doctor in Guess Who’s Coming to Dinner. In the Fuhrman collection, "doc" equals O.J. Simpson wearing his blue knit cap on the dock in The Naked Gun. In the picture of Mark Fuhrman pointing to the glove under the leaf of a plant on the Bundy murder scene is the blue knit cap – next to the gate. What about the glasses in the envelope that was also in that picture? As Tibbs and Endicot trade angry backhand slaps across the cheek (Goldman was stabbed in the cheek), a black servant comes into the greenhouse with a pitcher of lemonade and three glasses. Mark Thurmond was the starting pitcher for the 1984 San Diego Padres who lost the deciding game of the World Series to the Detroit Tigers. Somewhere around the time of that series is when Mark Fuhrman first entered the lives of O.J. and Nicole on a phantom 415 family dispute call.

Need more? How about the shoeprints on the steps, the Bronco parked in an odd place and the piece of wood in front of it that came from an alley?

In the Heat of the Night begins with Quincy Jones’ title score as a train pulls into Sparta. The only debarking passenger is Virgil Tibbs. The first you see of him is his shoes on the steps of the train. Meanwhile you hear Ray Charles singing about "a motherless child" – the subject of Mark Fuhrman’s poem that he propped up in a corner of the Bundy murder scene like a tombstone. Deputy Sheriff Sam Wood (Warren Oats) finds a murdered man’s body in an alley with his wallet missing. That’s the wood in the alley in front of a car.

Later Tibbs finds a piece of wood on a construction site in front of his rented car. Tibbs had already found a piece of that wood in the murder victim’s scalp. Like Fuhrman, he traces the source of the splintered wood. As Sheriff Gillespie approaches him with the firm conviction that his deputy, Sam Wood is the killer. Gillespie says, "Getting’ a little careless ain’t you Virgil leaving your car parked in the road like that…" Tibbs drives a rental car for free. That was also true of O.J.’s Bronco. Behind Tibbs and Gillespie is another interesting item, a heavy piece of equipment that is probably owned by the mayor. The mayor owns an International Harvester heavy equipment dealership. On the night of the Bundy murders Mark Fuhrman drove an International Harvester Scout.

In the Heat of the Night takes a jab at small town Southern justice in the mid-1960s. In a not-so-subtle way, Tibbs represents a white Northern attitude of superiority toward white Southerners, softened somewhat by flashes of intelligence and integrity in the white sheriff and human imperfections in Tibbs. But the incompetence of the local police is staggering. Officer Wood first arrests Tibbs, stopping him because he is a black stranger and arresting him because he has more money in his wallet than a black man should have. When Tibbs proves that he is a cop, that he was waiting for the 405 train to Memphis and the money is his, the police immediately arrest another innocent man.

Endicot is the innocent man that Tibbs wants to get but he doesn’t railroad him, although he gives it his best shot. He tackles his goal in a more scientific way. His superior Northern justice approach eventually forces him to overcome his prejudice and leads him to the truth. Meanwhile Gillespie learns that Deputy Wood lied about what he did before he reported finding the body. He learns that Wood put more money in his bank account the day after the murder than he could have earned on the job. He concludes that his deputy is the killer.

Mark Fuhrman was in a position to know that the way Gillespie ran his murder investigation was much closer to the way it was done North and South from the ’60s through the ‘90s than the way Tibbs did it. You can see that most strikingly in the testimony of Det. Tom Lange when Johnnie Cochran asked him if he ever considered a suspect other than O.J. Simpson. Lange told Cochran that he’d seen enough homicides to recognize the signs of one that was committed by a man who matched O.J.’s profile. He never looked back on the portions of that profile that were supplied by Mark Fuhrman and he never looked twice at the evidence that didn’t fit.

The kinds of observations Virgil Tibbs makes and his kind of dogged pursuit of the truth does not exist on any police force to a noticeable extent anywhere in real life America. There may have been a Virgil Tibbs in Philadelphia in 1967 but the best the LAPD had to offer in 1994 looked a hell of a lot more like Gillespie and Wood. Ironically, the LAPD’s closest match to Virgil Tibbs was Mark Fuhrman.

In the Heat of the Night has a bird link that goes farther than Mark Fuhrman’s admiration for Larry Bird. It goes to one of the flowers in Fuhrman’s photo of his motherless child poem. That flower is a Larkspur. You see it in Psycho as the wallpaper that covers the bungalow walls where Marian Crane (Janet Leigh) wrote her last note before Norman Bates (Anthony Perkins) stabs her to death. Ralph plays a song on his jukebox, which anthropomorphicizes birds. Holding a sharpened butter knife in his left hand, he snaps his fingers and dances to the words, "…Hey little lark get out of the dark. There’s a "Fow-wowl on the prow-wowl (fowl on the prowl)." Fuhrman drew a larkspur on the paper where the motherless child poem is written – the one that’s propped up against the blood-stained tile like a tombstone.

We can go two ways from here. We can go back for a moment to Alice Cable in Swamp Thing (’82) were you would see a symbolic representation of her performing fellatio in the gas station/ convenience store window if you were looking at her soft drink bottle as a phallic symbol. We could also go directly to an early In the Heat of the Night scene where Officer Sam Woods spies on an Dolores Purdy putting on a sex show in her front window with a soft drink bottle. Either route takes us by Nicole’s front window in 1992 and the story of O.J. spying on her with Keith Zlomsowitch through her front window.

Mark (rhymes with lark) Fuhr-man (rhymes with spur-man – as in the anthropomorphication of a larkspur) takes the window scene a step further with the story he extrapolates from Nicole’s pizza menus and her handwritten note. In this June 12, 1994 twist on the ’92 sex scene, Nicole is alone waiting for her lover when she looks out of her window and sees O.J. moments before O.J. kills her.

According to Dolores Purdy, Sam Wood is the father of her unborn child. She tells Tibbs and Gillespie a story of seduction that seals any cracks of doubt that the sheriff might have had about Wood’s character. The story is a lie, but it sounds good. Under the circumstances it makes Wood appear to be capable of anything. Dolores tells them that Wood talked her into going with him to the cemetery and having sex on a tombstone. Her motive for lying is to protect the identity of the real father. His motive for the murder is to get enough money for an abortion. When her brother learns the truth, Ralph kills him in self-defense. So there you have it, one killer, two victims, one unwanted pregnancy.

One reason Nicole preferred oral sex was because her religious beliefs would not let her consider an abortion if she got pregnant. The man she was waiting for on the 12^th was Ron Goldman. Fuhrman speculated that Nicole was planning to order the pizza for him when she saw O.J., and went outside to confront him. That was his explanation for the pizza menu near her body. Only there was no pizza menu near her body. It was a Thai menu. Beach Girls (’84) comes to mind, with a pizza delivery boy carrying a salami in his pocket. Later in the movie he sits next to Tessa Richarde at a campfire and sings, "eat my salami; it gives me joy."

Dolores Purdy answers as many questions as Tessa Richarde does about Fuhrman’s pizza story. Keep in mind his story of the incriminating fingerprint, his pointing finger photo and the fact that Ron Goldman was Jewish. Andy Purdy was the police officer that Mark Fuhrman harassed for marrying a Jewish woman. When Purdy found swastika’s painted inside of his precinct locker, investigators subsequently discovered Mark Fuhrman’s fingerprints there, too. His fingertips are directly related to the name Purdy and therefore indirectly related to what the fictional character Dolores Purdy does in the window with the bottle.

Something else about the fingerprints and a scene from In the Heat of the Night tightens the connection. It leaches into other moves like The Man With Two Brains and The Naked Gun where a woman nursing a man’s finger serves the same symbolic function as the profile shot of the woman sipping from a long-neck bottle. Quotes from Mark Fuhrman and Sam Wood brought them all together for me.

Think about Jane Spencer’s act with Frank Drebin’s index finger when he misses the point and says, "I’ve got nine more." You might be reminded of that, as I was when I read Fuhrman’s account of his talk with Marcia Clark about the fingerprint he said he found on Nicole’s back gate. She wanted to know how he knew it was a good quality print. His snappy reply began, "Well, I’ve got ten…." In the movie In the Heat of the Night, after Sam Wood watches Dolores Purdy’s window act with the bottle, after he finds the body, and after he finds Tibbs and tells him to lean his hands against the wall, he says, "Spread them fingers out. I wanna count all ten."

The only person who can be traced to the wood on Rockingham is Mark Fuhrman. The only people who can be traced to the glove on Bundy and the one on Rockingham are Nicole, who bought similar gloves on December 18, 1990 and Fuhrman who found one and had his picture taken pointing to the other on June 13, 1994. Two gloves. All ten fingers.

Nicole’s Christmas week 1990 purchase of the Aris Light gloves and the ’91-’92 availability dates for sale of the Bruno Magli Lorenzos make them stable time marker for the plot to kill Nicole and Frame O.J. These two items tell us that the decision had to have been made before they were bought or stolen for the job. I believe it happened somewhere between the New Years ’89 incident and Mark Fuhrman’s January 18, 1989 letter to the city attorney.

The incident, as told by Nicole and Officer Edwards, did not match the evidence. It did not match the photographs of Nicole’s face or body. It did not match the time sequence measured by the 911 call, the arrival of the police and Nicole’s dash from the bushes. The incident as told by Simpson matched everything. Yet, he couldn’t get anyone in authority to listen to what he had to say, to look at his hands, or to talk to his housekeeper. No one cared what the housekeeper had to say. Few people ever care about minor details that contradict major, obvious facts.

That was the key to Nicole’s success in convincing everyone that she called 911, that O.J. had beaten her, and that she feared he would kill her – the obvious and immediate indications of what happened were all on her side. She looked like a woman who had been beaten. She said that O.J. had beaten her. When he said he hadn’t his story sounded absurd, so that was the end of the investigation. The only thing the investigators wanted to know then was whether or not they could show a pattern of abuse. Mark Fuhrman’s January 18 letter gave them that pattern. It gave O.J. and Nicole things to do and words to speak that sound more like Morgan Freeman, Jr. and Kathy Baker in Street Smart than anything anyone had seen or head about the Simpson’s before. The vast difference between Fuhrman’s O.J. and O.J.’s O.J. served only to reinforce the image of O.J. as a Jekyll and Hyde personality.

Fuhrman’s script-like letter did not become a public issue until Nicole’s death. As near as I can tell, that was part of the deal that O.J.’s attorneys struck with the DA in exchange for his Nolo Contendere plea in ’89. From then on, the murder/ frame-up was a matter of how, not if. However, when you see Nastassia Kinski with a red scarf around her neck in Cat People you may begin to wonder who the victim might have been if the circumstances had been different.

I don’t know enough about Fuhrman’s interest in Nastassia and Quincy to make an educated guess. On the other hand, I know enough about Nastassia’s movies and Mark Fuhrman’s love of blood sports to see a scary pattern. No one else in the case alludes to killing bears and big cats. Fuhrman does it in the same sentence. He writes about hunting bears, deer and mountain lions in Idaho. Between O.J.’s trials Fuhrman left a message on his telephone answering machine saying that he was going bear hunting. An acquaintance of mine who killed and skinned a bear told me that he would never do it again because under the fur a bear looked too much like a man. In The Hotel New Hampshire Nastassia Kinski has a neurotic compulsion to dress like a bear. If you saw the movie you know that a real bear gets killed by a boy with a .22. The Cat People link to Fuhrman is not as direct but it’s just as strong.

Start with Fuhrman’s twenty-two day suspension by Peggy York over a racist incident involving the birthday of assassinated civil rights leader Martin Luther King, Jr. One of the stories that FBI Director J. Edgar Hoover leaked about King was that he had sex with white women. Twenty-two therefore had a special significance to Fuhrman relative to himself, a famous black man having sex with a white woman and a deadly attack by ambush. Leopards kill by ambush. This is how the twenty-two cents that first appeared on the Bundy murder scene next to the drop of blood led me to the "Twenty Two" episode of The Twilight Zone. This is the show with Barbara Nichols as Kitten about to board a doomed flight with her stuffed toy leopard in her arms. You can see why the cat link to Nastassia Kinski troubled me as much as the bear link did.

When I started following leopard links I found strong connections to Fuhrman and the Bundy killings in every one of them. Only when I started working on this book did I find the link to Nastassia Kinski – but I didn’t find it through any of the cat links.

I was running into Sydney and Sidney so much that it eventually dawned on me to look at Sidney Poitier movies. I think that dawning had something to do with Poitier’s appearance with Jennifer Jason’s Leigh’s dad Vic Morrow in Blackboard Jungle (’55) and both of Jamie Lee Curtis’ parents Janet Leigh and Tony Curtis. That’s because Fuhrman and Jennifer Jason Leigh share the same birthday and because of the way Sydney Simpson’s birthday seemed to set him off in Murder in Brentwood. I think it had to do with many of Poitier’s other roles as well.

Tony Curtis as a bigot who uses the n-word a lot and Sidney Poitier who drives him nuts with his singing are literally linked to each other as chain gang convicts in The Defiant Ones (’58). Poitier is a rich, jealous Moore with a white wife (like Othello) in The Long Ships (’63) and, of course, the doctor in Guess Who’s Coming to Dinner (’67). He is the narrator for the documentary King: A Filmed Record…Montgomery to Memphis. Memphis, Tennessee is where Martin Luther King, Jr. was assassinated. Patoski, Tennessee is where the KKK was born. The incident that got Fuhrman suspended for twenty-two days had to do with a poster about King’s birthday that was defaced with the letters KKK.

I know this is a roundabout way to get to Nastassia Kinski in Cat People, but this is how it happened with me. I didn’t make any of those connections until I saw one too many trains in the Fuhrman collection that I couldn’t associate directly with a man being railroaded for a murder he didn’t commit. One movie I could make that association with was D.O.A.(’88) with Meg Ryan as Sydney and Dennis Quaid as Dex bound together hand and wrist with Superglue – as in Tony Curtis and Sidney Poitier in The Defiant Ones. The Defiant Ones had a memorable scene involving a train, which led me to think about other Poitier movies that involved a train. The only one I could recall was In The Heat of the Night. There it was in the opening credits: a train barreling down the tracks in the night, a railroad crossing signal flashing red…then, the credit, "Music by Quincy Jones."

I knew that Quincy Jones had been married to Peggy Lipton and the couple had two daughters. Lipton appears in the TV series Twin Peaks (’90) as the rival of the one-eyed wife of Everett McGill. He’s the one-eyed minister/ werewolf in Silver Bullet. Flip back to the last page of the last chapter where Nastassia Kinski takes off her bear head in The Hotel New Hampshire. Her hair covers one of her eyes in a way that makes it look like she has a patch over the eye. This, in turn, might remind you of Castle Keep with Al Freeman (sounds like Fuhrman) Jr. as the writer, Burt Lancaster as Maj. Falconer (MF) and Peter Falk as Sgt. Rossi (the name Fuhrman put on his notes instead of his own). You might also recall that one of Juditha (Judy) Brown’s lenses came up missing from the police lab. In the TV series The Mod Squad (’68-’73), Peggy Lipton is Julie. She is teamed with two young men as police undercover agents. One of those men is black.

Nastassia Kinski is buried so deep in that tangle of "blind eye" associations that you may wonder how she could come front and center in the mind of a man planning to kill Nicole Simpson. If the killer was Mark Fuhrman it could signify his awareness of how much Nastassia and Nicole had in common before and after Nastassia started living with Quincy Jones. Reading John Edwards’ report of seeing a terrified Nicole through the bars of the Ashford gate could easily have called up images of Nastassia as Irena in Cat People watching a black leopard kill a man through the bars of its cage. When you see the dead man’s blood begin to pool around Irena’s shoes, you may not automatically associate those shoes with Nicole’s Bruno Maglis or the killers. But when you remember that Nastassia was German, like Nicole, and you notice that the shoes had rubber soles, like the killer’s, the association gets closer. When you remember that the killer’s Bruno Maglis went on sale the same year Nastassia moved in with Quincy, how can you not make the connection?

A common thread in the Jones, Twin Peaks, Silver Bullet, Cat People, Castle Keep, Judy/Julie tangle of associations from which the killer had to extract Nastassia Kinski is the black man/white woman relationship. You might not see it at first in Castle Keep but it’s there. The only survivors of an all out German attack on the castle are Al Freeman, Jr. and a pregnant white woman. In My Sweet Charlie (’70), Patty Duke as a pregnant runaway and Al Freeman, Jr. as a wounded fugitive from a racist mob in the Jim Crow South find refuge in the same abandoned house and slowly fall in love. At the time Fuhrman claimed he was at Rockingham, Nicole Simpson was actually pregnant with Sydney.

Mind you, these connections can be made only if you’re looking at the people involved and the corresponding movies through the eyes of Mark Fuhrman and the Bundy killer as though they were the same person. Otherwise you wouldn’t notice things like the black leopard’s taste for pizza as well as people. The fact that Nastassia Kinski was a beautiful, white, German mother of a girl whose father was a famous black man would be irrelevant. The brother/sister incest link could not have been made without Fuhrman as the killer and it wouldn’t matter unless the killer had a personal interest in that brand of incest – or he was a racist.

The problem with any kind of "pure blood" advocacy is inbreeding. The closer a man and woman are in their genetic make-up the more likely they are to have children with genetic defects. Incest themes are therefore inherently more evocative of racist ideology to a racist than they are to most people. It’s a fundamental contradiction that an otherwise intelligent person who accepts the validity of racism has to appreciate on some level, if only subconsciously.

The incestuous relationship that Rob Lowe as John has with Jodie Foster as his sister Frannie in The Hotel New Hampshire sums up the situation in one shot of him as a football player and her as a cheerleader for Dairy High. In the background you see a black football player in a blue jersey. New Hampshire’s best-known native son is Daniel Webster. Dan Blue belonged to the only black family in Mark Fuhrman’s hometown and played football for the local high school with Mark’s brother Scott. Dan Blue claimed that Mark and Scott drove by his family’s house yelling racial epithets. Mark Fuhrman said in his first book that Dan Blue was a liar. He said that he never heard anyone call Dan or his brother Darrell anything but their names. That’s what he said, "their names." He added that Dan dated a cheerleader. Lotta big D’s there. How hard can it be to see Dan Blue in Frannie when you know that the black man she is going to date and marry, is played by an actor whose first name starts with D?

Although borrowed ideas from a wide variety of sources do not travel in straight lines, the lines between them are clear when you know enough about them. Considering the fact that the name of Laura Hart McKinny’s husband was Dan, how hard could it have been for Fuhrman to see Frannie Blue in that picture? How hard could it have been to see Frannie blew Dan?

If you saw The Hotel New Hampshire recently you wouldn’t have to ask why that means something in this context. If you haven’t, this should help: Frannie fights with one of her other brothers and gets a cut on her upper lip that requires stitches. She calls them "pubic hairs." When John has his first sexual experience with an older woman, Frannie is having a wonderful time eavesdropping over the hotel intercom. She is wearing her Dairy cheerleader jacket. The fun quickly drains from her face and turns to profound sadness and envy when the sounds tell her that the woman is giving John a blowjob. Remind you of the bubble gum in Nicole Brown Simpson’s yard that Fuhrman thought was so important or the ten-letter c-word he chose to use with Laura Hart? Fuhrman didn’t say what color the cheerleader was who dated Dan Blue. He didn’t have to. The only black one he could have dated would have been his sister. The operative words here are football, black and blue (or blew).

The Central Division of the old NFL was called the Black and Blue Division. It had four teams: The Green Bay Packers in the Dairy State, the Detroit Lions in Michigan’s Lower Peninsula, the Chicago Bears, and the Buckeye State’s Cleveland Browns. Mark Fuhrman wrote about hunting bear (as in Chicago), mountain lion (as in Detroit) and deer (as in bucks). He played football at Peninsula High School in Gig Harbor, Washington. If a harbor reminds you of a dock and a dock reminds you of O.J. on the dock in The Naked Gun, you are not alone.

Why do you suppose so much of the stuff linked to Nastassia Kinski looks so Freudian? In The Hotel New Hampshire Suzy the bear replaces a real one that Wallace Shawn as a man named Freud sells to Frannie’s father. The father loses the bear to the boy who shoots him with his .22. Freud loses his eyes to the Nazis and his life to self-styled revolutionaries in a bombing that blinds Frannie’s father before he can see her married to a black man. Before the bombing Suzy makes love to Frannie. Afterwards she marries John. There were no bombings in the Simpson case but in Murder in Brentwood Fuhrman makes the most of a courthouse bomb threat. Under the circumstances, what do you think the other Freud would have made of that?

Contact the author: Jasper Garrison
Send comments/suggestions
to Webmaster, Charles R. Alexander
Copyright © 1999 Smartfellows Press