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Chapter 29

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The fact that The Smoking Gun: Mark Fuhrman’s Movie Guide to Assassination is loaded with references to Moonlighting, to make the movie links more decipherable, does little to lighten the load here. Strictly for the sake of brevity we’re going to have to confine ourselves to only a few episodes of Moonlighting as we did with Matlock and as we are going to do to end this book with Remington Steele.

For the sake of continuity we’re going to start with more of what we touched on in Charlie’s Angels in the episode "Little Angels of the Night." This will also give you an idea of the kinds of things that had to be edited out of this chapter and the final two chapters to keep them from stretching into several more. You will recall that Freddy the pizza delivery boy for Vail’s Restaurant is framed for murder by his boss Roman Vail, who stole his shark tooth necklace and left it behind at the scene of a murder. We don’t want to get ahead of ourselves here, but to fully appreciate what it means in the Fuhrman collection for a guy named Freddy to be framed for murder you have to know that Laura Holt’s limo driver in Remington Steele is Fred. Whenever you see him he’s wearing leather gloves.

Freddy is an easy guy to set up because of his familiarity with the working girls and an argument he had with one of them when he tried to hit on her. Like all of the "pros" in the apartment, Melanie is a call girl like Sigourney Weaver in Half-moon Street with Michael Caine. She goes to the client and she only caters to the rich. Melanie is also black. In their first altercation, Freddy primps himself in preparation to deliver her order of pizza. She cracks the door and he gives her his most polished greeting. When she turns to get the money to pay him, he steps inside. Melanie doesn’t like that a bit and tells him to leave the pizza outside. He gets angry and drops the box at her feet. The next time he sees her they get into another argument. She calls him some pretty rough names. He throws the pizza box at her and tries to force his way in. She screams. He runs. The Angels give chase but don’t catch him. And Roman Vail has his patsy.

Melody has features that could indicate racially mixed parentage – which you wouldn’t pay particular attention to unless you were obsessed with race. In Chapter 19 I mentioned Cathy Tyson, the British actress with a black father and a white mother in connection with her June 12 birthday and the issue that Mark Fuhrman made of Sydney Simpson’s birthday. I said that her first starring role was a call girl in Mona Lisa (’86) with Michael Caine and that Bob Hoskins was George, her limo driver. I didn’t have room to remind you that Bob Hoskins was O.J.’s friend or that Fuhrman’s number one athlete was former Olympic champ (the pizza link in Scissors) George Forman.

I didn’t think I had to remind you that George Foreman and Mike Tyson were both heavyweight champions or that bloody leather gloves are associated with boxers. In "Little Angels of the Night" the killer’s wife is Tara Tyson as Mary. She’s the woman that Roman Vail can’t bring himself to kill and therefore kills prostitutes who remind him of her as substitutes for his "displaced aggression." That’s what gets Freddy off the hook because Melanie is not the killer’s type.

I didn’t think I had to remind you of the Tessa Richarde link to Buddy Briggs the boxer in Police Squad!, the Buddy link to pizza or Tessa Richarde’s link to the Pizza Boy in Beach Girls. Let’s just say that Freddy the pizza delivery boy and Tara Tyson as Mary take us a long way toward understanding why the Cara Cal Pizza Kitchen note on Nicole’s coffee table was so important to Mark Fuhrman. The Townsend Detective Agency, headquartered in Los Angeles, already gives you a California link. In "Little Angels of the Night," you also get the pizza kitchen link when you see the killer Roman Vail leaving the kitchen of his restaurant with a box of pizza. The only thing the surviving victim of the strangler can remember is that he smelled like "cooking." That’s how Freddy smells. So does Roman Vail.

The O.J. link to "Little Angels of the Night" and the man with the Jack the Ripper personality has to do with a man named Jim Walker and the fact that Orenthal James Simpson’s character in Capricorn One is Jack Walker. Like O.J. Jack has a thing for blond women. He invites Kris onto his yacht at a marina (The Butcher’s Wife). Under the watchful eye of Sabrina who is ready to spring into action if the ship leaves dock, Kris complies. Walker makes some unsetting comparisons between Kris and the first call girl who was killed. He makes no sexual advances. He just tells Kris about his problems with his wife. She gives him advice that he appreciates and he’s happy. That’s it for Jack Walker. When the last girl was killed, Kris was with him and Sabrina was watching them.

The Angels realize almost too late, after figuring out the pizza delivery boy’s brush with Melanie breaks the pattern, that the killer has to be Roman Vail. Kris is alone with him when his wife leaves the restaurant with another man. His displaced anger turns to Kris. After a scuffle and a chase on bicycles, where he is sruck by a car, the Angels get the drop on him. The End…of Charlie’s Angels.

If Tara Tyson in "Little Angels of the Night" isn’t a close enough pizza link for you to Cara’s Cal Pizza Kitchen, let me recommend the 1989 episode of Moonlighting called "Those Lips, Those Lies" with Rita Wilson as Carla. Charles Rocket is David Addison’s loser older brother Richie. Carla is the woman he has fallen in love with. She’s a former madam who happens to look a lot like Heidi Fleiss the Hollywood Madam. The Hollywood Madam trial took place at the same time and in the same courthouse as the O.J. Simpson criminal trial. Some of her girls were linked to Nicole Simpson and an officer in the LAPD who happened to look a lot like Mark Fuhrman.

Carla ran a modeling agency as a front for her call girl services. She tells Richie that she was put out of business by an unscrupulous partner named Benny Largo who stole seventy-two thousand dollars from her. Benny Largo took Carla’s girls by offering them better benefits. Carla’s story is actually a scheme to get Largo out of the way.

Richie gives Carla a ring that he says belonged to his dead grandmother. She tells him that she can’t take it because she would probably hock it. Richie says, "She’ll definitely oppose that idea from beyond the grave." You’ve seen the ring and the resurrection theme many times before in the Fuhrman collection. Nicole’s ring was pulled off of her finger.

Richie persuades Carla to keep the ring by promising to get her money back. Feigning distress because Largo has disappeared Carla jumps out of Richie’s parked car and goes to her own car. You can tell that they had been making out by their clothes. Carla is buttoning her blouse on the way to her car and Richie has his shirt open all the way and his pants around his ankles when he jumps out of his car after her. A black and white police car pulls up just as Carla drives away while Richie literally gets caught with his pants down. If you’ve seen enough episodes of Moonlighting to know Richie’s M/O, you know that you’re looking at a metaphor for what’s going to happen to him in his relationship with Carla. You will also know that Richie and his brother David wear the same kind of boxer shorts, white ones decorated with red hearts.

You know by now what hearts mean to Mark Fuhrman. You know that his relationship with screenwriter Laura Hart, which began within a month of when Moonlighting first aired, involved sex and his aspiration to, in his words, "get rich quick." You know that Vic Morrow, the father of a movie star who shares his birthday, was born on St. Valentine’s Day. And you know that a plastic heart was found on the Bundy murder scene.

I wanted to bring to your attention Richie’s boxer shorts just because they are boxers and because of the context in which they appear. Using a boxing analogy that carried a double meaning, Fuhrman wrote about F. Lee Bailey’s attempt to make him "confess" that he planted the Rockingham glove. He wrote, "He never laid a glove on me." Furthermore, we see Richie in his heart-splattered boxer shorts outside by a car (where the heart was found on Bundy) in a scene where someone is using sex to work a con game like Mike Hammer and Velda in Kiss Me Deadly. This is what Faye Resnick appears to have been doing with Nicole with their efforts to raise a large sum of money to open a restaurant. Fuhrman also used sex to advance hidden agendas.

Fuhrman could have had sex with a woman in the LAPD lab to assure his access to the lab. That is only speculation. But he did promote the idea that he was having an affair with Nicole (the heart was found in front of her Jeep). And that idea did lend credence to his claim of having inside knowledge about O.J.’s "continuing abuse of Nicole." It’s a fact that Fuhrman’s involvement with Lara Hart got him inside the world of Hollywood producers and taught him what he needed to know to sell himself to people like Geraldo Revera and Oprah Winfrey. All he needed was a bankable name. His involvement in the murder investigation of O.J. Simpson gave him that name. When his time came to perform before the camera he was polished and ready to shine like a star.

"Those Lips, Those Lies" is a twist on the phrase, "those lips, those eyes." In "Little Angels of the Night," Freddie the pizza boy tries to win over Melanie by telling her what great eyes she has. Melanie has brown eyes. So does Carla. So did Nicole. I’m making an issue of it here because Fuhrman made an issue of Nicole looking into her killer’s brown eyes and because David Addison makes an issue of Carla’s eyes to test how much he knows about the woman he loves. Richie doesn’t know the color of Carla’s eyes. He doesn’t know her birthday and he doesn’t know where she was born, all of which adds points to David’s argument against finding Benny Largo so Richie can get back Carla’s money.

Richie invites David and Maddy to a dinner and dance club to introduce them to Carla who is wearin a black dress and gloves. He tells them, "She’s dying to meet you." When she sits down you will notice the purple flowers on the table in front of her. Richie has told David and Maddie that he and Carla want the money that Largo stole from Carla to open a restaurant (like Roman Vail’s in "Little Angels of the Night"). Richie says that Carla will make, "a wonderful wife, a fabulous mother and a five-star restaurateur." David has leaned that the business Carla was in when Largo emptied her bank account and he has doubts. Maddie is on her side. She empathizes with Carla because the same thing happened to her.

Maddie also likes Carla as a person and thinks that Carla and Richie will be happy together. She tells David, "She’s intelligent, well mannered, charming…" David cuts her off countering, "So was Miss Kitty." Amanda Blake was Miss Kitty, the owner of the Long Branch Saloon (and whorehouse) on Gun Smoke Miss Kitty is a redhead. So is Benny Largo’s wife Ginger who has been led to believe that David Addison is a hitman. David knows nothing of this.

Before David learned what business Carla had been in with Benny Largo all he had to go on was the fact that Largo ran a modeling agency. Posing as an agent named Eddie Skins, he goes to a modeling agency to see if he can get a line on Largo. He calls himself "a personal manager." A woman recognizes Maddie as the top model she used to be with Blue Moon Shampoo (soap) and makes a remark that carries the subtle ring of "has-been." Like Carla (and Nicole) Maddie is thirty-five years old. Maddie and David are at a modeling shoot and the photographer is unhappy with the male model the agency has chosen. Like Ron Goldman, he is about 25, good-looking and muscular. The photographer calls him a "meat puppet." He says, "I want ordinary. I want run-of-the-mill. I want – this guy." He points to David Addison.

David dons the "meat puppet’s" shirt and poses with beautiful women to a light Elvis Presley song. Elvis sings, "I’m a red blooded boy and I can’t stop thinking about, girls, girls, girls…." It may seem like I’m pushing it to point out the "blood" in this scene together with the fact that Ron Goldman was a former delivery boy for the California Pizza Kitchen and that he was reputed to be a male prostitute on the side. The same holds true for the reference that David Addison makes to Maddie "blowing" her "horn" and Maddie’s comment about "blowing her money." The "blowing her money" line comes at the end of the photo shoot when David and Maddie are about to get on an elevator, so it’s all in the same context. You’ll see why these things matter in the next 1989 episode of Moonlighting that we’ll be looking at when Maddie weaves together insignificant piece of information from a highly eventful day in a dream of dying and going to hell.

Think: Log Lady and "ideas" that "arrive in the form of a dream."

When David shows up at the Panicle Modeling agency, introduces himself as Eddie Skins and says he wants to get in touch with his childhood friend Benny Largo, he doesn’t have a clue why the redheaded receptionist Ginger is so jumpy. But there is no denying that she is. She looks at him as though he was the Grim Reaper in person and she knocks over a pot of coffee sitting on a coffee maker. David tells her that he and Benny "raised some cane" and leaves her with a picture of Maddie, telling her that he can get Maddie to model for Pinnacle. At this point, he doesn’t know that Panicle is a front for a prostitution ring. He learns about that in short order.

Moonlighting takes itself less seriously than any show of it’s kind that you are likely to see. The characters frequently remind the audience that they know they are just actors in a teleplay. They even stop what they’re doing from time to time and speak directly to the camera about the episode they’re doing or the show in general like actors in a comedy skit when someone ad-libs, misses a cue or a prop falls down. This is what happens when Benny Largo sends a blond, beautiful, self-assured call girl named Claudette to David Addison’s apartment. Bruce Willis says, "Finally a dream sequence I can really sink my teeth into."

Claudette tries to buy David off with sex. When that fails she gives him a card with Benny Largo’s address on it telling him that Largo wants to meet him there at 11:00.

So far we have Carla (Cara), a coffee maker on a small counter (Nicole’s coffee table and kitchen counter) and a note (Nicole's note on the coffee table). All we need now is a pizza. Coming right up….

The obvious evidence on the Bundy murder scene leads anyone with a brain to the swift conclusion that Ron Goldman was killed because he was in the wrong place at the wrong time and the killer didn’t know he was coming. Other evidence should leave anyone with a brain and training in the specific military technique that was used on Ron and Nicole to the conclusion that killer came prepared to kill both of them.

"Those Lips, Those Lies" gives you both scenarios as the same time.

When Claudette leaves, David goes to the dinner and dance club and hands his brother the card with Largos address on in and tell him what time to be there. He learns that the meeting is a death trap lather that night when Ginger shows up at his apartment with a gun. She tells him that she’s Benny Largo’s wife, she knows he’s a hitman, and she told her husband that he didn’t stand a chance against a professional killer. Only when she tells him that Benny Largo is planning a showdown with him does David get the picture. In a Frank Drebin-like move, he takes the gun away from Ginger and rushes to his brother’s rescue.

David gets to the warehouse where Richie was supposed to meet Largo. He sees a Pluto Pizza delivery truck (in Roman mythology Pluto is the god of the underworld) and LAPD squad cars. Then he sees a loaded body bag being taken down a flight of stairs from the warehouse door followed by Benny Largo, a homicide detective named Plainer and a black uniformed cop. Largo insists, "I had to shoot him. He was coming for me." Planer replies, "With a pizza? That’ll go over great in court." David goes berserk and starts hitting every cop in sight who gets between him and Largo.

This is the scene that greets Richie when he drives up to the warehouse. Seeing the police swarming over his brother he joins in the fray.

David and Richie end up in jail together with bloody hands, faces and shirts from the fight with the police. Richie feels guilty about the innocent pizza boy’s murder because it was Richie who sent him to the warehouse. What Richie had in mind was simply to sit down with Largo over pizza and beer and win him over with his charm. Talking about old times and a better future, Richie throws his arm across David shoulder. David says, "Watch the neck."

Ron Goldman, a former California Pizza Kitchen delivery boy, was supposed to have died because of something he was delivering to Nicole. He was supposed to have gotten into a big fight where his face, hands and shirt were bloodied. He had several shallow cuts in his throat and a gaping stab wound through the side of his neck.

Richie’s close brush with death fills him with a resolve to ask Carla to marry him. He takes David and Maddie to Carla’s apartment unannounced and gets the second biggest shock of his life when he finds Det. Plainer in her bedroom. Carla is wearing nightclothes. Richie doesn’t notice that the detective is standing there in his socks. Plainer explains that he is on official business to question Carla about Benny Largo. He nearly smoothes his way out of the apartment door when Maddie looks down and asks, "Where are your shoes?"

Now David knows everything. He knows that Carla and Det. Plainer conspired to get Benny Largo out of Carla’s way by circulating rumors that a hitman was after him and setting up Richie to be the victim that would send Largo to prison. For the plan to work, it didn’t really matter who got killed as long Richie’s search for Largo shook Largo up enough to shoot first and ask questions later. When David spells it out with all of the pieces in place, Det. Plainer gives him a smug look and says, "Interesting hunch. The thing about a hunch, it’s just south of a fact. And if you don’t have a fact – and you don’t, then you don’t have much of anything. But you can rest assured, though, that I’ll use all the resources at my disposal to investigate your hunch. Who knows, maybe we’ll come up with something."

Another 1989 episode of Moonlighting we have to look at here is "I See England, I See France, I see Maddie’s Netherworld." This is the show where Maddie is knocked unconscious and dreams of going to hell. To understand her dream you have to know that she claims to be an atheist and to get the full impact of it’s relationship to Nicole you have to remember that Nicole was Catholic. You also have to know what happened to Maddie and David in the days leading up the nightmare.

Maddie comes to work a little late and sees the women in her detective agency huddled around the door of David’s office. Agnes the receptionist tells Maddie that she has a client in her office but Maddie ignores her and opens David’s door unnoticed. David is on the phone at his desk trying to get through to a busy telephone sex line, 976-WETT. The men in the agency are standing around his desk listing with great interest as he tells them about his last telephone session with twins in fishnet stockings.

After getting an earful, Maddie announces her presence and demands to know what the men are doing calling "the slime line" on company time and at company expense. Maddy lets the men fumble with transparent lies then has her usual long argument with David in private over his immature, wasteful, irresponsible ways. David concedes that the calls should not be paid for by the company but Maddie will not go along with David’s idea of the men taking up a collection and making the calls on their coffee breaks. David compares her management decisions with a Communist dictatorship.

Agnes interrupts to remind Maddie that she has a client waiting in her office. Maddie sighs, "Thank God." David retorts, "Not under Godless, atheistic Communism."

Maddie goes to her office and finds the client sitting in one of her twin swivel chairs with his eyes open in death. She asks David to come in and tells Agnes to call 911. David checks his wallet and finds that his name was Harry Soffer and that he lived at 96 Bishop Street. The paramedics arrive quickly and pronounce Soffer dead but they tell Maddie that she has to leave the body in the chair where she found it until the coroner’s people arrive. David draws the job of staying with the body because everyone else bails out.

The wait for the coroner’s men is long. All the Blue Moon employees are creeped-out by the stiff David is babysitting behind the closed door of Maddie’s office. They sit with shoulders hunched, eyes peeking furtively about, and they speak in whispers as though they were afraid they would offend the spirit of the recently departed if they spoke in a normal tone.

At the peak of tension David bursts out of Maddie’s office and begins to speak in his normal tone of voice. Everyone jumps as though Harry had walked out of the room instead of David. After gasping or shrieking initially everyone smiles at each other sheepishly. Smiles turn to titters and titters turn to belly laughs.

This is what the men from the coroner’s office see when they come to pick up the body. When they identify themselves they get another wave of laughter, as though their arrival was the punch line of a joke.

After the body has been removed David finds Maddie alone in her office in an unusually nervous state. A knock on the door prompts David to joke, "Hear that Maddie? Maybe it’s Harry trying to contact us from the other side." A man comes in with a chair covered in plastic. Maddie removes the plastic and declares, "It’s a perfect match." Maddie points to the chair in which Harry died and says, "That’s the defective one." David insists that the chair is fine. Maddie insists that it wobbles. The furniture man takes the "defective" chair away without complaint.

"Maddie Hays," says David, "I’m surprised at you. I had no idea you were so superstitious." Maddie denies that she is. David tells her that they both know there was nothing wrong with the chair that the furniture man took away. "You were just spooked because it had the Grim Reaper’s koodees on it."

A man named Winston Guy comes into Maddie’s office and tells her and David that he and Harry shared a winning 12 million-dollar lottery ticket. He says that Harry had to other half of the ticket and he hires the Moonlighting Detective Agency to find the Harry’s half of the ticket for a 10 percent finder’s fee.

David and Maddie begin their search in the parking garage where they find his car ripped apart. They find that his apartment has also been ransacked as well as he office and his gem locker. As a last resort David suggest that they, "…take a quick stroll to the bone yard, see if Harry is resting in peace. Maddie calls him a "ghoul" but she ends up in the fog-shrouded cemetery with him, anyway.

While David and Maddie are arguing about whether or not to dig up the body, two men with guns decide the issue for them. They have brought along two shovels and they order David and Maddie to dig.

In the next scene you see the buried to their necks in front of Harry’s tombstone. Maddy wails, "I don’t belong here buried in a cemetery. I don’t want to know what this feels like!" David replies, "Eventually you and me are going to bunny hop out of here, which is more than I can say for our neighbors."

David wants to pass the time by singing "Cabaret." A dog howls in the background as he sings, "Come blow your horn…" Maddie tells him that she hates that song. David chides, "Come on, don’t be a stiff…Sorry." Then a dog wanders buy and Maddie drives him off by yapping like a dog herself. She say’s, "I can be one scary bitch." Finally a night watchman happens upon them and sees what look like two severed heads on the ground. He shines his flashlight on Maddie. She talks to him and he faints in front of them.

Cold and wet, David and Maddie (Maddy) make their way to Harry’s apartment. They break in and find his body propped up on a sofa with a camera on a tripod trained on his upper torso. David quips, "This guy makes more appearances than Bob Hope." David puts his sunglasses on Harry to cover his eyes and he puts Harry’s coat over Maddie’s shoulders. She doesn’t want the coat but David talks her into wearing it by saying, "You don’t want to catch your death of cold, do you? And I do mean death."

Maddie finds the other half of the ticket in Harry’s coat. David is ecstatic. Reading the numbers he say (and you will note the football allusion to Bobby Brigs in Twin Peak and the yacht reference to O.J. in The Naked Gun 1/2), "38, 14, 9, hike! Maddie, we are rich! Gold, yachts, a little French babe to fold my socks for me." Maddie shatters David’s fantasy with the observation that the people who wanted Harry’s body couldn’t have been after the ticket if they left without it. Just then they see the two men who buried them up to their necks in the cemetery coming to the door. They leave with the body by way of another exit.

With Harry’s corpse in the back seat, they drive away carrying on a deep philosophical discussion about death. Maddie wishes that bodies would just disappear at death because the reality is "so messy" (the murder scene was on Bundy). She wants to know "why loved ones don’t come back and tell you what to expect." David tells her that his grandfather did in a dream and said that "it was pretty ok." Maddie says that nobody ever came back to tell her anything like that. She insists that death is simply the end, followed by nothing. David says, "If I go first, I’m coming back to prove you wrong…I’ll keep your side of the cloud warm." Maddie replies, "No you won’t. You’ll be chasing some little angel with a French maid’s outfit on."

Maddie realizes, too late, that David is not driving to the morgue. They end up in the garage of her home where she keep freezer big enough to store the body until they can figure out what to do with it. Harry is in his underwear. One foot is bare. On his other foot is a black sock. In the process of trying to wrestle him into the freezer David takes his glasses back and puts them on. Looking through the sunglasses he notices that a tattoo of a soaring eagle on Harry’s shoulder (Ron Goldman had a tattoo) looks more like plans of some kind.

This is when the men who buried David and Maddie in the cemetery show up to claim the body. They explain that Harry hid plans to "highly sophisticated marine equipment" in his tattoo and that Winston Guy relieved them of the body and took it to Harry’s place. This time they bind David and Maddie front-to-front in Maddie’s pantyhose. Maddie suggests that they get into the shower to wet the pantyhose so they will loosen up. Using his teeth, David drops a plastic bottle of shampoo between them "for lubrication." They catch it just below their waists. They squirm and squeeze (and laugh). The white shampoo squirts high in the air between them, prompting David to exclaim, "Eureka, thar she blows!" They free themselves. David says, "Want a cigarette?"

Now that they know what’s up Maddie say, "We’ve got to call the CIA and the FBI." David adds, "and the BBC and B.B. King."

Suddenly Winston guy is there with a gun. He confesses that he never knew Harry and sent him the half of the lottery ticket for identification. The camera setup was his, only he forgot to take the lens cap off so he still needs the body. David wants to know how he found them so easily and he tells them that he talked to their receptionist Agnes who was very cooperative. A three-way struggle ensues and Maddie gets hit in the head with the gun so hard that it sends her flying backward through the air.

Unfortunately for Maddie in this episode of Moonlighting, all of the above is the stuff of one hellish dream. The next thing she knows she’s getting out of the elevator she always gets out of when she goes to her office. This time the hallway is bathed in a dim red light. The walls are wet with slime and snakes are slithering up a corner of the wall like telephone cords (the slime line). She looks down at her shoes and sees that the floor beneath them is wet with more slime and crawling with more snakes. She screams and runs. Her path is blocked by barking dogs.

Easing past the dogs Maddie steps into her outer office, which is also bathed in a dim red light. She seems to be alone and everything around her appears to be falling down. The phone rings. She picks it up. No one answers. The next thing she knows she’s holding a severed arm. She lets go of it with a scream. Then she sees Agnes’ severed head on a desk. The severed head greets her with, "Good morning Miss. Hays," and lets out a maniacal laugh.

Maddie gets little relief when she runs into David’s office and finds a skeleton at sitting in a chair behind his desk with a phone to its ear and other skeleton’s gathered around the desk. She bolts to her private office were the nightmare seems to end. The room is dark, but the red light is one and everything seems to be neatly in place. The only odd thing is that the back of the chair behind her desk is facing her. Then the chair swivels around and Harry dances out of it around the twin chair in front of her desk. He sweeps up Maddie and waltzes her around the room, his face pasty in death, his body stiff and his eyes never closing.

Harry spins Maddie away from him into a fog-shrouded cemetery where the Kipper twins, two Australian men with grotesquely extended noses and chins, shuffle toward her, each carrying a shovel (kippers are smoked fish). Harry climbs into an open grave in front of a tombstone with his name on it and pulls the turf over him like a blanket. A Catholic bishop stands by the tomb as the Kipper twins pat the turf over Harry’s grave. Ghouls dance with severed heads dance past Maddie as the Kipper twins take her by the arms and show her an open casket. They take her to another open grave in front of a tombstone with her name on it.

The Grim Reaper descends from the sky past a full moon and settles in front of Maddie. He is wearing a black mask beneath is hood. He throws back the hood. The mask comes off with it. The Grim Reaper is David. His big, gnarly hands are rubber gloves. David throws her into the casket and the open casket is lowered into the open grave with Maddie screaming hysterically.

Maddie awakens in a hospital emergency room with a huge bump on the right side of her forehead like the one in the photo of Nicole after the ’89 incident. David is standing beside her. He tells her what happened to her. She tells him about her nightmare. David says, "Doctor. Medication." The doctor stoles up to the side of Maddie’s bed to stand next to David. He appears to be an inch or so taller than David is (Bruce Willis is 6’0"). And he’s black. Imagine that, a black "doc."

Now all we need are leather gloves and a man in a black knit cap.