The previous chapter was supposed to be called The Supernaturals, not this one. As you will see here, I would have had to add all of these pages with a longer lead in from Whore (’91) to do the job right.

My plan was to show how Warlock ('88) and Innocent Blood ('92) with their supernatural themes probably influenced Mark Fuhrman in the killing of Ron Goldman and Nicole Simpson and in the framing of O.J. Simpson. I have to say "probably" because I can't prove that he saw them. You have to assign a probability factor for yourself. I can tell you that the extent to which various relevant elements in the movies cluster around similar people places and things with respect to Mark Fuhrman and only Mark Fuhrman is why I think he did see them. If green on a red, yellow, green meter of probability stands for more major connections than the laws of probability can explain by chance, the movies and TV shows in the Fuhrman collection are way in the green. Whore, Warlock and Innocent Blood go farther than that.

Let me tell you what I mean by "various elements in the movies":

Element # 1 – Nicole and Ron both had their throats cut with the thin, razor sharp blade of a knife. Supposedly Ron fought back. Fuhrman said that the killer saw himself in the bathroom mirror…. In Whore Liz flashes back to Blake with his knife at Katie’s throat. She then takes the comb from her hair and pretends that the thin, pointed handle is "sharp as a razor." After drawing it across her throat, she says to herself in the bathroom mirror, "There was a time I would have used it on myself. Now, I’d fight back. That’s Katie."

Element # 2 – Fuhrman’s example of the "cop language" he might be permitted to use in the Laura Hart tapes was "cocksucker." Nicole’s preferred form of sex was oral sex. Fuhrman speculated that she was expecting a lover (Ron Goldman) and she was preparing to order him a meal. In Whore, Liz and Rasta are in a movie theater talking about her life on the streets. She says that she will not let a man kiss her but she will "suck his cock." She is eating popcorn. It is not just any popcorn. The box says, "Golden Popcorn."

Element # 3 – In the early ’80s O.J. supplied Nicole with cocaine. O.J. used a cell phone in his Bentley on the night of the murders. Fuhrman’s 1989 letter to the city attorney described O.J. and Nicole with dialog that made O.J. sound like a pimp talking to Nicole as though she were his whore. On the Laura Hart McKinny tapes, Fuhrman put pimps in the same category as gang leaders and drug dealers. He said that he saw a pizza menu on Nicole’s coffee table and another one under her leg. The theater scene in Whore with Rasta and Liz is interspersed with shots of Blake-the-pimp driving his car and snorting cocaine while telling his side of the story. He picks up a cell phone and says, "This is my office. Some of our regulars, they phone me. And they tell me what they want and I deliver." The scene shifts back to Liz who says, "Maybe I’m nothing more than takeout food; easy, quick and affordable."

Element # 4 – O.J.’s outburst on the ’92 911 tape was provoked by a rumor that Nicole was bringing prostitutes to her condo. It involved Zlomsowitch’s drug use and the open display of sexual activity O.J. had witnessed between Nicole and Zlomsowitch. In Murder in Brentwood, Fuhrman said that the value of the "very large piece of bubble gum" he found was as much for the defense as for the prosecution because the teeth impression might have been matched to someone other than O.J. This is where he launches into his spiel about paying attention to details. In Whore, four of Blake’s prostitutes are loitering in front of a movie theater. The title of the movie on the marquee is China Blue. One of the women is black. She is the only one in the group wearing a cap. When Blake drives by, a redheaded hooker spits out a very large piece of pink gum.

Blake’s last line as he approaches the four prostitutes is a joking reference to paying off corrupt cops. He says with a laugh, "I even make regular donations to the policeman’s penchan fund." That goes directly to the whore in To Protect and Serve who gave me the breakthrough link between oral sex and Fuhrman’s white-spotted neckties. She performs fellatio on Charlie-the-cop as partial payment from her pimp for looking the other way. When he ejaculates, she wipes her mouth with his tie. The pimp pays the rest of the bribe in $50 bills (Ulysses Simpson Grant).

I picked four elements from the same movie to illustrate what I mean by "clusters." Every movie in the Fuhrman collection has them. You saw that each element has three or more components that make it unique to the Bundy murders and something Fuhrman said or did in connection with them. We saw the knife in Blake’s hand pointed at Katie’s throat only seconds before we saw and heard Liz’s simulated throat-cutting act with the comb while she was looking in a bathroom mirror. All of these things bunched together in less than a minute has to mean something. A few seconds earlier than that we see Blake hitting Katie with "a pounding blow" then grabbing Liz by her hair and yanking her head back. It doesn’t take much mixing and matching to see the story of the life/death struggle at Bundy in this sequence alone.

If we expand the duration of the flashback in Whore only two and a half minutes from the simulated throat-cutting scene with the comb, we get a bathtub scene with Liz and her friend Katie. Liz has lost her sexual feelings so their relationship can go only so far. Still, it’s hard not to see the erotic potential in the scene or the parallel to Nicole’s bathtub being full of water the night she died when you learn that Katie is a bartender. Katie has no lit candles around her bathtub but her lit cigarette is a good symbolic stand-in. And, as it was on Bundy, the bathtub scene leads straight into a romantic music scene. In that scene it’s Katie with the bowl of popcorn. So, if you thought the Golden Popcorn that Liz eats in the theater later in the movie does not symbolize a person like Ron Goldman, think again.

The bathtub scene takes place on Liz’s birthday. For a birthday present Katie give Liz a copy of George Orwell’s Animal Farm, an allegory about Hitler’s rise to power. Perhaps you had a flashback just then to the bathtub scene with Alexandra Elizabeth Sheedy (Allie Sheedy) in Maid to Order. If you can’t explain why an image like that would pop into your head, let me remind you of all the Simpson-Goldman murder links in Maid to Order and the fact that Allie Sheedy’s birthday is June 12. She shares that birthday with former President George Bush, comedian Tim Allen, Nazi concentration camp victim Ann Frank and British actress Cathy Tyson, the daughter of a black man and a white woman.

Everyone on that list has something significant to do with Mark Fuhrman and his greatest claims to fame. Keep in mind his writing aspirations, his political "activism" with respect to Bill Clinton and Monica Lewinsky, his Nazi paraphernalia collection and his attitude toward intimate relations between black men and white women.

Now consider the fact that:

1) Alley Elizabeth Sheedy was a best selling author at the age of twelve with a book called She was Nice to Mice. Fuhrman played a role in the impeachment of the man who defeated Bush in the ’92 Presidential election. 2) Fuhrman found a way to mention Tim Allen in his book Murder in Brentwood. 3) Fuhrman-the-nazi aspired to write a popular book and screenplay about police work. The Diary of Ann Frank was an acclaimed book and screenplay about the Nazi police state. 4) In Fuhrman’s book, Murder in Brentwood, he makes an issue of Sydney’s birthday (Cathy Tyson) and the package in the rear cargo area of the Bronco. Kathy Tyson’s first starring role is a high-priced whore in Mona Lisa (’89). Bob Hoskins is George, her limo driver (she’s the package).

You won’t see a George Bush Sr. link to Fuhrman and the related themes of redheads, whore and oral sex until you see John Roarke as George Bush with Jacqueline Brooks and Pricilla Presley as redheads in The Naked Gun 2 ½. The thing to watch for in a continuation of the same scene is George Bush’s red necktie with white speckles and the blue dress (shades of Monica Lewinsky) of Margery Ross as Barbara Bush.

Pricilla Presley as Jane Spencer is the obvious blonde-to-redhead fellatio link between the movies and Nicole Simpson’s oral sex act on the living room couch with Keith Zlomsowitch. Presley is a blonde in the first Naked Gun where the sexual symbolism of her lips around Leslie Nielsen’s finger can’t be mistaken for anything else. That’s what makes the scene so funny. Nielsen’s character Frank Drebin could be the only man on the planet who missed the point.

To be sure you don’t miss the point about the blonde-to-redhead fellatio link between the movies and Nicole Simpson I should tell you something about the redhead spitting out the "very large piece of bubble gum" in Whore. It’s hard to tell whether she is the dancer in the strip club dangling a huge, gold crucifix in front of a customer with a checkered shirt (like the one Ron Goldman wore to Nicole’s on the 12^th) or the whore servicing him in the toilet stall. Before she leaves the stage, the dancer uses a man’s necktie to simulate what the redhead in the toilet stall does for the man in the checkered shirt. You see only the hair of the woman in the stall. It looks just like the dancer’s and the "bubble gum" whore’s, so you know it’s the same character. In a video of Nicole and O.J. on a football field Nicole wears a big crucifix like the dancer’s. That makes Nicole and the redheads interchangeable.

If O.J. had not seen Nicole and Zlomsowitch by chance in ’92 through the open curtain into the fully lit living room, that act would have appeared to be staged. Nicole almost certainly staged the 911 call in ’93 as well as the climax of the New Years Day incident in ’89. Whether or not Nicole did stage the two scenes that made O.J. appear to be a dangerous man out to harm her, the fact that they showed how easy it would have been to do must have made a big impression on the man who killed her. Otherwise, he wouldn’t have left so many clear indications from the movies of when and where he got the idea to frame O.J. by killing her and Ron Goldman.

The cigarette-lighting scene with Cary Grant as Richard Thornhill and Eva Marie Saint as Eve Kendall in North by Northwest is every bit as symbolic of a woman performing oral sex on a man as the stripper’s necktie act in Whore. The matchbook becomes a clue in the Simpson case because the matchbook belongs to Grant’s character. That’s significant because a matchbook that Norberg (the character that O.J. replaces as Nordberg in The Naked Gun) finds on a murder scene in Police Squad! leads to the club where Mimi-the-blonde works as a redheaded stripper. During the stripper’s act in Whore you see Liz-the-blonde (like Eva Marie Saint) sitting at the bar smoking a cigarette. But you don’t get a solid Eva Mari Saint connection until you see a man light her cigarette in a context that involves Liz and oral sex. You get that in the theater scene when Liz puts down her popcorn and Rasta lights her cigarette with a match.

Did you get the Eva Marie Saint connection from the stripper with the crucifix in Whore to Marie-the-vampire in Innocent Blood? I didn’t until I saw Marie in Saint Luke’s Catholic Church. I couldn’t have seen it before because there wasn’t one until then. The strip act in Whore and the chase scene in Innocent Blood both take place in the evening. "Marie" and "Saint" are self-explanatory.

If Nicole did set up O.J. to look like he could have killed her, it’s easy to see how the man who did kill her might have seen her as her own executioner. That possibility adds a new dimension to Liz’s simulated throat-slashing scene in the mirror. It also gives new meaning to the fact that Nicole Simpson was barefoot when she died and her killer’s shoes were her brand. With that in mind the blood on the brick chimney and on the snow next to Marie’s lost shoe in Innocent Blood, takes on a new meaning. It also sheds new light on Fuhrman’s comment that he saw the killer’s blood on the brick driveway.

In Innocent Blood, Marie runs barefoot from the roof and replaces her lost shoes with a pair of boots similar to Joe Gennaro’s from the church’s thrift store. In Warlock (’88), the killer gets his boots from the body of his first 20^th century murder victim, a gay man named Chas (Chazz). From Mark Fuhrman’s point of view that gives us two for the price of one, a male like Ron Goldman and a "cocksucker" like Nicole Simpson. The ten-letter c-word is the one Fuhrman uses in the Laura Hart McKinny tapes to refer to male homosexuals. You see Chas’ boots briefly when he drops a knife on his kitchen floor and bends down to pick it up. The next time you see Chas’ boots they are on the feet of the Warlock. The last time you saw footwear anything like them they were on the feet of Blake-the-pimp in Whore.

Warlock has a whore connection to end all whore connections but we will save that for last. For now we want to stick with the kitchen scene long enough to take a couple of pertinent notes about the victim’s butcher knife and his ring.

We know about the butcher knife on Nicole’s kitchen counter that Fuhrman places in her hand before she is "coincidentally" killed with a knife. Nicole suffered a substantial cut to the inside of the index finger of her right hand and a minor injury to the ring finger consistent with her ring being pulled off. Her ring was found on the murder scene. In Warlock, Chas is happily mincing onions when he notices the warlock’s interest in his Scorpio ring. Chas puts the knife on the counter, beats some eggs and tells him that the ring won’t come off. The warlock (Julian Sands) shows him how wrong he is by grabbing his wrist and chopping the finger off, then slipping the ring off of the severed end with ease as Chas looks on in shock and horror. Things look exceedingly bad for Chas but they could get much worse …and they do.

You may recall Julian Sands as the research director in Vibes where Nick’s handling of a butcher knife creates for him the image of a woman stabbing down into her husband’s body with it… Hold that thought.

In Warlock you see how easy it is to discern or to simulate how Nicole was holding her butcher knife when she laid it on her kitchen counter. With the blade on the thumb and index finger side of her fist the way Chas holds it, it points away from the counter edge. With the blade pointing toward the edge you might conclude that it was last held by Nicole the way Mrs. Bergman grips her butcher knife in Innocent Blood. Taking all of that into account you could also conclude that the knife was planted if the person last handled it to create that image of Nicole took his cue from the moves. The knife lying there like that makes no sense by itself. To make it work you need a trail of evidence leading to the knife like breadcrumbs in a fairytale leading out of a maze. They can be found only in the Hypothesis of a Murder chapter of Mark Fuhrman’s Murder in Brentwood and the movies in the Fuhrman collection.

We don’t know everything that the Warlock did to Chas. We know that he bit his tongue out and spit it into a hot skillet because we saw him do it. We know by the portion of the coroner’s report that the homicide detective reads to Chas’ female roommate Kassandra that he was bitten on his neck. And we know by the bloodstain in the chalk outline of his body that he didn’t leave enough blood on the floor to have bled to death unless the warlock drank the blood that’s missing.

With that in mind let me tell you that Chazz Palminteri plays Tony, the first Italian gangster that Marie kills in Innocent Blood. You see him taking off his leather gloves in the front seat of his parked car before she rips a huge chunk out of his neck, drinks her fill of blood, and blows his head off with a shotgun. The shotgun is to hide the evidence and to make sure that he stays dead. Sure, there’s blood inside of the car just as there had to be blood inside of O.J.’s Bronco whether he was guilty or framed. The trouble with the blood inside of Tony’s car, just as it was with the blood in O.J.’s Bronco, is that there isn’t nearly enough of it to fit the particulars of the crime.

In Fuhrman’s story of the stick, O.J. parks in an alley, rolls down the passenger side window and tosses the murder weapon into an empty lot – but he keeps the bloody glove until he gets home and drops it outside of his guest bungalow. Somewhere in that flurry of post murder activity he sees himself in a mirror the way Marie does after she kills Tony in Innocent Blood. He then washes his bloody sweatsuit and leaves a pair of black socks in the open where Fuhrman and Roberts can see them when they enter his bedroom. In Innocent Blood, the coroner is Rohn Thomas. His comments about the sparseness of blood inside the car takes place while he is pulling off Tony’s black sock from the passenger side of the car. Ron Goldman’s blood was found only on the passenger side of O.J.’s Bronco.

I don’t know about you but I am constantly amazed by the variety of ways in which the evidence against O.J. according to M.F. can be packed into so many pertinent settings with only miner variations. Early in Innocent Blood you see so much of it that you almost expect to see a super cop named Mark or Fuhrman pointing to a bloody leather glove at the bizarre shotgun murder scene. Well, you don’t get the Mark, the Fuhrman or the bloody glove. You do get Angela Bassett as U.S. Attorney Sinclair pointing her finger at Anthony LaPaglia as Joe Gennaro. The hand doing the pointing is covered in a leather glove. Moreover, the man she’s pointing at is wearing leather gloves and he points his finger at another man who is also wearing leather gloves. You see the leather gloves on Joe’s hands for the last time in that scene with him and Sinclair posing for a public relations photo. Her glove appears prominently in the photo that we see in the newspaper.

Fuhrman’s story of O.J. reacting to his front-page murders should interest you here. He theorized that O.J. was so preoccupied with the thought of what he’d done that when he reached in his pocket for his Bronco keys his pocket change came out and dropped on the ground without him noticing. That story belongs here for reasons that will be apparent shortly. Just remember that Fuhrman’s screenplay featured a "strong female" and O.J.’s "panic" was MF’s delight.

Marie happens by a newsstand where she is delighted to see that her "food has made the front page." It’s a first for her and she stands there transfixed by the story she created in Tony’s car so easily of another mob hit in a long series of them. The street vender reminds her that she has to pay to read the paper. Preoccupied by the story, she reaches in her pocket and hands the man some change without looking at it. You can tell by Marie’s smile that she is pleased to see that she was astute enough to detect Joe Gennaro’s Innocent Blood. You know right then that she plans to stick to choosing her food from a menu of Italian mobsters.

If you saw Innocent Blood after studying the blood evidence in the murder trial of O.J. Simpson, the official treatment of the blood evidence in both cases should leap out at you like a box of foam rubber snakes.

I saw Innocent Blood for the first time before the Bundy murders. I thought then that the media and law enforcement handling of the blood evidence in the movie was as farfetched as the vampire plot. It was, after all, a comedy/horror flick that wasn't supposed to be especially long on technical accuracy.

The swirls of "blood" on the roof next to Marie's lost shoe, for instance, looks like it was applied with the kind of squirt bottle you use to put ketchup or mustard on hot dogs. This is a movie where a vampire swoops over a cop’s head in church, jumps on him outside, rips his gun from his hand and threatens him in a demonic voice and eyes that glow in the dark. This is a movie where the cop falls in love with the vampire and all the bad guys die. Ergo, the absurdity of an army of professional homicide investigators, pathologists, prosecutors and journalists all signing up to the obvious indications that Tony was hit by a rival gang and ignoring the obvious indications that he wasn't.

That’s Hollywood, right? Wrong, that’s homicide in the big city.

I can't tell you how unsettling it was to learn, through the murder trial of O.J. Simpson, that the makers of Innocent Blood got the blood evidence part of the story right. It turns out that the easiest people to fool with false evidence, no matter how crude or inconstant are professional homicide investigators, pathologists, prosecutors and journalists working as a team. Their inside knowledge of how to interpret certain kinds of evidence makes them predictable. Give them that evidence and they go straight to the finish line. They "know" who done it and why.

The task then becomes to collect evidence and statements from witnesses that will help them make a case that the prosecutor can win court. Neither the police nor the prosecutors will even try to make sense out of the evidence that contradicts the conclusion they started with if they have a strong enough case. Experience has taught them to expect loose ends. That kind of knowledge is one of the things that make them professionals. Only a criminal justice insider with open lines of communication to the press would know something like that, someone with a higher IQ than his pears and a sharper eye for relevant details – somebody exactly like Mark Fuhrman.

To pull off the killing and the framing in the Bundy case the way it must have been done, the insider we’re talking about would have to be as savage and ruthless as Julian Sands is in Warlock. The way the warlock kills Chas for his pinky ring and his boots gives you some idea of how savage and ruthless he is. You get a better idea when a nine or ten-year-old boy in a desert town throws up and football and the warlock catches it. The boy shows him how to play electronic football as they rest on a playground swing set like the one in the front yard of O.J. Simpson’s Rockingham estate. When the boy ends up dead and mutilated, you know who did it. When you find out why, you also find out where Fuhrman got his alibi for the murder and the framing – an alibi that involves buying gas and a soft drink with a credit card in a desert gas station.

Lori Singer as Kassandra, who is being aged twenty years a day by a Warlock spell, buys gas with a credit card in a desert gas station. While she is there with Richard Grant as Redferne, a warlock hunter from 1691, they learn of the child’s death. An innocent coyote is tried, sentenced and executed for the killing in the same day (just like Peter Coyote as Adam Grant in the 1985 Twilight Zone version of "Shadow Play."). By now you should know that when I saw Kassandra paying for the gas in the desert gas station with a credit card I expected to see some reference to a soft drink as well. I got that, too, but not in a way that you or I would ever have anticipated.

When you think of a soft drink you think of something in a can or bottle that you get out of a refrigerator, not something that has to be softened over a fire to the point of liquefaction to ingest. A 17^th century warlock, on the other hand, would have a different perspective on the subject than you or I would have….

Not convinced that the coyote was guilty of the killing and concerned that the Warlock might be, Redferne asks the boy’s mother if he had been baptized. Learning that he hadn’t been baptized, Redferne concludes that the warlock killed the boy for the fat in his body. He tells Kassandra that the fat from an unbaptized child is an essential ingredient in flying potion. Sure enough, we see a tin can of fat being reduced to a liquid over a campfire at night. We see the warlock drink it. And we see him fly, in more ways than one.

The warlock escaped to 1988 from a prison tower in 1991 Boston Massachusetts. He was bound in chains by a cruel thumbscrew contraption attached to his thumbs and his big toes. Anytime I see a name in the Fuhrman collection with the initials BM I look for something that the man who framed O.J. Simpson would have associated with Bruno Magli shoes. In Warlock it’s the bottom of the title character’s feet when Redferne give his a savage kick that flips him onto his back. Looking at him with his feet together in the air, you can see that the iron thumbscrews attached to his big toes have caused his toes to bleed.

Our first hint of a Mark Fuhrman connection to Warlock comes when the Devil sends the warlock through time to 1988 Los Angeles. You know that it’s the late 19^th century by the radio you hear and the car you see coming to a sudden halt followed by a neon sigh crashing to the sidewalk. The glass sign features a redheaded woman and the words "SWEET HEART." When we saw Laura Hart McKinny in 1995, she was a brunette. When Fuhrman said that he first saw her in 1985, her name was Laura Hart. We don’t know what color her hair was or how Fuhrman imagined her, but we know that he said they had a sexual affair and that she wrote him love letters.

Then there’s the ten-letter c-word associated with the redheaded waitress/whore in The Hotel New Hampshire and with Laura Hart before she became Mrs. McKinny. We got that connection courtesy of Mark Fuhrman’s choice of words in their first tape recording.

Here we should mention the pictures and the broken glass associated with Nicole before she became Mrs. Simpson. Nicole was living with O.J. on Rockingham while her cousin Rolph Bauer worked there as a groundskeeper and has wife Maria worked there as a housekeeper. Neither of the Bauers saw any cuts or bruises on Nicole in the three years he worked there and the four years she did. Neither of them saw O.J. abuse her. However Maria witnessed evidence of somebody’s temper when she saw Nicole alone outside in an agitated state and family pictures inside the estate thrown to the floor with glass scattered everywhere. Rolf saw the broken glass, too.

Warlock brings many of these things together when the Devil’s wind that blew down the glass Sweat Heart sign sent the warlock crashing through the picture window of Chas’ house. Remind you of Nicole’s call to 911 in 1993? If we add the broken glass to the broken French doors we’ve got a composite of what happens after the warlock kills Chas and Redferne shows up to track him down. Cassandra calls 911 to save her from Redferne.

You and I now that Redferne is not the one that Kassandra should be worried about. But you can understand her concern when Redferne, dressed in 17^th century garb appears out of nowhere waving the chains with the thumbscrews, babbling about blood and slaps her face when she screams. He say’s, "His signature I know. But I can find the beast only if his blood was spilt." He needs to know if the Warlock was cut and implores Kassandra to take him to where he bled. Redferne finds a sliver of glass in the vacuum cleaner with a small amount of dried blood on it. He scrapes the blood off of the glass with his knife and puts it in a small bottle. He dissolves it with a few drops of water and places it on a brass "witch compass."

A bleeding killer theory? Blood on brass? Dried blood diluted in water? Finding "the beast" through his spilt blood on the scene of a blood murder? Where have we heard these things before? Perhaps you noticed that Redferne would have saved himself a heap of trouble if he’d noticed the blood on the feet of the Warlock at the base of his iron thumbscrew shackles and his big toes. Perhaps you noticed that a small detail like that would not have escaped Mark Fuhrman whose discovery of a tiny blood drop on the Bronco’s metal door eventually led to his discovery of the black socks and the Rockingham glove.

Warlock gives you a closer link to Fuhrman’s bleeding killer theory, his dropped coins theory and his discovery of the black sock that had Nicole’s blood on it. When it appears that the warlock is going to escape from a barn, Redferne harpoons him in flight with a weathervane.

Redferne, with the help of Kassandra and a Mennonite farmer, wrestles the Warlock’s boots off and gets a thumbscrew on one thumb and one big toe before the wounded warlock blinds the farmer and hops away. He leaves one footprint in the soil by a railroad yard where he unshackles himself and hops a freight car. To break the spell that is aging her twenty years a day, Kassandra has to retrieve a personal item he stole from her to cast the spell. With two pennies in her mouth she cripples him by driving two ten-penny nails in his shoeprint (twenty-two cents). Later on in a graveyard that’s being turned into a condo, the warlock returns the favor by driving a long, sharp needle in her foot – through her black sock.

The whore connection to end all whore connections that I promised you in Warlock comes just before the three-way battle to the death in the condo/ graveyard. The warlock threatens the unborn twins of an Episcopal minister and his wife. David Carpenter is the minister. Anna Levine is his pregnant wife.

Anna Levine is the whore who drives the main plot of Unforgiven (’91) when an enraged cowboy slashes her face with a knife as his partner holds her. Anthony James is her pimp. Frances Fischer is Strawberry Alice, the whore who raises a reward for killing the two cowboys. She’s Molly in Molly and Gena and Marge in Sudie and Simpson. Gene Hackman is Little Bill, the sheriff in Unforgiven, who batters and humiliates a gunfighter who comes after the reward with his biographer in tow. Little Bill fancies himself a carpenter. When I searched the Internet Movie Database for Whore the first tittle it returned was Unforgiven.

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