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Chapter 5

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Borrowed ideas from a wide variety of sources don’t usually travel along straight lines. They go forward and backward in time, take detours left and right, shoot off in odd directions and pick up bits and pieces of this and that here and there. The Bundy murders have enough features in common with the movie Swamp Thing for us to know where many of the ideas came from. How they got from one place to the other we can only guess. I put Swamp Thing in this Television Guide to Assassination rather than the Movie Guide because I’m guessing that Fuhrman saw it on TV.

The Fuhrman movie collection is clustered disproportionately in a bell shaped curve within six and a half years of the Bundy murders. The peak year is 1991 when the Bundy killer’s Bruno Magli Shoes first went on sale. The next highest numbers fall in 1990 when the killer’s gloves were sold and 1992 when Nicole met Faye Resnick, Grant Kramer and Keith Zlomsowitch, when Fuhrman boasted of having sex with Nicole and when the Bruno Maglis were last sold. The third highest count of movie links comes in ’93 and ’89. In 1993 Nicole made her recorded call to 911 exclaiming that O.J., "is going to beat the shit out of me!" ’89 was when she ran to the Ashford gate on New Years Day exclaiming, "He’s going to kill me! He’s going to kill me!" and claiming that O.J. had beaten her.

Notice the symmetry in the movies and the events on either side of 1991? You’ll find biggies in the first part of ’94 and throughout ’88 but no more so than in any year prior to ’88. The Swamp Thing TV series (’90 – ’93) almost straddles the line. Television means that the ’82 movie could, too.

A bell curve is what you’d expect to see in a large random sampling of variables. The peak is the average and the numbers on each side represent equal and opposite variations to the average. For instance, most adult males in the United States are taller than 5’ 6" and shorter than 6’. If you took a random sampling of heights for men in the United States you would expect to see the greatest frequency clustered around the middle with 5’ 9" occurring most frequently. 5’ 9" would be the average for that population. You would see 5’ 8" and 5’ 10 occurring with the second greatest frequency, 5’ 7" and 5’ 11" occurring with the third greatest frequency, then 5’ 6" and 6’ 0" and so on.

If the average height you came up with out of two hundred men were 6’ 6" you would know that you were not dealing with a random population. The average must have to do with a selection process. If, on further examination, you learned that all of these men were college educated, well coordinated and athletically inclined, you will likely find that all of them played forward or center on a college basketball team.

The same principle applies to the "Bundy-murder-case-traits" clustered around the Fuhrman collection of movies released in 1991. To get the classic bell-shaped curve with 1991 at the highpoint, you have to have a concentration of interest in those traits in movies shown around that time.

If Fuhrman used movies as his guide to the killing and the framing, the bell curve distribution of the movies with the strongest or most numerous links to him and the case have to be when the task was most on his mind. By the same token, the movies that left the biggest impression on him at the time of the killings were most likely the ones he saw more than once and the ones he saw most recently on TV in 1994.

The bell curve tells me that the average release date for those movies was in 1991. Obviously the even balance of release dates in the Fuhrman collection on either side of 1991 would push the average to that year even if there were no movies with Bundy links released in ’91. But there were – a lot of them. Ricochet with Denzel Washington, John Lithgow and Ice T. has enough for ten movies. The Addams Family with its Tombstone Pizza scenes, its credit card and soft drink in the desert in the same scene (Fuhrman’s alibi) and the staged bloodbath with the boy and girl and the girl’s cut throat, has more than its share. So does Sleeping with the Enemy starring Julia Roberts as Sarah and Laura with Laura’s phony tombstone and her rich, athletic, neat-freak husband with the Jekyll and Hyde personality.

Fuhrman suggests in his book Murder in Brentwood that he watched a lot of movies on videotapes and cable TV when he was working on "his" screenplay with Laura Hart between 1985 and 1994. Moreover, he suggests that he watched them for ideas. He came right out and said that the similarities between him on the McKinny tapes and a racist character in Joseph Wambaugh’s The Choirboys were not coincidental. One glaring problem with that declaration is the fact that the character in question is a bad joke. None of the serious characters take him seriously and his racism is, at best, an embarrassment to them. The man is a jerk.

In other words, Fuhrman was either lying about trying to emulate those aspects of the jerk’s character that he couldn’t find in Dirty Harry, Popeye Doyle or Andy Sipowicz or he was twisting them into a whole new shape. Either way it tells us something about how he watched the movies for ideas. His suggestion that his readers visit their local video store to check out the available cop movies and his observation about what Andy Sipowicz would talk like if he were on cable tell us where and when he watched many movies. He watched them on television between 1985 and 1994. He watched videos and he watched cable.

I did not mean to make the big deal that I made out of 1991. The idea going in was to show how movies released before then could wind up with as many Bundy links as the ones released then and later. First I had to show that there was a peak year and what that year was. To do that I had to show the symmetrical, bell-shaped pattern. Then I had to explain why that kind of statistical pattern could not have emerged from a random selection of movies. The question then becomes, how do movies like Laura released in 1946, In the Heat of the Night released in 1967 and Swamp Thing 1980 – how do they end up showing the kinds of Bundy links you’ll find in the movies heavily concentrated around 1991?

The answer has to be television.

I wish I’d had the foresight to note for the record which links I followed to get to all of the movies in the Fuhrman collection. Then again, if you wanted to you could figure most of them out. One you don’t have to figure out is Swamp Thing. I can tell you that I was looking for formula links when I happened across the movie playing on cable television. I don’t know why I didn’t think of it earlier but as soon as I glimpsed Adrienne Barbeau running around in the swamp I realized that I had seen it before and I remembered that the story was based on a formula. I didn’t know how much of it I’d missed and I couldn’t rent a decent copy (that’s were I got the color shift) so I bought one.

Meanwhile, I got a chance to see Swamp Thing from the beginning on commercial television. I saw a lot, but it occurred to me that something important might be missing. Adrienne Barbeau was one of the first TV stars to earn a cult following on the strength of her upper body development. She was Maude Findlay’s (MF) daughter Carol in the 1972-’78 sit-com Maude. Millions of men in the 1970s tuned into Maude each weak just to see how much of Barbeau’s breasts they could make out beneath her bra-less T-shirts. It was inconceivable to me that the producers of Swamp Thing would cast her in a starring role without finding an excuse to show off her breasts. They did find the excuse in a brief bathing scene with the pathetic, dejected Swamp Thing secretly looking on in despair with his seventh notebook clutched in his hand.

This scene links Fuhrman to Nicole by way of his boasts of seeing her surgically augmented breasts in ’92 – altered to look like Blythe Danner’s or Adrienne Barbeau’s. It links him to his third wife Caroline, to whom he was married in ’91, by way of Barbeau’s famous role as Carol Trainer for six years on Maude. It links him to Laura Hart by way of the tapes she kept as "notebooks," the "formula" screenplay he said he was trying to write with her, the affair he said he had with her, and Barbeau’s physical resemblance to her. If you could put Laura Heart’s head on Nicole’s surgically enhanced body in 1992 you’d get a close approximation of Adrienne Barbeau. That’s something Fuhrman could have known only if he’d seen all three of them topless.

Another thing that would have resonated with Fuhrman at some point during his 1985-1994 association with Laura was her home in North Carolina and how close Carolina is to Carol (Barbeau) and to Caroline (his third wife). You would expect the swamps in a movie set in the Southern United States to be in Southern Georgia, Florida, Alabama, Mississippi or Louisiana. Swamp Thing was filmed in South Carolina.

Swamp Thing has strong links to other link-rich movies and actors in the Fuhrman collection as well as to several principles and situations in the Bundy killings and Fuhrman’s part in the investigation. Sticking with Adrienne Barbeau, for the moment, you have to notice that she has a French name. So does her co-star Louis Jourdan. If I hadn’t found Swamp Thing by chance, chances are good that I would have found it eventually through a Jordan (Jourdan) link or a French link, which, of course, would have brought me back to Adrienne Barbeau. Ghost references and Wizard of Oz references abound in the Fuhrman collection. You get both of those early on in Swamp Thing when Barbeau, as government agent Alice Cable first arrives on the job. Traveling by boat to Dr. Holland’s lab through a flooded out cemetery where tombstones and a broken metal gate rise eerily out of the water, her boss Charlie tells her that local people say the area is haunted. Cable replies, "I don’t know where we are Toto, but it sure isn’t Kansas."

A Fuhrman collection reference to the Wizard of Oz is a reference to the 1971 movie Zardoz, which is a reference to its female lead Charlotte Rampling, who share’s Fuhrman’s birthday of February 5. Birthdays and death days are synonymous in the Fuhrman collection, as you see when you trace the cat links or tombstone links to Dean Jagger in Brotherhood of the Bell (’71) and his death day of February 5 then read what Fuhrman says about Sydney’s birthday in his book. Somehow he manages to tie it to her mother’s death. Adrienne Barbeau’s birthday is not quite the same as Nicole’s death day of June 12, but it’s damn close. It’s June 11.

Following Jennifer links might have taken me to Barbeau’s role as Jennifer in a 1977 episode of the TV sitcom Eight is Enough. Cat links might have taken me to her voice as Catwoman in 1992’s animated TV series Batman. She is Kathryn in a December, 1985 episode of Murder She Wrote. Early in 1986 is when Fuhrman went into his racist rant about harassing mixed couples and committing genocide after Kathleen Bell told him that his build reminded her of O.J.’s close friend Marcus Allen. Allen is black. His white girlfriend at the time was Kathryn. Kathryn and Marcus were married on O.J.’s Rockingham estate.

Rockingham is where Fuhrman found three bogus reasons to shine his flashlight into O.J.’s Bronco and note a package labeled "Orenthal Productions, Attention Cathy. Cathy Randa had been O.J.’s personal secretary since 1978. Cathy Randa is white. In 1978 Adrienne Barbeau appeared in a two-part episode of The Love Boat as Kathy Randall.

Adrienne Barbeau has two more name links to Fuhrman that go a long way toward explaining why the Fuhrman collection has so many mother/son incest links. You know that Billie is Mark Fuhrman’s mother. You know that his father is Ralph. In Creep Show (’82) Barbeau is Wilma. She insists on being called Billie. She is a loud-mouthed, alcoholic, harridan who berates her husband Henry (Hal Holbrook, a.k.a. Mark Twain) at every turn. He entertains himself with fantasies of doing her in. Nothing comes of it till a friend named Dex (Fritz Weaver) comes to him in a panic with a bloody shoe in his hand, blood on his skin and a story about being blamed for the death of two people. Shortly before then, Henry has one of his murder fantasies when Billie give him final instructions before his friend comes to play chess. She says, "Kindly have him out of here before I get back from my classes. Frankly that tobacco he smokes makes me want to Ralph." As he imagines choking her to death with his necktie, he says, "Yes, Billie!"

It’s not just the "Billie" or the "Ralph" that makes the Fuhrman connection a strong one in Creep Show. It’s the proximity of the two names with "Billie" using his father’s name as a synonym for vomit. It wouldn’t count as much if Mark had loved his father instead of hating him. It counts triple here because there are five stories within a wraparound story about a boy named Billy who hates his father. Billie tortures his father in the end by sticking pins in a rag doll – like the one in Fuhrman’s photo of the "tombstone letter" and the flowers. In the first story a hated father named Nathan Grantham is a murderer who, in turn gets murdered, but escapes from his grave and kills again. He buries his daughter and a younger man in his grave. Nathan has the same number of letters as Nicole. The "ham" in Grantham is the same as in Rockingham.

In case you didn’t notice, the Grant in Grantham is the same as Simpson, as in Ulysses Simpson Grant. If you counted the Roman numerals on the tombstone you’d have enough for the phone number in Fuhrman’s fifth note about Cara’s Cal Pizza Kitchen (5, 7, 1 and 3).

We could go off into another round of links to Fuhrman’s fifth note, but we’re going to stick to the characters in Swamp Thing and to the name links in other movies. This is still a good place to recall Tessa Ricarde and the Pizza Boy in Beach Girls, her role as Billie in Cat People (’82) and Mary, the boxer’s wife in the second episode of Police Squad (’82). In Any Which Way You Can (’80), she’s the girlfriend of a wealthy, high stakes gambler, bare-knuckle fight fan and jet pilot who allows her to pilot his plain upside down. More about that later.

All of that is important if you believe, as I do, that Fuhrman bet and won big on George Foreman’s title fight in 1995 and studied the hell out of pilot movies to successful TV shows. Swamp Thing, the ’82 movie, could be considered the pilot for the television series. The only actor common to both moves and all of the TV episodes is Dick Durock. He plays the title character. To see what he looks like under his man/plant costume, you may want to rent a video of Any Which Way You Can in which he plays a bare-knuckle fighter named Joe who defeated every man he fought in the First Marine Division. Yes, like Fuhrman, he had been a United States Marine. In Goldie and the Boxer (’79) O.J. is a prizefighter named Joe. Durock is an enforcer for a corrupt, racist mill operator. In the credits of Any Which Way You Can, Dick Durock’s name appears directly above an actor who plays a cop, an actor named Michael Fairman (MF).

All coincidences are not created equal. One of the many reasons I became obsessed with the O.J. Simpson murder trial had to do with the number of coincidences involved in the case and the sci-fi trilogy called The Random Factor that I’d been working on since 1992. All three books featured a black, influential, media star named Hector Clay created from a little bit of a lot of people I’d known and admired with some strengths and weaknesses I could confidently borrow from myself.

Hector Clay wasn’t the hero he appeared to be. He had a double identity. His alter ego hunted and killed killers that the police wouldn’t touch because the killers served the interests of a government within a government with a hidden, genocidal agenda. Hector Clay used a bayonet. Although he didn’t know it, he was an interracial sex symbol. That was one of the reasons the bad guys targeted him for "image assassination." They couldn’t kill him without making him a martyr but they could destroy him by destroying his image. That’s what they set out to do. It’s the central theme that joins all of the sub-plots and drives the main story forward.

I saw so many similarities between the Bundy murders and the first two books in my trilogy that I had to watch the case just to see what I could do to disassociate Hector Clay from O.J. Simpson in book three. I was working on my first draft of Messiah, the third book of the trilogy and, my final draft of The Invisible Warriors when the story of the Bundy murders broke. Suddenly arbitrary details that shouldn’t have mattered – like Hector’s name, his weapon of choice, his double identity and a character called Jimmy trying to climb over a fence — started to matter a great deal. When you add Orenthal James Simpson to the equation, a real interracial sex symbol now purported to be a real knife-wielding killer with a double identity, you get all the baggage that comes with it. That includes the ex-boxer-turned-assassin Hector Savage (Anthony James) in The Naked Gun 2 ½.

Hector Savage is a good example of an apparent coincidence that is really no coincidence at all. If you were a fight fan in the ’80s Hector "Macho" Camacho is a name you would recognize as a flashy welterweight camp who killed a Korean fighter named Kim in the ring. Camacho was devastated. For a while he considered hanging up his gloves. I could empathize with him to some extent because of what I did to an Army Reservist named Cotton during a pugil stick contest in 1969. I didn’t kill him but I hurt him badly. I sent him to the hospital with his arm bent back at the elbow in the opposite direction. It was the nastiest looking injury I had ever seen up to that point in my life (apart from the remains of an ax murder victim) and certainly the worst one I had cause.

I didn’t mean to knock Cotton’s elbow out of its socket any more than Hector Camacho meant to kill his outclassed opponent. Pugil stick fighting was one of those things I had a gift for. I understood the principles of what was involved better than anyone I ever went up against. I could therefore anticipate what they were going to do and have a counter ready to go before they could get started. There wasn’t much of a trick to what I did. I just used the moves we were all taught in bayonet drill with as much aggressiveness as I could muster. It worked great.

I could take out anybody one-on-one, one-on-two, and one-on-three because everybody made the same fundamental errors. One-on-one they invariably went headhunting and they tended to use only one end of the stick like a baseball bat. I used both ends like the bayonet and the butt of a rifle. I picked my targets according to how I could see I was going to be attacked or defended. Two guys were easier to take out than one because they got in each other’s way and had to be concerned about not harming their partner while I had complete freedom of movement. One-on-three was even easier. As long as they didn’t mount a coordinated attack the physical and psychological advantage was mine.

Cotton got hurt because he didn’t follow the scrip we’d worked out for a training exercise. I was the instructor. He was my assistant instructor. Cotton was a good guy. He may have thought it would be funny to knock me on my ass. This was at the height of the Vietnam War. We were instructing the instructors who might be the difference in the life or death of an American soldier so I took my job seriously. I went at Cotton as I would have in a real contest when I saw what he was trying to do. He didn’t hold what I did against me because we both knew it was an accident. When I heard about Camacho and Kim, I couldn’t help thinking that Kim would have felt the same way about Hector Camacho as Cotton did about me. He would have not have blamed him for what happened. His death was an accident.

By the time I sat down to create my characters for The Random Factor, a lot of water had gone under the bridge. I’d been in combat and I knew what it was to take a life in a violent contest skill and guts. All of that went into the character of Hector Clay. His physical appearance was based on my father and a drill instructor I had in Basic. The Clay part of the name came from several sources including an older friend named Chuck Clayton who had some admirable qualities I lacked and worked as I did as a clay sculptor. The name "Hector" had simply popped into my head as soon as I had a good idea of the kind of guy he was going to be. I didn’t know where it came from until I heard his name on the news and the whole cascade of images and emotions involving Vietnam, Camacho, Kim and Cotton played across my mind like an old song in a jukebox.

When you push the right buttons on any big event in your life you’re going to get the same tune every time. The planning and execution of a successful double homicide to frame a popular celebrity and the writing of a much-anticipated book about the case with the killer as the hero have to push a lot of buttons. If the tunes came from the movies, those are the ones that will play.

Swamp Thing plays a lot of tunes.

How do you like this opening for a 6’ 3", highly intelligent body builder with savage dreams of killing people he didn’t like, getting away with it and becoming a best-selling author whose books are made into movies? TWO POWERFUL TO BE DESTROYED, TOO INTELLIGENT TO BE CAPTURED, THIS BEING STILL PURSUES ITS SAVAGE DREAM. Don’t let the "savage dream" fool you. The powerful, intelligent being with the savage dream is not Dr. Holland. It’s Dr. Arcane. The message overlaying the wetland setting of the screenplay where Arcane commits multiple murders is printed in upper case letters. Mark Fuhrman printed his notes on the blood-wet Bundy multiple murder scene in upper case letters. Swamp Thing was a comic book before it was a movie.

The reason I didn’t think of Swamp Thing as a candidate for the Fuhrman movie collection much earlier probably had to do with the notion of a wetland setting being too far removed from Nicole’s condo to count. But when you substitute the blood on Bundy for the water in the swamp the swamp gives you a good symbolic representation of her blood and Ron’s surrounded by a jungle of plants and flowers. Nicole’s broken metal gate, Fuhrman’s purple flowers and his poem on a white sheet of paper about mothers and children set on the top edge of a bloodstained rectangular tile like a tombstone completes the picture. The Swamp Thing setting is what you might see in your head if you were dreaming about killing Nicole and Ron in her front yard and writing a book about it.

Let’s take it from the top. Federal agent Alice Cable is coming to Dr. Alec Holland’s research lab by helicopter. She is the replacement for a guy named Hunt (as in Laura Hunt) who was bitten by an alligator…

Swamp Thing: While looking down at what appears to be an endless expanse of flooded jungle she asks her boss sarcastically about the location of the nearest restaurant. He tells her "…if you’re a gator it’ll be right where we land." On Bundy: The nearest restaurant to Nicole’s condo was Mezzaluna where Ron Goldman worked. Swamp Thing: At the same time Cable is motoring to Dr. Holland’s lab through the flooded graveyard an agent named Ronnie working in the swamp is attacked from behind by a man in military-style fatigues. On Bundy: Ron Goldman was attacked from behind in military style. Swamp Thing: The killer, a man called Ferret, works for Arcane with a man called Bruno. Nicholas Worth is Bruno. Ferret threatens Ronnie with a machete. Ronnie tries to run but he is held in place by other men in military fatigues and Ferret uses a poisonous snake in his left hand to bite Ronnie on his right cheek. On Bundy: Ron was stopped by a stunning blow to his head, an immobilizing technique taught in the military. He was taunted and stabbed several times in his right cheek.

So, what do we have here? We have a Ronnie as in Ronald Goldman, a Nicholas as in Nicole S, and a Bruno as in Bruno Magli shoes. We have a Ronnie working at the nearest restaurant to the murder scene, as in Ron Goldman working at Mezzaluna. We have a Ronnie, as in Ron Goldman, taunted and stabbed in the right cheek dying slowly at the hands of a sadistic killer. We have a tombstone, as in Tombstone Pizza and a broken metal gate as in the metal gate that Nicole had to open by hand to let Ron Goldman into her front yard. We have all of this in the first five minutes of the movie. Oh… I forgot Charlie’s "Do you think the Pope is Catholic," line. Nicole was Catholic.

Now for a Swamp Thing reference to O.J. and the double set of shoeprints on the murder scene. O.J. is synonymous with his football number 32. The killer left double readings of the shoeprints that matched O.J.’s shoe size and the way he walked. Fuhrman’s third Bundy note is his first reference to a double homicide. According to him and the people he would have needed to carry off the double homicide and frame-up in Brentwood, O.J. had a double identity. The face behind the mask of a good guy was a monster. Charlie shows Cable a piece of monitoring equipment, so new that he doubts she has seen one. Before he can tell her what it is, she says " – A laser-induced, sub-sonic field generator. It gives double readings in the thirty-two hundred band, right?" The machine tells her that a sensor is out in sector 3.

Ronnie in Swamp Thing was working in sector 3 when Arcane’s man killed him. The man Cable and Charlie think is the project supervisor tells Cable that Hunt, the agent Cable is replacing, was attacked in sector 3, probably as he was about to make the repair. Ritter, the project supervisor has a double identity. The real face behind the mask belongs to Louis Jourdan as Arcane. Jourdan is close enough to Jordan to see Jourdan behind Fuhrman’s selection of Michael Jordan as his second favorite athlete. Arcane is unique in the Fuhrman movie collection, but Cane (Caine, Kane) is common, thanks largely to all of the roles in the collection played by Michael Caine. Let me remind you that the 1989 California Appellate Court case People vs. Cain is the one Fuhrman said he’d read "just weeks prior" to going over the wall at Rockingham, testing Kato for intoxication and finding the bloody glove.

I see no coincidence in a) Arcane’s association with sector 3, b) in Fuhrman’s decision to speculate on a possible gunshot wound in his 3^rd note, and c) his decision to cite People vs. Caine (’89) in his book to justify his scaling of O.J.’s Ashford wall. That’s because of his association with the New Years ’89 incident in which Nicole ran to the Ashford gate crying, "he’s going to kill me!" Fuhrman wasn’t there with Officer John Edwards in ’89. But his official letter to the city attorney about the time he did go there gave weight to Nicole’s claim of fearing that O.J. would kill her.

Nicole told Edwards about O.J.’s guns, making it clear that she was afraid he would use one of them to shoot her. Fuhrman’s letter is what forced O.J. to plead nolo contendere to the charge of battering. In Swamp Thing, you see the realization of Nicole’s stated fear with a blond actress named Nannette Brown as Alec’s sister Dr. Linda Holland running to a doorway with an arm full of hand written notebooks and getting shot in the back by Arcane. Remind you of the handwritten note in Fuhrman’s fifth note about the pizza place and the menu that Fuhrman said she took downstairs – the one that he said ended up under Nicole’s left leg? Remember the notebook that somehow ended up under Cable’s left leg? That’s how it got there; it flew out of Linda’s arms when she fill to the ground dead of a gunshot wound in the back.

There you have it, People vs. Cain ’89, the ’89 New Years Day incident, the gunshot wound in Fuhrman’s third note and the link to Fuhrman and Nicole on Bundy and Rockingham in 1994 all rolled into one. Need a stronger link between Linda Holland and Alice Cable to be sure you can look at them through Fuhrman’s eyes as a composite representation of Nicole? For a Fuhrman’s-eye view of Nicole on Bundy shortly before she was murdered, you can’t beat the big deal he made out of the pizza – which had nothing to do with the murders. It may have had something to do with Nicole hosting a pizza party on Rockingham. In Swamp Thing, Alec pulls a weird critter he calls Dalessandro out of a tank and tells Cable that it has a one celled animal living in its fur that makes a terrific Host. Cable quips, "Terrific. I’ll remember that the next time I throw a party."

A name that sounds like it could be Italian does not make a pizza. But if you could attach a recipe to that name, Linda and Cable to a kitchen, a phone number like the one in Nicole’s note to both women, you’d have something. If you could toss in a "neatness freak" like O.J. and Fuhrman and an "inventive" mind like Fuhrman’s, you’d have a link to Fuhrman’s fifth not pretty hard to chalk up to coincidence.

Swamp Thing has all of that. It also has an implied brother/sister incest link in Cable’s mistaken impression that Linda is Alex Holland’s wife. That, in turn, is a link to Michael Madsen, his sister Virginia and a pizza associated with her character in a 1989 episode of Moonlighting. When Cable mistakes Linda for "the Dr. Holland," Linda says, "I’m a Dr. Holland but not the Dr. Holland, boy genius and oddball. That’s Alec. He’s the brains in the family. I just cook up what he invents." Alec says, "Don’t you believe her. She has an IQ like a phone number. Shortly after that, Alec takes cable on what he calls, "a cooks tour" of the swamps where they have this little exchange:

Alec: Oh, a neatness freak, eh?

Cable: You could eat off my kitchen floor.

After the unpleasantness between Linda Holland and Arcane’s moving target practice with his revolver, Cable escapes. She comes across a store in the middle of nowhere run by black kid named Jude with glasses. He appears to be about 14 years old (older woman/younger man, Goldman – a Jew – with glasses). Jude allows cable to make a call to her superior. She identifies herself to the operations operator as 517, operation Mt. Pizba (one letter removed from pizza and one number away from the numbers that went with Nicole’s note about the Pizza Kitchen.

The operator supplies the final digit (3) when she identifies herself to the man she thinks is Cable’s superior. She calls herself "mobile operator 3, 4 and tells Arcane, masquerading as Ritter, that it’s an emergency call.

Let’s pause here and consider all of these Swamp Thing elements common to Fuhrman’s theory of what Nicole was doing just before O.J. knocked her to the ground, fought with Goldman and then killed both of them. Fuhrman deduced from the pizza menu on Nicole’s coffee table, the one under her leg and the pizza phone number she wrote in longhand, that she was either talking to someone on the phone or preparing to call someone to order food when she saw O.J. As she went to see him to head off an ugly scene before the friend she was expecting arrived (a young Jew with glasses, as opposed to a young Jude with glasses), she thought of O.J.’s violent temper and the many times he had beaten her (many emergency calls).

We have to stop right here because this scenario is 100 percent bullshit. It fits the movie Candyman with Virginia Madsen as Helen defending herself against her old lover Tony Todd, and Helen Slater in A House in the Hills defending herself against her new lover, Virginia’s brother Michael. Thus, the brother/sister incest link. It fits Faye Resnick’s stories and John Edward’s claim that Nicole said she called 911 eight times before 1989. The record shows one 911 call from Nicole. That call was in, 1993 where you can hear O.J. in the background railing against her association with Keith Zlomsowitch, the alleged coke dealer that he saw Nicole having sex with in ’92. How much imagination does it take to see that picture in Swamp Thing with Adrienne Barbeau drinking Coca-Cola from a bottle in front of Jude?

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