Polanski would remember the conversation as follows:
“Roman, there’s been a disaster in a house.”
“Which house?”
“Your house.” Then, in a rush, “Sharon is dead, and Voytek and Gibby and Jay.”
“No, no, no, no!” Surely there was a mistake. Both men now crying, Tennant reiterated that it was true; he had gone to the house himself.
“How?” Polanski asked. He was thinking, he later said, not of fire but a landslide, a not uncommon thing in the Los Angeles hills, especially after heavy rains; sometimes whole houses were buried, which meant that perhaps they could still be alive. Only then did Tennant tell him that they had been murdered.
Voytek Frykowski, LAPD learned, had a son in Poland but no relatives in the United States. The youth in the Rambler remained unidentified, but was no longer nameless; he had been designated John Doe 85.
The news spread quickly—and with it the rumors. Rudi Altobelli, owner of the Cielo property and business manager for a number of show-business personalities, was in Rome. One of his clients, a young actress, called and told him that Sharon and four others had been murdered in his house and that Garretson, the caretaker he had hired, had confessed.
Garretson hadn’t, but Altobelli would not learn this until after he returned to the United States.
The specialists had begun arriving about noon.
Officers Jerrome A. Boen and D. L. Girt, Latent Prints Section, Scientific Investigation Division, LAPD, dusted the main residence and the guest house for prints.
After dusting a print with powder (“developing the print”), a clear adhesive tape was placed over it; the tape, with the print showing, would then be “lifted” and placed on a card with a contrasting background. Location, date, time, officer’s initials were noted on the back.
One such “lift” card, prepared by Boen, read: “8-9-69/10050 Cielo/1400/JAB/Inside door frame of left French door/from master bedroom to pool area/handle side.”
Another lift, taken about the same time, was from the “Outside front door/handle side/above handle.”
It took six hours to cover both residences. Later that afternoon the pair were joined by officer D. E. Dorman and Wendell Clements, the latter a civilian fingerprint expert, who concentrated on the four vehicles.
Contrary to popular opinion, a readable print is more rare than common. Many surfaces, such as clothing and fabrics, do not lend themselves to impressions. Even when the surface is such that it will take a print, one usually touches it with only a portion of the finger, leaving a fragmentary ridge, which is useless for comparison. If the finger is moved, the result is an unreadable smudge. And, as officer DeRosa demonstrated with the gate button, one print placed atop another creates a superimposure, also useless for identification purposes. Thus, at any crime scene, the number of clear, readable prints, with enough points for comparison, is usually surprisingly small.
Not counting those prints later eliminated as belonging to LAPD personnel at the scene, a total of fifty lifts were taken from the residence, guest house, and vehicles at 10050 Cielo Drive. Of these, seven were eliminated as belonging to William Garretson (all were from the guest house; none of Garretson’s prints were found in the main house or on the vehicles); an additional fifteen were eliminated as belonging to the victims; and three were not clear enough for comparison. This left a total of twenty-five unmatched latent prints, any of which might—or might not—belong to the killer or killers.
It was 1:30 P.M. before the first homicide detectives arrived. On verifying that the deaths were not accidental or self-inflicted, Lieutenant Madlock had requested that the investigation be reassigned to the Robbery-Homicide Division. Lieutenant Robert J. Helder, supervisor of investigations, was placed in charge. He in turn assigned Sergeants Michael J. McGann and Jess Buckles to the case. (McGann’s regular partner, Sergeant Robert Calkins, was on vacation and would replace Buckles when he returned.) Three additional officers, Sergeants E. Henderson, Dudley Varney, and Danny Galindo, were to assist them.
On being notified of the homicides, Los Angeles County Coroner Thomas Noguchi asked the police not to touch the bodies until a representative of his office had examined them. Deputy Coroner John Finken arrived about 1:45, later to be joined by Noguchi himself. Finken made the official determination of death; took liver and environmental temperatures (by 2 P.M. it was 94 degrees on the lawn, 83 degrees inside the house); and severed the rope connecting Tate and Sebring, portions of which were given to the detectives so that they could try to determine where it had been manufactured and sold. It was white, three-strand nylon, its total length 43 feet 8 inches. Granado took blood samples from the rope, but didn’t take subtypes, again presuming. Finken also removed the personal property from the bodies of the victims. Sharon Tate Polanski: yellow metal wedding band, earrings. Jay Sebring: Cartier wristwatch, later determined to be worth in excess of $1,500. John Doe 85: Lucerne wristwatch, wallet with various papers but no ID. Abigail Folger and Voytek Frykowski: no property on persons. After plastic bags had been placed over the hands of the victims, to preserve any hair or skin that might have become lodged under the nails during a struggle, Finken assisted in covering and placing the bodies on stretcher carts, to be wheeled to ambulances and taken to the Coroner’s Office, Hall of Justice, downtown Los Angeles.
Besieged by reporters at the gate, Dr. Noguchi announced he would have no comment until making public the autopsy results at noon the following day.
Both Noguchi and Finken, however, privately had already given the detectives their initial findings.
There was no evidence of sexual molestation or mutilation.
Three of the victims—the John Doe, Sebring, and Frykowski—had been shot. Aside from a defensive slash wound on his left hand, which also severed the band of his wristwatch, John Doe had not been stabbed. But the other four had—many, many times. In addition, Sebring had been hit in the face at least once, and Frykowski had been struck over the head repeatedly with a blunt object.
Though exact findings would have to await the autopsies, the coroners concluded from the size of the bullet holes that the gun used had probably been .22 caliber. The police had already suspected this. In searching the Rambler, Sergeant Varney had found four bullet fragments between the upholstery and the exterior metal of the door on the passenger side. Also found, on the cushion of the rear seat, was part of a slug. Though all were too small for comparison purposes, they appeared to be .22 caliber.
As for the stab wounds, someone suggested that the wound pattern was not dissimilar to that made by a bayonet. In their official report the detectives carried this a step further, concluding, “the knife that inflicted the stab wounds was probably a bayonet.” This not only eliminated a number of other possibilities, it also presumed that only one knife had been used.
The depth of the wounds (many in excess of 5 inches), their width (between 1 and 1½ inches), and their thickness (1/8 to ¼ inch) ruled out either a kitchen or a regular pocketknife.
Coincidentally, the only two knives found in the house were a kitchen knife and a pocketknife.
A steak knife had been found in the kitchen sink. Granado got a positive benzidine reaction, indicating blood, but a negative Ouchterlony, indicating it was animal, not human. Boen dusted it for prints, but got only fragmentary ridges. Mrs. Chapman later identified the knife as one of a set of steak knives that belonged to the Polanskis, and she located all the others in a drawer. But even before this, the police had eliminated it because of its dimensions, in particular its thinness. The stabbings were so savage that such a blade would have broken.
Granado found the second knife in the living room, less than three feet from Sharon Tate’s body. It was wedged behind the cushion in one of the chairs, with the blade sticking up. A Buck brand clasp-type pocketknife, its blade was ¾ inch in diameter, 313/16 inches in length, making it too small to have caused most of the wounds. Noticing a spot on the side of the blade, Granado tested it f
or blood: negative. Girt dusted it for prints: an unreadable smudge.
Mrs. Chapman could not recall ever having seen this particular knife. This, plus the odd place where it was found, indicated that it might have been left by the killer(s).
In literature a murder scene is often likened to a picture puzzle. If one is patient and keeps trying, eventually all the pieces will fit into place.
Veteran policemen know otherwise. A much better analogy would be two picture puzzles, or three, or more, no one of which is in itself complete. Even after a solution emerges—if one does—there will be leftover pieces, evidence that just doesn’t fit. And some pieces will always be missing.
There was the American flag, its presence adding still another bizarre touch to a scene already horribly macabre. The possibilities it suggested ranged from one end of the political spectrum to the other—until Winifred Chapman told the police that it had been in the residence several weeks.
Few pieces of evidence were so easily eliminated. There were the bloody letters on the front door. In recent years the word “pig” had taken on a new meaning, one all too familiar to the police. But what did it mean printed here?
There was the rope. Mrs. Chapman flatly stated that she had never seen such a rope anywhere on the premises. Had the killer(s) brought it? If so, why?
What significance was there in the fact that the two victims bound together by the rope, Sharon Tate and Jay Sebring, were former lovers? Or was “former” the right word? What was Sebring doing there, with Polanski away? It was a question that many of the newspapers would also ask.
The horn-rimmed glasses—negative for both prints and blood—did they belong to a victim, a killer, or someone totally unconnected with the crime? Or—with each question the possibilities proliferated—had they been left behind as a false clue?
The two trunks in the entryway. The maid said they hadn’t been there when she left at 4:30 the previous afternoon. Who delivered them, and when, and had this person seen anything?
Why would the killer(s) go to the trouble of slitting and removing a screen when other windows, those in the newly painted room that was to be the nursery for the Polanskis’ unborn child, were open and screenless?
John Doe 85, the youth in the Rambler. Chapman, Garretson, and Tennant had failed to identify him. Who was he and what was he doing at 10050 Cielo Drive? Had he witnessed the other murders, or had he been killed before they took place? If before, wouldn’t the others have heard the shots? On the seat next to him was a Sony AM–FM Digimatic clock radio. The time at which it had stopped was 12:15 A.M. Coincidence or significant?
As for the time of the murders, the reports of gunshots and other sounds ranged from shortly after midnight to 4:10 A.M.
Not all of the evidence was as inconclusive. Some of the pieces fitted. No shell casings were found anywhere on the property, indicating that the gun was probably a revolver, which does not eject its spent shells, as contrasted to an automatic, which does.
Placed together, the three pieces of black wood formed the right-hand side of a gun grip. The police therefore knew the gun they were looking for was probably a .22 caliber revolver that was minus a right grip. From the pieces it might be possible to determine both make and model. Though there was human blood on all three pieces, only one had enough for analysis. It tested O-MN. Of the five victims, only Sebring had OMN, indicating that the butt of the revolver could have been the blunt object used to strike him in the face.
The bloody letters on the front door tested O-M. Again, only one of the victims had this type and subtype. The word PIG had been printed in Sharon Tate’s blood.
There were four vehicles in the driveway, but one which should have been there wasn’t—Sharon Tate’s red Ferrari. It was possible that the killer(s) had used the sports car to escape, and a “want” was broadcast for it.
Long after the bodies had been removed, the detectives remained on the scene, looking for meaningful patterns.
They found several which appeared significant.
There were no indications of ransacking or robbery. McGann found Sebring’s wallet in his jacket, which was hanging over the back of a chair in the living room. It contained $80. John Doe had $9 in his wallet, Frykowski $2.44 in his wallet and pants pocket, Folger $9.64 in her purse. On the nightstand next to Sharon Tate’s bed, in plain view, were a ten, a five, and three ones. Obviously expensive items—a videotape machine, TV sets, stereo, Sebring’s wristwatch, his Porsche—had not been taken. Several days later the police would bring Winifred Chapman back to 10050 Cielo to see if she could determine if anything was missing. The only item she couldn’t locate was a camera tripod, which had been kept in the hall closet. These five incredibly savage murders were obviously not committed for a camera tripod. In all probability it had been lent to someone or lost.
While this didn’t completely eliminate the possibility that the murders had occurred during a residential burglary—the victims surprising the burglar(s) while at work—it certainly put it way down the list.
Other discoveries provided a much more likely direction.
A gram of cocaine was found in Sebring’s Porsche, plus 6.3 grams of marijuana and a two-inch “roach,” slang for a partially smoked marijuana cigarette.
There were 6.9 grams of marijuana in a plastic bag in a cabinet in the living room of the main residence. In the nightstand in the bedroom used by Frykowski and Folger were 30 grams of hashish, plus ten capsules which, later analyzed, proved to be a relatively new drug known as MDA. There was also marijuana residue in the ashtray on the stand next to Sharon Tate’s bed, a marijuana cigarette on the desk near the front door,* and two more in the guest house.
Had a drug party been in progress, one of the participants “freaking out” and slaying everyone there? The police put this at the top of their list of possible reasons for the murders, though well aware this theory had several weaknesses, chief among them the presumption that there was a single killer, wielding a gun in one hand, a bayonet in the other, at the same time carrying 43 feet of rope, all of which, conveniently, he just happened to bring along. Also, there were the wires. If they had been cut before the murders, this indicated premeditation, not a spontaneous flare-up. If cut after, why?
Or could the murders have been the result of a drug “burn,” the killer(s) arriving to make a delivery or buy, an argument over money or bad drugs erupting into violence? This was the second, and in many ways the most likely, of the five theories the detectives would list in their first investigative report.
The third theory was a variation of the second, the killer(s) deciding to keep both the money and the drugs.
The fourth was the residential burglary theory.
The fifth, that these were “deaths by hire,” the killer(s) being sent to the house to eliminate one or more of the victims, then, in order to escape identification, finding it necessary to kill all. But would a hired killer choose as one of his weapons something as large, conspicuous, and unwieldy as a bayonet? And would he keep stabbing and stabbing and stabbing in a mad frenzy, as so obviously had been done in this case?
The drug theories seemed to make the most sense. In the investigation that followed, as the police interviewed acquaintances of the victims, and the victims’ habits and life styles emerged into clearer focus, the possibility that drugs were in some way linked to the motive became in some minds such a certainty that when given a clue which could have solved the case, they refused even to consider it.
The police were not the only ones to think of drugs.
On hearing of the deaths, actor Steve McQueen, long-time friend of Jay Sebring, suggested that the hair stylist’s home should be rid of narcotics to protect his family and business. Though McQueen did not himself participate in the “housecleaning,” by the time LAPD got around to searching Sebring’s residence, anything embarrassing had been removed.
Others developed instant paranoia. No one was sure who the police would question, or when. An unidentifie
d film figure told a Life reporter: “Toilets are flushing all over Beverly Hills; the entire Los Angeles sewer system is stoned.”
FILM STAR, 4 OTHERS
DEAD IN BLOOD ORGY
Sharon Tate Victim
In “Ritual” Murders
The headlines dominated the front pages of the afternoon papers, became the big news on radio and TV. The bizarre nature of the crime, the number of victims, and their prominence—a beautiful movie star, the heiress to a coffee fortune, her jet-set playboy paramour, an internationally known hair stylist—would combine to make this probably the most publicized murder case in history, excepting only the assassination of President John F. Kennedy. Even the staid New York Times, which rarely reports crime on its front page, did so the next day, and many days thereafter.
The accounts that day and the next were notable for the unusual amount of detail they contained. So much information had been given out, in fact, that the detectives would have difficulty finding “polygraph keys” for questioning suspects.
In any homicide, it is standard practice to withhold certain information which presumably only the police and the killer(s) know. If a suspect confesses, or agrees to a polygraph examination, these keys can then be used to determine if he is telling the truth.
Owing to the many leaks, the detectives assigned to the “Tate case,” as the press was already calling the murders, could only come up with five: (1) That the knife used was probably a bayonet. (2) That the gun was probably a .22 caliber revolver. (3) The exact dimensions of the rope, as well as the way it was looped and tied. And (4) and (5), that a pair of horn-rimmed glasses and a Buck knife had been found.
Helter Skelter: The True Story of the Manson Murders Page 4
