Isegoria

Peter Bart, the longtime editor in chief of Variety, had been close to Polanski, and what he told Tom O’Neill (for what became Chaos: Charles Manson, the CIA, and the Secret History of the Sixties) gave O’Neill some semblance of a lead:

“I must confess that that crowd was a little scary,” Bart said, referring to Polanski and Tate’s circle. “There was an aura of danger around them… there was an instinctive feeling that everyone was pushing it and things were getting out of control. My wife and I still talk about it,” he said. “Anybody who underestimates the impact of the event is full of shit.”

This was my first taste of the “live freaky, die freaky” view: the idea that Polanski’s circle, with its bacchanalian parties and flexible morals, had brought about their own murders.

[…]

I mentioned the rash of rejections to Peter Bart. His observation stayed with me, especially as the months wore on and I began to see that Manson might have been more plugged into Hollywood than anyone cared to admit. “Just the fact that they’re all saying no,” he said, “is fascinating.”

[…]

I pulled a book from my bag: Barney Hoskyns’s Waiting for the Sun, a history of L.A.’ s music industry. I’d been reading it for research — what with all the rejections I’d gotten, I had a little more free time on my hands than I’d expected — and I wanted Bugliosi to look at a passage I’d highlighted. Hoskyns alleged that a few S&M movies had been filmed at the Tate house, and that a drug dealer had once been tied up and flogged against his will at a party there. Other sources, including Ed Sanders’s 1971 book The Family, had made the same claims, but Bugliosi had conspicuously omitted the anecdote from Helter Skelter.

Bugliosi seemed to be in the midst of some kind of internal debate. After what felt like a long silence, he told me to turn off my recorder. “This can never be attributed to me,” he began. “Just say it’s from a very reliable source.” (I’ll explain later in the book why I’m treating this as an on-the-record response.)

When he’d joined the case, the detectives told Bugliosi they’d recovered some videotape in the loft at the house on Cielo Drive. According to detectives, the footage, clearly filmed by Polanski, depicted Sharon Tate being forced to have sex with two men. Bugliosi never saw the tape, but he told the detectives, “Put it back where you found it. Roman has suffered enough. There’s nothing to gain. All it’s going to do is hurt her memory and hurt him. They’re both victims.”

It was a tawdry aside, I thought, and anyway, Bugliosi had reported most of this episode before. In Helter Skelter, he wrote that the cops had recovered a tape of Roman and Sharon “making love,” and that it had been discreetly returned to their home. Polanski had found it not long after, on the same visit with Julian Wasser and the psychic. He “climbed the ladder to the loft,” Bugliosi writes, “found the videotape LAPD had returned, and slipped it into his pocket, according to one of the officers who was present.”

The more I thought about it, the more startled I was that the footage was so sordid. It gave yet more weight to the “live freaky, die freaky” motto. And soon after, it occurred to me: if Polanski had coerced Sharon into sleeping with two men, and filmed it, wasn’t that spousal abuse? “Roman’s a sicko,” Bugliosi had said. “He was making her do it.” Was it rape? If Bugliosi was telling the truth — and that was a big if, I soon acknowledged — the tape seemed like something that could’ve raised Polanski’s profile as a suspect, and something, therefore, that the police should’ve retained as evidence.

I hoped that I could verify Bugliosi’s story. It was the first piece of new information I’d found so far. In my haste to keep reporting, I failed to see that the revelation came with a slipup on his part, one that would take me more than six years to recognize. He couldn’t have told the detectives to put the tape back in the loft. As a DA, he wasn’t assigned the Tate murder case until November 18, 1969, months after Polanski’s August 17 return visit to the house.

In the early phases of a case, police need to talk to DAs like Bugliosi to authorize search warrants. If he’d learned about the tape from the detectives back in August — if he’d been the one, as he claimed, who ordered its return to the house — then something in the police investigation had necessitated his involvement much earlier than he’d ever acknowledged. Maybe it was something trifling; maybe it was something he felt he’d had to cover up to protect some celebrities’ reputations. The point was, we’d never know, because it was something he’d hidden from his readers. Though I hadn’t caught this mistake, there were more variations to come. When I finally found them, it would change the whole tenor of our relationship.

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