Helter Skelter: The True Story of the Manson Murders by Vincent Bugliosi, Curt Gentry Page A
Authors: Vincent Bugliosi, Curt Gentry
Tags: Fiction, General, Biography & Autobiography, True Crime, California, Murder, Criminals & Outlaws, Case studies, Serial Killers, Murder - California, Manson; Charles
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friend, “Someone is coming in our house while we’re away. Things have been gone through and the dogs are outside the house when they should be inside.”
SUNDAY, AUGUST 10, 1969
About 1 A.M . the LaBiancas dropped Suzanne off at her apartment on Greenwood Place, in the Los Feliz district of Los Angeles. Leno and Rosemary lived in the same neighborhood, at 3301 Waverly Drive, not far from Griffith Park.
The LaBiancas did not immediately return home but first drove to the corner of Hillhurst and Franklin.
John Fokianos, who had a newsstand on that corner, recognized the green Thunderbird-plus-boat as it pulled into the Standard station across the street, and while it was making a U-turn that would bring it alongside his stand, he reached for a copy of the Los Angeles Herald Examiner, Sunday edition, and a racing form. Leno was a regular customer.
To Fokianos, the LaBiancas seemed tired from their long trip. Business was slow, and they chatted for a few minutes, “about Tate, the event of the day. That was the big news.” Fokianos would recall that Mrs. LaBianca seemed very shaken by the deaths. He had some extra news fillers for the Sunday Los Angeles Times, which featured the murders, and he gave them one without charge.
He watched as they drove away. He did not notice the exact time, except that it was sometime between 1 and 2 A.M ., probably closer to the latter, as not long after they left the bars closed and there was a flurry of business.
As far as is known, John Fokianos was the last person—excluding their killer(s)—to see Rosemary and Leno LaBianca alive.
A t noon on Sunday the hall outside the autopsy room on the first floor of the Hall of Justice was packed with reporters and TV cameramen, all awaiting the coroner’s announcement.
They would have a long wait. Although the autopsies had begun at 9:50 A.M ., and a number of deputy coroners had been pressed into service, it would be 3 P.M . before the last autopsy was completed.
Dr. R. C. Henry conducted the Folger and Sebring autopsies, Dr. Gaston Herrera those of Frykowski and Parent. Dr. Noguchi supervised and directed all four; in addition, he personally conducted the other autopsy, which began at 11:20 A.M .
Sharon Marie Polanski, 10050 Cielo Drive, female Caucasian, 26 years, 5-3, 135 pounds, blond hair, hazel eyes. Victim’s occupation, actress…
A utopsy reports are abrupt documents. Cold, factual, they can indicate how the victims died, and give clues as to their last hours, but nowhere in them do their subjects emerge, even briefly, as people. Each report is, in its own way, the sum total of a life, yet there are very few glimpses as to how that life was lived. No likes, dislikes, loves, hates, fears, aspirations, or other human emotions; just a final, clinical summing up: “The body is normally developed…The pancreas is grossly unremarkable…The heart weighs 340 grams and is symmetrical…”
Yet the victims had lived, each had a past.
M uch of Sharon Tate’s story sounded like a studio press release. It seemed she had always wanted to be an actress. At age six months she had been Miss Tiny Tot of Dallas, at sixteen years Miss Richland, Washington, then Miss Autorama. When her father, a career army officer, was assigned to San Pedro, she would hitchhike into nearby Los Angeles, haunting the studios.
In addition to her ambition, she had at least one other thing in her favor: she was a very beautiful girl. She acquired an agent who succeeded in getting her a few commercials, then, in 1963, an audition for the TV series “Petticoat Junction.” Producer Martin Ransohoff saw the pretty twenty-year-old on the set and, according to studio flackery, told her, “Sweetie, I’m going to make you a star.”
The star was a long time ascending. Singing, dancing, and acting lessons were interspersed with bit parts, usually wearing a black wig, in “The Beverly Hillbillies,” “Petticoat Junction,”
SUNDAY, AUGUST 10, 1969
About 1 A.M . the LaBiancas dropped Suzanne off at her apartment on Greenwood Place, in the Los Feliz district of Los Angeles. Leno and Rosemary lived in the same neighborhood, at 3301 Waverly Drive, not far from Griffith Park.
The LaBiancas did not immediately return home but first drove to the corner of Hillhurst and Franklin.
John Fokianos, who had a newsstand on that corner, recognized the green Thunderbird-plus-boat as it pulled into the Standard station across the street, and while it was making a U-turn that would bring it alongside his stand, he reached for a copy of the Los Angeles Herald Examiner, Sunday edition, and a racing form. Leno was a regular customer.
To Fokianos, the LaBiancas seemed tired from their long trip. Business was slow, and they chatted for a few minutes, “about Tate, the event of the day. That was the big news.” Fokianos would recall that Mrs. LaBianca seemed very shaken by the deaths. He had some extra news fillers for the Sunday Los Angeles Times, which featured the murders, and he gave them one without charge.
He watched as they drove away. He did not notice the exact time, except that it was sometime between 1 and 2 A.M ., probably closer to the latter, as not long after they left the bars closed and there was a flurry of business.
As far as is known, John Fokianos was the last person—excluding their killer(s)—to see Rosemary and Leno LaBianca alive.
A t noon on Sunday the hall outside the autopsy room on the first floor of the Hall of Justice was packed with reporters and TV cameramen, all awaiting the coroner’s announcement.
They would have a long wait. Although the autopsies had begun at 9:50 A.M ., and a number of deputy coroners had been pressed into service, it would be 3 P.M . before the last autopsy was completed.
Dr. R. C. Henry conducted the Folger and Sebring autopsies, Dr. Gaston Herrera those of Frykowski and Parent. Dr. Noguchi supervised and directed all four; in addition, he personally conducted the other autopsy, which began at 11:20 A.M .
Sharon Marie Polanski, 10050 Cielo Drive, female Caucasian, 26 years, 5-3, 135 pounds, blond hair, hazel eyes. Victim’s occupation, actress…
A utopsy reports are abrupt documents. Cold, factual, they can indicate how the victims died, and give clues as to their last hours, but nowhere in them do their subjects emerge, even briefly, as people. Each report is, in its own way, the sum total of a life, yet there are very few glimpses as to how that life was lived. No likes, dislikes, loves, hates, fears, aspirations, or other human emotions; just a final, clinical summing up: “The body is normally developed…The pancreas is grossly unremarkable…The heart weighs 340 grams and is symmetrical…”
Yet the victims had lived, each had a past.
M uch of Sharon Tate’s story sounded like a studio press release. It seemed she had always wanted to be an actress. At age six months she had been Miss Tiny Tot of Dallas, at sixteen years Miss Richland, Washington, then Miss Autorama. When her father, a career army officer, was assigned to San Pedro, she would hitchhike into nearby Los Angeles, haunting the studios.
In addition to her ambition, she had at least one other thing in her favor: she was a very beautiful girl. She acquired an agent who succeeded in getting her a few commercials, then, in 1963, an audition for the TV series “Petticoat Junction.” Producer Martin Ransohoff saw the pretty twenty-year-old on the set and, according to studio flackery, told her, “Sweetie, I’m going to make you a star.”
The star was a long time ascending. Singing, dancing, and acting lessons were interspersed with bit parts, usually wearing a black wig, in “The Beverly Hillbillies,” “Petticoat Junction,”
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