Music for Chameleons (28 page)

TC:
You can get hash in here.

RB:
And everything else. Any kind of dope—for a price. There are dudes in here on everything but roller skates.

TC:
Is that what your life was like before you were arrested? Just tripping? Didn’t you ever have a job?

RB:
Once in a while. I played guitar in a couple of bars.

TC:
I understand you were quite a cocksman. The ruler of a virtual seraglio. How many children have you fathered?

RB:
(Silence—but shrugs, grins, smokes)

TC:
I’m surprised you have a guitar. Some prisons don’t allow it because the strings can be detached and used as weapons. A garrote. How long have you been playing?

RB:
Oh, since I was a kid. I was one of those Hollywood kids. I was in a couple of movies. But my folks were against it. They’re real straight people. Anyway, I never cared about the acting part. I just wanted to write music and play it and sing.

TC:
But what about the film you made with Kenneth Anger—
Lucifer Rising
?

RB:
Yeah.

TC:
How did you get along with Anger?

RB:
Okay.

TC:
Then why does Kenneth Anger wear a picture locket on a chain around his neck? On one side of the locket there is a picture of you; on the other there is an image of a frog with an inscription: “Bobby Beausoleil changed into a frog by Kenneth Anger.” A voodoo amulet, so to say. A curse he put on you
because you’re supposed to have ripped him off. Left in the middle of the night with his car—and a few other things.

RB
(narrowed eyes): Did he tell you that?

TC:
No, I’ve never met him. But I was told it by a number of other people.

RB
(reaches for guitar, tunes it, strums it, sings): “This is my song, this is my song, this is my dark song, my dark song …” Everybody always wants to know how I got together with Manson. It was through our music. He plays some, too. One night I was driving around with a bunch of my ladies. Well, we came to this old roadhouse, beer place, with a lot of cars outside. So we went inside, and there was Charlie with some of his ladies. We all got to talking, played some together; the next day Charlie came to see me in my van, and we all, his people and my people, ended up camping out together. Brothers and sisters. A family.

TC:
Did you see Manson as a leader? Did you feel influenced by him right away?

RB:
Hell, no. He had his people, I had mine. If anybody was influenced, it was him. By me.

TC:
Yes, he was attracted to you. Infatuated. Or so he says. You seem to have had that effect on a lot of people, men and women.

RB:
Whatever happens, happens. It’s all good.

TC:
Do you consider killing innocent people a good thing?

RB:
Who said they were innocent?

TC:
Well, we’ll return to that. But for now: What is your own sense of morality? How do you differentiate between good and bad?

RB:
Good and bad? It’s
all
good. If it happens, it’s got to be good. Otherwise, it wouldn’t be
happening
. It’s just the way life flows. Moves together. I move with it. I don’t question it.

TC:
In other words, you don’t question the act of murder. You consider it “good” because it “happens.” Justifiable.

RB:
I have my own justice. I live by my own law, you know. I don’t respect the laws of this society. Because society doesn’t respect its own laws. I make my own laws and live by them. I have my own sense of justice.

TC:
And what is your sense of justice?

RB:
I believe that what goes around comes around. What goes up comes down. That’s how life flows, and I flow with it.

TC:
You’re not making much sense—at least to me. And I don’t think you’re stupid. Let’s try again. In your opinion, it’s all right that Manson sent Tex Watson and those girls into that house to slaughter total strangers, innocent people—

RB:
I said: Who says they were innocent? They burned people on dope deals. Sharon Tate and that gang. They picked up kids on the Strip and took them home and whipped them. Made movies of it. Ask the cops; they found the movies. Not that they’d tell you the truth.

TC:
The truth is, the Lo Biancos and Sharon Tate and her friends were killed to protect you. Their deaths were directly linked to the Gary Hinman murder.

RB:
I hear you. I hear where you’re coming from.

TC:
Those were all imitations of the Hinman murder—to prove that you couldn’t have killed Hinman. And thereby get you out of jail.

RB:
To get me out of jail. (He nods, smiles, sighs—complimented) None of that came out at any of the trials. The girls got on the stand and tried to really tell how it all came down, but nobody would listen. People couldn’t believe anything except what the media said. The media had them programmed to believe it all happened because we were out to start a race war. That it was mean niggers going around hurting all these good white folk. Only—it was like you say. The media, they called us a “family.” And it was the only true thing they said. We
were
a family. We were mother, father, brother, sister, daughter, son. If a member
of our family was in jeopardy, we didn’t abandon that person. And so for the love of a brother, a brother who was in jail on a murder rap, all those killings came down.

TC:
And you don’t regret that?

RB:
No. If my brothers and sisters did it, then it’s good. Everything in life is good. It all flows. It’s all good. It’s all music.

TC:
When you were up on Death Row, if you’d been forced to flow down to the gas chamber and whiff the peaches, would you have given that your stamp of approval?

RB:
If that’s how it came down. Everything that happens is good.

TC:
War. Starving children. Pain. Cruelty. Blindness. Prisons. Desperation. Indifference. All good?

RB:
What’s that look you’re giving me?

TC:
Nothing. I was noticing how your face changes. One moment, with just the slightest shift of angle, you look so boyish, entirely innocent, a charmer. And then—well, one can see you as a sort of Forty-second Street Lucifer. Have you ever seen
Night Must Fall
? An old movie with Robert Montgomery? No? Well, it’s about an impish, innocent-looking delightful young man who travels about the English countryside charming old ladies, then cutting off their heads and carrying the heads around with him in leather hat-boxes.

RB:
So what’s that got to do with me?

TC:
I was thinking—if it was ever remade, if someone Americanized it, turned the Montgomery character into a young drifter with hazel eyes and a smoky voice, you’d be very good in the part.

RB:
Are you trying to say I’m a psychopath? I’m not a nut. If I have to use violence, I’ll use it, but I don’t believe in killing.

TC:
Then I must be deaf. Am I mistaken, or didn’t you just tell me that it didn’t matter what atrocity one person committed against another, it was good, all good?

RB:
(Silence)

TC:
Tell me, Bobby, how do you view yourself?

RB:
As a convict.

TC:
But beyond that.

RB:
As a man. A
white
man. And everything a white man stands for.

TC:
Yes, one of the guards told me you were the ringleader of the Aryan Brotherhood.

RB
(hostile): What do
you
know about the Brotherhood?

TC:
That it’s composed of a bunch of hard-nosed white guys. That it’s a somewhat fascist-minded fraternity. That it started in California, and has spread throughout the American prison system, north, south, east, and west. That the prison authorities consider it a dangerous, troublemaking cult.

RB:
A man has to defend himself. We’re outnumbered. You got no idea how rough it is. We’re all more scared of each other than we are of the pigs in here. You got to be on your toes every second if you don’t want a shiv in your back. The blacks and Chicanos, they got their own gangs. The Indians, too; or I should say the “Native Americans”—that’s how these redskins call themselves: what a laugh! Yessir,
rough
. With all the racial tensions, politics, dope, gambling, and sex. The blacks really go for the young white kids. They like to shove those big black dicks up those tight white asses.

TC:
Have you ever thought what you would do with your life if and when you were paroled out of here?

RB:
That’s a tunnel I don’t see no end to. They’ll never let Charlie go.

TC:
I hope you’re right, and I think you are. But it’s very likely that you’ll be paroled some day. Perhaps sooner than you imagine. Then what?

RB
(strums guitar): I’d like to record some of my music. Get it played on the air.

TC:
That was Perry Smith’s dream. And Charlie Manson’s, too. Maybe you fellows have more in common than mere tattoos.

RB:
Just between us, Charlie doesn’t have a whole lot of talent. (Strumming chords) “This is my song, my dark song, my dark song.” I got my first guitar when I was eleven; I found it in my grandma’s attic and taught myself to play it, and I’ve been nuts about music ever since. My grandma was a sweet woman, and her attic was my favorite place. I liked to lie up there and listen to the rain. Or hide up there when my dad came looking for me with his belt. Shit. You hear that? Moan, moan. It’s enough to drive you crazy.

TC:
Listen to me, Bobby. And answer carefully. Suppose, when you get out of here, somebody came to you—let’s say Charlie—and asked you to commit an act of violence, kill a man, would you do it?

RB
(after lighting another cigarette, after smoking it half through): I might. It depends. I never meant to … to … hurt Gary Hinman. But one thing happened. And another. And then it all came down.

TC:
And it was all good.

RB:
It was all good.

VI

A Beautiful Child

TIME:
28
APRIL
1955.

Scene:
The chapel of the Universal Funeral Home at Lexington Avenue and Fifty-second Street, New York City. An interesting galaxy packs the pews: celebrities, for the most part, from an international arena of theatre, films, literature, all present in tribute to Constance Collier, the English-born actress who had died the previous day at the age of seventy-five.

Born in 1880, Miss Collier had begun her career as a music-hall Gaiety Girl, graduated from that to become one of England’s principal Shakespearean actresses (and the longtime fiancée of Sir Max Beerbohm, whom she never married, and perhaps for that reason was the inspiration for the mischievously unobtainable heroine in Sir Max’s novel
Zuleika Dobson
). Eventually she emigrated to the United States, where she established herself as a considerable figure on the New York stage as well as in Hollywood films. During the last decades of her life she lived in New York, where she practiced as a drama coach of unique caliber; she accepted only professionals as students, and usually only professionals who were already “stars”—Katharine
Hepburn was a permanent pupil; another Hepburn, Audrey, was also a Collier protégée, as were Vivien Leigh and, for a few months prior to her death, a neophyte Miss Collier referred to as “my special problem,” Marilyn Monroe.

Marilyn Monroe, whom I’d met through John Huston when he was directing her in her first speaking role in
The Asphalt Jungle
, had come under Miss Collier’s wing at my suggestion. I had known Miss Collier perhaps a half-dozen years, and admired her as a woman of true stature, physically, emotionally, creatively; and, for all her commanding manner, her grand cathedral voice, as an adorable person, mildly wicked but exceedingly warm, dignified yet
Gemütlich
. I loved to go to the frequent small lunch parties she gave in her dark Victorian studio in mid-Manhattan; she had a barrel of yarns to tell about her adventures as a leading lady opposite Sir Beerbohm Tree and the great French actor Coquelin, her involvements with Oscar Wilde, the youthful Chaplin, and Garbo in the silent Swede’s formative days. Indeed she was a delight, as was her devoted secretary and companion, Phyllis Wilbourn, a quietly twinkling maiden lady who, after her employer’s demise, became, and has remained, the companion of Katharine Hepburn. Miss Collier introduced me to many people who became friends: the Lunts, the Oliviers, and especially Aldous Huxley. But it was I who introduced her to Marilyn Monroe, and at first it was not an acquaintance she was too keen to acquire: her eyesight was faulty, she had seen none of Marilyn’s movies, and really knew nothing about her except that she was some sort of platinum sex-explosion who had achieved global notoriety; in short, she seemed hardly suitable clay for Miss Collier’s stern classic shaping. But I thought they might make a stimulating combination.

They did. “Oh yes,” Miss Collier reported to me, “there is something there. She is a beautiful child. I don’t mean that in the
obvious way—the perhaps too obvious way. I don’t think she’s an actress at all, not in any traditional sense. What she has—this presence, this luminosity, this flickering intelligence—could never surface on the stage. It’s so fragile and subtle, it can only be caught by the camera. It’s like a hummingbird in flight: only a camera can freeze the poetry of it. But anyone who thinks this girl is simply another Harlow or harlot or whatever is
mad
. Speaking of mad, that’s what we’ve been working on together: Ophelia. I suppose people would chuckle at the notion, but really, she could be the most exquisite Ophelia. I was talking to Greta last week, and I told her about Marilyn’s Ophelia, and Greta said yes, she could believe that because she had seen two of her films, very bad and vulgar stuff, but nevertheless she had glimpsed Marilyn’s possibilities. Actually, Greta has an amusing idea. You know that she wants to make a film of
Dorian Gray
? With her playing Dorian, of course. Well, she said she would like to have Marilyn opposite her as one of the girls Dorian seduces and destroys. Greta! So unused! Such a gift—and rather like Marilyn’s, if you consider it. Of course, Greta is a consummate artist, an artist of the utmost control. This beautiful child is without any concept of discipline or sacrifice. Somehow I don’t think she’ll make old bones. Absurd of me to say, but somehow I feel she’ll go young. I hope, I really pray, that she survives long enough to free the strange lovely talent that’s wandering through her like a jailed spirit.”