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[theme music] narrator: if we held upthat mirrored to the 1960s, the "who is the fairest ofthem all" mirror from the "snow white" fairy tale, we'd probablysee her looking back at us-- sharon tate. her own story, like thatof the whole decade, began as somethingof a fairy tale. but neither had a happy ending. elke sommer (voiceover):[speaking german]
[music - the byrds, "don't make waves"] [camera clicks] there's a natural sweetnessand gentleness about her. she was a gentleand a sweet girl. to me, that was just my sister. narrator: a big, lovable sister. her professional lifewas on the up and up. in her private life, she wasmarried to roman polanski. at the age of 26,she was about to give
birth to her first child. and then theunimaginable happened. on the night of august the 9th,1969, sharon tate was murdered in her house in los angeles inher ninth month of pregnancy, killed by 16 stab wounds. the police foundfour other victims in the house and grounds inthe prestigious benedict canyon district, shot,stabbed, massacred. in the two months it took thepolice to find the murderers,
fear and panic spread. four members of theso-called manson family were arrested,convicted, and sentenced. driven into a homicidal frenzyby the crude apocalyptic visions of theirguru, charles manson, they had committed thisappalling crime and others. the police and the courtassumed that sharon tate and her friendswere random victims of a group of unleashed hippieswho were under the spell
of a demented ringleader. [cameras clicking] truth is locked up. and now, you've judgedyourselves once again. la will burn to the ground. los angeles willburn to the ground. narrator: a lot ofpeople in los angeles say that on that9th of august, 1969, with the slayings andthe horror they spread,
the '60s came to an end. charles manson became an evilicon of the 20th century. the man with a longcriminal record, who could hardly reador write, and who saw himself as jesusand satan in one person, still has followers today. the holy cross symmetry inculver city, los angeles. debra tate has beentending the grave and legacy of her murderedsister sharon for many years.
so this is where myprecious family is. it was a long time ago. i actually had somebody leavea coffee can of broken glass and had some manson followersjump out of the grotto at me saying that,you should die. narrator: the fate of sharonand her unborn son, paul richard polanski-- for debratate, a lasting obligation to fight against the holethat charles manson still has on some people, even today.
debra tate(voiceover): there was a time when mansonmade the statement that he made sharon tate. i totally disagree. had he not killedsharon, he would be still an anonymous criminal. it was because of herbeauty and her innocence in contrast to his evil andugliness that makes it a story that the world willeven care to indulge in.
so taking her life made him astar, not the other way around. narrator: actressand murder victim-- that's how some biographerslabel sharon tate, whose name is inseparably linked to theugly "m word," as sharon's sister debra callsit-- "murder." sharon tate has become a symbol. her life, herfilms, and her death have been interpreted asepitomizing the 1960s. sharon was born in1943 in dallas, texas.
her father was an armyofficer, who moved his family from one posting to another. every two or three years,it meant a different town, a new school, and new friends. there were just two constantsin sharon's childhood-- the family and thebeauty contests that sharon won wherevershe found herself. mother had started sharonin the beauty contest when she was just a baby.
so there were quitea few years of sharon being that perfectdoll for my mother while my dad wasbusy being a soldier. narrator: sharon thought ofbecoming a model, an idea that took her father, paultate, some getting used to as an army officer. debra tate (voiceover):when it came home to roost with my father, sharonhad won miss stars and stripes. i think she was 15.
and pictures were taken ofher straddling a missile. it became very apparentthat at that time that she was growing into a young lady. and he realized now he hadto step up and be the father and fend off the advancesof an army of males. narrator: in the early 1960s,the family was posted to italy. and at the americanhigh school in vicenza, sharon was voted-- what else--homecoming queen, italy's most beautiful american.
visiting the set ofhemingway film one day, she was promptlyhired as an extra. and she's also to be seenin the epic "barabbas," if you look hard enough. the actors, especiallythe men, encouraged her to try for a career in films. so my mother and fatheractually gave permission short of sharon's18th birthday for her to leave europe and cometo the united states
to start her movie career. narrator: with a fewintroductions in her pocket, sharon arrived in thefilm capital, los angeles. her parents were still initaly, so she was all alone. but word soon got'round about the arrival of a beautiful young woman,no rare event in hollywood. but there was somethingspecial about this one. she met an ambitiousyoung producer, who boasted that he wouldsoon discover a superstar.
and he was impressedenough to sign sharon up to a seven-year contract. martin ransohoff. martin ransohoff(voiceover): she had no professionaltraining at that time. zip. i mean, as far asi knew, she had-- she was a 19-year-old kid. and it's just a gamble.
i mean, i knewthat we were going to have to train her andmake an investment probably for a year to train her. but she just had agreat natural quality. narrator: ransohoff's company,filmways, paid sharon $750 a month and gave her lessons insinging, dancing, and acting. they expected areturn on their money within seven years,of which time sharon tate would be a star.
debra tate (voiceover): sharondidn't have to be ambitious. everything she everwanted came to her. it fell in her lap. what sharon was wasextremely dutiful. she took her career that prettymuch found her and took it seriously enough to go andstart studying with strasberg and reading shakespeare anddoing all of the right moves for a serious actress. she was not going tojust rely on her looks.
uh, i can't see myselfdoing shakespeare or anything like that. i would love light comedy. but it takes so long, you know? comedy's one ofthe most difficult types of acting to do. it takes so long, becauseyou have to be so serious. and that's the funnything about it. and i haven't had theexperience at the moment,
but i'm giving it a good try. narrator: and this is the typeof experience she was gaining. in the television sitcom"beverly hillbillies," she played a secretary. but martin ransohoff hasdisguised her in a black wig. he wanted to keep hissecret from others in the film businessfor as long as possible. excuse me. someone to see you.
i told you no interruptions. sorry, mr. clampett. no interruptions. clampett? debra tate (voiceover): but itwas just so silly to see her in that black wig. [laughs] it was so unnatural to me. so, you know, i razzedher a little bit
and gave her the elbow and alot of hisses and shoulders up like, well, it's a start. narrator: that smallstart was followed in 1965 by her first big filmrole, filmed in europe with sharon nowplaying alongside david niven and deborah kerr. sharon tate (voiceover):the first day, the day we workedon the location, i-- when i was younger,i thought, this
is the man i'm going to marry. so when he came up, i told him. i said, well, you know, ihad plans for marrying you for many years. oh, gee, he's sosuave and so elegant and so handsome and witty. and the funny thingabout it is that i did my first film with him. david niven (voiceover):sharon is a great discovery.
first of all, she's afabulously good-looking bird. and she's got all thefun and spark and go. she's a marvelous girl. she's up on cloudnine, sharon is. and i think she's avery, very good actress. and i think she's gonna--obviously, she's gonna make a big hit in this picture. [whip cracking] [quivering]
narrator: directorh. lee thompson said later he hadn't beensure that sharon could manage the role and therehad been a plan b. after the first few days ofshooting, plan b was ditched. odile: poor philippe. you're mad. quite, quite mad. help me. i am helping you, catherine.
so by then, momand dad relaxed. david niven anddeborah kerr is-- those are two very established stars. you couldn't ask for a bettervenue for a young actress. [music - the beach boys, "i get around"] narrator: a goodbeginning for miss tate. launched right intothe swinging '60s, which promised to be abright and bouncy decade, sharon was now established.
and her homes in losangeles increasingly reflected her success. things were moving. she had been involved withhollywood celebrity hairstylist jay sebring since 1963. he remained a goodfriend to the end and was, in fact, with sharonon the night of the murders. good vibes and the beachboys, surfing and sun on the californiancoast-- a time when
conventions were crumbling. the '60s were young and hip,a lively, happy atmosphere. flower power was shakingup american society. it was the peak of protestsagainst the vietnam war. self-fulfillment wasthe order of the day. few suspected that this sortof release from inhibitions, in which drugs, free love,and living in communes were taken as the norm, wouldalso have its dark sides. at her ranch on theoutskirts of the city,
a man called charlesmanson gathered a group of young peoplearound him, who would later become the manson family. sharon tate's next film,"don't make waves," was hollywood's commercialresponse to the new culture. in it, sharon played anembryonic "baywatch" girl called malibu, whogets to save no less a figure than tony curtis. a classic beach party film whichpulls no punches in exploiting
sharon's sex appeal. mr. cofield? huh? do you find me attractive? i mean, if you were a man-- if i were a man? --would you beattracted to me? if i were-- malibu: i mean, it's harry.
cofield: harry? well, he says that we shouldn'tmake love anymore, or anything. what do you think? narrator: the settings promotedan aura of hippie culture. though there's nothing politicalor intellectually challenging about the film, itpermanently typecast sharon as the sexy blonde. --beautiful girl to be in. you know?
mm. yes. narrator: with thisexperience behind her, she flew to london, wherean up-and-coming director was casting his new film,"dance of the vampires." roman polanski was initiallyskeptical that sharon was right for the film. but polanski likedbeautiful women. i, as a producer, had todistribute actors and crew
into various hotels,because i couldn't get them into one hotel. and roman wasstaying in one hotel. sharon was somewhere elsein a different hotel. and at this point,roman came to me. he said, gene, could you, as afavor, move sharon to my hotel and preferably tothe room next to me? which, of course, idid for my friend. and that was the beginningof their love story.
i'm not disturbing you, am i? not at all, not at all. roman polanski is avery tough taskmaster. he's very demanding. so i remember one short scene,which i think was shot about 55 takes, which is-- i don't thinkthe scene deserved it, really. heh. listen, i-- i adore it. besides, it's goodfor your health.
once a day is the veryleast, don't you agree? [chuckles] do you mind if ihave a quick one? hmm? i don't mind at all, but-- oh, thank you. you've been very nice. narrator: double meanings inthe dialogue but no ambiguity about emotions onscreen, sharon and roman
were becoming an item. and if some love scenescome across as very real, it's probably because they were. london had a newcelebrity romance, an american and a pole. sharon broke up withjay sebring and moved in with roman polanski. the couple were asensation, especially in the popular press.
anti-establishment establishmentis what it was called. they ignored conventionsand enjoyed life. don't forget, this wasswinging london in those days. you're too young, you know? you weren't even born. but that was-- you know. that was singing london. everybody was getting dressedup and-- at that time. there was a wonderful moodin london, which, you know,
sharon and roman justfitted into it very well. narrator: they decided toget married, which presented polanski with a serious task. he had to go to america andwin over sharon's family. debra tate (voiceover):i loved him. i met him before my mom and dad. she had me into thesausalito hotel. and he's very funny. he's extremely smart.
he was loungingaround in the bed, and we just joked and laughed. and of course, when it cametime to meet mom and dad, he had to get a littlemore stiff and proper and do the military, uh-- dadwould look him up one side and down the other, you know, tosee if he'd passed inspection. and he did. narrator: tate andpolanski married in 1968. their wedding was a media event.
the photographersoutnumbered the guests, polanski later recalled. the festivities were heldin the playboy lounge, one of the hot spots of the day. everybody who wasanybody was there. sharon and roman weresaid to have been among the first to leave therollicking party in the playboy lounge. sharon had already appearedin "playboy" magazine
a year earlier, photographedby roman himself. the spirit of the times-- weare who we are-- a trend which sharon perfectly embodied. that's a comment ona whole generation, not just something thatoccurred in our household. that was the strugglingfrom a generation that grew up in whitegloves and girdles and pointedbrassieres, which were more like a torturedevice, going
into total personal freedom. narrator: sharonand roman didn't have a center of existence. they had two-- londonand los angeles. both described this period isthe happiest of their lives. living in the luxurychateau marmont hotel, they had definitely arrived. they were popular hosts toa large circle of friends. it was an open-door policy.
um, i-- i've lived mylife that way as well-- not to lock doors, and peoplecan stopped by at any time. it's-- it's notlike there's going to be any surprises or anyimproprieties really going on. we had open households, andour friends and our family were welcome at any time. narrator: an amicable,harmless dolce vita. but after the murders, itwill give rise to wild rumors. drunk parties and poolsideorgies all took place
here, according to the press. roman polanski's next film,his first in hollywood, unintentionally settongues wagging as well. "rosemary's baby"met with vehement criticism in some quarters onaccount of its satanic scenes. it nevertheless was to becomepolanski's greatest success. sharon was notinvolved this time. the starring rolewent to mia farrow. [whistles and applause]
sharon's next roleearned her a golden globe nomination but confronted withher with her own image problem. in "the valley of the dolls,"she played a beautiful starlet into fails as a seriousactress because everyone judges her solely on her looks. 600 bucks for a headdress,and not a soul will see it. [laughter] i feel a little top heavy. oh, honey, you area little top heavy.
all right. that's fine, dear. thank you. i think it was the firsttime that sharon realized how difficult-- how physicallydemanding and difficult the behind-the-scenespersonalities could be. mother, i know idon't have any talent. and i know all i have is a body. and i am doing mybest exercises.
goodbye, mother. i'll wire you the moneyfirst thing in the morning. goodbye. narrator: sharon tried tocarry it off with humor. "sexy little me," shecalled herself ironically. and she called polanskiher better half. [sighs] oh, to hell with them. let them droop.
narrator: still, she wasworking with very big stars. in the james bond spoof"the wrecking crew," she appeared together will elkesommer alongside dean martin. narrator: in somescenes, it's almost painful the way thecamera ogles sharon, eye candy for male eyes. how very common ofyou to mention it. narrator: in fact, all she couldreally demonstrate in this role is the talent forcomedy that she'd
already displayed way backin "the beverly hillbillies." you're fine. yeah. get up, eh. come on. let's go. what-- what made youthink she could swim? well, that was the onlyway to find out, right? yeah, right.
right. i want to ask-- i wantto ask you a question. whose side are you on? well, i'm an agent. and i-- i also happento be a good one. and i'm also a woman. narrator: meanwhile, rumorswere circulating about the state of the marriage with polanski. it was no secret that hehad other women that he
lived out his sexual desires. in his autobiography,he openly admits to the existence of a sex videowith sharon, for instance. roman's lifestyle was a bitproblematic, because roman was, um-- to say it ina graceful way, he was-- he lived atypical french lifestyle of men and womanizing. women were always allover him, because he was the successful roman polanski.
and the other one was hewas as cute as a bug's ear. um, and that did presenta little bit of a problem with basically the newlyweds,sharon and-- and roman. there were some roughand bumpy roads. but nobody in thisworld that really knows sharon and roman wouldever say that she would've divorced him. i happened to know thatwe're not the divorcing kind, and it just wouldn'thave happened.
i think she somehowat least tolerate a double standardto the extent where she would be ignorant of it. and i don't think i gaveher any reason to be jealous or whatever. narrator: a marriage at atime of sexual liberation. a young couple half jetset and half hippie. a life in two cities,two film worlds, and somehow in twodifferent realities as well.
the crisis was broughtto an end in early 1969 by surprising news. she was giddy. she was goofy andgiddy and dancing and grabbed me by the shouldersand said, sis, i'm pregnant, i'm pregnant, i'm pregnant,i'm pregnant, i'm pregnant. and got a very seriouslook on her face. and she says, oh,you must go home. you must go home.
i need to tell roman, you know? so i was very busy tryingto get myself out of there before roman came in so that shecould share the news with him as the first person. narrator: in hisautobiography, polanski wrote that the news threw himinto confusion to start with. sharon took a morepractical approach. they'd need a house, a nestfor the expanding family. they'd move too often,done too much traveling.
at long last, she wanted whatshe had missed as a child and as a young actress--home sweet home. she found what she wanted inthe mountains above hollywood on the prestigious cielodrive, the pathway to heaven. you can't get higher than that. debra tate (voiceover):the cielo house was carved into the side ofone of the hills in benedict canyon, a very popularlocation amongst the young, wealthy business--film business people.
you would go out the greenlawn and literally fall off the face of the earthinto this green ivy that would go down into the canyon. and the view outto the left, you would get all of the citylights, which would be cupped on either side by the darknessof the shadows of the canyon mouth. it was incredible. narrator: everythingwill be fine now.
sharon's marketvalue had soared. she'd been hired for a newfilm at a salary of $150,000, more than herbetter half of being paid for "rosemary's baby." one more trip tolondon, one more film, and then just the family. narrator: "the thirteen chairs"was a highly promising comedy to be filmed in london and rome,two locations she knew well. how am i going to pay for them?
oh, my clothes. oh, pat, how can i? i'll tell you. when we find the-- narrator: if we look closely,we can see she's pregnant. but she carries it off. she seems to be more herselfin this film than ever before-- a self-assured woman. take it easy.
you can dissect them whenwe get back to the hotel, in the presence of aqualified upholsterer. look. narrator: was ither professionalism? was she being realistic abouther image or resigned to it? at the end of filming,she was anxious to go home to the mess she'd made in la. debra tate (voiceover):she wanted roman to come back with her at that time.
of course, she was--she was very, very pregnant when she came back. so her nestinginstincts had kicked in. roman had just afew more days to do. he coaxed her and reassuredher that it would just be a week or so and hewould be right behind her and everything would be fine. recalls having agrotesque premonition as they parted that hewould never see her again.
sharon traveled home by shipfor a reunion with her family after a six-month absence. and the greeting wasincredible, because it was hot. and-- and she had on littlebathing suit bottoms and just a regular top,which was bursting out this huge pregnant belly. so it was a joyful sight to see. narrator: these are the lastpictures of sharon tate, taken after the return to losangeles, in the garden
of the house in cielo drive,the pathway to heaven. so when it cameclose to the time for the televisedmoon landing, we all piled into her bigking-size bed, dad standing at the entrance of thedoorway, because he would never allowhimself to relax in front of the rest of us. so he held up the doorway. and that was a wonderful moment.
we watched the moonlanding together. bruce mccandless:columbia, columbia, this is houston aos, over. michael collins: houston,columbia on the high gain. over. bruce mccandless: roger. the eva is progressingbeautifully. they are settingup the flag now. narrator: one giantleap for mankind,
and the last gatheringof the tate family. the early hours of the9th of august 1969, the night of the murders. four members of manson'sso-called family enter the groundsof the house rented by roman polanskiand sharon tate. they cut the telephone wires,climbed through a window into the house, andmurdered everyone inside, one after the other.
steve parent, who just happenedto be on the premises, jay sebring, sharon's formerfiance, abigail folger, and wojciech frykowski, who hadbeen staying at sharon's house. sharon was stillalive and begged for the life of her child. one of the killers,susan atkins, allegedly said she couldn'tcare less about sharon's baby, telling her she wasgoing to die and adding, i have no mercy for you.
news of the slaughter inprestigious benedict canyon spread rapidly. and so mother camedown the hallway. and she said, sharon--sharon's gone. sharon's dead. i said, wait aminute, wait a minute. what are you talking about? slow down. and she was a pile of wreck.
she was shaking, trembling. she couldn't-- herknees were buckling. she couldn't stand. i was in london, andmy agent called me. he called me around8 o'clock london time and told me that somethinghappened in the house. i didn't know-- i didn'tknow at first what house she was talking about. he said, it's your house.
and then he told methat they were all dead. and sadly, i had aphone call to come over. something terrible happened. i said, what? don't ask. just come on over, becausei had no idea what happened. i thought maybe-- maybe romanhad an accident, hurt himself, fell off the stair-- whatever. i mean, he was obviouslyin a state of deep shock.
and he kept asking me, doyou think she knew-- did she knew how much i loved her? and i assured him. i said, yes, i'm sure sheknew how much you loved her. he was in terrible shapeat that time, you know? he was hitting his head againstthe wall, practic-- you know. we had to call andget a doctor to-- and eventually, i wasput on with a detective that-- that told me that,yes, it was a murder.
and at that time, nobody--none of the bodies had been identified. and was there any adult thatcould come identify the bodies? and there was noway in god's world that my mother couldhave done that. my father was stillup in sausalito. he hadn't yet leftthat post or retired. roman was in london. who's left?
so i said i would go. and they were sending out a car. thank god roman's agentbill tennant had heard on the radio the same thing. he was playing tennisin beverly hills. so he went up the canyonand walked in on the scene. and they asked him if hewould identify the bodies. and he said he would. and he was taken in further.
the man, i don't think, everrecovered from the visions that he had to see. he went through quitea breakdown after. so i'm very fortunateand grateful that i didn't have to go. sorry. narrator: equippedwith an emergency visa and pumped fullof tranquilizers, polanski was booked ontothe first available flight
to los angeles. there were no clues as tothe identity of the killers. so the press immediatelybegan publishing rumors and speculation aboutthe course of events and the motivesbehind the massacre. almost as soon as heset foot in the city, polanski was under pressure todefend himself and his family. it was the first timethat something like this had happened.
and the media was a nightmare. they came out withrumors of witchcraft. why? because sharon did"the eye of the devil," which the theme was witchcraft. they were the ugliestat their sensationalism as they've everbeen historically. they would come up with drugs,sex, rock and roll, orgies. none of those things happened.
if they happened, theyhappened someplace else. they didn't happenat my sister's house. gene gutowski(voiceover): i remember going to the housewhere the murder took place, in cielo drive. and then i gave aninterview where i said all i found there was baby clothes. they were so happy and ready. she was ready to givebirth to the baby.
so nothing satanic. that was-- so thatwas my contribution. narrator: the policewere at a loss, and the speculation continued. there are several possibilitiesfrom the physical evidence in sequence and inmethod of doing it. well, at the presenttime, i would have to say thatthe only conclusion i could draw thatall eyewitnesses were
killed that night. narrator: the very nextday, a married couple, leno and rosemary labianca,were murdered in the same way assharon and her friends and, as it latertranspired, also by members of the manson family. the tate-labianca murderschanged everything. fear was rife. sharon's death was theend of the hippie movement,
the flower child movement. narrator: from now on,everyone in los angeles locked their doors. the killings had put an endto the carefree innocence of the '60s. on the 13th ofaugust, under a pool of fear, anger, andever more rumors, sharon tate'sfuneral took place. a crowd of reporterswas enormous.
step back, the better it'sgoing to be for all of us. please step back. narrator: the popular media inparticular claimed more or less outright that polanski andtate were themselves to blame for what had happenedbecause of their allegedly dissolute lifestyle. roman polanski was evensuspected of having organized the killings himself. it was particularly brutal onmy poor mom-- especially mom.
i-- i didn't take it to heart. they couldn't fool me withtheir-- with their lies. but their lies costmy mother her sanity. she had a nervous breakdown. the lights went off, and shedidn't come home for 10 years. narrator: romanpolanski voluntarily underwent a lie detector test. on the 20th of august, hefinally faced the press in the beverly wilshire hotel.
all of you know howbeautiful she was. and very often i readand heard statements that she was one of mostbeautiful, if not the most beautiful, woman of the world. but only few of youknow how good she was. and facts which will becoming out day after day will make ashamed alot of newsmen, who for a selfish reason,write, unbearable for me, horrible things about my wife.
thank you, gentlemen. narrator: in their despair,friends and family offered a reward for information. and roman polanski,completely beside himself, started his ownforensic research. roman polanski(voiceover): i was also looking for any traceof blood in cars of people that i knew. i had chemicals that icould smear and check
whether there were anytraces of blood on the pedals or the steering wheelor seats or whatever. so i spent my nights sometimesin the garages of my friend, you know, just goingthrough those cars. and of course, ididn't find anything. but i did think there musthave been someone who knew her. so everybody was offfrantically trying to make some kind of senseout of this horrific tale that was forced upon us.
but there was no sense to befound later on, when we did find out who the murderer was. and to this day, it stilldoesn't make any sense. it's not a reasonable act. it's not anythingbut the rambling of some sociopathic individuals,who will never get out of their sociopathic mindsets. they will always bepeople that think that their needsare more important
than that of society or god's. that's what a sociopath is. narrator: nearly threemonths after the killings, the perpetrators were caughtmore or less by chance. together with theirinstigator, charles manson, they were convictedand sentenced to death. later, the sentences werecommuted to life imprisonment. sharon's mother, doris,made it her mission in life to fight for the rightsof victims of crime
to take part in the parolehearings of perpetrators. what mercy, sir, didyou show my daughter when she was begging for her life? what about her family? what about the family thatshe was going to have, sir? are these seven victimsand possibly more going to walk out of theirgraves when you get paroled? we've got to keep ourpriorities straight. we've got to keep clearwho's in the light
and who's in the dark. otherwise society will collapse. it will crumble. narrator: followingthe death of her mother and her younger sister,patti, debra tate took over the family'scampaigning legacy. again and again, she took onthe burden of facing sharon's murderers at parole hearings. well, i will tell you thatevery single parole hearing
that i've ever been, there'ssomething of both my mother's and my sister sharon's thatgoes into the parole hearing room with me. narrator: someyears ago, debra set up the tate family foundation. it supports young peoplefrom difficult circumstances in avoiding a life of crimein the name of sharon tate. that's a wonderful thing abouther having been an actress is that she can comealive whenever i want
to put her in that machine. and i can laugh andsmile and remember. [music playing] but those are some ofmy weird little rituals. and it's not just on her. i have them on my mother, mylittle sister, and my dad. and they are still--we're a family, so they're still verymuch a part of me. and i'm a part of them.
i'm sorry. again, no tissues. there goes the makeup. i'm glad we're almost done.