- young once. This is a film of my sister the summer she was born. Turns out the illness she's diagnosed
- as having is genetic. So I thought of this scene. I thought of this baby with that destiny already locked
- inside her. I'm sorry that destiny took all this time to show itself. I'm happy we lived long enough
- to share it. Somewhere in between is how I feel day to day.
- Yeah, it could have been much worse. I know that. But I don't think I really believed it till I saw
- this. Another story about another sister.
- barbers they could get. And they need him for certain job. What kind of job they needed for it, we didn't
- know at that time. But we gathered together as many barbers as we could. How long did it happen after
- you arrived in Treblinka? I would say that it happened about four weeks after I was in Treblinka.
- was around 10 o'clock when a transport came to Treblinka and the woman went into the gas chambers. And
- they chose some people from the working people over there and they asked question who was a barber who
- was not a barber.
- I was a barber for quite a number of years. And some of them they knew me like from people from just
- all over and from other places. So naturally they choose me and I selected some more barbers which I
- know of them. And we got it together.
- Official, yes. We got it together and we're waiting for the order. And the order came to go with them,
- with the Germans. They took us in to the gas chamber, to the second part of the camp in Treblinka.
- from the first part? It was not too far more. It was all covered with gates, barbed wires, and trees
- covering the gate. Nobody should see there is a gate or there is a place going in to the gas chamber.
- Is it what the Germans called the Schlauch?
- The Germans, what they call, they call like going to road to the heaven. Human way, yeah, the road to
- the heaven. And we know about it because we worked for quite a time before we went in to work in the
- gestion. Going over there, they put in some benches
- where the women could sit and not to have the idea that this is their last way or their last time they're
- going to live or they're going to breathe or they're going to know what is going on. How long did it
- last that the barbers cut the hair inside the gas chamber? Because it was not always the case.
- We worked inside the gas chamber for about a week or 10 days. After that, they decided that we will
- cut the hair in the undressing barrack. How did it look, the gas chamber? It was a room, not a big room.
- The room was, I would say, the size by feet around 12 by 12.
- In that room, they pushed in a lot of women, almost one on top of the other one. But like I mentioned
- before, when we came in, we didn't know what we gonna do. And then one of the couples that came in,
- he said, barbers, you have to do a job to make to believe all those women that came in,
- they just taking a haircut and going to take a shower and from there they go out from this place. We
- know already that there is no way going out from this room because this room is the last place where
- they went in alive and they will never go out alive again.
- precisely to describe is when the transport came in, waiting there until the transport came in. The
- transport came in, woman with children pushing in to that place.
- the barbers started to cut the hair and some of them, I would say all of them, some of them they knew
- already what's gonna happen to them. We tried to do the best what we could. The most human being what
- we could. Excuse me, how did it happen when the woman came and does the gas chamber?
- Were you yourself already in the gas chamber or did you come afterwards? I said we were already in the
- gas chamber because we were waiting over there for the transport to come in. You were inside? Inside,
- yes, inside the gas chamber. We were already in. And suddenly you saw the women coming? Yes, they came
- in. How were they?
- They were undressed, all naked, without clothes, without anything else. All of them completely naked.
- Completely naked. All the women and all the children. And the children too. The children too. Because
- they came from the undressing barracks. There was barracks before going into the gas chamber where they
- had undressed themselves. What did you feel the first time?
- that it happened that you saw all these naked women coming? Well, I felt that, accordingly, I got to
- do what they told me, to cut the hair in a way that it should look like a barber is doing his job, like
- he's doing a job for a woman, and I said not to give them. But to take off as much hair as we could,
- because they needed the woman's hair to be transported to Germany. This means that you didn't shave
- them. No, we did not shave them. We just cut their hair, make them believe that they're getting a nice
- haircut. But you cut with what? With scissors? With scissors, yes. With scissors and we come without
- any clippers. Just like...
- A man's haircut, I would say. Not a body one to take out, to take off all the hair, but just to have
- the imagination that they're getting a nice haircut. There were no mirrors, no? No, there were no mirrors,
- there were just benches, not chairs, but just benches, where we worked about 16, 17 barbers, and we had,
- a lot of women in. Every haircut, it took about two minutes. No more than that because it was a lot
- of women to come in and to get rid of the hair. Can you imitate now? How did you do? How we did? We
- did as fast as we could because we were quite a number of professional barbers.
- We cut this like this, here and there, and there, and this side and this side, and the head was all
- finished. With big movements. With big, naturally, with big movement because we could not waste any
- time. The other party was waiting already outside coming in to do the same thing, the same job, the
- same procedure. You said that you were 16 barbers. Yes.
- You cut the hair of how many women in one batch? In one batch, there was about, I would say, going into
- that place, between 60 and 70 women in the same room at one time. And after that, we were finished.
- With this party, another party came in, and it was around about 140, 150 women.
- They all were already taken care of. They told us to leave the gas chamber for a few minutes, about
- five minutes, where they put in the gas and they chucked into that. Where did you wait? Outside the
- gas chamber. And on the other side, on this side the woman went in.
- And the other side was a group working people, which they took out already the dead bodies.
- Some of them, they were not exactly dead. They took him out, and in two, not even two minutes, in one
- minute everything was clear. And it was clean to take in the other party of the other woman to go through
- the same thing what the first one they went through.
- these women, they had long hair? Most of them, they had long hair, they had short hair, but we had to
- do the job to get rid of the hair. Like I mentioned that, the Germans, they needed the hair for their
- purposes. But I have asked you, and you didn't answer, what was your impression the first time you saw
- arriving this naked woman with children? What did you feel?
- I want to tell you something. To have a feeling over there was very hard to feel anything or to have
- a feeling. Because working there day and night between dead people, between bodies, man and woman, your
- feeling disappeared. You were dead with your feeling. You had no feeling at all. Matter of fact, I want
- to tell you something what happened. At the gas chamber, when I was chosen in over there to work as a barber,
- of women that came in from a transport from my town from Chester Hall. And from the women, from the
- number of women, I know a lot of people. You knew them? I know them. I live with them in my town. I
- live with them in my street. And I was, some of them, they were my close friends. And when they saw
- me, all of them started hugging me
- tape this and that, what are you doing here, what's gonna happen with us? What could you tell them?
- What could you tell? A friend of mine, he worked as a barber, he was also a good barber in my home town.
- When his wife and his sister came into the guest chamber,
- So, ready for some escape? Well, let's stretch it real tight tonight. In this corner, the Perils of
- Pauline starring Betty Hutton.
- hails from Battle Creek, Michigan and as you'll see the fact that that's also the birthplace of Tony
- the Tiger is no coincidence.
- Think of a sergeant on my half, huh? Just for that, you're all dark to half days. Hey, how do you like
- that? Oh, look, Mr. Gert, don't take it out on those girls. It was all my fault. And I'm sorry. Honest,
- I am. You're sorry, huh? Mr. Goy, the space man.
- Nightmares you're having, that's funny. Oh, I was only clowning. Well, I think you're swell. Oh,
- come on, be a nice guy. Those kids need the dough. You wouldn't really dock them, would you? Well, then
- I'll depend. He's pimping a lot. Oh, and you're being nice to me. Oh, I'm always nice to you, Mr. Gert.
- Joe is the name. Miss Joe. Lay off me, you big ape, or I'll knock your teeth out.
- have a way with you my dear. The girl's best friend's a good looping right. Very effective too, my child.
- Oh, Miss Gibbs. I must have had one of my dizzy spells. When I was her age, lots of chaps got dizzy
- spells. Me, it was the left. My costume, please. I'm in a hurry.
- I remember seeing you in Thunder Cloud. I've seen it twice. Gee whore, you drink that poison. You sure
- do die elegant. Thank you, child. You bless me. Oh, it ain't only you. It's anybody in show business.
- Well, I think they're the most wonderful people there is. Then I take it you like the theater.
- Like it? Oh, gosh, Miss Gibbs. If I could only be on a stage, why? Just to think about it makes me sick
- at my stomach. Child. Here it is.
- I'll send you a check. Got them costumes. It's strictly for cash. But my... Get her on the phone. She
- brings down the cash and the garment is yours. Impossible. We'll be opening down the list tonight. I'm
- on my way to the train now. Oil, put it back in stock. Oh, gee. Wait. Have this child come to the station
- with me. I'm meeting my secretary there. She'll give her a check. She'll give her the cash.
- You think I'm a deadbeat? I ain't saying you ain't nothing, just no checks. Very well. You shall have
- your paltry pennies. And now, you greedy and polite lout. Open the door for the lady.
- If you give her the costume without the cash, you're stuck for it. Sorry. Sorry, Prince. I can't stand
- for any further delay. In another five minutes, they'll be tearing my theater apart. Where is this building?
- I don't know. But we'll open anyway. Open? Come on. Hurry up. Open. Open with what?
- going to play Lady Capulet. He is. Under protest. Breathe in. Tarrington, you're crazy, I tell you.
- Go away. Go, boss. Please. Tarrington, this is a mouthway. It's our only chance. Now, hurry up. No!
- Too tight! I can't breathe! Too tight! The mustache! Oh, no, not my mustache!
- Oh, I ought to greet you with a good, swift kick. Where have you been? I ought to hang you in front
- of the theater window. Where are you, Irish clown? We've a bit of a problem here. Listen to that audience.
- Get into your costume. I said we've a bit of a problem. Miss White meets the Farrington. Hello. Hello.
- Don't stand there. Get dressed. I promised Miss White an audition. You what? She has great talent. She
- also has my costume. Here, for 98 bucks. 98?
- I promised you an audition. You have come at the most opportune moment. Not a word, not a word. Oh,
- not at all, my dear, not at all. Oh, don't thank me, it's no trouble. The Barrington players always
- keep it packed. We have the costumes. You have the audition and an audience to boot. You want to be
- an actress, don't you? You'll have to learn to face all kinds of audience.
- We'll get things set back there.
- a little break and it's mighty important that I get it. All I want to do is sing a little song for you.
- I am back to the bean race! Sheriff! If I'm any good, give me a little hand. If I ain't, you can break
- up the things and toss them at me and I promise I'll toss them back, okay? Hey, do you know Rumble?
- Yeah, number 16, boys. What key? I don't know, just so it ain't too high.
- what I tell my landlord. Landlord? I gotta move. Now there's a man live right upstairs from me, making
- a nightmare of some melody. This is a situation not likely to improve. He goes to rumble, rumble, rumble
- on the left hand. He goes to tinkle, tinkle, tinkle
- No, he doesn't either!
- Why a kettle of tea up there, or maybe getting himself a girl and taking her out somewhere instead of
- sitting around reading the jobs, washing his dogs, writing his books, taking a pill, sleeping the night
- through. What does he do? What does he do? He goes rumble, rumble, rumble, look at the whole building crumble.
- no longer
- I don't get so I sacrifice all this and I permit myself to be told by the yard like like so much monolium
- I can pay the hundred dollars.
- no savvy pearl you'll notice Blossom. I'll grab her way. Out to me near. All right start talking.
- I think. I think all we got is a camera see
- a photograph no words you're going to give it that you're going to use your hand you're right there
- like they were tied down there let me show you. On that woman or I'll put you in the kitchen. You know
- I mean you don't need actors you need acrobats
- a million dollar personality and a great the deacon and the audience want to see you with it won't be
- bought Oh sure why when you come busting in through that door like a chunk of exploding dynamite audiences
- are going to start cheering you know they will. Well of course if we're playing for homes for the people
- minded let's go. Take it easy. We'll pick it up from where Timmy grabs Pearl people minded and
- American. And that woman.
- Mike great if I don't.
- a balloon. I wonder what genius thought this one up. But McGuire. Should have known the natural conclusion
- from McGuire. He's full of hot air too. Would you mind leaving some slack so my blood can get around
- a little. Why all the hush hush McGuire, is this a state secret or something? If we're going to make
- the afternoon edition you better give us your story now. You'll make it all right. You'll make it all
- over the front page. I ain't never let you down yet, have I? Okay, then stick around a while. We're
- already chief. Just stick around.
- Wonder what kind of a hook to do is framing up now. You two know the scene, don't you? It's when Timmy
- cuts the rope. Yeah, yeah. Are you sure this thing's tied off good? You're as safe as in your mother's
- arms. Ready, Timmy? We'll make it. Set it up to position. All set, boys. All ready, boys. We'll make
- it. Look here. If anything happens to that girl, I'm going to run you through without even sharpening
- the points.
- a jury that I quit wearing with it I got the thing I heard that broke the thing he's going to cut it
- only a prop I'm not going to worry with it all right. That's that everybody. Come on to me get to that
- row. I'm not sure if he
- Pete, will you gnash? That's not gnashing. Cut. What's the matter with you? I was gnashing. You wasn't
- gnashing. You were chewing. This is chewing. This is gnashing. Can't you tell the difference between
- when you say it? Yeah, chew like a gnash and gnash like a chew. I shall compromise.
- once again. Come on to make up on it. You know you're going to die but you're smiling at that OK for
- a little sad now turn your head to the man you love now smile sadly
- Great. Okay, Timmy.
- Where's this contraption supposed to go up? Oh, I don't know. About 30 feet, I guess. And they're awful
- big feet. Huh? Oh, well, I wouldn't worry. They've got a rope on it. You mean this one? Yeah, that's...
- Ow! There's your story, just like I promised. Pearl White and her leading man trapped in a runaway balloon.
- Is that a story? Get going, now. Ha, ha, ha.
- It's all right. The balloon is right up there where they're hiding in the basket. No, I ain't, Mr. McGuire.
- I'm here. I didn't get a chance to sneak in that basket like you said. Pearl, don't you know anything
- about balloons? Only that they put something in them. The way we're shooting up is probably full of
- some of your films. That'll be so funny. Why don't you do something about it?
- do something you're the great serial queen fearless Fanny the do or die gal why don't you do something
- I don't know anything about. You know about or something maybe I could. What's the matter I don't feel so good
- Here we are with a life expectancy of maybe thirty minutes. I find myself worrying about keeping you dry.
- That's the nicest roaring I've ever heard of. Now, now. Lightning is only electricity traveling through
- space. Creates a vacuum. And there is just the air rushing back into the vacuum. It can't hurt you.
- Go on. Go on, keep talking. I like the way your voice sort of bubbles through your shirt. Makes me feel
- better. You mean my heart's still there? Mm-hmm. Good. I thought maybe it was still in my boots.
- I want to say a lot of things. I can't seem to find the words. Mike, it doesn't take a lot of big words.
- Just a few little ones will do it. Mike,
- Will you say, Pearl, I love you? For millions of times I wondered how big you just said it.
- Will you say it, Mike? I mean, even if it's just in fun? I love you, Pearl. That doesn't sound like
- just for fun. It wasn't. It's something I've been trying not to say for a long, long time.
- And he did
- no cameras turning here this way I'll give you. Me as they do this when there's not only going to be
- beautiful. And remember it's two weeks from today and you're all invited. Right up in front of the studio.
- They tell him boys are going to give out with all promise me.
- by a 60-piece symphony orchestra. Hold it. And get this. We're giving the honor of performing the wedding
- ceremony to his honor, the mayor. Not bad, huh? But where did you first meet your fiancee, Miss White?
- Oh, it was a long time ago in Danbury, Connecticut. He did it out of 98 diamonds. Nobody paid it back.
- I'm ready for him, Miss White, over here by the flowers. Where's Mike? Mike? Farrington! Hey, Farrington!
- Here he is.
- OK, Fancy, come on, we're ready for you. Snap it up. All right, over here by the flowers. No, no, no,
- put your arm around it. Come on, turn your head. Give him a smile. Give him a load of that personality.
- All right, boys, shoot. Hold it. Now, one with parlor, me and my officer, making the arrangements for
- the honeymoon. Come on, Mike. You've got plenty of time to see him.
- a car on the road we've got a lot of work to do some of my boys are going to get married and a little
- like where he's supposed to but I slapped them down we've got to have dignity a marriage ain't a hunky-dunky
- show I'm thinking about getting a special train and send them on a tour of the country and give the
- folks a chance to see if they can do a stunt in every town if they've got so many possibilities I get
- a headache thinking about it
- Yes. Seaman of the AP. Hey, wait a minute, that's me. All right, now come on, get close together. Keep
- it quiet, will you, fellas? Hurry up, hurry up. Holy smoke, I'll be right down. The President is calling
- a special session of Congress to declare war on Germany. Hey, wait a minute, boys, wait a minute. You
- ain't heard the rest of the plan. We're going to have a reception right now.
- a like that everything happens to me war they couldn't hold off till after the wedding now they got
- to do it now and gum up everything. That's horrible you said it now we got to rewrite the last six episodes
- hey where are them right it we got to write the war in battle cannons warships where are them guys I'll
- get open on the job don't they know there's a war going on
- Nobody talks here. Nobody's supposed to even think here. Step right up, ladies and gentlemen. Step right
- up and have your talking and thinking done for you while you wait. No more problems to decide. It's
- all done for you. Cost you nothing but your self-respect. Hey, you sound like you've been wasting one
- too many, Mike.
- to keep up the illusion that I'm a man. Mike, no man has to do what he doesn't want to do. Mr. Timmons,
- in your unparalleled wisdom, you have uttered its truism. No man has to do what he doesn't want to do.
- But you've left no room for the half-man, half-slave. I don't get it. You love her, don't you? Of course.
- That's not enough. Look, you're doing all right for yourself. A lot better than those one-night stands.
- the answer there's only one answer am I breaking out on something no see you later. What's this all
- about. That's the turning of a worm now I take that back not even a worm I've lost my identity I'm nothing
- zero minus Mike you still have man with me what's wrong with the woman helping the man she loves nothing
- at all. This case is a fine business arrangement I get paid for every kid I'm going to have for overtime
- Mike you're drunk I'm potentially I'm cock-eyed this business will get anybody that way Mike what are
- you talking about look the only reason I got into this lunacy was to help you I felt like it builds
- you up thank you play a scene without looking like something on a wire built you up but you drag me
- down to where you are
- Why, you cheap, insufferable, conceited snob, dragged you down. I'll fix that. Mike, Mike, why are you
- doing this? You must have a reason. I believe you're doing it to get out of marrying me. That's why,
- isn't it? Answer me, isn't it? I'm sorry, Pearl. Oh, but Mike, Mike, you can't stop loving me like that.
- You said you loved me and you meant it. I know you did. You can't stop just like the turning off the
- gas or something.
- Say I'm a four-flushing ham, as you want to describe me. Let it go at that. All right, Mike. I guess
- if a man feels that way, a girl would be a fool to try and hold him. Maybe someday you'll change your
- mind. It'll be too late. So run along, Mr. Farrington. It hasn't been fun.
- a little too tough about this I realize you have your troubles but who has it and old friends you got
- to stick together and you what I'll do I'll send Pearl on a little vacation cancel this cereal and you
- boys can have the West. Everything I was thinking about you you'll never regret this Mac we got to eat don't we.
- See him in a minute. All right, run along, you thief, so you can keep your eye on your cashier. Got
- to be a bigger nut in here, man. We'll make you a rich man in spite of yourself. And don't forget the
- contract. You know me. My word is my bonus. Come on in. Hello, Max. Well, well. The talk of Broadway.
- here in four little means office. And after so many years. What did you come for to read me your review.
- Or you want to read or the review. I want to go to check out where is he thank you heard her enough.
- So you agree with me you feel the line I'm a busy man get going with it.
- Don't tell me where she is. I'm going to do something that you won't think is funny. Such as what? Such
- as punch you right in the nose. Now, wait a minute. Wait a minute. What's it to you? What do you want
- to know where she is for? I happen to love her. Oh, well. Here. You want to drop everything and rush
- right over after her?
- I never thought I'd live to see that they when I am open picture producer would be grateful to a Broadway
- competitor I hope to play runs forever. Going to punch me in the nose.
- and said a word in 30 seconds. What's wrong, Julia? Just sitting here, thinking of a great big beautiful
- man. Why, Julia! Just happened to be reading variety. Just happened to come across a little item, saying
- Mike Paddington's play had closed after a very successful one. Just happened. It just happens. I read
- variety too, and I'm not interested. Does it all so happen when you received a wireless from his boat?
- I know it's addressed to you. Says he'll be here tomorrow night. He wants to make you a little speech.
- He's been rehearsing. What am I supposed to do now, holler for the smelling salts? Miss White, on stage,
- please. All right. Why didn't you stop kidding yourself, child? That's just what I am doing. Does he
- think he can cuff me out of his way any time he pleases and when he whistles I'll come running?
- And don't try to cut it down to ten words.
- I bet you couldn't be sure. Oh, Miss White, you mustn't be discouraged. You know, we'd...
- a manicure. It's madness. Well, please, the doctors know what's best. Do they, Timmy? I never went to
- medical school, but I'll bet all they ever talked to me about the heart was that it pumps blood. Right?
- Miss Guz, we forbid it. She's taking a terrible risk. She's done that all her life. Neither you nor
- anyone else.
- the hospital as soon as you can be seen. Thank you. I know what you have in mind. It's completely stupid
- it wouldn't make any difference to Mike I don't tend to let it make any difference to me when it's time
- when you come and carry me down to the car you've carried me for years
- Don't make any...
- for seeing you again Mike we've been following your career in variety we all think you're pretty wonderful.
- Well. Long time ago Julia told me that some day I learned to beg. I came over. When you marry me. Come
- back to America. America. I couldn't I belong here this is my town.
- Every time one of these Frenchmen holler bravo, I want to jump right over the footlights and kiss him.
- I love it. No, Mike, I couldn't give it up. Then you don't have to. I'll stay here. All I want is you.
- You know, Mike, I've waited for this day. The night you walked out on me, I began to make up things
- I'd say if this moment ever arrived. Each day I'd add something new.
- a little more violent. You don't know what it does to a girl to be jealous, Mike. Here you are. Nothing.
- I'm not angry. I'm not anything. It just isn't important to me. What do you mean? I mean, Mike, I don't
- love you anymore. Oh, I knew I had to get over you. You taught me how to be a perfectionist. Remember, Mike?
- the gayest cities in the world. And there's no reason on earth why we can't have a wonderful time together.
- No thanks. There's been a sudden change in my plans, and I'd like to get home. Do you mind dropping
- me off here? Pierre, pull over to the curb. No hard feelings, Mike. Of course not. It's all been very
- lovely, as well as
- Mike, quickly. Get in. Sal, you couldn't catch the act, Timmy. First time in my life I've had a good
- performance, and nobody's around to see it. I had just the right shading.
- But Pearl, the doctor's waiting. Please, Timmy, a few more minutes won't make any difference.
- always were a rotten actress. And you're still a rotten actress. That was a bad scene you played in
- the car. I've always told you, if you want to be convincing, you mustn't lose your hands so much.
- improved a bit. I guess I'll never learn. Lives are, of course, totally expendable. That's
- expandable with an A. In the course of Betty Hutton's life, she made millions, declared bankruptcy,
- was an instantly recognizable personality, dropped completely out of sight, spent her time in such diverse
- occupations as movie star, patient in a psychiatric hospital, cook in a small rectory, in that order.
- Oh yes, she was also someone's sister.
- Do you think about all the bit players and extras in this movie tonight? All the men waiting in that
- barbershop? All the women waiting for their haircut? It's not that one life seems so small. No friend,
- just the opposite. One life? God, who could want for more?