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?