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  Books. Change. Lives.

  Copyright © 2019 by Marie Benedict

  Cover and internal design © 2019 by Sourcebooks, Inc.

  Cover design by Gregg Kulick

  Cover image © HOLLYWOOD, UNITED STATES - JANUARY 01: Actress Hedy Lamarr. (Photo by Alfred Eisenstaedt/The LIFE Picture Collection/Getty Images)

  Sourcebooks and the colophon are registered trademarks of Sourcebooks, Inc.

  All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems—except in the case of brief quotations embodied in critical articles or reviews—without permission in writing from its publisher, Sourcebooks, Inc.

  The characters and events portrayed in this book are fictitious or are used fictitiously. Apart from well-known historical figures, any similarity to real persons, living or dead, is purely coincidental and not intended by the author.

  Published by Sourcebooks Landmark, an imprint of Sourcebooks, Inc.

  P.O. Box 4410, Naperville, Illinois 60567-4410

  (630) 961-3900

  Fax: (630) 961-2168

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  Library of Congress Cataloging-in-Publication Data

  Names: Benedict, Marie, author.

  Title: The only woman in the room / Marie Benedict.

  Description: Naperville, Illinois : Sourcebooks Landmark, [2019]

  Identifiers: LCCN 2018009020 | (hardcover : acid-free paper)

  Subjects: LCSH: World War, 1939-1945--Fiction. | Women scientists--Fiction. | Jewish women--Fiction. | GSAFD: Historical fiction.

  Classification: LCC PS3620.E75 O55 2019 | DDC 813/.6--dc23

  LC record available at https://lccn.loc.gov/2018009020

  Contents

  Front Cover

  Title Page

  Copyright

  Part I

  Chapter One

  Chapter Two

  Chapter Three

  Chapter Four

  Chapter Five

  Chapter Six

  Chapter Seven

  Chapter Eight

  Chapter Nine

  Chapter Ten

  Chapter Eleven

  Chapter Twelve

  Chapter Thirteen

  Chapter Fourteen

  Chapter Fifteen

  Chapter Sixteen

  Chapter Seventeen

  Chapter Eighteen

  Chapter Nineteen

  Chapter Twenty

  Chapter Twenty-One

  Chapter Twenty-Two

  Chapter Twenty-Three

  Chapter Twenty-Four

  Chapter Twenty-Five

  Part II

  Chapter Twenty-Six

  Chapter Twenty-Seven

  Chapter Twenty-Eight

  Chapter Twenty-Nine

  Chapter Thirty

  Chapter Thirty-One

  Chapter Thirty-Two

  Chapter Thirty-Three

  Chapter Thirty-Four

  Chapter Thirty-Five

  Chapter Thirty-Six

  Chapter Thirty-Seven

  Chapter Thirty-Eight

  Chapter Thirty-Nine

  Chapter Forty

  Chapter Forty-One

  Chapter Forty-Two

  Chapter Forty-Three

  Chapter Forty-Four

  Author’s Note

  An Excerpt from Darling Clementine

  Reading Group Guide

  Acknowledgments

  About the Author

  Back Cover

  For Jim, Jack, and Ben

  PART I

  Chapter One

  May 17, 1933

  Vienna, Austria

  My lids fluttered open, but the floodlights blinded me for a moment. Placing a discreet, steadying hand on my costar’s arm, I willed a confident smile upon my lips while I waited for my vision to clear. The applause thundered, and I swayed in the cacophony of sound and light. The mask I’d firmly affixed to myself for the performance slipped away for a moment, and I was no longer nineteenth-century Bavarian empress Elizabeth, but simply young Hedy Kiesler.

  I couldn’t allow the theatergoers of the famed Theater an der Wien to see me falter in my portrayal of the city’s beloved empress. Not even in the curtain call. She was the emblem of the once-glorious Habsburg Austria, an empire that ruled for nearly four hundred years, and the people clung to her image in these humiliating days after the Great War.

  Closing my eyes for a split second, I reached deep within myself, putting aside Hedy Kiesler with all her small worries and comparatively petty aspirations. I summoned my power and assumed the mantle of the empress once again, her necessary steeliness and her heavy responsibilities. Then I opened my eyes and stared out at my subjects.

  The audience materialized before me. I realized that they weren’t clapping from the comfort of their plush, red-velvet theater seats. They had leaped to their feet in a standing ovation, an honor my fellow Viennese doled out sparingly. As the empress, this was my due, but as Hedy, I wondered whether this applause could truly be for me and not one of the other actors of Sissy. The actor who played Emperor Franz Josef to my Empress Elizabeth, Hans Jaray, was, after all, a legendary Theater an der Wien fixture. I waited for my costars to take their bows. While they awarded solid applause for the other actors, the theatergoers became wild when I took center stage for my bow. This was indeed my moment.

  How I wished Papa could have watched my performance tonight. If Mama hadn’t feigned illness in an obvious ploy to take attention away from my important evening, Papa could have seen my Theater an der Wien debut. I know he would have reveled in this reaction, and if he had witnessed this adulation firsthand, it might have washed away the stain of my risqué performance in the film Ecstasy—a portrayal I desperately wished I could forget.

  The sound of clapping started to grow fainter, and a chord of disquiet descended upon the audience as a procession of theater ushers paraded down the center aisle, arms laden with flowers. This grandiose gesture, with its inappropriate, very public timing, unsettled the otherwise reserved Viennese. I could almost hear them wonder who would have dared disrupt opening night at the Theater an der Wien with this audacious display. Only the overzealousness of a parent could have excused it, but I knew my cautious parents would have never dared the gesture. Was it one of my fellow actors’ families who’d made this misstep?

  As the ushers proceeded closer to the stage, I saw that their arms brimmed not with ordinary flowers but with exquisite hothouse roses. Perhaps a dozen bouquets. How much would this abundance of rare red blooms cost? I wondered who could afford the decadence at a time like this.

  The ushers mounted the stairs, and I understood that they’d been instructed to deliver these bouquets to their intended recipient in full view of the audience. Uncertain how to manage this breach of decorum, I glanced at the other actors, who looked equal
ly perplexed. The stage manager gesticulated to the ushers to halt this display, but they must have been well paid because they ignored him and lined up in front of me.

  One by one, they handed me the bouquets until my arms could no longer hold them all, at which time the ushers laid them at my feet. Up and down my spine, I felt the disapproving glances of my castmates. My stage career could rise or fall upon the whims of these venerable actors; they could dislodge me from this pinnacle with a few well-placed words and replace me with any one of the number of young actresses clamoring for this role. I felt compelled to refuse the bouquets, until a thought struck me.

  The giver could be anyone. He could be a prominent member of one of the feuding government parties—either a conservative Christian Social Party member or a socialist Social Democrat. Or worse, my benefactor could sympathize with the National Socialist Party and long for the unification of Austria with Germany and its newly named chancellor, Adolf Hitler. The pendulum of power seemed to sway with each passing day, and no one could afford to take chances. Least of all me.

  The audience had stopped clapping. In the uncomfortable silence, they settled back into their seats. All except one man. There, in the center of the third row, the most prized seat in the theater, stood a barrel-chested and square-jawed gentleman. Alone among all the patrons of the Theater an der Wien, he remained standing.

  Staring at me.

  Chapter Two

  May 17, 1933

  Vienna, Austria

  The curtain fell. My fellow actors shot me quizzical looks, and I gave them a shrug and a shake of my head that I hoped conveyed my confusion and disapproval of the gesture. As quickly as seemed appropriate amid the congratulations, I returned to my dressing room, shutting the door. Anger and worry surged through me at how these flowers distracted from my triumph, this role that would help me firmly put Ecstasy behind me. I needed to find out who’d done this to me—and whether it was meant as a compliment, however misguided, or something else.

  Pulling out the envelope hidden amid the flowers of the largest bouquet, I reached for my nail scissors and slit it open. I pulled out a heavy cream card rimmed in gold. Holding it close to the lamp on my dressing table, I read:

  To an unforgettable Sissy. Yours, Mr. Friedrich Mandl

  Who was this Friedrich Mandl? The name sounded familiar, but I couldn’t place it.

  My dressing room door shuddered with an authoritative knock. “Miss Kiesler?” It was Mrs. Else Lubbig, veteran dresser to the star of every Theater an der Wien production for the past twenty years. Even during the Great War and the despondent years following the Austrian loss, the gray-haired matron had assisted actors onto the stage for the performances that buoyed the Viennese spirits, like the character of Empress Elizabeth, who reminded the people of Austria’s historical prowess and prompted them to imagine a promising future. The play, of course, didn’t touch upon the later years of the empress, when the golden tether of the emperor’s displeasure became a yoke around her neck, constricting her every movement. The Viennese people didn’t want to think about that, and they were expert at denial.

  “Please come in,” I called out.

  Without a single glance at the profusion of roses, Mrs. Lubbig began unlacing me from my sun-yellow gown. As I rubbed cream into my face to wipe away the heavy stage makeup and the last vestiges of my character, she brushed out my hair from the complicated chignon the director thought befitted Empress Elizabeth. Although Mrs. Lubbig was silent, I sensed that she was biding her time until she asked the question undoubtedly buzzing around the theater.

  “Beautiful flowers, miss,” Mrs. Lubbig commented finally, after she complimented my performance.

  “Yes,” I answered, waiting for her true question.

  “May I ask who they are from?” she asked, turning her attention from my hair to my corset.

  I paused, weighing my response. I could lie and attribute the flowery gaffe to my parents, but this bit of gossip was currency with which she could trade, and if I shared the answer with her, she would owe me a favor. A favor from Mrs. Lubbig could be quite useful.

  I smiled up at her, handing her the card. “A Mr. Friedrich Mandl.”

  She said nothing, but I heard a sharp intake of breath that spoke volumes. “Have you heard of him?” I asked.

  “Yes, miss.”

  “Was he in the theater tonight?” I knew Mrs. Lubbig watched every performance from the wings, always scanning her assigned actress so she could readily assist with a torn hem or a lopsided wig.

  “Yes.”

  “Was he the man who remained standing after the final applause?”

  She sighed. “Yes, miss.”

  “What do you know of him?”

  “I wouldn’t like to say, miss. It isn’t my place.”

  I hid my smile at Mrs. Lubbig’s false modesty. In many ways, with her treasure trove of secrets, she wielded more power than anyone else at the theater.

  “You would be doing me a great service.”

  She paused, patting her immaculately upswept hair, as if considering my supplication. “I’ve only heard gossip and rumor. Not all of it flattering.”

  “Please, Mrs. Lubbig.”

  I watched her in the mirror, seeing her finely lined face work as if she was sifting through the carefully kept dossier in her mind to decide upon the appropriate morsel of information.

  “Well, Mr. Mandl has quite a reputation with women.”

  “Along with every other man in Vienna,” I said with a chuckle. If that was all, I needn’t worry. Men, I could handle. Most anyway.

  “It’s a bit more than the usual chicanery, miss. One particular romance led to the suicide of a young German actress, Eva May.”

  “Oh my,” I whispered, although, given my own past history of breaking hearts and an attempted suicide on the part of a suitor when I rejected him, I could not judge too harshly. While terrible, this tidbit was not everything she knew. I sensed from her tone that she was still withholding something, that she had more to report. But Mrs. Lubbig was going to make me work for it. “If there’s more, I would be in your debt.”

  She hesitated. “It’s the sort of information one feels cautious about sharing these days, miss.” In these uncertain times, knowledge was currency.

  I took her by the hand and stared into her eyes. “This information is for me only, for my safety. I promise you that it will not be shared with anyone else.”

  After a long pause, she said, “Mr. Mandl owns the Hirtenberger Patronenfabrik. His company manufactures munitions and other military weaponry, miss.”

  “An unsavory business, I suppose. But someone must do that work,” I said. I couldn’t see why the industry must be the man.

  “It isn’t so much the armaments he manufactures, but the people to whom he sells them.”

  “Oh?”

  “Yes, miss. They call him the Merchant of Death.”

  Chapter Three

  May 26, 1933

  Vienna, Austria

  Nine days after my stage debut in Sissy, a gibbous moon loomed over the Viennese sky, leaving dark-violet shadows in its wake. It emitted enough light to illuminate the city streets, so I decided to walk the remainder of the way home from the theater in the fashionable nineteenth district and hopped out of the cab, even though the hour was late. I longed for the quiet interlude, a pause between the post-performance theater madness and the parental inundation I had been getting at home after each performance.

  The sidewalks contained only a few passersby, a gray-haired couple ambling home after a late dinner, a whistling young man, and I felt safe enough. The route home grew increasingly affluent and well-heeled the closer I got to my parents’ home in the neighborhood of Döbling, so I knew the streets would be safe. But none of this would have appeased my parents’ concerns if they had known I was walking alone. They were very pro
tective of their only child.

  Pushing aside thoughts of Mama and Papa, I allowed myself to smile over the review published in Die Presse this week. The glowing words about my portrayal of Empress Elizabeth had led to a run on ticket sales, and the theater had been standing room only the past three evenings. My status in the theater ranks had grown, with audible compliments from our usually critical director. The accolades felt good after the scandal of my nudity in Ecstasy—a decision that had seemed acceptable and in keeping with the artistic sensibility of the film until the public, my parents among them, reacted with shock—and I knew that the return to the theater after my foray into film had been the right decision. It was like coming home.

  Acting had been a ward against childhood loneliness, a way to fill my quiet existence with people beyond the ever-present nanny and tutor but the ever-absent Mama and Papa. It started as the simple creation of characters and stories for my many dolls on an impromptu stage created under the huge desk in Papa’s study, but then, unexpectedly, role-playing became much, much more. When I went to school—and suddenly became introduced to a wide, dizzying array of people—acting became my way of moving through the world, a sort of currency upon which I could draw whenever I needed. I could become whatever those around me secretly longed for, and I, in turn, got whatever I wanted from them. It wasn’t until I stepped on my first stage, however, that I comprehended the breadth of my gift. I could bury myself and assume the mask of an entirely different person, one crafted by a director or a writer. I could turn my gaze on the audience and wield my capacity to influence them.

  The only darkness cast over all this light from Sissy was the nightly delivery of roses. The color had changed, but the volume did not. I had received fuchsia, pale pink, ivory, bloodred, even a rare, delicate violet, but always exactly twelve dozen. It was obscene. But at least the method of delivery had changed. No longer did the ushers bestow my roses onstage with a grand flourish; now, they discreetly placed them in my dressing room during the show’s final act.

  The mysterious Mr. Mandl. I thought I had seen him amid the theatergoers in the coveted third-row seat on several occasions, but I wasn’t certain. He had made no effort to communicate with me after the letter accompanying the first roses—until tonight. A gold-rimmed card tucked between vibrant yellow blooms—precisely like the color of my gown—contained the handwritten words: