Authors: Nora Ephron
Tags: #General, #Literary Quarrels, #Hellman; Lillian, #Drama, #American, #Women Authors, #McCarthy; Mary, #Libel and Slander
MARY’S LAWYER
: Did you receive a reply to your letter?
MURIEL GARDINER
: No, I didn’t.
MARY’S LAWYER
: Did you ever hear from Miss Hellman?
MURIEL GARDINER
: Yes. Several years later. She telephoned. Out of the blue. Well, not quite out of the blue. First her psychoanalyst called.
MARY
: Her psychoanalyst?
MURIEL GARDINER
: Yes. I didn’t know he was her analyst. He was a doctor I knew slightly. He said he was calling on Lillian Hellman’s behalf to ask me to deny that I was Julia. By then my memoirs were about to be published, and there had been some publicity—
MARY
: Some articles saying that you seemed to be the basis for Julia—
MURIEL GARDINER
: Yes.
MARY
: And how did you respond to this doctor?
MURIEL GARDINER
: I said I would have to disappoint Lillian Hellman, because I had never claimed to be Julia, so I could hardly claim not to be. A few days later the telephone rang again, and a voice said, “This is Lillian Hellman.” She said she wanted to meet me, perhaps we could have lunch. I said that I was sick in bed, which was true. She said that perhaps she would come to New Jersey to see me, and she said, “I would like to bring with me a very charming young man I am sure you would enjoy meeting.” Well, I assumed—perhaps incorrectly—that he was a lawyer, so I said that if she was bringing a friend, I might have a friend there, too. I’m afraid it got a little silly. A few days later she called again. By then I had pneumonia, and I told her I would have to postpone the meeting. And she said, “I wanted to explain to you why I never answered your letter.”
MARY
: What was her explanation?
MURIEL GARDINER
: I don’t know. You see, she had trouble hearing me, and I had trouble hearing her, so she said she’d call me back and hung up.
MARY
: When did she call you back?
MURIEL GARDINER
: I don’t think she ever called me back.
MARY
: I have just a few more questions, Dr. Gardiner. When you lived in Vienna, did you ever smuggle cash into the country for use in your activities?
MURIEL GARDINER
: It wasn’t necessary. In that period, it was very simple to do bank transfers.
MARY
: And what happened to your daughter?
MURIEL GARDINER
: She lives in Colorado.
MARY
: Thank you.
[To
LILLIAN
.]
Your witness.
LILLIAN
: My witness? She’s your witness. And you’re welcome to her. Look what you’ve done—a courtroom scene, you had the audience on the edge of their seats. You could hear a pin drop. And then your witness takes the stand—“I wrote her a letter,” “I couldn’t really hear her,” “I’m afraid it got a little silly,” and how does it end? It just dribbles away in a gigantic anticlimax.
MARY
: But what about what she said? What about her story?
LILLIAN
: It’s an amazing story. It’s remarkably similar to mine,
but I told mine so much better, don’t you think? Someone had to tell her story.
MARY
: Are you admitting you told her story?
LILLIAN
: Of course not. But what if I did? Muriel Gardiner had thirty-some-odd years to tell her story. And did she? No. She just sat out there in New Jersey letting a perfectly good story go to waste. And then my book came out, and she finally told her story. Thanks to me. She got a book contract, thanks to me. And she finally wrote her book, and guess what? It’s boring. The woman can’t tell her own story.
MARY
: She doesn’t need to tell her own story—or to be famous, or celebrated, or lionized. She is, forgive me, a good person.
LILLIAN
: But she’s not a writer.
[To
MURIEL GARDINER
.] You are not a writer. Sorry.
MURIEL GARDINER
: I suppose that’s true. I’m not a writer.
[Stands.]
I’m a psychoanalyst. And our time is up for today. But may I say something to you both.
[To
MARY
.] Look at you, Mary. Someone once told you a lie, a terrible lie, so you made a religion out of the truth. And it turned out to be your blind spot, because you never understood how subjective and elusive and abstract truth is—you simply thought that if you could prove someone was telling a lie, you’d won.
[To
LILLIAN
.] You, on the other hand, witnessed a traumatic version of the primal scene, and then you were persuaded to lie about it. So you spent your life telling lies and expecting to be applauded for it.
[To them both.]
It all seems quite hopeless. If only there were a door to slam. Good-bye.
She walks offstage. The two women watch her go. A beat
.
LILLIAN
: Is she gone?
MARY
: I think so.
LILLIAN
: A perfect example of the limits of Freudian analysis.
MARY
: I couldn’t agree more.
LILLIAN
: Of course, there was no trial.
MARY
: None at all.
LILLIAN
: I died before there could be one.
MARY
: And that was the end of that. The case never went to court. But by the time you died, Muriel Gardiner’s book had been published, and everyone knew you’d made the whole thing up. And not just anything. You stopped Hitler. You, Lillian Hellman, stopped Hitler and saved the Jews with your little fur hat.
LILLIAN
: But you didn’t win.
MARY
: I destroyed you.
LILLIAN
: And yet the only reason you’re here is because of me.
MARY
: That’s not true.
LILLIAN
: What if it is? What if that light on your face—
[She points to the spotlight.]
—is shining only because you’re up here with me? Who are you, anyway? You’re what’s-her-name who made the mistake of picking Lillian Hellman for
an enemy. You’re that writer I sued because you were so mean—
MARY
: That’s not why you sued me. You sued me for the fun of it—
LILLIAN
: I do like a good time—
MARY
: You sued me to bankrupt me—
LILLIAN
: How could I have known you’d saved so little money?
MARY
: You sued me to give yourself something to live for—
LILLIAN
: All of the above. I was old and sick and blind and looking for a reason to go on getting out of bed every day, and you were as good a reason as any. I sued you so you would be awake at three in the morning, like me. I sued you so that when you looked in the mirror and saw another line on your face, you would blame me for it. I sued you so that when you went to the doctor with the next awful thing wrong with you, you would see me smiling through the X rays. I sued you to shorten your life. Did I shorten your life?
MARY
: Yes. You did.
LILLIAN
: Good. I’m glad.
MARY
: And I’m glad I outlived you. Although I didn’t want you to die. I was very disappointed there was no trial. I wanted you to lose in court.
LILLIAN
: You said that at the time, and even your friends were horrified.
MARY
: There’s no satisfaction in having an enemy die.
LILLIAN
: I brought out the worst in you.
MARY
: I was your undoing—
LILLIAN
: You were nothing more than an irritation—
MARY
: I was your nemesis—
LILLIAN
: You rarely crossed my mind—
MARY
: You wanted to be me—
LILLIAN
: You wanted what was mine—
MARY
: I had a charmed life—
LILLIAN
: I had a third act—
MARY
: I
ruined
your third act—
LILLIAN
: I
was
your third act—
MARY
: Liar!
LILLIAN
: Bitch!
They look at each other, hatred burning. They grab each other. And then they kiss
.
MARY
: I hate you.
LILLIAN
: I wish you were dead.
MARY
: I am.
LILLIAN
: Even so.
A beat
.
MARY
: I’m leaving.
LILLIAN
: So am I.
MARY
: I don’t have to take this.
LILLIAN
: Enough is enough.
MARY
: Where do you think you’re going?
LILLIAN
: Anywhere but here.
MARY
: Anywhere? But here we are.
LILLIAN
: You and I.
There’s nowhere to go
.
Stuck—
MARY
: Together—
LILLIAN
: Forever.
MARY
: What did we do to deserve each other?
LILLIAN
: Everything, apparently.
A long beat
.
MARY
: Where did Goethe write “Choose your enemies well”?
LILLIAN
: He didn’t. I just made it up.
A moment between them
.
MARY
: You never did say who Julia was. All you ever said was—
LILLIAN
: Miss Hellman will reveal who Julia was at the right time.
MARY
: Well, tell us now. We’re here. We’re listening.
[When
LILLIAN
doesn’t answer.]
She was you. She was the person you might have been if you hadn’t been the person you were.
LILLIAN
: Who would you have been? If they hadn’t lied to you. For instance.
MARY
: Hard to know. A better novelist, perhaps.
[Re: Julia.]
She was just a story.
LILLIAN
: I’m just a story. So are you. The question is, who gets to tell it?
A beat
.
Was there ever a moment we could have been friends?
MARY
: Hard to imagine.
And what happened to the U-boats?
LILLIAN
: To the U-boats? What do you think happened?
MARY
: They collided.
LILLIAN
: Absolutely. They collided.
MARY
: And one of them was destroyed.
LILLIAN
: Possibly.
MARY
: Both of them were destroyed.
LILLIAN
: Possibly.
MARY
: Both of them were damaged—
LILLIAN
: And both of them survived.
LILLIAN AND MARY
:
[Together.]
Possibly.
MARY
: But which one was it? In real life? And don’t tell me there’s no such thing. Don’t tell me there’s no such thing as the truth. I don’t believe that.
LILLIAN
: I know you don’t.
MARY
: I believe in the truth.
LILLIAN
: I believe in the story.
The lights go down onstage, and
LILLIAN
and
MARY
stand there
.
Behind them, on the scrim, we see two lists
.
On
LILLIAN’S
side: “Works by Lillian Hellman,” and a list of her twelve plays and four memoirs
.
On
MARY’S
side: “Works by Mary McCarthy,” and a list of her twenty-six books
.
BLACKOUT
.
LILLIAN HELLMAN | MARY MCCARTHY |
---|---|
1905 Lillian Florence Hellman, the only child of Max and Julia Newhouse Hellman, is born in New Orleans on June 20. “I was the sweetest-smelling baby in New Orleans,” she says years later. | |
1911 The Hellmans move to New York, but Lillian and her mother spend six months a year living with her two aunts in their New Orleans boardinghouse. | |
1912 Mary McCarthy is born in Seattle on June 21, the eldest of Roy and Therese (Tess) Preston McCarthy’s four children. | |
1918 The McCarthy family goes to Minneapolis to visit Roy McCarthy’s parents. Roy and Tess McCarthy die of influenza within a few days of their arrival. Mary and her three brothers are taken to live with their great-aunt Margaret and her new husband, Myers Shriver. | |
1923 Mary moves back to Seattle to live with her Preston grandparents. | |
1925 After two years at NYU, Hellman drops out and goes to work for publisher Horace Liveright as a reader. On New Year’s Eve she marries Arthur Kober, a theatrical press agent. | |
1929-33 McCarthy attends Vassar College. A few days after graduating, she marries Harold Johnsrud, an actor. Years later she recalled her wedding night: “As we climbed into the big bed, I knew, too | |
1930-31 After moving to Hollywood, Kober becomes a screenwriter, and Hellman a reader at MGM. One night during a party at Musso and Frank’s on Hollywood Boulevard, she meets Dashiell Hammett, a former detective and author of | |
1932-34 Hellman and Hammett live together at the Sutton Hotel, managed by Nathanael West. Hammett writes his last novel, | |
1936 McCarthy, now a book critic for | |
1937 Hellman travels to Paris, Moscow, and Spain during the Spanish civil war. Many years later she writes that on her way to Moscow, she secretly stopped in Berlin to deliver $50,000 to a childhood friend she calls Julia, who was involved in the anti-Nazi underground. | 1937 McCarthy falls in love and moves in with Philip Rahv, a Russian immigrant and writer. Along with Dwight Macdonald and William Phillips, Rahv revives |
1938 McCarthy marries Edmund Wilson. The marriage is stormy from the beginning. In June, after a night of drinking and physical violence on both sides, Wilson commits McCarthy to Payne Whitney Clinic for psychiatric observation. She is discharged after three weeks. Six months later, on Christmas Day, McCarthy and Wilson’s son, Reuel, is born. | |
1939 Hellman’s play | |
1941 Hellman’s play | 1941 McCarthy publishes a short story, “The Man in the Brooks Brothers Shirt,” in |
1942 Although he is forty-six and well past draft age, Hammett enlists in the American army and is stationed in New Jersey. He spends weekends with Hellman at the farm. From Diane Johnson’s | 1942 McCarthy’s first book, |
1943 Technical Sergeant Dashiell Hammett is sent to the Aleutian Islands, where he spends the rest of the war working on | |
1944 Lillian Hellman goes to Moscow on a cultural mission. She begins an affair with a young American diplomat named John Melby. | |
1945 McCarthy and Edmund Wilson are divorced. McCarthy testifies that Wilson abused her throughout the marriage. Wilson testifies that McCarthy attacked him constantly and tried to set fire to his office: “She would confuse me with the uncle she’d been sent to live with after her parents’ death. She was under the impression—which must have been exaggerated—that her uncle had beaten her every day.” | |
1946 McCarthy marries Bowden Broadwater and continues to write theater reviews. Reviewing Eugene O’Neill’s | |
1948 | |
While teaching at Sarah Lawrence, McCarthy goes to hear Hellman speak. They have a fight. | |
1949 The Cultural and Scientific Conference for World Peace, known as the Waldorf Conference, is held in New York. A parade of Soviet artists, including Dmitry Shostakovich, appear to testify to Joseph Stalin’s benevolence. Lillian Hellman sits on the dais and is identified in newspapers as pro-communist; Mary McCarthy is in the audience with her friends Elizabeth Hardwick and Robert Lowell, as anti-communists. | 1949 McCarthy publishes a new novel, |
1951 Blacklisted in Hollywood, her income greatly reduced, Hellman sells her farm in Westchester County. Hammett serves six months in federal prison for refusing to name the financial contributors to the Civil Rights Congress. | |
1952 Hellman appears before the House Un-American Activities Committee and refuses to name names. In a letter to the committee read by her lawyer Joseph Rauh, she writes: “I cannot and will not cut my conscience to fit this year’s fashions.” She takes the Fifth Amendment when asked if she was ever a member of the Communist Party. | |
1954-57 McCarthy publishes | |
1960 Traveling through Europe for the State Department, McCarthy meets American diplomat James West. Both are married. “My love for Jim is increasing ’till I am quite dizzy,” she writes to her closest friend, Hannah Arendt. To Bowden Broadwater she writes: “You will not believe how painfully sorry I am that I have done this to you. Can’t you, can’t you fall in love with someone else and remember me as I remember you?” Within a year McCarthy and West divorce their spouses and marry in Paris. | |
1961 Hammett dies in Hellman’s Manhattan town house, where he has lived for three years. | 1961 McCarthy publishes |
1964 From Lillian Hellman’s | |
1969 Hellman’s memoir | 1967-73 McCarthy and James West live in Paris. McCarthy covers the Vietnam War and the Watergate hearings as a journalist and publishes |
1973-74 Hellman’s memoir | |
1976 The third volume of Hellman’s memoirs, | |
1977 Julia | |
1980 | |
Appearing on The Dick Cavett Show to promote Cannibals and Missionaries , McCarthy calls Lillian Hellman a liar. “Everything she writes is a lie, including ‘and’ and ‘the,’” she says. Hellman sues McCarthy, Cavett, and WNET and asks for $2.25 million in damages. Joseph Rauh warns Hellman against suing: “If this ever got to court, they could bring up every word you ever wrote or said and examine it for its truthfulness. Do you really want that?” | |
1983 | |
Muriel Gardiner’s book, Code Name Mary , is published. | |
1984 McCarthy asks Judge Harold Baer to issue an order of summary judgment dismissing the suit on the grounds that Lillian Hellman is a public figure. Baer refuses, instead ruling that Hellman is not a public figure and that in any case, |