Killing Lincoln/Killing Kennedy (17 page)
Read Killing Lincoln/Killing Kennedy Online
Authors: Bill O'Reilly,Martin Dugard
CHAPTER THIRTY
FRIDAY, APRIL 14, 1865
WASHINGTON, D.C.
10:30 A.M.
WASHINGTON, D.C.
10:30 A.M.
L
incoln’s messenger reaches Ford’s at 10:30 A.M. “The president of the United States would like to formally request the state box for this evening—if it is available,” the note reads.
incoln’s messenger reaches Ford’s at 10:30 A.M. “The president of the United States would like to formally request the state box for this evening—if it is available,” the note reads.
The state box is available, James Ford immediately responds, barely containing his excitement. He races into the manager’s office to share the good news with his brother Harry and then barks the order for the stage carpenter to come see him right this instant.
Ford’s may be the city’s preeminent stage, but business has been extremely slow this week. The postwar jubilation means that Washington’s theatergoers are making merry on the streets, not penned together inside watching a show. In fact, Ford had been anticipating yet another dismal night.
Our American Cousin
is no match for the Grover’s
Aladdin
, which has been made all the more spectacular by the postshow victory rally, thus allowing audience members to watch a play
and
make merry. Ford can almost hear the actors’ words echoing off empty seats, and the punch lines that will receive a yawn instead of the guffaw a packed and energized theater so often guarantees. But now, with word that the president will be in the audience, the night should be a sellout.
Our American Cousin
is no match for the Grover’s
Aladdin
, which has been made all the more spectacular by the postshow victory rally, thus allowing audience members to watch a play
and
make merry. Ford can almost hear the actors’ words echoing off empty seats, and the punch lines that will receive a yawn instead of the guffaw a packed and energized theater so often guarantees. But now, with word that the president will be in the audience, the night should be a sellout.
Ford’s was originally known as the First Baptist Church of Washington. When the Baptists moved out, in 1861, James’s brother John
purchased the building and turned it into a playhouse. When Ford’s Athenaeum was destroyed by fire in 1862, some said it was God’s will, because many churchgoers considered the theater to be the devil’s playground. But John Ford was undeterred. He not only rebuilt the great brick building; he reshaped it into the nation’s most modern theater.
purchased the building and turned it into a playhouse. When Ford’s Athenaeum was destroyed by fire in 1862, some said it was God’s will, because many churchgoers considered the theater to be the devil’s playground. But John Ford was undeterred. He not only rebuilt the great brick building; he reshaped it into the nation’s most modern theater.
Ford’s Theatre, 1865
Ford’s reopened to rave reviews in August 1863. The building is flanked on either side by taverns—the Greenback Saloon to the left and Taltavul’s Star Saloon to the right—so that theatergoers can pop next door for a drink at intermission. The outside of the theater itself features five decorative archways. Patrons enter through the center arch, leading directly into the ticket booth and lobby. The steps leading up from the street are granite. The unpaved streets are often muddy this time of year, so Ford has built a wooden ramp from the street into the lobby. This ensures that ladies won’t soil their evening wear when stepping out of their carriages.
Inside, three seating levels face the stage. Gas lamps light the auditorium until the curtain falls, when they are dimmed by a single backstage valve. The chairs are a simple straight-backed cane but, inside his special presidential box, Lincoln prefers to sit in the red horsehair-upholstered rocking chair that Ford’s reserves for his personal use.
Boxes on either side of the stage allow the more privileged patrons to look straight down onto the actors. The state box, where the Lincolns and Grants will sit this evening, is almost on the stage itself—so close that if Lincoln were to impulsively rise from his rocking chair and leap down into the actors’ midst, the distance traveled would be a mere nine feet.
The state box is actually two side-by-side boxes. When not being used by the president or some other national dignitary, they are available for sale to the general public and simply referred to as boxes 7 and 8. A pine partition divides them.
On nights when the Lincolns are in attendance, the partition is removed. Red, white, and blue bunting is draped over the railing and a portrait of George Washington faces out at the audience, designating that the president of the United States is in the house. Out of respect for the office, none of the other boxes are for sale when the Lincolns occupy the state box.
Now, with the news that this will be such a night, the first thing on James Ford’s mind is decorating the state box with the biggest and most spectacular American flag he can find. He remembers that the Treasury Department has such a flag. With governmental offices due to close at noon for the Good Friday observance, there’s little time to spare.
By sheer coincidence, John Wilkes Booth marches up those granite front steps at that very moment. Like many actors, he spends so much time on the road that he doesn’t have a permanent address. So Ford’s Opera House, as the theater is formally known, is his permanent mailing address.
As James Ford reacts to Lincoln’s request, an
Our American Cousin
rehearsal is taking place. The sound of dramatic voices wafts through the air. The show has been presented eight previous times at Ford’s, but Laura Keene isn’t taking any chances with cues or blocking. If this is to be her thousandth and, perhaps, final performance of this warhorse, she will see to it that the cast doesn’t flub a single line. This
bent toward perfectionism is a Keene hallmark and a prime reason she has enjoyed such a successful career.
Our American Cousin
rehearsal is taking place. The sound of dramatic voices wafts through the air. The show has been presented eight previous times at Ford’s, but Laura Keene isn’t taking any chances with cues or blocking. If this is to be her thousandth and, perhaps, final performance of this warhorse, she will see to it that the cast doesn’t flub a single line. This
bent toward perfectionism is a Keene hallmark and a prime reason she has enjoyed such a successful career.
Booth’s mail is in the manager’s office. As he picks up a bundle of letters, stage carpenter James J. Gifford bounds into the room, curious as to why Ford wants to see him. When the theater manager shares the exciting news about the Lincolns, Clifford is ecstatic, but Booth pretends not to hear, instead staring straight down at his mail, acting as if he is studying the return addresses. He grins, though he does not mean to. He calms himself and makes small talk with Ford, then says his good-byes and wanders out into the sunlight. Booth sits on the front step, half-reading his mail and laughing aloud at his sudden good fortune.
Ford walks past, explaining that he is off to purchase bunting—and perhaps a thirty-six-star flag.
Until this moment, Booth has known what he wants to do and the means with which he will do it. But the exact details of the murder have so far eluded him.
Sitting on the front step of Ford’s Theatre on this Good Friday morning, he knows that he will kill Lincoln tonight and in this very theater. Booth has performed here often and is more familiar with its hidden backstage tunnels and doors than he is with the streets of Washington. The twofold challenge he now faces is the traditional assassin’s plight: find the most efficient path into the state box in order to shoot Abraham Lincoln and then find the perfect escape route from the theater.
The cast and crew at Ford’s treat Booth like family. His eccentricities are chalked up to his being a famous actor. The theatrical world is full of a hundred guys just as unpredictable and passionate, so nobody dreams that he has a burning desire to kill the president. So it is, as Booth rises to his feet and wanders back into the theater to plan the attack, that it never crosses anyone’s mind to ask what he’s doing. It’s just John being John.
The seats are all empty. The house lights are up. Onstage, the rehearsal is ending.
John Wilkes Booth prowls Ford’s Theatre alone, analyzing, scrutinizing,
estimating. His journey takes him up the back stairs to the state box, where he steps inside and looks down at the stage. A music stand provides an unlikely burst of inspiration. He hefts it in his hand, nervous but elated, knowing how he will make use of it tonight. By the time he is done, Booth has come up with an audacious—and brilliant—plan of attack.
estimating. His journey takes him up the back stairs to the state box, where he steps inside and looks down at the stage. A music stand provides an unlikely burst of inspiration. He hefts it in his hand, nervous but elated, knowing how he will make use of it tonight. By the time he is done, Booth has come up with an audacious—and brilliant—plan of attack.
On Booth’s mind are these questions: Will he commit the perfect crime? And will he go down in history as a great man?
CHAPTER THIRTY-ONE
FRIDAY, APRIL 14, 1865
WASHINGTON, D.C.
11:00 A.M.
WASHINGTON, D.C.
11:00 A.M.
A
hazy sun shines down on Washington’s empty streets. The city is so quiet it seems to be asleep. The Good Friday observance means that its citizens are temporarily done celebrating the war’s end. They are now in church or at home repenting, leaving the local merchants to lament the momentary loss of the booming business they’ve enjoyed the past few days.
hazy sun shines down on Washington’s empty streets. The city is so quiet it seems to be asleep. The Good Friday observance means that its citizens are temporarily done celebrating the war’s end. They are now in church or at home repenting, leaving the local merchants to lament the momentary loss of the booming business they’ve enjoyed the past few days.
Hundreds of miles to the south, in Fort Sumter, South Carolina, a massive celebration is about to take place, commemorating the raising of the Stars and Stripes. Major General Robert Anderson stands before forty-five hundred people as the very flag that was lowered there four years earlier, marking the beginning of the war, now climbs the flagpole. A minister offers a prayer of thanksgiving. The Union is reunited.
Back in Washington, General Grant walks to the White House, feeling conflicted. He was supposed to meet with Lincoln at nine A.M., but the president rescheduled for eleven so that Grant can attend the cabinet meeting. Now he feels obligated to attend the theater tonight with the Lincolns. But Julia Grant, who thinks Mary Lincoln is unstable and a gossip, has bluntly refused. When the theater invitation arrived from Mary Lincoln earlier that morning, Julia replied with a firm no,
stating that the Grants would be leaving town that afternoon and noting, “We will not, therefore, be here to accompany the President and Mrs. Lincoln to the theatre.” She is, in fact, adamant that they catch the afternoon train out of Washington. Going to the theater with Mary Lincoln is out of the question.
stating that the Grants would be leaving town that afternoon and noting, “We will not, therefore, be here to accompany the President and Mrs. Lincoln to the theatre.” She is, in fact, adamant that they catch the afternoon train out of Washington. Going to the theater with Mary Lincoln is out of the question.
General Grant is caught in the middle. Lincoln has become such an ally and dear friend that turning down his invitation seems rude. But displeasing his wife, who has endured many a sacrifice these past years, is equally daunting.
The two soldiers standing guard at the White House gate snap to attention as their general in chief arrives. Grant tosses them a return salute with the casual ease of a man who has done it thousands of times, never breaking stride as he continues on to the front door.
The doorman nods graciously as Grant steps inside, dressed in his soldier’s uniform, moving past the police bodyguard currently on duty and a rifle-bearing soldier also in dress uniform. Then it’s up the stairs to Lincoln’s second-floor office, where another soldier stands guard. Soon Grant is seated in Lincoln’s cabinet meeting, somewhat surprised by the loose way in which such matters are conducted. He assumed that Lincoln’s entire cabinet would be in attendance, particularly since there are so many pressing matters of state to discuss. But a quick glance around the room shows no sign of Secretary of War Stanton or Secretary of the Interior John P. Usher. Secretary of State William Seward, home recovering from his carriage accident, is represented by his son Frederick. And as Lincoln leans back in his chair along the south window, the half-filled room feels more like a collegiate debating club than a serious political gathering. Lincoln guides the dialogue, which jumps from elation at the war’s end to other topics and back, taking no notes as he soaks in the various opinions. His behavior is that of a first among equals rather than the ultimate decision maker.
The meeting is into its second hour as Grant is shown into the room, and his entrance injects a new vitality—just as Lincoln intended. The cabinet, to a man, is effusive in praise of the general and begs to hear details of the Appomattox surrender. Grant sets the scene, describing the quaint McLean farmhouse and the way he and Lee sat together to
settle the country’s fate. He doesn’t go into great detail, and he makes a point of praising Lee. The cabinet members are struck by his modesty but clamor for more.
settle the country’s fate. He doesn’t go into great detail, and he makes a point of praising Lee. The cabinet members are struck by his modesty but clamor for more.
Lincoln tries to draw him out. “What terms did you make for the common soldiers?” the president asks, already knowing the answer.
“To go back to their homes and families, and they would not be molested, if they did nothing more.”
There is a point to Lincoln’s inviting Grant to this meeting, as evidenced by this new line of inquiry. Lincoln hopes for a certain pragmatic lenience toward the southern states, rather than a draconian punishment, as his vice president, Andrew Johnson, favors. Lincoln has not seen Johnson since his second inauguration. But Lincoln’s lenient plan for the South is not borne solely out of kindness nor with just the simple goal of healing the nation. The South’s bustling warm-water ports and agricultural strength will be a powerful supplement to the nation’s economy. With the nation mired in more than $2 billion of wartime debt, and with Union soldiers still owed back pay, extra sources of income are vitally needed.
Grant’s simple reply has the desired effect. Lincoln beams as the cabinet members nod their heads in agreement.
“And what of the current military situation?”
Grant says that he expects word from Sherman any minute, saying that General Joe Johnston has finally surrendered. This, too, is met with enthusiasm around the table.
Throughout the proceedings, Grant’s feeling of unease about that evening’s plans lingers. He makes up his mind to tell Lincoln that he will attend the theater. Doing otherwise would be ungracious and disrespectful. Julia will be furious, but eventually she will understand. And then, first thing in the morning, they can be on the train to New Jersey.
The cabinet meeting drags on. One o’clock rolls past. One-thirty.
A messenger arrives carrying a note for Grant. It’s from Julia and she’s not happy. Mrs. Grant wants her husband back at the Willard Hotel immediately, so that they can catch the 6:00 P.M. to Burlington, New Jersey.
General Grant’s decision has now been made for him. After months and years of men obeying his every order, he bows to an even greater authority than the president of the United States: his wife.
“I am sorry, Mr. President,” Grant says when the cabinet meeting ends, just after one-thirty. “It is certain that I will be on this afternoon’s train to Burlington. I regret that I cannot attend the theater.”
Lincoln tries to change Grant’s mind, telling him that the people of Washington will be at Ford’s to see him. But the situation is out of the general’s hands. Lincoln senses that and says good-bye to his dear friend.
The Grants will make their train. Julia is so eager to leave town that she has chosen the local, which takes thirteen long hours to reach Burlington. The faster option would be the seven-thirty express in the morning, but that would mean a night at the theater with the daft and unbalanced Mary Lincoln. Julia Grant’s mind is made up.
What Ulysses S. Grant does not know is that he will be returning to Washington by the same train within twenty-four hours.
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