A servant answers the door and ushers him inside the suite. Lucy appears a moment later, the unfinished business of their argument hanging between them. They both know that it’s over. Nothing more needs to be said, much to Booth’s relief. They make small talk, skirting the obvious issue. And then it is time to say good-bye. Before leaving, Booth asks Lucy for a photograph so that he might have something to remember her by.
She steps out of the room and returns with a small portrait of her face in profile. Her hair is pulled back off her forehead and her lips are creased in a Mona Lisa smile. Booth thanks Lucy and gives her a long last look. He then turns and walks out of the Hales’ suite, explaining breezily that he is off to get a shave, wondering if he will ever make it to Spain to see Lucy again.
Lucy Hale in the photograph she gave John Wilkes Booth
As he walks back down the hallway, the sound of the closing door still echoing in the corridor, he admires the picture and slips it into his breast pocket, next to the pictures of four other women who have enjoyed his charms. The life of a narcissist is often cluttered.
The pictures will remain in Booth’s pocket for the rest of his short life.
CHAPTER TWENTY-NINE
FRIDAY, APRIL 14, 1865
WASHINGTON, D.C.
10:00 A.M.
Mary Lincoln has tickets for a play—and what a spectacular performance it will be. Grover’s Theatre is not only staging a lavish production of Aladdin, or The Wonderful Lamp but is adding a grand finale for this night only, during which the cast and audience will rise as one to sing patriotic songs written especially for the occasion. Everyone in Washington is talking about it.
But Mary is torn. Word has come from James Ford, the manager of Ford’s Theatre, that he is staging the wildly popular farce Our American Cousin. Tonight the legendary actress Laura Keene is celebrating her one thousandth performance in her signature role as Florence Trenchard. This milestone, Ford has politely suggested to Mary, is something not to be missed.
Keene, thirty-eight, is not only one of America’s most famous actresses but also very successful as a theater manager. In fact, she is the first woman in America to manage her own high-profile career and purchase a theater. That theater will later be renamed the Winter Garden, and it is still in existence today at a different location in New York City. Offstage, Laura Keene’s life is not so tidy—she pretends to be married to her business manager, but in truth she is secretly married to a convicted felon who has run off to Australia. During an extended tour of that faraway continent, Keene quarreled mightily with her costar, the equally vain Edwin Booth.
Laura Keene
But onstage Laura Keene is a force. The gimlet-eyed actress owes much of that success to Our American Cousin. At first she thought very little of the script, which places a country bumpkin in the upper class of British society. But then Keene changed her mind and bought worldwide rights. Debuting seven years earlier at Laura Keene’s Theatre on Broadway, it soon became the first blockbuster play in American history. It was performed in Chicago on the same night in May 1860 that Lincoln was confirmed as the Republican nominee for the presidency. Many of the play’s screwball terms, like “sockdologizing” and “Dundrearyisms” (named for the befuddled character Lord Dundreary), have become part of the cultural lexicon, and several spinoff plays featuring characters from the show have been written and performed.
Despite all that, ticket sales for this run of the play have been so sluggish that Ford’s will be nearly empty. But Mary Lincoln doesn’t mind. What matters most to her is that on this most patriotic of evenings, she and the president will celebrate their first visit to the theater since the war’s end by enjoying the quintessential American comedy, on a night that features one of America‘s—if not the world’s—most famous actresses.
Aladdin can wait.
The playbill for Our American Cousin from the night the Lincolns were in attendance, April 14, 1865
With this sudden and impulsive decision to attend one show and not the other, an eerie coincidence will unravel: thanks to the performance that took place in Chicago in 1860, Our American Cousin will bracket both the beginning and the end of the Lincoln administration.
Over breakfast a few hours earlier, Mary told the president that she wanted to go to Ford’s. Lincoln absentmindedly said he would take care of it.
Now, between appointments, Lincoln summons a messenger. He wants a message delivered to Ford’s Theatre, saying that he will be in attendance this evening if the state box is available. General Grant and his wife will be with him, as will Mary.
Abraham Lincoln is the undisputed leader of the world’s most ascendant nation, a country spanning three thousand miles and touching two oceans. During the war, he could send men off to die with a single command to his generals. He has freed the slaves. This is a man who has the power to do almost anything he wants. And tonight, if truth be told, he would prefer to see Aladdin.
Yet Lincoln would never dream of contradicting Mary’s wishes. His life is much easier when she is appeased. A volatile and opinionated woman whose intellect does not match her considerable capacity for rage, Mary Lincoln is short and round, wears her hair parted straight down the middle, and prefers to be called “Madame President,” which some believe is pretentious, to say the least. Mary’s rants about some person or situation that has angered her can sidetrack Lincoln’s day and drain him of precious energy, so he does all he can to make sure nothing upsets her unstable psyche.
But to be fair, Mary Lincoln has also suffered the deaths of two young sons during her twenty-two-year marriage. Lincoln dotes on her. A compassionate man, he tries more to ease the lingering pain than to merely keep the peace. Mary Lincoln is almost ten years younger than her husband, and they had an on-again, off-again courtship and even broke off their first engagement when Lincoln had cold feet about marrying her. Mary is from an affluent home, which afforded her an education that few American women enjoyed at the time. Lithe in her early twenties, Mary has put on considerable weight. And though she had many suitors as a young woman, few would now consider her to be good-looking. Nevertheless, Lincoln is enamored. The president considers Mary the love of his life. Some historians believe that because Lincoln lost his mother at the age of nine, he was drawn to women with maternal, protective instincts. Mary Lincoln certainly fits that description.
Mary Todd Lincoln
Lincoln is overdue at the War Department. He also has a cabinet meeting scheduled in just over an hour. He hurriedly steps out of the White House and walks over to see Stanton. Mary demands that he wear a shawl, and so he does, not caring in the slightest that the gray garment draped over his shoulders gives him a decidedly nonpresidential appearance.
Lincoln strolls into Stanton’s office unannounced, plops down on the couch, and casually mentions that he’s going to the theater that night. The words are designed to provoke a reaction—and they do.
Stanton frowns. His network of spies have told him of assassination rumors. Last night, during the Illumination party at his home, Stanton adamantly warned Grant away from going to the theater with the Lincolns. Stanton is no less stern with Lincoln. He thinks the president is a fool for ignoring the assassination rumors and argues that Lincoln is risking his life.
“At least bring a guard with you,” Stanton pleads, once it becomes obvious that Lincoln will not be dissuaded. That statement is the best evidence we have that Secretary of War Stanton did not wish Lincoln ill. If, as some conspiracy theorists believe, Stanton wished Lincoln dead, why would he want to provide him with protection?
The president is in a playful mood. “Stanton,” Lincoln says, “did you know that Eckert can break a poker over his arm?”
Major Thomas T. Eckert is the general superintendent of the Military Telegraph Corps. He once demonstrated the shoddy nature of the War Department’s fireplace irons by breaking the defective metal rods over his left forearm.
“Why do you ask such a question?” Stanton replies
, mystified.
“Stanton, I have seen Eckert break five pokers, one after the other, over his arm, and I am thinking that he would be the kind of man who would go with me this evening. May I take him?”
“Major Eckert has a great deal of work to do. He can’t be spared.”
“Well, I will ask the major himself,” Lincoln responds.
But Eckert knows better than to cross Stanton. Despite a barrage of good-natured pleading by the president, Eckert says he cannot attend the theater that evening.
His business with Stanton concluded, Lincoln wraps his shawl tightly around his shoulders and marches back to the White House for his cabinet meeting.
CHAPTER THIRTY
FRIDAY, APRIL 14, 1865
WASHINGTON, D.C.
10:30 A.M.
Lincoln’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.
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.
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.
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.
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.
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 ci
tizens 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.
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.
Killing Lincoln/Killing Kennedy Page 14
