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Killing Lincoln - Bill O'Reilly [69]

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Finally, Crook hears feet thudding up the stairs. Parker ambles down the hallway, patting the bulge in his jacket to show that he is armed. He is a thirty-four-year-old former machinist from Frederick County, Virginia, and the father of three children. Parker served in the Union army for the first three months of the war, then mustered out to rejoin his family and took a job as a policeman in September 1861, becoming one of the first 150 men hired when Washington, D.C., formed its brand-new Metropolitan Police Department.

Throughout his employment, Parker’s one distinguishing trait has been an ability to manufacture controversy. He has been disciplined for, among other things, swearing at a grocer, swearing at a supervising officer, insulting a woman who had requested police protection, and being drunk and disorderly in a house of prostitution. At his trial, the madam testified that not only was Parker drunk and disorderly but that he had been living in the whorehouse for five weeks before the incident. Apparently, the authorities chose to ignore that testimony. The trial took place before a police board, rather than in the criminal courts. The board found no wrongdoing by Parker and quickly acquitted him.

And so Parker continued his questionable behavior. He appeared before the police board just two weeks later for sleeping on duty. Ninety days after that, another police board: this time for using profane language to a private citizen. Both charges were dismissed.

His innocence proven again and again, Parker had no qualms about putting his name into the pool when, late in 1864, the Metropolitan Police Department began providing White House bodyguards. It was prestigious duty and kept him from being drafted back into the army. Mary Lincoln herself wrote the letter exempting him from service. So far, the only blemish on Parker’s record while serving the president is a penchant for tardiness, as Crook knows all too well. So when Parker finally appears several hours late for his shift, Crook is upset but not surprised.

Crook briefs Parker on the day’s events, then explains that the presidential carriage will be stopping at Fourteenth and H to pick up Major Rathbone and Miss Harris. The presence of two additional passengers means that there will be no room for Parker. “You should leave fifteen minutes ahead of the president,” says Crook, pointing out that Parker will have to walk to Ford’s Theatre—and that he should arrive before the presidential party in order to provide security the instant they arrive.

As Crook finishes, Lincoln comes to his office door. A handful of last-minute appointments have come up, and he is eager to get them out of the way so he can enjoy the weekend.

“Good night, Mr. President,” Crook says.

He and the president have repeated this scene a hundred times, with Lincoln responding in kind.

Only this time it’s different.

“Good-bye, Crook,” Lincoln replies.

All the way home, that subtle difference nags at William Crook.

CHAPTER THIRTY-FIVE


FRIDAY, APRIL 14, 1865

WASHINGTON, D.C.

8:00 P.M.

As Lincoln is bidding farewell to William Crook, Booth is gobbling down a quick dinner in the National Hotel’s dining room. Food, sleep, and adrenaline have him feeling sober once more. Our American Cousin starts at eight, and his plan will go into action shortly after ten P.M. If all goes well, any residual effects of the afternoon’s alcohol will have worn off by then. In fact, Booth is feeling so good that he starts drinking again. What he is about to do is very grave, indeed. Liquid courage will make sure he doesn’t get stage fright and miss his cue.

That cue is simple: there is a moment in the third act when the actor Harry Hawk, playing the part of Asa Trenchard, is the only person on stage. He utters a line that never fails to make the audience convulse with laughter. “Don’t know the manners of good society, eh?” he says to the character of the busybody, Mrs. Mountchessington, who has insulted him before exiting the stage. “Well, I guess I know enough to turn you inside out, old gal

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