Cover image for Murder at Ford's Theatre : a capital crimes novel
Title:
Murder at Ford's Theatre : a capital crimes novel
Author:
Truman, Margaret, 1924-2008.
Edition:
[Large print edition].
Publication Information:
Waterville, Me. : Thorndike Press, 2003.

©2002
Physical Description:
541 pages ; 23 cm.
Language:
English
ISBN:
9780786250387
Format :
Book

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Summary

Summary

The "New York Times" bestselling author makes her hardcover debut with her most compelling Capital Crimes thriller yet. Copyright © Libri GmbH. All rights reserved.


Author Notes

Mary Margaret Truman, daughter of President Harry S. Truman, was born on February 17, 1924 in Independence, Missouri. She graduated from George Washington University in 1946. She was also known as Margaret Truman or Margaret Daniel. She was an American singer who later became the successful author of a series of murder mysteries and a number of works on U.S. First Ladies and First Families, including a biography of her father, President Harry S. Truman. The only child of Harry Truman and First Lady Bess Truman; she was called "Margaret" for most of her life.

Truman made her concert debut with the Detroit Symphony Orchestra in 1947 and her first television appearance on Ed Sullivan's Toast of the Town. She substituted for Edward R. Murrow on Person to Person, and later had her own radio shows (Weekday in the 1950s and Authors in the News in the 1960s). She was active with organizations such as the Harry S. Truman Scholarship Foundation and the Truman Centennial Committee.

She published her first book, Souvenir: Margaret Truman's Own Story in 1956. She also wrote a series of mysteries set at historic locations in Washington, D. C. She died on January 29, 2008 following a brief illness.

(Bowker Author Biography)


Reviews 3

Publisher's Weekly Review

The spirit of Chandra Levy hovers over Truman's latest Washington, D.C., mystery (Murder on the Potomac, etc.), which, despite a sometimes confusing plot and little suspense until the climax, should be as successful as other recent entries in this durable series. When the body of congressional intern Nadia Zarinski turns up outside the stage door of Ford's Theatre, D.C. police detectives Mo Johnson and Rick Klayman, who happens to be a Lincoln buff, are assigned the case. Nadia worked in the office of Senator Bruce Lerner, ex-husband of Clarise Emerson, head of Ford's Theatre and nominee for chair of the National Endowment for the Arts. Once Clarise determines with Klayman's help that her son, Jeremiah, was the last to see Nadia alive, she appeals to former attorney Mackensie "Mac" Smith to represent him. But there are other suspects as well: theater controller Bernard Crowley; aging, past-his-prime British actor and artistic director Sydney Bancroft; and Senator Lerner himself. Mac and his police cohorts find these ambitious power seekers an unpleasant lot. As usual, the location takes center stage, and the fun lies in seeing how the author uses the national landmark in the service of the drama. In this case, the Lincoln theme pulls the plot threads together and brings weight to the proceedings. The performance may be a bit contrived, but fans will enjoy the show. (Nov. 19) (c) Copyright PWxyz, LLC. All rights reserved


Library Journal Review

Nadia Zarinski, an intern linked romantically with Sen. Bruce Lerner, is murdered at Ford's Theatre, Truman's trademark national landmark for this mystery. Lerner's son, Jeremiah, tops Metro Police detectives Rick Klayman and Mo Johnson's suspect list and complicates his mother's (Clarice Emerson) National Endowment for the Arts nomination. Clarice calls on longtime friend attorney Mackenzie Smith to defend him. Theater controller Bernard Crowley and past-prime Shakespearean actor Sydney Bancroft are also suspects. Despite a few difficult-to-distinguish asides, Richard Allen renders an authentic reading of the characters. Highly recommended for all audio mystery collections.-Sandy Glover, West Linn P.L., OR (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


School Library Journal Review

Adult/High School-When Washington, DC, police detectives Mo Johnson and Rick Klayman arrive at this famous venue, they find the body of Nadia Zarinski, a congressional intern romantically linked to Senator Bruce Lerner. Fate throws in a twist when the detectives discover that the senator's ex-wife is directing the theater's current production. Their son becomes the number one suspect when the footprint from a pair of shoes he has matches the one found in the alley alongside the deceased. The investigation includes segues into discussions about Abraham Lincoln and John Wilkes Booth, and other historical tidbits. Suspects include just about everyone, with the murderer turning out to be someone who is easily overlooked. The best "scene stealing" belongs to Sydney Bancroft, an older, scheming, once-handsome leading man whose better days were long ago but who can't give up the stage. Without the graphic violence or vulgar language sometimes common to this genre, this mystery is lively and interesting.-Pam Johnson, Fairfax County Public Library, VA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Excerpts

Excerpts

Chapter 1 Travel guides claim that the average high temperature in Washington, D.C., in September is seventy-nine degrees Fahrenheit. But on this particular Tuesday, the day after a long Labor Day weekend, the thermometer read eighty-one at seven in the morning, which meant ninety was a possibility by noon, a hell of a time for Johnny Wales's air conditioner to decide to crash. It had ground to a halt sometime during the night; it had to have been between two in the morning when Wales returned from a night of drinking with his buddies, and five a.m. when he was awakened by the sound of the vintage window unit seizing up. He rolled his sticky body out of bed at seven and stood in front of an oscillating table fan, raising his arms to allow the moving air to wash over his nakedness. Understandably, his mood was palpably foul; his mutterings were mostly four-lettered as he poured orange juice, washed down a handful of vitamins, and entered the shower. The weather was bad enough, and you couldn't do anything about that. But Bancroft's early crew call at Ford's was arbitrary. What was the big deal? he wondered as he readjusted the faucets to add cooler water to the mix. It was only a teenage drama workshop production. As he moved about getting ready in his room above an army-navy store on Ninth Street, not far from the Capitol City Brewing Company, the final stop on last night's toot, and only a few blocks from Ford's Theatre, where he'd been employed as a stagehand for the past two years, his size--six feet four inches tall and 220 pounds--made the cramped studio apartment seem smaller. He pulled on a faded pair of blue jeans, Washington Redskins T-shirt, slipped tan deck shoes over bare feet, attached a black fanny pack to his waist, and checked himself in the mirror. Building and erecting stage sets hadn't been his ambition when graduating from the University of Wisconsin seven years ago. He'd been a leading man in university productions, a big, handsome guy who might make it in Hollywood one day if the chips fell right. He'd tried that for a year, but left Tinseltown weary of failure and wary of tinsel and followed a girlfriend to Washington, where his stagecraft courses at Wisconsin landed him after a while membership in the union and a job at the theatre. It wasn't acting, but at least it was showbiz: No jokes about following circus elephants with shovels, thank you. He stopped at a Starbucks, eschewing an effete latte at scandalous prices for a large coffee light and sweet, and walked through the stage entrance of Ford's Theatre at precisely eight. His pique at having to be there early was eased by the welcome blast of AC. A uniformed park ranger stood backstage with some of Wales's fellow stagehands, drinking coffee and laughing about something. The ranger in the drab brown uniform was one of many who would conduct hourly, fifteen-minute lectures for tourists later that day as they wandered into America's most infamous theatre, the three-storey, solid brick building where, not playacting, Abe Lincoln had been shot to death by the actor John Wilkes Booth. "Hey, big guy, good weekend?" "Yeah," Wales said, leaning against a piece of stage furniture and sipping his coffee. "Over too soon." A pulsating headache had developed between leaving the apartment and arriving at the theatre. No sense mentioning it; he wouldn't get any sympathy anyway. "Where's Sydney?" "Who cares?" "I care," said Wales. "He called this stupid meeting." "Don't speak ill of the famous Bancroft," someone said. "Screw the famous Sydney Bancroft," Wales said, pressing fingertips to his temple. "Besides, he's not famous anymore. He was famous." "I sense a hangover, Johnny." Wales laughed. "You sense it, I feel it." "Snap to. Our leader has arrived." Attention turned to an open yellow door linking the theatre to the adjacent attached building in which the Ford's Theatre Society offices were housed. While the National Park Service maintained the theatre as an historic site, it was the nongovernmental Ford's Theatre Society that used the venue to mount its ambitious schedule of theatrical productions. Heading that society, and coming through the door, was the theatre's producing director, Clarise Emerson, a former Hollywood TV producer who'd been recruited three years earlier to replace the departing Frankie Hewitt. Hewitt had been brought in almost thirty-five years before by then Secretary of the Interior Stewart Udall to help develop a plan for the theatre following its most recent renovations, and to choreograph fund-raising efforts. Hewitt was a tough act to follow. The former wife of 60 Minutes producer Don Hewitt, Frankie had guided Ford's Theatre from being solely a government museum chronicling the Lincoln assassination to one of America's preeminent resident theatres, a living tribute to Lincoln's well-known love of the performing arts. More than twenty musicals had received their world premieres there since the beautifully restored theatre opened in January 1968, including Don't Bother Me, I Can't Cope, and Your Arms Too Short to Box With God, many moving on to Broadway. And hundreds of plays had been performed, all adhering to Ford's stated mission: "To produce musicals and plays that embody family values, underscore multiculturalism, and illuminate the eclectic character of American life." "Dull theatre!" some critics said. Certainly noncontroversial. Avant-garde playwrights need not apply. Nothing to ruffle the feathers of members of Congress who decided how much to include for the theatre in the yearly congressional budget, particularly eighty-six-year-old Alabama Senator Topper Sybers, chairman of the Senate Committee on Labor and Human Resources. Unlike some "reviewers" who never saw a play or painting or book they didn't like, Sybers had never seen a play or piece of art that wasn't lubricious. But Clarise had more than financial reasons these days for not wanting to provoke the elderly, feisty senator from Alabama. The president, Lewis Nash, Clarise's lifelong friend, had recently nominated her to chair the National Endowment for the Arts (NEA). Sybers's Labor and Human Resources Committee would conduct her confirmation hearing. Clarise's appearance that morning was surprising to the assembled. She seldom set foot inside the theatre, delegating virtually every creative aspect to others. Her time was better spent, she often said, squeezing money out of wealthy patrons, individuals and corporations alike. "Good morning," she said brightly to the half-dozen stagehands marking time. "'Morning, Clarise," they responded. Because of her status on the Washington scene--not only was she a personal friend of the president and headed for the NEA, she'd once been married to Bruce Lerner, senior senator from Virginia, a handsome, sixty-year-old bachelor often seen on the arm of beautiful, high-profile women--there was the natural tendency for younger people at Ford's to address her as Ms. Emerson. But she'd put an end to that shortly after taking up her post there, and everyone called her Clarise. That she was youthful in appearance and manner helped. People took her to be considerably younger than fifty-four. Good genes had given her not only beauty but boundless energy; Clarise didn't walk, she moved at an almost constant trot, up on the balls of her feet, looking as though she might suddenly decide to become airborne. She stood military erect, like her father, who'd served twenty years in the air force, retiring to their small farm in Ohio to die of a coronary three years after exchanging his blue uniform for coveralls. She was, in fact, like her father, Luke Emerson, in almost all ways, physically and philosophically, except for her sense of humor, which was decidedly her mother's, a short, plump woman better suited to the role of farmer's wife than military spouse, subservient to her dour husband when in his presence, but wickedly prankish about him when chatting with women friends. "Early start," Clarise said. "What's the occasion?" "Sydney called a meeting," a stagehand said. "Oh?" "The teenage show, I guess," Wales said. "Is there a problem with it?" "Not that we know of, Clarise." "Sydney's not even in town," she said. "That's just terrific," Wales said, dropping his empty cup into a trash can. "Anybody got an aspirin?" "Do you know why Sydney called a tech meeting?" Clarise asked. Shrugs all around. "Well, sorry you're here so early for nothing. I'll speak with Sydney when I see him." Clarise turned and retraced her steps to the door connecting the buildings. The four men and one female apprentice watched her retreat from where they stood backstage, the men appreciating the attractive sway of her tall, lithe figure, a gazelle in an expensive, tailored gray pantsuit, neck-length reddish blond hair bobbing, hips moving in perfect rhythm with her long strides. "That is one good-looking woman," the oldest of the stagehands said quietly. He'd been at Ford's for twenty-two years. "Yeah, I've noticed," Wales offered. "Hate to see her go," the older man said. "Better Sydney should go," Wales said. "We going to hang around?" "Might as well." "I'm going out for a cigarette," Wales said. He'd cut back on his smoking, limiting himself to ten cigarettes a day, except when he was out drinking. He didn't keep count on those occasions. "I'll go with you," said the young female apprentice. As Wales and the girl headed for a door at the rear of the stage leading to a narrow area behind the theatre called Baptist Alley, the older stagehand laughed and said to the others, "She hangs around Johnny like a puppy dog. Really got the hots for him." "He could do worse. She's a fox." "I'll take Clarise," the older man said. "Women aren't any good until they've got a little wear and tear on them." "'You'll take Clarise?' Fat chance. She's strictly money and power." "You never know," the older guy said, chuckling. "My wife's too good at homicide anyway. Let's put this furniture in place as long as we're here."  Wales and the girl, Mary, had paused at the door to the alley while he fumbled in the fanny pack for his cigarettes. "Just got ten," he said. "You owe me one." She punched his arm and turned the security lock on the door. "Got 'em," Wales said, retrieving the crumpled half pack and pulling two cigarettes from it. "Every time I go through this door," she said, "I think of Booth." "John Wilkes? Crazy bastard. Got his fifteen minutes of fame." "He escaped through this door. He had his horse tied out in the alley." "I know, I know. I've heard the tourist pitch a thousand times." Wales grasped the doorknob and pushed on the door. It opened only a few inches. Something was blocking its way. He pushed harder, resulting in another inch or so. "What the hell?" he muttered. He leaned his body against the door and exhaled a rush of air as he tried again. This time the opening was wide enough through which to poke his head. "What is it?" Mary asked. He'd been looking straight ahead, up the long alley that forked left and exited onto F Street. He wedged his shoulder into the gap and twisted his head to look down at whatever was preventing the door from swinging open. "What is it?" Mary repeated, envisioning some drunk sleeping it off against the door. Baptist Alley had become a downtown lovers' lane for couples looking for smooch time, drug addicts shooting up, or alcoholics deciding to nap. "Jesus!" "What is it?" she repeated. "Jesus!" "Johnny." "It's Nadia," he managed, his voice raspy and higher than normal as though the horror on the dead girl's face had reached up and gripped his throat. Chapter 2 When the call came in to the MPD's First District Headquarters at 415 Fourth Street, SW, the duty officer that morning put out a notice of a body behind Ford's Theatre. This was picked up by all vehicles in the area, including an unmarked patrol car manned by two detectives from the Crimes Against Persons Unit. Rick Klayman and Mo Johnson were parked a block from Ford's Theatre drinking coffee and comparing notes about their long weekend. Their celebration of Labor Day had taken different turns. Johnson had had Sunday and Monday off with the family.  Klayman had worked, paperwork mostly, catching up on what seemed to be a mountain of forms to be filled out. MPD's upper echelon had instituted what it termed "project paperwork simplification," which somehow resulted in more forms rather than fewer, more complicated, too, shades of the IRS's claims of tax simplification. Klayman really didn't care. He'd had little else to do anyway that weekend, and could use the overtime. He'd also gone over investigative files on a Congressional intern, Connie Marshall, who'd disappeared a year earlier, one of many missing persons in D.C., but a case that had become, according to some of his colleagues, an obsession. Klayman didn't debate their view of his immersion in the case because they were probably right. His weekend review of the files represented the tenth time he'd done so--or thirtieth? "You get to see your pretty little lady friend over the weekend?" Johnson had asked his partner as they sat in the unmarked car. "Yes," replied Klayman. "We had dinner last night." Johnson's laugh was low and deep and rumbling, like a poorly tuned outboard engine. "Candlelight and all that?" "Come on, Mo, why are you always asking me about Rachel? We had dinner. No big deal." "Uh-huh." "Why do you care whether I get married or not?" Klayman asked. "Just looking out for your best interests, my man," said Johnson. "Married men live longer. You never heard that?" Klayman looked over at his partner, smiled, and shook his head.  He'd been hooked up with Mo Johnson since making detective a year ago after only five years on the force. Johnson was a twenty-two-year veteran, skilled, black, a good teacher, who'd seen it all: "The kid is bright, Mo, but wet behind the ears. Show him the ropes," Johnson's supervisor had said after the veteran's partner of many years had retired, and Johnson had been told he was to be paired with the rookie detective. Mo wasn't happy being handed Klayman as a partner. As he'd told his wife, Etta, that night, "Out of thirty-six hundred cops, most of 'em black, I end up with a skinny little Jewish kid from New York. Maybe it's time to grab the pension and walk." Which he didn't do. The truth was, he'd come to like Rick Klayman, even respect him. Klayman had proved his mettle on more than one occasion, facing down dangerous situations with steely resolve and audacious fearlessness. "The kid may look like a nerd," Johnson told friends in the department, "but he's all right. He-is-all-right!" That was when the female voice crackled through the speaker: "Reported unconscious person, alley behind Ford's Theatre, Tenth and F." "Seventeen responding," Johnson barked into the handheld microphone as Klayman pulled from the curb and turned the corner down Tenth, coming to a hard stop a minute later in front of the theatre. They bolted from the car and entered, flashing their badges at two uniformed park rangers standing at an interior door leading down into the theatre itself. From the Paperback edition. Excerpted from Murder at Ford's Theater by Margaret Truman All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.