Killing Lincoln

English-language, first-edition hardcover print copies containing errata material can be identified as such if they contain the following:[3][9]

• Page 3: The man with six weeks to live is anxious. He furls his brow, as he does countless times each day . . . ("Furl" means to wrap or roll around a pole, as to store a sail, flag, or umbrella; "furrow" means to create rows or wrinkles, as on the forehead.)[3]
• Page 83: Grant and Lee rise simultaneously and shake hands. The two warriors will never meet again. (After their meeting on April 9, 1865 in which Lee surrendered at the Appomattox Court House in Virginia, Grant and Lee met again the next day to discuss paroles for Lee's Confederate troops so that they would not be arrested or harassed.)[3]
• Page 104: Not the least bit discouraged, Booth walks up to Ford's Theatre on Tenth Street. After it was burned to the ground in 1863, owner John Ford rebuilt it . . . (The fire occurred on December 30, 1862 and gutted the interior, leaving the outer walls intact. The authors later correctly state on page 159: When Ford's Athenaeum was destroyed by fire in 1862 . . .).[3]
• Page 131: That afternoon, Grant meets with Lincoln in the Oval Office. (The Oval Office was not built until 1909, 44 years after Lincoln's death.)[3]
• Page 146: By nine A.M., President Lincoln is sitting at his desk in the Oval Office.
• Page 154: Now, between Oval Office appointments, Lincoln summons a messenger.
• Page 160: 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 into the actors' midst, the distance traveled would be a mere nine feet. (Depending on which end of the box the measurement is taken from, the distance from the state box to the stage below is 11​¹⁄₂ to 12 feet.)[3][10]
• Page 160: 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. (Ford added the portrait of George Washington for the first time on April 14, 1865, the day of the assassination.)[3][10]
• Page 160: 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 address. (The formal name of the theatre at the time of the assassination was "Ford's Theatre." Before that, after the 1863 renovation, it was called "Ford's New Theatre.")[3]
• Page 160: . . . an Our American Cousin rehearsal is taking place . . . The show has been presented eight previous time at Ford’s . . . (It was performed seven previous times. The eighth was the night of the assassination.)[3]
• Page 161: ". . . stage carpenter James J. Clifford bounds into the room . . . Clifford is estatic . . . (His last name was Gifford.)[9][11]
• Page 161: Booth has performed here often and is more familiar with its hidden backstage tunnels . . . (According to Rae Emerson, deputy superintendent at Ford’s Theatre, this description in the book is inaccurate, as there are passageways and stairways backstage known and routinely used by the cast, crew, and musicians. O'Reilly admits, however, on page 3 that Killing Lincoln is "written in the style of a thriller," so arguably his choice of words could be viewed in that dramatic spirit, as such backstage areas would technically be hidden from the audience and Mr. and Mrs. Lincoln, who were in attendance)[3]
• Page 195: Booth’s second act of preparation that afternoon was using a pen knife to carve a very small peephole in the back wall of the state box. Now he looks through the hole to get a better view of the president. (No evidence has ever been found to prove Booth carved a peephole. There is an after-the-fact 1962 letter from the son of Henry Clay Ford, brother of John T. Ford, the theatre's owner, insisting that his father had the hole bored so that the guard could check on the presidential party without having to open the door.)[3]
• Page 242: But Mudd's five-hundred-acre estate . . . (It was 217 acres.)[9]
• Page 278: Mary Surratt . . . claustrophobia and disfigurement caused by the hood . . . One eyewitness called her cell aboard the Montauk "barely habitable." (Unlike the other accused co-conspirators, Mary Surratt was never held aboard the U.S.S. Montauk and she never wore a hood during her confinement at the Old Capitol Prison and in a federal prison at the Washington Arsenal, where she was eventually hanged.)[9]