With good reason. The Cuban missile crisis does not mark the end of efforts to get rid of Castro. And while the president has promised Khrushchev that he will not meddle in Cuban affairs, this does not mean that the CIA’s Operation Mongoose has come to an end. The brainchild of JFK, Mongoose involved inserting teams of Cuban exiles into Cuba to foment rebellion against Castro. Initially, the Mafia was also secretly enlisted, with the primary aim of killing Castro. The president never used the word assassinate to describe the operation’s ultimate mission, but the Mafia is not a military organization, and their well-documented involvement took Mongoose beyond a popular overthrow by the exiles and into the realm of carefully plotted political murder.
* * *
The bond between Jack and Bobby Kennedy became tighter than ever during the Cuban missile crisis, even as Lyndon Johnson once again stumbled. The vice president made the crucial mistake of being disloyal to President Kennedy, initially aligning himself with the hawkish generals who advocated a full-blown invasion. Bobby, meanwhile, took the opposite point of view. He thought an attack on Cuba would remind the world of Pearl Harbor—an opinion mirroring that of JFK.
Now, with the crisis successfully defused, John Fitzgerald Kennedy is elated. He sees a comparison between the successful outcome of the Cuban missile crisis and Abraham Lincoln’s stable leadership that brought about the end of the Civil War. “Maybe this is the night I should go to the theater,” JFK jokes to Bobby, remembering that Lincoln attended a play as the war ended—only to be assassinated.
It is a bold joke, a playful poke at a fellow president’s murder, almost tempting fate. And it is out of character for John Kennedy, a man with echoes of Lincoln everywhere in his life: from sleeping in the Lincoln Bedroom on the night of his inauguration, to having a secretary surnamed Lincoln, to being driven in a bubble-top convertible Lincoln Continental limousine. But after the nail-biting tension of the recent crisis, John Kennedy feels he is allowed a touch of black humor. Even such a morbid joke feels lighthearted after the darkness that has enveloped his life these last thirteen days and nights.
The president and the attorney general laugh.
“If you go” to the theater, Bobby answers, “I want to go with you.”
Little do they know how macabre those words actually are.
PART II
The Curtain Descends
8
JANUARY 8, 1963
WASHINGTON, D.C.
9:30 P.M.
Jackie Kennedy’s bare, tanned shoulders accentuate the pink color of her strapless Oleg Cassini gown. She wears dangling diamond earrings designed by legendary jeweler Harry Winston. Long white gloves come up past her elbows. She makes small talk with a man she adores, André Malraux, the sixty-one-year-old writer who serves as the French minister of culture. The First Lady’s eyes sparkle after a restful family Christmas vacation in Palm Beach, Florida.
On this night, the First Lady is truly a vision.
And, unbeknownst to all but one of the thousand people filling the West Sculpture Hall of the National Gallery of Art, she is also pregnant.
The president stands less than three feet away, paying no attention whatsoever to his wife. He gazes at a dark-haired beauty half his age named Lisa Gherardini. She is blessed with lips that are full and red, contrasting seductively with her smooth olive skin. Her smile is coy. The plunging neckline of her dress hints at an ample bosom. She bears the faintest of resemblances to the First Lady.
There are television cameras, newspaper reporters, and those thousand guests. The president’s every move is being scrutinized, but he is unafraid as his gaze lingers on this tantalizing young woman. He is the president of the United States, a man who has just rescued the world from global thermonuclear war. Everything is going his way. Surely John Kennedy can be allowed the minor indiscretion of appreciating this lovely twentysomething.
Playing to those who might be watching closely, JFK smiles at young Lisa. But he is a changed man since the Cuban missile crisis, and far more enchanted by Jackie than by other women—at least for the time being. That near-catastrophic experience reminded him how deeply he loves his wife and children.
The new Congress begins tomorrow, and the president’s State of the Union address is less than a week away. Kennedy will push for “a substantial reduction and revision in federal income taxes” as the “one step, above all, essential” to make America more competitive in the world economy. But that tax cut will be controversial, a hard sell with the new Democratic Congress. Tonight the burdens of being president of the United States are far more pressing than spending time with Lisa Gherardini.
The president moves on.
* * *
But Jackie stays, turning away from Malraux to gaze at the same bewitching young woman. Lisa Gherardini is not actually here in person, but in a painting hanging on the gallery wall. She is also known as La Gioconda, or the Mona Lisa, a wife and mother of five children who sat for this portrait in the early sixteenth century.
Jackie revels in the Mona Lisa’s presence with a feeling of profound success, for it was her persistent dream to bring the world’s most famous painting to the National Gallery of Art, in Washington. About a year ago she made a discreet request to Malraux, who then arranged the loan—much to the outrage of Parisians, many of whom consider America a cultural wasteland.
But this is hardly the first time the Mona Lisa has traveled. Napoléon once hung her on his bedroom wall, gazing upon her each morning. In 1911 the painting was stolen from the Louvre and not returned to the Paris museum for two years. She was moved several times during World War II, to prevent her from falling into Nazi hands. And now Jackie has brought Leonardo da Vinci’s masterpiece to America, where “Mona Mania” is about to break out. Millions of Americans are lining up to view the painting before its return to France in March—and all because of Jackie Kennedy.
John Walker, director of the National Gallery, was against the loan, fearful that his career would be ruined if he failed to protect the Mona Lisa from theft or the damage that might accompany moving a fragile 460-year-old painting across an ocean in the dead of winter. In fact, on October 17, just as JFK and his staff were first grappling with the realities of Soviet missiles in Cuba, Walker called the First Lady and gently told her that bringing the painting to America was a horrible idea. The mere thought of it filled him with dread.
Then, like the rest of America, Walker was soon distracted by the barrage of radio and television reports documenting the Cuban missile crisis. He was deeply touched by Jackie’s maternal nature and the fact that she had insisted on remaining at the White House to be with her husband. Walker realized that the First Lady was a woman of substance, not just a wealthy young lady with a passion for French culture.
So he changed his mind. Long before the Cuban missile crisis was over, he began arranging the Mona Lisa’s trip to America.