"You won't see him, that's all. You keep quiet there."
Furiously the prisoner raps on the door. The hall reverberates with hollow booming.
The Block Captain returns to the desk, his face crimson. He whispers to the Assistant Deputy. The latter nods his head. Woods claps his hands, deliberately, slowly--one, two, three. Guards hurriedly descend from the galleries, and advance to the desk. The rangemen appear at their doors.
"Everybody to his cell. Officers, lock 'em in!" Woods commands.
"You can stay here, Jasper," the Assistant Deputy remarks to the trusty.
The rangemen step into their cells. The levers are pulled, the doors locked. I hear the tread of many feet on the third gallery. Now they cease, and all is quiet.
"C 18, step out here!"
The door slams, there is noisy shuffling and stamping, and the dull, heavy thuds of striking clubs. A loud cry and a moan. They drag the prisoner along the range, and down the stairway. The rotunda door creaks, and the clamor dies away.
A few minutes elapse in silence. Now some one whispers through the pipes; insane solitaries bark and crow. Loud coughing drowns the noises, and then the rotunda door opens with a plaintive screech.
The rangemen are unlocked. I stand at the open door of my cell. The negro trusty dusts and brushes the officers, their hacks and arms covered with whitewash, as if they had been rubbed against the wall.
Their clothes cleaned and smoothed, the guards loll in the chairs, and sit on the desk. They look somewhat ruffled and flustered. Jasper enlarges upon the piquant gossip. "Wild Bill," notorious invert and protege of the Warden, he relates, had been hanging around the kids from the stocking shop; he has been after "Fatty Bobby" for quite a while, and he's forever pestering "Lady Sally," and Young Davis, too. The guards are astir with curiosity; they ply the negro with questions. He responds eagerly, raises his voice, and gesticulates excitedly. There is merriment and laughter at the officers' desk.
VI Dinner hour is approaching. Officer Gerst, in charge of the kitchen squad, enters the cell-house. Behind him, a score of prisoners carry large wooden tubs filled with steaming liquid. The negro trusty, his nostrils expanded and eyes glistening, sniffs the air, and announces with a grin: "Dooke's mixchoor foh dinneh teh day!"
The scene becomes animated at the front. Tables are noisily moved about, the tinplate rattles, and men talk and shout. With a large ladle the soup is dished out from the tubs, and the pans, bent and rusty, stacked up in long rows. The Deputy Warden flounces in, splutters some orders that remain ignored, and looks critically at the dinner pans. He produces a pocket knife, and ambles along the tables, spearing a potato here, a bit of floating vegetable there. Guard Hughes, his inspection of the cells completed, saunters along, casting greedy eyes at the food. He hovers about, waiting for the Deputy to leave. The latter stands, hands dug into his pockets, short legs wide apart, scraggy beard keeping time with the moving jaws. Guard Hughes winks at one of the kitchen men, and slinks into an open cell. The prisoner fusses about, pretends to move the empty tubs out of the way, and then quickly snatches a pan of soup, and passes it to the guard. Negro Jasper, alert and watchful, strolls by Woods, surreptitiously whispering. The officer walks to the open cell and surprises the guard, his head thrown back, the large pan covering his face. Woods smiles disdainfully, the prisoners giggle and chuckle.
* * * * * * * * * * "Chief Jim," the head cook, a Pittsburgh saloonkeeper serving twelve years for murder, promenades down the range. Large-bellied and whitecapped, he wears an air of prosperity and independence. With swelling chest, stomach protruding, and hand wrapped in his dirty apron, the Chief walks leisurely along the cells, nodding and exchanging greetings. He pauses at a door: it's Cell 9 A,--the "Fat Kid." Jim leans against the wall, his back toward the dinner tables; presently his hand steals between the bars. Now and then he glances toward the front, and steps closer to the door. He draws a large bundle from his bosom, hastily tears it open, and produces a piece of cooked meat, several raw onions, some cakes. One by one he passes the delicacies to the young prisoner, forcing them through the narrow openings between the bars. He lifts his apron, fans the door sill, and carefully wipes the ironwork; then he smiles, casts a searching look to the front, grips the bars with both hands, and vanishes into the deep niche.
As suddenly he appears to view again, takes several quick steps, then pauses at another cell. Standing away from the door, he speaks loudly and laughs boisterously, his hands fumbling beneath the apron. Soon he leaves, advancing to the dinner tables. He approaches the rangeman, lifts his eyebrows questioningly, and winks. The man nods affirmatively, and retreats into his cell. The Chief dives into the bosom of his shirt, and flings a bundle through the open door. He holds out his hand, whispering: "Two bits. Broke now? Be sure you pay me to-morrow. That steak there's worth a plunk."
* * * * * The gong tolls the dinner hour. The negro trusty snatches two pans, and hastens away. The guards unlock the prisoners, excepting the men in solitary who are deprived of the sole meal of the day. The line forms in single file, and advances slowly to the tables; then, pan in hand, the men circle the block to the centre, ascend the galleries, and are locked in their cells.
The loud tempo of many feet, marching in step, sounds from the yard. The shop workers enter, receive the pan of soup, and walk to the cells. Some sniff the air, make a wry face, and pass on, empty-handed. There is much suppressed murmuring and whispering.
Gradually the sounds die away. It is the noon hour. Every prisoner is counted and locked in. Only the trusties are about.
VII The afternoon brings a breath of relief. "Old Jimmie" Mitchell, rough-spoken and kind, heads the second shift of officers, on duty from 1 till 9 P. M. The venerable Captain of the Block trudges past the cells, stroking his flowing white beard, and profusely swearing at the men. But the prisoners love him: he frowns upon clubbing, and discourages trouble-seeking guards.
Head downward, he thumps heavily along the hall, on his first round of the bottom ranges. Presently a voice hails him: "Oh, Mr. Mitchell! Come here, please."
"Damn your soul t' hell," the officer rages, "don't you know better than to bother me when I'm counting, eh? Shut up now, God damn you. You've mixed me all up."
He returns to the front, and begins to count again, pointing his finger at each occupied cell. This duty over, and his report filed, he returns to the offending prisoner.
"What t' hell do you want, Butch?"
"Mr. Mitchell, my shoes are on th' bum. I am walking on my socks."
"Where th' devil d' you think you're going, anyhow? To a ball?"
"Papa Mitchell, be good now, won't you?" the youth coaxes.
"Go an' take a--thump to yourself, will you?"
The officer walks off, heavy-browed and thoughtful, but pauses a short distance from the cell, to hear Butch mumbling discontentedly. The Block Captain retraces his steps, and, facing the boy, storms at him: "What did you say? 'Damn the old skunk!' that's what you said, eh? You come on out of there!"
With much show of violence he inserts the key into the lock, pulls the door open with a bang, and hails a passing guard: "Mr. Kelly, quick, take this loafer out and give 'im--er--give 'im a pair of shoes."
He starts down the range, when some one calls from an upper tier: "Jimmy, Jimmy! Come on up here!"
"I'll jimmy you damn carcass for you," the old man bellows, angrily, "Where th' hell are you?"
"Here, on B, 20 B. Right over you."
The officer steps back to the wall, and looks up toward the second gallery.
"What in th' name of Jesus Christ do you want, Slim?"
"Awful cramps in me stomach. Get me some cramp mixture, Jim."
"Cramps in yer head, that's what you've got, you big bum you. Where the hell did you get your cramp mixture, when you was spilling around in a freight car, eh?"
"I got booze then," the prisoner retorts.
"Like hell you did! You were damn lucky to get a louzy hand-out at the back door, you ornery pimple on God's good earth."
"Th' hell you say! The hand-out was a damn sight better'n th' rotten slush I get here. I wouldn't have a belly-ache, if it wasn't for th' hogwash they gave us to-day."
"Lay down now! You talk like a horse's rosette."
It's the old man's favorite expression, in his rich vocabulary of picturesque metaphor and simile. But there is no sting in the brusque speech, no rancor in the scowling eyes. On the way to the desk he pauses to whisper to the block trusty: "John, you better run down to the dispensary, an' get that big stiff some cramp mixture."
Happening to glance into a cell, Mitchell notices a new arrival, a bald-headed man, his back against the door, reading.
"Hey you!" the Block Captain shouts at him, startling the green prisoner off his chair, "take that bald thing out of there, or I'll run you in for indecent exposure."
He chuckles at the man's fright, like a boy pleased with a naughty prank, and ascends the upper tiers.
* * * * * Duster in hand, I walk along the range. The guards are engaged on the galleries, examining cells, overseeing the moving of the newly-graded inmates to the South Wing, or chatting with the trusties. The chairs at the officers' desk are vacant. Keeping alert watch on the rotunda doors, I walk from cell to cell, whiling away the afternoon hours in conversation. Johnny, the friendly runner, loiters at the desk, now and then glancing into the yard, and giving me "the office" by sharply snapping his fingers, to warn me of danger. I ply the duster diligently, while the Deputy and his assistants linger about, surrounded by the trusties imparting information gathered during the day. Gradually they disperse, called into a shop where a fight is in progress, or nosing about the kitchen and assiduously killing time. The "coast is clear," and I return to pick up the thread of interrupted conversation.
But the subjects of common interest are soon exhausted. The oft-repeated tirade against the "rotten grub," the "stale punk," and the "hogwash"; vehement cursing of the brutal "screws," the "stomach-robber of a Warden" and the unreliability of his promises; the exchange of gossip, and then back again to berating the food and the treatment. Within the narrow circle runs the interminable tale, colored by individual temperament, intensified by the length of sentence. The whole is dominated by a deep sense of unmerited suffering and bitter resentment, often breathing dire vengeance against those whom they consider responsible for their misfortune, including the police, the prosecutor, the informer, the witnesses, and, in rare instances, the trial judge. But as the longed-for release approaches, the note of hope and liberty rings clearer, stronger, with the swelling undercurrent of frank and irrepressible sex desire.
CHAPTER XXI THE DEEDS OF THE GOOD TO THE EVIL The new arrivals are forlorn and dejected, a look of fear and despair in their eyes. The long-timers among them seem dazed, as if with some terrible shock, and fall upon the bed in stupor-like sleep. The boys from the reformatories, some mere children in their teens, weep and moan, and tremble at the officer's footstep. Only the "repeaters" and old-timers preserve their composure, scoff at the "fresh fish," nod at old acquaintances, and exchange vulgar pleasantries with the guards. But all soon grow nervous and irritable, and stand at the door, leaning against the bars, an expression of bewildered hopelessness or anxious expectancy on their faces. They yearn for companionship, and are pathetically eager to talk, to hear the sound of a voice, to unbosom their heavy hearts.
I am minutely familiar with every detail of their "case," their life-history, their hopes and fears. Through the endless weeks and months on the range, their tragedies are the sole subject of conversation. A glance into the mournful faces, pressed close against the bars, and the panorama of misery rises before me,--the cell-house grows more desolate, bleaker, the air gloomier and more depressing.
There is Joe Zappe, his bright eyes lighting up with a faint smile as I pause at his door. "Hello, Alick," he greets me in his sweet, sad voice. He knows me from the jail. His father and elder brother have been executed, and he commuted to life because of youth. He is barely eighteen, but his hair has turned white. He has been acting queerly of late: at night I often hear him muttering and walking, walking incessantly and muttering. There is a peculiar look about his eyes, restless, roving.
"Alick," he says, suddenly, "me wanna tell you sometink. You no tell nobody, yes?"
Assured I'll keep his confidence, he begins to talk quickly, excitedly: "Nobody dere, Alick? No scroo? S-sh! Lassa night me see ma broder. Yes, see Gianni. Jesu Cristo, me see ma poor broder in da cella 'ere, an' den me fader he come. Broder and fader day stay der, on da floor, an so quieta, lika dead, an' den dey come an lay downa in ma bed. Oh, Jesu Christo, me so fraida, me cry an' pray. You not know wat it mean? No-o-o? Me tell you. It mean me die, me die soon."
His eyes glow with a sombre fire, a hectic flush on his face. He knits his brows, as I essay to calm him, and continues hurriedly: "S-sh! Waita till me tell you all. You know watta for ma fader an' Gianni come outa da grave? Me tell you. Dey calla for ravange, 'cause dey innocente. Me tell you trut. See, we all worka in da mine, da coal mine, me an' my fader an' Gianni. All worka hard an' mek one dollar, maybe dollar quater da day. An' bigga American man, him come an' boder ma fader. Ma fader him no wanna trouble; him old man, no boder nobody. An' da American man him maka two dollars an mebbe two fifty da day an' him boder my fader, all da time, boder 'im an' kick 'im to da legs, an' steal ma broder's shovel, an' hide fader's hat, an' maka trouble for ma countrymen, an' call us 'dirty dagoes.' An' one day him an' two Arish dey all drunk, an' smash ma fader, an' American man an Arish holler, 'Dago s---- b---- fraida fight,' an' da American man him take a bigga pickax an' wanna hit ma fader, an' ma fader him run, an' me an' ma broder an' friend we fight, an' American man him fall, an' we all go way home. Den p'lice come an' arresta me an' fader an' broder, an' say we killa American man. Me an' ma broder no use knife, mebbe ma friend do. Me no know; him no arresta; him go home in Italia. Ma fader an' broder dey save nineda-sev'n dollar, an' me save twenda-fife, an' gotta laiyer. Him no good, an' no talk much in court. We poor men, no can take case in oder court, an' fader him hang, an' Gianni hang, an' me get life. Ma fader an' broder dey come lassa night from da grave, cause dey innocente an' wanna ravange, an' me gotta mek ravange, me no rest, gotta--" The sharp snapping of Johnny, the runner, warns me of danger, and I hastily leave.
* * * * * The melancholy figures line the doors as I walk up and down the hall. The blanched faces peer wistfully through the bars, or lean dejectedly against the wall, a vacant stare in the dim eyes. Each calls to mind the stories of misery and distress, the scenes of brutality and torture I witness in the prison house. Like ghastly nightmares, the shadows pass before me. There is "Silent Nick," restlessly pacing his cage, never ceasing, his lips sealed in brutish muteness. For three years he has not left the cell, nor uttered a word. The stolid features are cut and bleeding. Last night he had attempted suicide, and the guards beat him, and left him unconscious on the floor.
There is "Crazy Hunkie," the Austrian. Every morning, as the officer unlocks his door to hand in the loaf of bread, he makes a wild dash for the yard, shouting, "Me wife! Where's me wife?" He rushes toward the front and desperately grabs the door handle. The double iron gate is securely locked. A look of blank amazement on his face, he slowly returns to the cell. The guards await him with malicious smile. Suddenly they rush upon him, blackjacks in hand. "Me wife, me seen her!" the Austrian cries. The blood gushing from his mouth and nose, they kick him into the cell. "Me wife waiting in de yard," he moans.
In the next cell is Tommy Wellman; adjoining him, Jim Grant. They are boys recently transferred from the reformatory. They cower in the corner, in terror of the scene. With tearful eyes, they relate their story. Orphans in the slums of Allegheny, they had been sent to the reform school at Morganza, for snatching fruit off a corner stand. Maltreated and beaten, they sought to escape. Childishly they set fire to the dormitory, almost in sight of the keepers. "I says to me chum, says I," Tommy narrates with boyish glee, "'Kid,' says I, 'let's fire de louzy joint; dere'll be lots of fun, and we'll make our get-away in de' 'citement.'" They were taken to court and the good judge sentenced them to five years to the penitentiary. "Glad to get out of dat dump," Tommy comments; "it was jest fierce. Dey paddled an' starved us someting' turrible."
In the basket cell, a young colored man grovels on the floor. It is Lancaster, Number 8523. He was serving seven years, and working every day in the mat shop. Slowly the days passed, and at last the longed-for hour of release arrived. But Lancaster was not discharged. He was kept at his task, the Warden informing him that he had lost six months of his "good time" for defective work. The light hearted negro grew sullen and morose. Often the silence of the cell-house was pierced by his anguished cry in the night, "My time's up, time's up. I want to go home." The guards would take him from the cell, and place him in the dungeon. One morning, in a fit of frenzy, he attacked Captain McVey, the officer of the shop. The Captain received a slight scratch on the neck, and Lancaster was kept chained to the wall of the dungeon for ten days. He returned to the cell, a driveling imbecile. The next day they dressed him in his citizen clothes, Lancaster mumbling, "Going home, going home." The Warden and several officers accompanied him to court, on the way coaching the poor idiot to answer "yes" to the question, "Do you plead guilty?" He received seven years, the extreme penalty of the law, for the "attempted murder of a keeper." They brought him back to the prison, and locked him up in a basket cell, the barred door covered with a wire screen that almost entirely excludes light and air. He receives no medical attention, and is fed on a bread-and-water diet.
The witless negro crawls on the floor, unwashed and unkempt, scratching with his nails fantastic shapes on the stone, and babbling stupidly, "Going, Jesus going to Jerusalem. See, he rides the holy ass; he's going to his father's home. Going home, going home." As I pass he looks up, perplexed wonder on his face; his brows meet in a painful attempt to collect his wandering thoughts, and he drawls with pathetic sing-song, "Going home, going home; Jesus going to father's home." The guards raise their hands to their nostrils as they approach the cell: the poor imbecile evacuates on the table, the chair, and the floor. Twice a month he is taken to the bathroom, his clothes are stripped, and the hose is turned on the crazy negro.
* * * * * * * * * * The cell of "Little Sammy" is vacant. He was Number 9521, a young man from Altoona. I knew him quite well. He was a kind boy and a diligent worker; but now and then he would fall into a fit of melancholy. He would then sit motionless on the chair, a blank stare on his face, neglecting food and work. These spells generally lasted two or three days, Sammy refusing to leave the cell. Old Jimmy McPane, the dead Deputy, on such occasions commanded the prisoner to the shop, while Sammy sat and stared in a daze. McPane would order the "stubborn kid" to the dungeon, and every time Sammy got his "head workin'," he was dragged, silent and motionless, to the cellar. The new Deputy has followed the established practice, and last evening, at "music hour," while the men were scraping their instruments, "Little Sammy" was found on the floor of the cell, his throat hacked from ear to ear.
At the Coroner's inquest the Warden testified that the boy was considered mentally defective; that he was therefore excused from work, and never punished.
* * * * * Returning to my cell in the evening, my gaze meets the printed rules on the wall: "The prison authorities desire to treat every prisoner in their charge with humanity and kindness. * * * The aim of all prison discipline is, by enforcing the law, to restrain the evil and to protect the innocent from further harm; to so apply the law upon the criminal as to produce a cure from his moral infirmities, by calling out the better principles of his nature."
CHAPTER XXII THE GRIST OF THE PRISON-MILL I The comparative freedom of the range familiarizes me with the workings of the institution, and brings me in close contact with the authorities. The personnel of the guards is of very inferior character. I find their average intelligence considerably lower than that of the inmates. Especially does the element recruited from the police and the detective service lack sympathy with the unfortunates in their charge. They are mostly men discharged from city employment because of habitual drunkenness, or flagrant brutality and corruption. Their attitude toward the prisoners is summed up in coercion and suppression. They look upon the men as will-less objects of iron-handed discipline, exact unquestioning obedience and absolute submissiveness to peremptory whims, and harbor personal animosity toward the less pliant. The more intelligent among the officers scorn inferior duties, and crave advancement. The authority and remuneration of a Deputy Wardenship is alluring to them, and every keeper considers himself the fittest for the vacancy. But the coveted prize is awarded to the guard most feared by the inmates, and most subservient to the Warden,--a direct incitement to brutality, on the one hand, to sycophancy, on the other.
A number of the officers are veterans of the Civil War; several among them had suffered incarceration in Libby Prison. These often manifest a more sympathetic spirit. The great majority of the keepers, however, have been employed in the penitentiary from fifteen to twenty-five years; some even for a longer period, like Officer Stewart, who has been a guard for forty years. This element is unspeakably callous and cruel. The prisoners discuss among themselves the ages of the old guards, and speculate on the days allotted them. The death of one of them is hailed with joy: seldom they are discharged; still more seldom do they resign.
The appearance of a new officer sheds hope into the dismal lives. New guards--unless drafted from the police bureau--are almost without exception lenient and forbearing, often exceedingly humane. The inmates vie with each other in showing complaisance to the "candidate." It is a point of honor in their unwritten ethics to "treat him white." They frown upon the fellow-convict who seeks to take advantage of the "green screw," by misusing his kindness or exploiting his ignorance of the prison rules. But the older officers secretly resent the infusion of new blood. They strive to discourage the applicant by exaggerating the dangers of the position, and depreciating its financial desirability for an ambitious young man; they impress upon him the Warden's unfairness to the guards, and the lack of opportunity for advancement. Often they dissuade the new man, and he disappears from the prison horizon. But if he persists in remaining, the old keepers expostulate with him, in pretended friendliness, upon his leniency, chide him for a "soft-hearted tenderfoot," and improve every opportunity to initiate him into the practices of brutality. The system is known in the prison as "breaking in": the new man is constantly drafted in the "clubbing squad," the older officers setting the example of cruelty. Refusal to participate signifies insubordination to his superiors and the shirking of routine duty, and results in immediate discharge. But such instances are extremely rare. Within the memory of the oldest officer, Mr. Stewart, it happened only once, and the man was sickly.
Slowly the poison is instilled into the new guard. Within a short time the prisoners notice the first signs of change: he grows less tolerant and chummy, more irritated and distant. Presently he feels himself the object of espionage by the favorite trusties of his fellow-officers. In some mysterious manner, the Warden is aware of his every step, berating him for speaking unduly long to this prisoner, or for giving another half a banana,--the remnant of his lunch. In a moment of commiseration and pity, the officer is moved by the tearful pleadings of misery to carry a message to the sick wife or child of a prisoner. The latter confides the secret to some friend, or carelessly brags of his intimacy with the guard, and soon the keeper faces the Warden "on charges," and is deprived of a month's pay. Repeated misplacement of confidence, occasional betrayal by a prisoner seeking the good graces of the Warden, and the new officer grows embittered against the species "convict." The instinct of self-preservation, harassed and menaced on every side, becomes more assertive, and the guard is soon drawn into the vortex of the "system."
II II Daily I behold the machinery at work, grinding and pulverizing, brutalizing the officers, dehumanizing the inmates. Far removed from the strife and struggle of the larger world, I yet witness its miniature replica, more agonizing and merciless within the walls. A perfected model it is, this prison life, with its apparent uniformity and dull passivity. But beneath the torpid surface smolder the fires of being, now crackling faintly under a dun smothering smoke, now blazing forth with the ruthlessness of despair. Hidden by the veil of discipline rages the struggle of fiercely contending wills, and intricate meshes are woven in the quagmire of darkness and suppression.
Intrigue and counter plot, violence and corruption, are rampant in cell-house and shop. The prisoners spy upon each other, and in turn upon the officers. The latter encourage the trusties in unearthing the secret doings of the inmates, and the stools enviously compete with each other in supplying information to the keepers. Often they deliberately inveigle the trustful prisoner into a fake plot to escape, help and encourage him in the preparations, and at the critical moment denounce him to the authorities. The luckless man is severely punished, usually remaining in utter ignorance of the intrigue. The _provocateur_ is rewarded with greater liberty and special privileges. Frequently his treachery proves the stepping-stone to freedom, aided by the Warden's official recommendation of the "model prisoner" to the State Board of Pardons.
The stools and the trusties are an essential element in the government of the prison. With rare exception, every officer has one or more on his staff. They assist him in his duties, perform most of his work, and make out the reports for the illiterate guards. Occasionally they are even called upon to help the "clubbing squad." The more intelligent stools enjoy the confidence of the Deputy and his assistants, and thence advance to the favor of the Warden. The latter places more reliance upon his favorite trusties than upon the guards. "I have about a hundred paid officers to keep watch over the prisoners," the Warden informs new applicant, "and two hundred volunteers to watch both." The "volunteers" are vested with unofficial authority, often exceeding that of the inferior officers. They invariably secure the sinecures of the prison, involving little work and affording opportunity for espionage. They are "runners," "messengers," yard and office men.
Other desirable positions, clerkships and the like, are awarded to influential prisoners, such as bankers, embezzlers, and boodlers. These are known in the institution as holding "political jobs." Together with the stools they are scorned by the initiated prisoners as "the pets."
* * * * * * * * * * The professional craftiness of the "con man" stands him in good stead in the prison. A shrewd judge of human nature, quick-witted and self-confident, he applies the practiced cunning of his vocation to secure whatever privileges and perquisites the institution affords. His evident intelligence and aplomb powerfully impress the guards; his well-affected deference to authority flatters them. They are awed by his wonderful facility of expression, and great attainments in the mysterious world of baccarat and confidence games. At heart they envy the high priest of "easy money," and are proud to befriend him in his need. The officers exert themselves to please him, secure light work for him, and surreptitiously favor him with delicacies and even money. His game is won. The "con" has now secured the friendship and confidence of his keepers, and will continue to exploit them by pretended warm interest in their physical complaints, their family troubles, and their whispered ambition of promotion and fear of the Warden's discrimination.
The more intelligent officers are the easiest victims of his wiles. But even the higher officials, more difficult to approach, do not escape the confidence man. His "business" has perfected his sense of orientation; he quickly rends the veil of appearance, and scans the undercurrents. He frets at his imprisonment, and hints at high social connections. His real identity is a great secret: he wishes to save his wealthy relatives from public disgrace. A careless slip of the tongue betrays his college education. With a deprecating nod he confesses that his father is a State Senator; he is the only black sheep in his family; yet they are "good" to him, and will not disown him. But he must not bring notoriety upon them.