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: