The jail was silent. Boisterous incoherencies that in the day made the vast gloomy pile of stone and iron a bedlam—talk, curses, laughter—were stilled.
The prisoners were asleep in their cells. Dusty electric bulbs at sparse intervals made a dusky twilight in the long, hushed corridors. Moonlight, shimmering through the tall, narrow windows, laid barred, luminous lozenges on the stone floors.
From the death cell in “Murderers’ Row,” the voice of Guisseppi rose in the still night watches in the Miserere. Its first mellow notes broke the slumberous silence with dulcet crashes like the breaking of ice crystals beneath a silver hammer. Vibrating through the cavernous spaces of the sleeping prison, the clear boyish voice lifting the burden of the solemn hymn was by turns a tender caress, a flight of white wings up into sunny skies, a silver whisper stealing through the glimmering aisles, a swift stream of plashing melody, a flaming rush of music.
“A broken and a contrite heart, O God, thou wilt not despise.” The prayer in its draperies of melody filled the cells like a shining presence and laid its blessing of hope upon hopeless hearts. From the shadow of the gallows, Guisseppi poured forth his soul in music that was benediction and farewell.
Bitter memories, like sneering ghosts that elbow one another, crowd the road to Gallows Hill. In swift retrospect, Guisseppi reviewed his life’s last tragic phase. Young, with healthy blood dancing gay dances through his veins, sunny-spirited, spilling over with the happiness and hopefulness of irresponsibility, he had not despaired when the death sentence was pronounced.
The court’s denial of his lawyer’s motion for a new trial left him with undiminished optimism. Yet a while longer hope sustained him when his old father and mother kissed him good-by through the bars and set off for the state capital to intercede with the governor.
Bowed with years and broken with sorrow, they had pleaded in tears and on their knees. The venerable father, lost for words, helplessly inarticulate, the mother with her black shawl over her head, white-faced, hysterical, both praying for the life of their only son, were a picture to melt a heart of stone.
The pathos of it stirred the governor to the depths, but could not make him forget that for the moment he stood as the incarnation of the law and the inexorable justice that is the theory of the law. With heavy heart and misty eyes, he turned away.
So hope at last had died. And between the death of hope and the death that awaited him, Guisseppi brooded in the death-cell, bitterly counting his numbered days as they slipped one by one into the past, each day bringing him that much nearer to certain annihilation. Round and round the dial, the hands of the clock on the prison wall went in a never-ending funeral march; the tick-tock, tick-tock of the pendulum, measuring off the fateful seconds, echoed in his heart like a death knell.
Times without number he repeated to himself that he was not afraid to die. Nevertheless the inevitability of death tortured him. At times, in sheer terror, he seized the rigid bars of his cell, pounded his fists against the iron walls, till the blood spurted from his knuckles. He was like a sparrow charmed by a serpent, fluttering vainly to escape, but drawing ever nearer to certain death. Black walls of death kept closing in upon him inexorably, like a mediaeval torture chamber.