The Project Gutenberg eBook of A prison make This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: A prison make Author: William W. Stuart Release date: November 20, 2023 [eBook #72179] Language: English Original publication: New York, NY: Ziff-Davis Publishing Company, 1962 Credits: Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net *** START OF THE PROJECT GUTENBERG EBOOK A PRISON MAKE *** A Prison Make By WILLIAM W. STUART Illustrated by FINLAY Any similarity between the hero of this Kafka-esque tale and Everyman who chooses the security of the horrible known rather than face the unknown, is not by any means coincidental. [Transcriber's Note: This etext was produced from Amazing Stories July 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The man on the bunk woke, but not up. Not up at all. He didn't move, except for a sort of general half-twitch, half-shrug; didn't even open his eyes. Just past the black borderland of sleep in the miasmic, grey fog in which he found or failed to find himself, two things only seemed sure. One of these was that there was no hurry whatever about opening his eyes to his immediate surroundings. That could wait. He didn't know why but he knew it could wait. He knew that. He knew also that he was a man. No doubt there. Not for an instant did he so much as suspect that he might be a small boy, a girl, woman, or some nameless beast. No; he was a man. Not an old man, either. A man and still at least reasonably young. These things he felt he knew but he could take no very great satisfaction in them. It didn't seem a very extensive knowledge; basic, but not extensive. What about other, collateral data--such as his name, status, situation, condition and present whereabouts? He couldn't seem to think. No, no, he hadn't lost his memory. He felt confident that all those things were clearly recorded there someplace. Only they were obscured, out there in that mist, out where it was hard to grasp them just now. After a bit, it would all come back to him. In the meantime he lay there. He twitched again, a reflective thing, no volition entering into it. The surface under him gave a little; a bed of some sort, must be. It seemed rather too firm, a harder bed than he felt he was properly accustomed to. Not too bad though. He could--he had, apparently, rested well enough on it. Sheets? He couldn't feel any sheets, only something scratchy; a blanket. And it didn't, come to notice, feel as though he were wearing pajamas; more like ordinary clothes. And--he wiggled his toes--socks, yes. Shoes? No, at least he wasn't wearing shoes. Now where would a man, not drunk, of course he wasn't drunk, be likely to go to bed in a hard bunk, blanket, no sheets, all or most of his clothes on except his shoes? Could be some sort of an Armed Forces outpost or ... jail? The situation seemed to fit the pattern of a jail all too closely. And how would the fine young man he was sure he must be know all this about a jail pattern? Must have read it someplace; seen it in a show. Well.... * * * * * He opened his eyes to a further greyness, only less thick than that inside. And there were bars in this greyness, there in front of him, heavy steel bars; on the sides, he turned his head, walls of solid steel plate. To the rear? He lifted his head and turned it--a damp, dirty concrete wall. Oh it was a jail all right. He was in jail, in a cell. He didn't, at once, move any more. From where he lay on the cell's single bunk hung by chains from the right side wall, he could see a narrow, concrete corridor through the bars in front. A bare light bulb shone tiredly in a dirt-crusted metal reflector in the corridor's high ceiling; grey light oozed in through a high, barred window. It must be early morning, he figured. Probably it was morning, at that. But, as he found in later time, you couldn't judge it from that window. It had only two tones, grey light or black; night or day. It was a window remote from any sun and the grey day-time quality was subject to no variations, or at least none that he could ever classify or use as a basis of measurement. Well, assuming as he did then that it was morning in jail, what was he, whoever he was, doing in jail? The detail of his past was still solidly fogged in. But he wasn't a--a criminal. Anything like that he would surely know about, remember. It must be a mistake of some sort. Or could he be in jail for some justifiable, thoroughly respectable sin? Income tax, price fixing, collusion, something like that, actually creditable rather than otherwise? No. He hadn't been through a trial, couldn't have been; and nobody ever went to jail for things like that except, perhaps, for a month or so and that after years of trials and appeals first. Nevertheless, he was in jail. So? It must be an accident, a mistake of some sort. Of course. That would be it. He sat up then, on the bunk. Shoes? He swung his stocking feet over the edge of the bunk and felt; bent down and looked. No shoes in sight. Well ... he stood up. Ow! That concrete floor was cold. But he wouldn't have to stand for it--on it--for long. Whatever the mistake or misunderstanding had put him in jail, he would straighten it out quickly enough. He walked to the front of the cell to grasp bars, one in each hand, the conventional prisoners' pose. "Hey!" he shouted, "hey!!" He rattled the cell door, doing all the normal, conventional things. And, standing there shaking his cell door, he was a conventional, non-remarkable looking young man. Middling height, not short, not tall. Young, not more than thirty or so; not bad looking. Slim enough of waist so the lack of a belt didn't endanger the security of his pants. Naturally, they drooped and, naturally, he looked unshaven, dishevelled. But his suit was of good quality. Shirt--no necktie, of course--too. He might very well have been a young executive, caught in a non-executive moment. Probably, he was, or had been. But in jail there are no executives. He was only a prisoner rattling a jail cell door. * * * * * Turning his head and pressing against bars, he could look up and down the corridor outside. To his right, sighted through the left eye, it stretched, maybe a hundred feet, maybe more, to end in a right angle turn and a blank wall. The other way, some indeterminate, dim distance off, he could barely make out another barred door. There were, he could sense rather than see, other cells in neat, penal line on either side of his. Occupied? Yes. There were noises; grunts, yawns, mumbling, nothing distinguishable in the way of conversation but clear enough evidence that there were other prisoners. He was glad of that. "Hey!" he yelled again, "hey, somebody. Come let me out of here, damnit." But nobody did. After a bit he went back to his bunk and sat. Routine, he supposed, and rules. Probably it was too early yet. But certainly before long someone would come. They would have to let him see someone in authority; straighten this mess out fast enough then. He stood and went through his pockets. Not much; but, at least, a crumpled pack with three cigarettes and one book of matches. He sat again and smoked. Patience. Later, not long probably, he was roused from a dull torpor by a metallic clatter from the corridor. He leaped to his feet--damn that cold floor--and to the front of his cell. Outside, just one or two cells down from his own was a rig of some sort; some kind of a steam table on wheels, apparently. Anyway, it was steaming greasily. There were metal trays stacked at one end; buckets of one thing or another in apertures along its eight foot length. Breakfast? Something, anyway, being served up by four hopeless slatterns dressed in sack-like, brown and dirty white striped denim uniforms. The women whined and mumbled at each other as they dragged along, filling trays and tin cups from the containers in their steam table, passing them into cells, dispensers of the state's bounty, no benediction. "Well now look at here, girls," said the lead witch, coming abreast of the man's cell, "looks like we got us a real juicy young buster, a nice gentleman prisoner type. Fresh meat, hah?" They all screeched and squawked then, crowding to the front of his cell to look, exchanging viciously obscene guesses regarding his probable past history of despicable crime, present intimate personal condition, and future possibilities, all singularly unattractive. He gaped at them a moment in shocked disgust and then backed from the door of his cell to sit on the bunk, head down, not looking, trying not to listen. * * * * * "Yeah, that's the way it goes. He don't like our service; don't think what we got is sweet enough and pretty enough for his fine taste; not now, he don't. It's gonna surprise him some, ain't it, dears, how he'll learn to like our dishes and our room service after a little time, hah?" The first charmer hummed an unrecognizable non-musical bar or two and lifted straggling skirts high, higher to prance a misshapen dance step. The others cackled wildly. "Show him Belle. Show him something to put in his dreams. He'll come around fast enough." He squeezed his eyelids tighter shut. "All right then, Sweetie, Jail-Birdie Boy," said Belle, dropping skirts. "Your appetite for our cell block service'll change. How d'you want your eggs, Bird-Boy?" She laughed. He raised his head, dully. "Any way you feel like laying them, goddamnit," he snarled. The harsh amusement dissolved. "A funny one? Did I say fresh meat, dears? Too fresh, hah? All right. Should we serve him a chef's special?" * * * * * The other two gruntingly pushed the steam table forward. One lifted a metal plate, something between a dish and a bowl, and scooped a ladle full of a greyish mess of whatever, mush of some sort. Edible? Conceivably. Then she reached into some nauseous recess of the table and brought out a stout roach, legs moving feebly. She dropped it into the mush. Number two drew a steaming cup of muddy liquid from an urn. Coffee? Well, it was a brown-grey, it had a smell, it wasn't soup. Coffee. The hag with the cup hawked gurglingly and spat into the cup. The third grinned evilly and dropped three slices of grey-white bread--grey was in everything--on the gritty corridor floor; stirred them around with her bunion cut left shoe; picked them up. "Breakfast is served, Birdie. Juicy worms for the early jail bird." Belle opened the cell door. The man sat still on his bunk, staring fixedly at the floor. The stout slattern laughed, slopped the filthy bread on top of the expiring roach and Belle took the plate-bowl and the cup to slap them down beside him. "Breakfast. Bread's your lunch. Maybe you'll be gladder to see us by supper. No? Then tomorrow, or the next day; or the next." She backed out and clanged the cell door shut. "No tipping," she said. The others cackled. "Please ... no tipping." They moved on down the row of cells. The man sat. Maybe he should have been more friendly; played up to them. Then he could have asked them ... something ... about seeing somebody, somebody in charge, a lawyer ... anybody. He sat a while, ignoring the filthy bread, the noisome mush and the grey-tan coffee slush with the yellowish blob of spittle on top. But it bothered him. Not that he wanted to eat. God no. His stomach growled; let it growl. He was too nervous, too upset to eat anything, let alone ... that. But his mouth, his throat were parched, cotton dry, a desert, a burned out waste of dehydrated tissue. Liquid ... damn them. He went back again to the cell door. Shook it. Yelled, a hoarse croak. No answer, except a croaking echo, the subdued mutter from other cells. He quit trying to yell. His throat was too dry; it hurt. * * * * * For the first time since waking then, he really looked around, checked over the rest of the cell. It wasn't fancy. The bunk, hard mattress, blanket. Bars, walls. And, at the rear of the cell, stark, yellow-white, unadorned and unlovely, was one toilet bowl, no wooden seat, just the stained enamel. To it and through from the dim concrete ceiling above ran a heavy iron water pipe. Just where the pipe met the bowl was the handle. He had seen it all before without taking real notice. A toilet. Hell no, he didn't need a toilet. He was all dried out, tensed, frozen inside. But ... he walked the three short paces to the rear of the cell. He reached out, down; took the handle, pressed it. Water rushed out in a roaring flood, bubbling and swirling in stained bowl. Slowly the flow cut down and stopped. He pressed the handle again; again the rush of water. His tongue stuck to the roof of his mouth. Water. Sure, there was water, plenty of water. Water, water ... nor any drop ... to drink? No, Good Lord no; it was unthinkable. A man couldn't, not conceivably, drink water that came from such a thing. He would choke on it, strangle, die. But water.... He would die. The iron pipe above the bowl was sweating, tiny droplets. He pressed his tongue, his face against it. Water. Damned little water there. He hugged the pipe for a while, breath coming in harsh gasps. And, as he gasped, his mind emptied, slowly to a blank, clear, unreflecting lucidity of, not thought, of direct motor response. A minute, two. Then, moving deliberately, not thinking deliberately, he turned back to his bunk. A dish. A cup of nauseating muck. A little later he wiped his mouth with his sleeve and lit one of his two remaining cigarettes. The cup, rinsed, clean and filled with water, he had placed carefully down at the foot of the bunk on the inboard side. He sighed. His stomach rumbled. Food ... no, not that. He wasn't really hungry. Even if, maybe, a piece or two of the bread might be cleaned off a bit ... no. He lay back on the bunk looking upward. Hm-m. There was something he hadn't noticed. Up there, maybe eight feet above the floor level, four under the ceiling, was a black box, about eight inches square by three deep. Standing on the bunk in his stocking feet, he could get to it easily enough. A wire ran from it into the ceiling. A speaker. At the bottom was a button. He pressed it. First, nothing but a faint hum. Then.... "Click. Good morning." It spoke with a coolly feminine-metallic voice, "welcome to the Kembel State Home of Protective Custody, Crime Prevention and Correction Number One-One-Seven." "Jail," said the man, sitting back down on the bunk. "All it is, it's a crummy jail." It pleased him to tell the voice that, firmly and clearly. "This," continued the speaker, "is a recording." The man shrugged. So what about it? "You have been admitted to protective custody here pending investigation, trial, review and ultimate disposition of your case. This is--click--Sunday morning. Sunday is a rest day. Cell block therapeutic work schedules are in effect Monday through Friday--click." Work? What kind of work? "You, as a custodial ward of the State, are entitled by law to representation of your own, freely selected legal counsel." Ah! His lawyer would clear this mess up quickly enough. "If you wish to name counsel you may do so now. Speak clearly, directly into your home-room sound box. Spell out name of counsel, home and business address, code, phone, and qualifications before the bar of this State. Click." * * * * * His lawyer? Did he have a lawyer? Who? Think, damnit, think. The sound box was silent except for a faint hum, waiting. But he couldn't think. The name Lucille came into his mind, but it seemed unlikely that Lucille could be a lawyer. "Click." The box spoke out again. "You have no expressed choice of counsel. You have therefore opted to avail yourself of the privilege of representation by State appointed counsel. You are now represented, with full power of attorney, by State Public Defenders, Contract 34-RC, Hollingsworth, Schintz and Associates, Attorneys at Law. Counsel will consult with client twice weekly. Sunday and Thursday between the hours of 1500 and 1600." Well, at least he'd get to see some kind of a lawyer. "And now," the voice seemed to take on the faintest note of enthusiastic interest, "you, as a custodial ward of the State will need a clear understanding of how we live here at Kembel State Home One-One-Seven. A clear understanding of the rules and policies applicable to custodial wards of the State will enable you to avoid difficulties and misunderstandings during your institutional life. Please listen carefully." He didn't, however, listen very carefully. "Code One," said the voice, relapsing into a sing-song drone, "Section A, 1, (a): Internal, closed circuit broadcast of instruction and entertainment. Broadcast is continuous, daily from 0500 through 2300. Music and entertainment material, 1800 through 2300. Custodial wards are urged to listen to instructional material provided by the State for their benefit. Failure to listen to a minimum of seventy-two hours of said material weekly shall result in penalty, four credits for each hour of short-fall. Code One, section A, 1, (b): Care of home-room facilities...." The voice droned on. The hell with that noise. The man got up and pushed irritably at the button under the speaker. It faded out in a faint, protesting whine. A lawyer. The damned voice had said a lawyer would come on Sunday afternoon. And this was Sunday. This afternoon then. He should be out by dinner time. He ... he was thirsty again. He got his cup from the foot of the bunk and drained the cool water with luxurious satisfaction. Plenty more where that ... never mind that. He closed a door of his mind with determination. Then he used the toilet hurriedly and flushed it three times. The lawyer, his lawyer would come. He lay back down on the bunk. Nothing to do but wait. * * * * * "Say! Say there, boy. Up, up! Nothing to do but sleep? Eh? Up, up. My time is valuable." The voice was harsh, rasping, but with an unsubtle touch of educated superiority in it. The man in the cell sat up at the second "say," and was at the front of the cell clinging to the bars before the voice paused. "What?" he asked, "What, what, what?" What? It was still daylight. Still jail, too, no doubt about that. This must be the lawyer then. He blinked and stared through the bars; it was hard for a moment to focus in the grey light. The figure outside the cell looked something like ... what? A wheel chair? A man in a wheel chair? A ... now what in hell kind of a so-called lawyer was this? There was no man in the more or less wheel chair out there; only hardware, piled and assembled in a very roughly human shape. At the top were two lenses, eye-like except for being in a vertical line, mounted in a rounded, metallic container with a speaker and, presumably, sound receivers. Under that was a big, square, torso-sized, faintly humming black box. This rested on a--uh--conveyance, not unlike a wheel chair. Under the box was an electric motor and a reel of black wire. Attached to one side of the main box section was a single metal arm, a sort of skeletal framework of steel rods, jointed and with an arrangement of tiny wheels, pulleys and belts. "Now what, for God's sake...?" "Whup! Excuse me a moment, my boy," rasped the speaker. "Almost forgot my cord. Mustn't run down my battery here, and with two more clients after you." The motor under the black box whined. The wheels turned and the rig backed away from the cell. It rolled some ten paces back up the corridor; stopped; the metal arm reached, caught a plug at the end of the wire on the reel and plugged it into a socket in the far wall of the building. Then the thing rolled back to the cell, the wire unrolling from the reel to trail behind it. "There!" said the speaker with a note of satisfaction. "Now, the case ... let's see ... oh yes. J7-OP-7243-R. Arrested on suspicion, vice and homicide squad random selection, brought in for subjective interrogation at 2200, night of the 14th last." The prisoner's mouth opened and closed again. He had a few things to say to this mess of machinery. But this information concerned him. He would listen first. "On the basis of clear data extracted, recorded and interpreted, charged with larceny; grand larceny; extortion; felonious assault; lewd and lascivious conduct; assault with intent to rape; rape...." "No, no." The man gripped the bars. "No!" "... and murder in the first." "No! I didn't. I didn't do any of those things. I know I didn't." "Ah?" inquired the speaker, "Splendid. It might make an interesting defense. How do you know you didn't?" "I-uh-hell, I just know, that's all. Murder? Ridiculous. Rape? I mean actually using force, real force to ... no. I never dreamed of such a thing, of any of them." "Never dreamed of such things? Oh come now." "Of course I never...." Of course he had never done any of those things. Of course ... well. Dreams, hell, a man could have all kinds of crazy dreams. That didn't mean anything. A man couldn't control dreams. They didn't mean anything. "Fact is, boy, you must have done those things or dreamed them. Where do you suppose they got your charges?" "What?" "They put you through shock, electric and drug, and went through your mind. Amazing technical advances have been made recently. They extract virtually everything now. The process may have left your own circuits somewhat blurred--did you notice that?--but the accuracy of information obtained is complete; legal evidence, my boy. And these things with which you have been charged were all taken right from your own mind." "But a dream doesn't mean anything. I never did any of those things." * * * * * "Of course the dividing line between fact and fantasy is indeterminate and the law does recognize a distinction, when it can be proven, although the trend is decidedly toward equating the intent with the act. Eliminates confusion, as you can see. Well, never mind boy. We shall make a fine case of this, legal history. You are in good hands." "We ... you.... Now look here, damnit, you're nothing but a confounded robot." "Computer, Pinnacle, Legal Model X 27, working title, Mr. Boswell. Boy, you are extremely fortunate. You couldn't get a finer legal mind anyplace. Programmed through the State Supreme Court library, shades of interpretation, judgment and emotional factors drawn from the minds of Mr. Hollingsworth and Judge Schintz, both very compassionate men. Circuits overhauled only last month." "I want a real lawyer." "I am your lawyer, boy, by law. Fortunate thing too, for you. I can see your case through. Mr. Hollingsworth--wonderful gentleman, of course--but even now he is, well, not as young as he used to be. Bad thing, to change lawyers in mid-case, eh? You are lucky, boy. You know the human mind is fallible." "You almost forgot to plug in that silly extension cord." "Service men are not what they should be. Some of those back motor circuits of mine, not properly rewired at all. But those are minor areas, non-legal. Why is your cell speaker cut off, boy?" "That thing? It got on my nerves so I cut it off, that's why. So?" "Turn it on at once. You can't afford to lose credits, boy." "Credits?" "Boy ... m-mph. Your circuits are in bad shape, aren't they? You are going to want things, boy. Cigarettes--here's a pack for now, by the way. Books. Other-ah-little extras from the trustees from the women's division. With that mind of yours, from the charge sheets ... you buy things here with your credits and you are going to need them." "How do I get...?" "Do your work. Follow the rules. You earn credits. Turn on your speaker." He turned it on. "You talk like I'd be here forever." "Eh? Oh no. It will be less than that, eh? Eh, eh. Don't worry, boy. I'll be taking care of you. So. This is all the time my programming permits me to give you now. Till Thursday, eh? Good night, boy." The wheel chair rig backed off, unwinking eye-lenses still peering at the man in the cell. The arm pulled the plug, the wire rolled back onto the reel. "Mind the rules," the voice rasped, "earn your credits, eh? Be a credit to the firm. Good night, J 7." The machine rolled silently off. The prisoner stood clinging to the bars of the door. He was thirsty again. * * * * * Time serving, time served. Time. J--or Jay--7, the man in the cell, wiped his mess gear with a denim rag, a nice match for his shapeless prison pants and the number-stencilled jacket he wore over a grey-white T-shirt. He belched sourly and made a face. Damn. Wednesday. The rice had been passable enough, but the stew was even more sour than usual. Thank goodness for the bottle of ketchup, resting now with an assortment of items on the unpainted wooden shelf hung neatly over his bunk with two strips of denim rag from his busily sounding off speaker box. Two credits, that ketchup. He belched again. Well, he could never have downed that stew without it. It did pay to build up those credits. Mr. Boswell, hardware or not, knew his business. And now at least he, Jay 7, knew his, the prisoner's business well enough. Well enough to get by. As Mr. Boswell had said--and said--"we have to go by the rules of the game we are in, boy." Trying to beat them was beating on a stone wall. Three days in solitary that time he had stuffed his blanket in the toilet and tried to flood the place had taught him. Now his head was unbloody and bowed to the extent that seemed necessary. As Mr. Boswell had said, with soft harshness, on his third day, a Thursday, in solitary, peering down through the tiny grill with unwinking lenses, "If you think, my boy, that you are the one with a head that will prove harder than these concrete and steel walls you may try if you can bruise them; but this will not help your case." The hard way, but only once. He learned the lesson. Now his cell--home-room--squawker stayed on straight through 0500 through 2300 every day. That brought four bonus credits per week. His cell was neat and clean; the toilet bowl gleamed, pure, sparkling white. Four more credits. And he did his work, in his cell, adding endless columns of surely meaningless figures, writing out political letters to constituents in a neat hand for all levels of elective officials of the State. Tedious work? Well ... in a sense; but it was a challenge, too, all those figures without an error, making the letters neat and appealing, and balancing properly on the page. It wasn't so easy. He earned his credits; made his quota, too, every day. Mr. Boswell was pleased with him. So. He looked around him at his home-room with a certain clear satisfaction, if not pride. Now he kept his own mess kit, clean and shining. He had the shelf with ketchup, mustard; soap and shaving gear; tobacco and cigarette papers; a nice white enamel basin. And something more, too. Set into his water pipe, above the toilet bowl was a real luxury item--a faucet. Not many custodials earned that privilege but he had had it now for ... how long? Hard to say, to keep track. Quite a while now, anyway, but the pleasure in having it, in not having to use the bowl of the toilet for ... everything, hadn't worn off. He put his mess kit on his shelf, took his cup and went to draw a cup of water, for the joy in being able to do it, mostly. He drank luxuriously; carelessly spilled a half-cup of water into the bowl. There was a tapping on the wall, left side, across from his bunk. He frowned and ignored it. That tapping from other cells never amounted to anything, never seemed to make any sense. He'd tried it himself, at first. For some reason, a vibration barrier, it wasn't possible to talk and distinguish words from one cell to the next. But tapping? It made no sense either. It was an annoyance and the hell with it. Except.... * * * * * Jay 7 reached up over his head and brought down his mess gear; put it on his bunk in front of him; picked up his blunt knife and spoon. Overhead, the squawk box wound up a stirring speech on something by the governor and launched into the 1800 review of the rules. The sing-song voice started. Jay 7 began to rap a rhythm, simple at first, building into more intricate patterns, following the flow of the speaker. "Code One--tap, tap--Section A, 1 (a)--tap-tappety tap--." His head nodded. That was the only tapping that meant anything, a beat with a lift that a man could put himself into. His head nodded and he listened, absorbed, to his pattern of rhythm. He felt pretty good. Later he would feel better. Sure. Sure he would. This was Wednesday, a Rec. night. Tonight, after supper, Belle and her Three Graces would make a night round. "Personal service"--if you had the credits. He had the credits. He'd take a fall--hell, a couple, why not--out of old Belle herself. Not that Belle looked any better than the others, but at least she put a little life into it. A couple of hours with Belle, twelve credits; a bottle, four more. All right, he had them. Tonight he was really going to make a night of it. Yeah. Yeah? Yeah. And the next day, Thursday, all day ... yeah! His head ached, stomach churned; that burning back of the eye-balls; the awful, tight-drawn humming of nerves. And on just one bottle? God, that acid-burn gin. No, old Belle had been in rare form and he got two bottles instead of one. But even so ... must be that stew the night before. Oh death! He fought the day, his work, all day. He missed quota. The fingers were just a blistering mist before his eyes. He drank water and gagged on it. He paced his cell. He sweated. God! Could a man live like this? "Boy! Say there, boy. Look alive, eh?" Mr. Boswell, the old electronic shyster. It was afternoon, finally, of the everlasting, miserable day. Jay 7 looked up to watch sullenly as, the usual afterthought, Mr. Boswell rolled on off to plug in his cord; and rolled back. Made a noise, a harrumph-type, throat clearing, introductory noise. Mr. Boswell had no throat but he was a believer in certain niceties, form and procedure. "Well now, boy. Let me see, where are we? Oh yes. Bring you up to date. My latest petition for further continuance pending a review of the transcr...." * * * * * Suddenly, it was all too much. Jay 7 was mad, furious. He, in a word, blew his gin-throbbing top. He was on his feet, shaking hands, white-knuckled, gripping bars. "Goddamnit!" he shouted, "Goddamnit, you rotten old fraud, I've had enough, you hear me? I got a by-God-bellyfull enough." [Illustration: Suddenly, it was all too much. Jay 7 was furious with the old electronic shyster. He was on his feet, shaking hands, white knuckled, gripping bars.] "Oh?" inquired Mr. Boswell, mildly. "Enough is enough, eh? But how can we be sure that alternatives...." "All right, all right." Jay 7 wouldn't get anything out of him by shouting, he knew that. He was still tense and shaking but he managed to lower his voice to a tense, confidential whisper of appeal. "But I can't take much more of this. And the uncertainty. I've got to know. How much longer, huh? Please, please, Mr. Boswell, man to man ... when will the trial come? How much longer before we go to court, I--we--get my acquital, huh? Man to man, when can I walk out of here a free man?" "Man to man? You are just a boy, boy. Show it all the time. Man to man? Well ... perhaps it is time you did grow up a bit. So. You want to know when you will leave here a free man? I'll tell you. Never." "Never?!?" * * * * * "Never. Hasn't that been obvious from the start? Look. You know the charges, the evidence against you. In your actions, in your mind, either way you are guilty, boy. Regardless of the degree, you are guilty. The evidence is undeniable. You know better than I how guilty you are." "No!" "You are so eager to leave here? Why?" "Just to get out. To be free. Isn't that enough?" "Nonsense, lad; nonsense. You are doing fine here, just fine. Look at it this way. You are here for the common good, yours and society's, in protective custody. You have made rather a nice adjustment. Quite nice, really. To accept it gracefully, gratefully, is best. And, with me as your counsel, there is no reason why we cannot hope to continue your case indefinitely--for years, for decades. Why...." "No! No, they can't, you can't do that to me." A highly unoriginal protest. Mr. Boswell made a mild sound of disapproval. At such times he regretted the limitations of construction that did not permit him a shake of the head. "Years? Decades? No! I can't stand it; I can't, I won't. I'll find a way out. I'll make a way." "Suicide? Oh now, my boy, please. To take your own life? A shameful thing. And not at all fair to my firm." "No, not suicide. I--I'll break out. Damn you, I will. I'll grab your damned wire--I can reach it from here; I'll pull your plug. You'll have to take me out of here or I'll let your juice run out and you'll die. Boswell, you're going to hide me under that machinery of yours and take me out." "Oh? But my boy--what then?" "Then I'll be out, that's what." "Then you will be out. Out of here; out in the street; out of protective custody; outside the law. You would be alone then, lad; alone with your guilt, cast out, apart from society and the sound, stable order you find here. And would not every decent man's hand be against you? Think, my boy, what that means. Could you face it?" During these remarks, as Jay 7 clung, hot-eyed and shaking to the bars, Mr. Boswell had backed prudently well away, out of reach from the cell door. "Yes! I don't care. To hell with you; to hell with all of them. I've got to get out of here. Come back, you coward. I tell you I've got to get out, out, out!" Mr. Boswell backed across the corridor and pulled his plug from the socket. The wire rolled back neatly on the spool. "Time--no more time; other clients." He peered myopically through thick lenses back toward the cell. "Please, lad--it pains me to hear you talk so wildly." "I've got to get out, you hear? Out!" * * * * * "Well, my boy, if it has become such a phobia with you and you feel you have got to do so foolish a thing ... why don't you just walk out?" "Walk out? What in hell are you talking about? How can I walk out of this cell?" "Now, now, boy. You are only in protective custody, to protect you from yourself, from an outraged society, you understand. That cell isn't locked. Never has been. You know that." "That's a lie!" The man, Jay 7, threw himself against the bars, pressed against them, every muscle straining. "It's locked, locked. You can see. It won't open." "Now, now," said Mr. Boswell again, starting to swing around on his wheels, "that door opens inward. You get your food through it, your work; the other--ah--amenities, girls ... eh? Nobody ever unlocks that door, isn't that right? They all just push it open. Right? Eh? It opens in." "You lie. It's a damned, rotten, filthy lie." He was yelling, shaking, rattling the door; pushing at the door. "Easy, boy," said Mr. Boswell, "easy now. If you say so ... perhaps you are right after all. So. We adjust, eh? See you Sunday. There are some details, questions of improper punctuation in the transcript of your involuntary confession we must go over; something we can use in the next preliminary hearing. Eh? Good night, boy." Mr. Boswell rolled off, smoothly as always, down the corridor. Jay 7 quit pushing then, all at once and completely, and hung limply, two hands circling two solid bars, leaning heavily against the cell door. He sobbed once and then sniffed. He felt thirsty. So ... well, he had his cup, his own faucet. He could get a nice, cold drink of water any time he wanted it. He sniffed again and turned away from the barred door. THE END *** END OF THE PROJECT GUTENBERG EBOOK A PRISON MAKE *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.