Escape from Alcatraz (2 page)

On this January morning only the prisoner from Atlanta and his guardians were in the room, as visiting hours were in the afternoon—the one o’clock boat over, the 3:20 back. No guard was armed now, except the sentry at the door, who carried a gasbilly, a combination metal club and tear-gas gun. The prisoner’s manacles, midriff chain, and leg irons were removed, and he was ordered to strip to the skin for the ritual known as “dressing in.” Just as a physician had done before his departure from Atlanta, a doctor now conducted an orifice search: ears, nose, mouth, rectum. He was probing for contraband—dope, a coded message, even a tiny tool useful in an attempt to escape.

“A convict once tried to smuggle in a watch spring in his ear,” a guard remarked to a colleague. “Good to file through a bar, if you have plenty of time—and they got plenty of that here.”

The prisoner, still naked, was led back into the vestibule. Directly opposite was the command post of the most important man, while on duty, in the prison—the Armorer. His station, the nerve center of The Rock, is accessible only from the exterior, and he alone can open the door. On this inner side he is sealed off by steel plate pierced with gun slots and a narrow vision panel of bulletproof glass.

The party with the prisoner in the vestibule began the complex progression into the cellhouse. They approached a barred gate, but the turnkey could not open it: a metal shield covered the lock on both sides. At a nod from the turnkey, the Armorer glanced into mirrors set at an angle and surveyed a chamber beyond the gate, then touched a button that released the shield. The turnkey opened the gate and, once they had all entered, closed it, the metal plate instantly sliding back into place.

They now confronted a solid steel door. The turnkey peered through an eye-level slit, scanned the interior, then opened the door. They passed through, and he relocked it.

They faced still a third door, barred and cross-barred, the last barrier to the cellhouse. The prisoner stared in surprise. With its high windows and skylights, and its triple-tiered cell blocks, the place vaguely resembled a vast aviary. His nostrils caught a distinctive odor, and a familiar one: the mingled scent of disinfectant, itself not unpleasant, and of men packed closely together. His surprise came in the splash of color, bright even in the murky daylight: the cell blocks were painted a shocking pink trimmed in barn red.

The naked newcomer scuffed his zori-like canvas slippers—“scooters” to the convicts—down an aisle between two cell blocks, a corridor called Broadway. His custodial guide directed him to turn right at the far end, along a lateral corridor to a stairway that took him to a basement room containing thirty-five showers. The officer on duty there noted the prisoner’s tattoos: a devil’s head on the upper right arm, a star on each knee, with a “7” above and an “11” below the star on the left knee. “Superstitious, eh? Any more?” The prisoner held up his left hand: a star at the base of the thumb, a “13” at the base of the index finger. The officer said, “Shower up.”

The prisoner saw a single knob at each shower, indicating a single cold stream. He must have heard of this: stories of Alcatraz escapes usually mentioned how the convicts conditioned themselves with daily showers of frigid salt water pumped out of the bay. And, like most newcomers, he could well have fitted it into nebulous plans for an eventual getaway: a perfect conditioner to endure the icy waters, ranging from 51° to 60° Fahrenheit off Alcatraz, as he swam or paddled a makeshift raft. As others had, he braced himself under a shower head and turned it on full force for a quick drenching, to get the shock over with fast. He was shocked, but not by a chilling impact. The water was warm. It was premixed, the hot and the cold, by a guard at the end of the row.

After the shower he received a set of fresh clothes, including a pair of shoes. As he walked in the heavy square-tipped shoes along the lateral corridor toward Broadway again, he skidded on the cement, waxed and polished to the glossiness of a ballroom floor. He climbed a circular steel stairway at the west end of C Block to the middle tier and found his cell, the second, by the nameplate already on the door:

FRANK LEE MORRIS

The cell was in the quarantine section, and he would remain there for a week or two, until assigned a job.

Inmates delivered his regular issue: another set of clothing, from long cotton drawers to denim trousers and shirt, gray flecked with white; five more pairs of socks and a large handkerchief that looked as if it had been snipped out of a blue bed sheet; a safety-razor holder and shaving mug; a tin cup; a nailclip; a mirror; a face towel; toothbrush and dental powder; a mattress and cover, two sheets, one pillow case. An instant after the officer left with the inmates the cell door slid shut, locked. All cells were opened and closed, singly or in units up to fifteen, by guards at manual control boxes at either end of a block.

Frank Lee Morris, bank burglar and escape artist, stood at his cell front, staring down at the lustrous corridor floor. He was alone now, for the first time since he had left Atlanta to serve his remaining ten years at this super-maximum-security prison at Alcatraz. And super-maximum security is the word. From the moment he debarked at the wharf until he reached this cell, everywhere he turned there stood a guard. In all the institutions he had at one time or another called home, he had never seen so many custodial officers.

His open-faced manner gave the impression of casual interest, but whatever his glance fell upon, no matter how fleetingly, that object—man or thing—was instantly, expertly cased. He had a computer’s ability to take in and store away detail, infinite detail.

Quiet, soft-spoken, Morris was essentially a loner, a recluse in a crowd. Yet on the surface he appeared personable, cooperative. At times he even seemed to make a shy overture of fellowship. These infrequent displays of camaraderie could be merely the patina of half a lifetime of enforced gregariousness in the lockstep of prison herds; or they could be the pathetic, smothered yearnings of a profound inner loneliness.

He turned away from his contemplation of mirror-bright Broadway and took stock of his new home, five feet wide by eight feet long. The rear wall was concrete, the side walls, sheets of steel. Only the barred front admitted light and air. He gripped one of the short, thick uprights between the stout crossbars. He did not know that these upright bars—cores of cable embedded in toughest alloy steel—supposedly could resist the most persistent saw or file, but he did not need to know: they had the feel of resistibility.

He considered the fixtures. A steel cot that could fold against the wall ran along the right side. At its foot—or its head, if the cellhouse lights bothered the inmate—was the toilet, without a lid or a seat. Bolted into the opposite wall were two steel folding shelves, at separate levels, for use as a seat and table top or desk. On the left rear wall was a washbowl with a single cold-water faucet; over it, at five- and six-foot heights, ran two wooden shelves for personal effects, and beneath them wooden pegs to hang clothes.

His roving eye caught an item near the base of the rear wall, to the right of the washbasin: a metal ventilator grille. Too small—about six by ten inches—to crawl through even if the grille could be pried loose, and a quick inspection revealed that it was tightly wedded to the concrete.

From the moment a convict sets foot on the Alcatraz wharf, he has, according to the guards, one consuming thought: how to get off. And the prison’s physical complexity, the door after door blocking the intricate entrance passage, the multiplicity of guards, the solidity of walls and bars, the entombing security of the cell add up, for the new prisoner, to one despairing question:
How in the name of God can anyone possibly get out of here?

Frank Lee Morris, the quiet, courteous young man with the handsome features, was to find an answer; no newspaper had reported his arrival, but he would leave in a blaze of front-page banner lines. And in so doing, he would call into question the very existence of the federal government’s super-maximum-security prison at Alcatraz.

Chapter 2

T
HE SANDSTONE OUTCROPPING
in San Francisco Bay that received Morris on that stormy January day in 1960 seems an island as dreary as the fog in which it is so often enveloped. But its history has been, if not edifying, certainly colorful. The island has been by turns a menace, an invitation, and a challenge to human beings ever since its discovery by Europeans in the late eighteenth century.

For almost two centuries after Sir Francis Drake first sailed up the West Coast in 1579, fog hid the Golden Gate from seafaring explorers. Alcatraz, facing the sea, was discovered by land. In the fall of 1769—the year a Scot, James Watt, invented the steam engine and revolutionized industry—Don Gaspar de Portolá, on an overland march from Mexico, scaled a peak and stared down at San Francisco Bay.

Not until 1775, about the time Paul Revere was galloping out of Boston, did the Golden Gate open in welcome to seafarers poking along the coast. On a clear afternoon that summer three Spanish vessels dropped anchor in a sheltering cove inside the heads. The next morning, August 5, seven weeks after the Battle of Bunker Hill, Don Juan Manuel de Ayala, in charge of a scouting party, maneuvered the first boat through the mile-wide passage. Directly ahead a bleak, barren mass of rock jutted out of the bay, covered as if frosted with white pelicans that stared curiously down their pouchy beaks at the intruders. Don Juan christened it
La Isla de los Alcatraces.
Later known as Bird Island and, from the snowy flocks, White Island, in time the Spanish singular for pelican, Alcatraz, took hold. (
Alcatraz
is a Spanish offshoot of an Arabic word ancient alchemists used to express the recovery of precious substances from a retort.) Don Juan turned to a neighboring isle that, by its verdant contrast, offered more hospitality. He named this
La Isla de Nuestra Señora de los Angeles
—the Island of Our Lady of the Angels—later Anglicized into the present Angel Island.

Alcatraz, lying three miles in from the headlands at the Pacific, passed through three hands—Spanish, Mexican, American—in the next seventy-five years before anyone ventured to set foot on its precipitous shores. And in the century since, fantasy, as well as fog, has frequently enveloped the island. Some years ago a web-spinner wove this colorful bit of fabric:

“Spanish authorities found an advantage in the island’s inaccessibility. They tunneled the rock into dungeons and confined rebellious American settlers there, along with army deserters.

“Alcatraz was seized by the Americans in 1847 following the proclamation of the Bear Flag Republic. The settlers who had rebelled against the tyrannical Spanish rule were freed, and the dispossessed authorities placed in the cells in their stead.”

Few, if any, Americans ever found their way to California when it was an outpost of the Spanish Empire. While the Americans were engaged in founding their own Republic, the brown-robed, benevolent Franciscan Padres trailblazed the celebrated El Camino Real in California. The briefer Mexican rule over California, remote from the troubled political scene of Mexico City, was memorable for its legendary fiestas at the haciendas of the vast ranchos, family domains held under Spanish crown grants.

For a time, after the Treaty of Guadalupe Hidalgo ceded California and New Mexico to the United States in 1848, another fog—that of title—hung over Alcatraz. One Julian Workman claimed that Pio Pico, Mexican governor of California, granted him the island in 1846 on condition that “he cause to be established as soon as possible a light which may give protection on dark nights to the ships which may pass there.” Workman, after a closer look at Alcatraz, caused no light to be established; instead, he gave the pelican roost to a son-in-law who, equally dismayed by Pio Pico’s conditional clause, conveyed it for $5,000 to General John C. Frémont, then military governor of California and later first Republican Party candidate for President. The public-spirited Frémont took possession as an agent of the United States and President Millard Fillmore by executive order reserved Alcatraz for public purposes.

San Francisco had already embraced Alcatraz. The
ayuntamiento
—as, in happy remembrance of Mexican days, they still called the municipal government—had adopted a charter that extended the city limits over the bay one league from shore “including the islands of Yerba Buena, Los Angeles and Alcantraz[
sic
].” (Yerba Buena, linked to Treasure Island, is the island through which the Bay Bridge passes, by tunnel.)

The Gold Rush brought heavy maritime traffic, and by 1850 the bay was cluttered with sailing vessels that streamed through the Golden Gate bearing fortune-fevered passengers, and crews, bound for the fabulous Mother Lode. The need for a beacon on Alcatraz became urgent and that fall Congress authorized the fulfillment of Pio Pico’s old dream. But from Act to action, then as now, a long interval stretched. The military decided the harbor itself needed safeguarding with batteries at the points at the Gate and, in the event a man-of-war might survive that gantlet of cross fire, a fortress on Alcatraz. The Army Engineers, surveying the task in 1854, found the island an irregular oblong running southeast to northwest, 450 feet across, 1,650 feet long, in all 11.9 acres. Its mesa top, 136 feet above mean tide, sloped off to precipices, some a sheer seventy-five-foot drop to the water. Soundings revealed a depth offshore varying from twenty to eighty feet, and something else: Alcatraz did not spread out to a broad base like a normal peak; centuries of tide rips, the turbulence of ebb and flood tides colliding beneath the surface, had eroded the underpart to the shape of a spindle. They also found the island destitute of soil and vegetation, but not of pelican guano.

By 1859, at a cost of about a million dollars, Fort Alcatraz and Alcatraz Light were a reality—the first American fortification and lighthouse on the West Coast. The latter, soaring 160 feet above the bay (then the tallest man-made structure west of Cape Hatteras), boasted a lantern visible twelve miles at sea, almost halfway to the Farrallones, islands visible on a clear day to the lightkeeper. Cannon of immense caliber—something called columbiads, from the War of 1812—could hurl 120-pound shot through the Gate. In addition to these fearful five-ton muzzleloaders, just in case a sneaky foe slipped in under their dread snouts, close-range barbette batteries stood ready to hold the ramparts. And to prevent the landing of an assault force, the engineers blasted the only gentle slope, on the southeastern end, into a cliff. In the unlikely event that a party might storm ashore at any of the coves, a three-story citadel commanded the crest and from its parapets musketry fire could rake the cliff tops clear. The musketeers smiled down on the mighty columbiads.