diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-01-27 22:09:56 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-27 22:09:56 -0800 |
| commit | 69cfd5cfa0c3a624dc1b83c22a3e0dbd59e2e5d3 (patch) | |
| tree | 7202c10dcb3c4246387271d006d1dc683dd36ef0 | |
| parent | fdcdee6ddc0dfb7cdd7a998686aab1deb069394e (diff) | |
| -rw-r--r-- | .gitattributes | 4 | ||||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/61335-h.zip | bin | 320565 -> 0 bytes | |||
| -rw-r--r-- | old/61335-h/61335-h.htm | 911 | ||||
| -rw-r--r-- | old/61335-h/images/cover.jpg | bin | 305905 -> 0 bytes | |||
| -rw-r--r-- | old/61335.txt | 807 | ||||
| -rw-r--r-- | old/61335.zip | bin | 14590 -> 0 bytes |
8 files changed, 17 insertions, 1718 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..bfe70ec --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #61335 (https://www.gutenberg.org/ebooks/61335) diff --git a/old/61335-h.zip b/old/61335-h.zip Binary files differdeleted file mode 100644 index d652d22..0000000 --- a/old/61335-h.zip +++ /dev/null diff --git a/old/61335-h/61335-h.htm b/old/61335-h/61335-h.htm deleted file mode 100644 index 1cc81f6..0000000 --- a/old/61335-h/61335-h.htm +++ /dev/null @@ -1,911 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=us-ascii" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of I, Executioner, by Ted White And Terry Carr. - </title> - <link rel="coverpage" href="images/cover.jpg" /> - - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2 { - text-align: center; /* all headings centered */ - clear: both; -} - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;} - -.center {text-align: center;} - -.right {text-align: right;} - -.caption {font-weight: bold;} - -/* Images */ -.figcenter { - margin: auto; - text-align: center; -} - -div.titlepage { - text-align: center; - page-break-before: always; - page-break-after: always; -} - -div.titlepage p { - text-align: center; - text-indent: 0em; - font-weight: bold; - line-height: 1.5; - margin-top: 3em; -} - -.ph1 { text-align: center; text-indent: 0em; font-weight: bold; } -.ph1 { font-size: large; margin: .83em auto; } - - - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of I, Executioner, by Ted White and Terry Carr - -This eBook is for the use of anyone anywhere 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/license - - -Title: I, Executioner - -Author: Ted White - Terry Carr - -Release Date: February 7, 2020 [EBook #61335] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK I, EXECUTIONER *** - - - - -Produced by Greg Weeks, Mary Meehan and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - - -<div class="figcenter"> - <img src="images/cover.jpg" width="356" height="500" alt=""/> -</div> - -<hr class="chap" /> - -<div class="titlepage"> - -<h1>I, EXECUTIONER</h1> - -<h2>BY TED WHITE AND TERRY CARR</h2> - -<p class="ph1">I am the executioner of the law, terrible<br /> -in my majesty. The doomed felon is—myself!</p> - -<p>[Transcriber's Note: This etext was produced from<br /> -Worlds of If Science Fiction, March 1963.<br /> -Extensive research did not uncover any evidence that<br /> -the U.S. copyright on this publication was renewed.]</p> - -</div> - -<hr class="chap" /> - -<p>I always shook when I came out of the Arena, but this time the tension -wrapped my stomach in painful knots and salty perspiration stung my -neck where I had shaved only a little over an hour earlier. And despite -the heavy knot in my stomach. I felt strangely empty.</p> - -<p>I had never been able to sort out my reactions to an Execution. The -atmosphere of careful boredom, the strictly business-as-usual air -failed to dull my senses as it did for the others. I could always -<i>taste</i> the ozone in the air, mixed with the taste of fear—whether -mine, or that of the Condemned, I never knew. My nostrils always gave -an involuntary twitch at the confined odors and I felt an almost -claustrophic fear at being packed into the Arena with the other nine -hundred ninety-nine Citizens on Execution Duty.</p> - -<p>I had been expecting my notice for several months before it finally -came. I hadn't served Execution Duty for nearly two years. Usually it -had figured out to every fourteen months or so on rotation, so I'd -been ready for it. A little apprehensive—I always am—but ready.</p> - -<p>At 9:00 in the morning, still only half awake (I'd purposely slept -until the last minute), vaguely trying to remember the dream I'd had, -I waited in front of the Arena for the ordeal to begin. The dream had -been something about a knife, an operation. But I couldn't remember -whether I'd been the doctor or the patient.</p> - -<p>Our times of arrival had been staggered in our notices, so that a long -queue wouldn't tie up traffic, but as usual the checkers were slow, and -we were backed up a bit.</p> - -<p>I didn't like waiting. Somehow I've always felt more exposed on the -streets, although the brain-scanners must be more plentiful in an Arena -than almost anywhere else. It's only logical that they should be. The -scanners are set up to detect unusual patterns of stress in our brain -waves as we pass close to them, and thus to pick out as quickly as -possible those with incipient or developing neuroses or psychoses—the -potential deviates. And where else would such an aberration be as -likely to come out as in the Arena?</p> - -<p>I had moved to the front of the short line. I flashed my notification -of duty to the checker, and was waved on in. I found my proper seat on -the aisle in the "T" section. It was a relief to sink into its plush -depths and look the Arena over.</p> - -<p>Once this had been a first-run Broadway theater—first a place where -great plays were shown, and then later the more degenerate motion -pictures. Those had been times of vicarious escape from reality—times -when the populace ruled, and yet the masses hid their eyes from the -world. Many things had changed since then, with the coming of regulated -sanity and the achievement of world peace. Gone now were the black arts -of forgetfulness, those media which practiced the enticement of the -Citizen into irresponsible escape. Now this crowded theater was only -a reminder. And a place of execution for those who would have sought -escape here.</p> - -<hr class="tb" /> - -<p>Perhaps thirty people were sitting on the floor of the Arena, where -once there had been a stage. They sat quietly in chairs not so -different from mine, strapped for the moment into a kind of passive -conformity. I looked at them with interest. Strangeness has as much -attraction as the familiar at times. As usual, most of them were -young—from about ten to the early twenties. But at whatever age, -they were rebels. They were potential enemies of society. Criminals. -Probably some of them hadn't yet realized it. But they were on the -verge of anti-social insanity, and the brain-scanners had singled them -out.</p> - -<p>They were so young.... How long does it take a boy to become neurotic, -psychotic, dangerous?</p> - -<p>A flurry of movement at the gates caught my eye. Apparently at least -one of them was a full-fledged Rebel. He struggled furiously, and the -three proctors were having an awkward time carrying him into the Arena -without hurting him.</p> - -<p>Then, as they moved into the floodlights, I saw with a faint shock that -it was a girl.</p> - -<p>She was dressed in man's clothing, but betrayed by her neurotic and -unsanitary long hair.</p> - -<p>Long, blonde hair. For a moment I forgot where I was, and allowed -myself to revel in this nearly forbidden sight. The soft waves fell -halfway down her neck, disarrayed now. The floodlights shined on it, a -strangely gentle mockery of sunlight. Something within me stirred, and -I almost remembered....</p> - -<p>Then they were strapping her into one of the chairs, carefully pulling -the soft leather straps with their attached metal electrodes around -her, pinioning her. One set joined her arms to the armrests, another -her legs to the specially devised footrests. Her tunic was opened, and -a third set was passed around her chest, the metal plate fastened just -under her left breast.</p> - -<p>And then she was alone.</p> - -<p>I stared at her, drawn at first to her hair, and then, as my vision -focused across the distance, to her eyes.</p> - -<p>Strange eyes; light blue irises, surrounded by a ring of dark blue, and -flecked with gold. They were shining. She had been crying. Her eyes -seemed to melt, like a pool of clear water growing deeper; I could -almost see into them, into the darkness beneath. I was no longer aware -of the chair in which I sat ... only of her, alone before me, so close.</p> - -<p>Her eyes widened for just an instant when she recognized me.</p> - -<p>"<i>Bob.</i>"</p> - -<p>"<i>Hello, Rosebud.</i>"</p> - -<p>"<i>I knew you'd be here. I knew.</i>"</p> - -<p>"<i>It's been a long time.... I think I was trying to forget.</i>"</p> - -<p>"<i>Don't,</i>" she said. "<i>Don't ever forget.</i>"</p> - -<hr class="tb" /> - -<p>Sun drenched me, and I was rocked back into time.</p> - -<p>"Hey, you pushed me!" I shouted at her.</p> - -<p>"Yes," said a faint voice, and then, "I'm sorry," the little -golden-haired girl said.</p> - -<p>I sat up. Mother was going to be mad at me again, I knew. I wiped the -seat of my pants with my hand, and then stared at the muddy hand with -interest.</p> - -<p>"Look," I said to her, and showed her my hand. When she stepped forward -to look closely at it, I pushed it at her, and smeared mud onto her -face. Then I laughed....</p> - -<hr class="tb" /> - -<p>My laughter faded, blending with hers ... and then ... and then we were -no longer standing separately in the sun.</p> - -<p>It was a dark night, the air fresh and cool to my skin, and the leaves -of the trees which stretched over us rustled with a faint wind.</p> - -<p>I laughed again, a soft girlish sound that brought discomfort to the -boy's face before me.</p> - -<p>"Your mother says. Your father says. Don't you ever say anything for -yourself, Bob?"</p> - -<p>"Look, Rosalie, I'm sorry. Maybe I just don't think the way you do. My -father says sex at our age is just another escape from reality. You've -got to face yourself as an adult first. He—"</p> - -<p>"Your father is a bigger nincompoop than you are!" I shouted at him. "I -thought you said you loved me. I thought you had some <i>feelings</i> buried -under that so-called rational mind of yours! Or does your father say -you're too young to <i>love</i> somebody?"</p> - -<p>He tried to say something, but I was right. He pressed his lips -together and looked away. I was almost enjoying it now; with deliberate -coolness I buttoned up my tunic, feeling the soft fibers on my skin.</p> - -<p>"How long does it take to love somebody?" I said, but my voice was -beginning to tremble. I turned away from his still figure in the night, -and began the slow walk back along the path to the house. Tears stung -my eyes, and spilled onto my cheeks; I started to run through the dark.</p> - -<p>I slammed the door when I ran in, and went directly to my room. At -one end of it was a small studio, where an easel was lit coldly by -a fluorescent light. Almost blindly I began beating my fists on the -still-wet canvas, blurring and then ripping the nearly finished -portrait of a young man.</p> - -<hr class="tb" /> - -<p>I was crying quietly when the low, calm voice stopped me on the street.</p> - -<p>"Just a moment, Miss."</p> - -<p>I felt the sudden skip in my heart which signaled danger, and when I -turned I saw the light green uniform of a proctor in the vague street -light. My eyes were still blurred with tears. I couldn't make out his -face.</p> - -<p>"I'm sorry, but I'll have to ask you a few questions."</p> - -<p>Shielding my face from the light, I tried to make my voice calm. I -hoped my homesick tears were hidden, that my cheeks wouldn't glisten in -the light. I wanted very badly for him not to see I had been crying.</p> - -<p>"Yes?"</p> - -<p>"I'll have to know why you're out on the streets at this time of the -morning," the proctor said. "There's a curfew, you know. Unless you can -show cause...."</p> - -<p>Oh God; I had completely forgotten the city's curfew!</p> - -<p>"I—I'm sorry, Officer. I'm new to the city and I didn't realize...."</p> - -<p>"You're transient? Where are you staying?"</p> - -<p>"The Statler Dormitory for Women," I answered meekly.</p> - -<p>"And why are you out at this hour, so far from the dorm? That's down -near 34th Street, almost thirty blocks south."</p> - -<p>"I know. I couldn't sleep—" His eyes narrowed at that; had I made a -mistake? I plunged on: "—and I wanted to see Central Park. I didn't -realize there was any harm...."</p> - -<p>"I guess not this time, Miss, but you'd better get back to your dorm. -Take this pass." He scribbled a few words on a pad and then detached a -slip of green paper for me. "You can take a train down to 34th Street. -Now."</p> - -<p>"I'd just as soon walk, sir."</p> - -<p>He stared at me for a moment and then I turned and started for the -nearest subway entrance.</p> - -<p>It had been horrible, those first few days in the Dorm. I'd -never dreamed that a sane society could be so ... not cruel, but -<i>unthinking</i>. Back home in Woodstock we were all supposed to be sane -too, but neither Father nor Mother had ever forced any rigid rules on -me. They had let me roam the woods, scuffing the dry leaves in autumn, -drinking water from the creeks in my cupped hands. They hadn't objected -when I was gone for hours. Usually I was just sitting on a log and -staring into the sky, and what harm was there in that?</p> - -<p>They had encouraged my painting. "It's supposed to be a sign of -escapism," Dad said, "but there are a lot worse ways of escaping." He -made an easel for me, and I used tubes of house-paint tint-colors and -stretched canvas and burlap over frames Dad made. He even gave me a -book of reproductions of the Old Masters that he'd saved.</p> - -<p>Life in Woodstock had been pleasant for me, I realized now, even if -it had often seemed lonely. I couldn't have told the proctor that I'd -really woken up from a dream about Bob before I'd gone out walking. -I'd seen Bob's face so clearly, standing in the night, unable to say -anything to me. Suddenly it had seemed that my voice was stopped too, -and I'd woken up gasping....</p> - -<p>I boarded a local train, not caring that an express would be much -faster, and began the trip back to my cubicle at the Statler Dorm. If -only they hadn't taken my parents....</p> - -<hr class="tb" /> - -<p>I had succeeded in setting up a makeshift easel in my room at the Dorm, -and was working on a painting, wearing some of Dad's old clothes, when -the proctors broke in.</p> - -<p>One of them pointed a small indicator at me, glanced at it and nodded.</p> - -<p>"She's the one. Instability and escapism. And look at the kind of -clothes she wears."</p> - -<p>"What are you doing?" I whispered. This was how they'd taken my parents!</p> - -<p>"You're under detention as a criminal against society. Miss," one of -the proctors said. "We're all sorry."</p> - -<p>Another one stepped forward and held out a hand to me as one might a -child. "Come along now."</p> - -<p>"<i>No!</i>" I backed away from them, and when they trapped me in the corner -I kicked and screamed at them. "Leave me alone, leave me alone! You're -killers!" One of them grabbed me and held me around my waist, my arms -pinned to my sides.</p> - -<p>"We're not killers, Miss," he said, and his voice was incredibly calm. -"We have nothing to do with it."</p> - -<p>I twisted free and struck at him, tearing skin from his face with my -nails. "<i>Weren't my parents enough?</i>"</p> - -<p>One of them pointed another device at me, and I blacked out.</p> - -<hr class="tb" /> - -<p>When I came to, I was being carried by three proctors through a door -and down a hall. My head was fuzzy and throbbing. I caught a glimpse -of a stenciled sign in the corridor, lettered neatly over an arrow -pointing in the direction we were going. The words leaped out at me: -<i>Execution Arena Floor</i>.</p> - -<p>One of the proctors saw that I was conscious and looked down at me -pleasantly. "No sense struggling now," he said. "It'll be over soon."</p> - -<p>I stared back at him for a moment, not understanding. But then the -kindness in his face became clear. He pitied me! The proctors were -carrying me as gently as possible, as though I were a dog with a broken -leg.</p> - -<p>I felt incredibly sad, and so tired that I was sure I must suddenly -weigh twice as much. But they carried me through the door and out onto -the floor of the Arena, and there were a thousand people up in the dark -waiting for me. There were floodlights on the chairs where the others -of the Condemned were strapped. They sat quietly, dully, as though they -were the Executioners and the people above were waiting for <i>them</i> to -press the buttons.</p> - -<p>But it was insane! How could they take it so calmly——were they dead -already? Did they <i>want</i> to die?</p> - -<p>Or was I really insane? Where <i>was</i> the sanity in this Arena?</p> - -<p>I couldn't lie still while they carried me to that chair. I was -frightened. I was terrified! They were all so silent, so calm, so -kindly. As though nothing at all were happening—nothing at all!</p> - -<p>I struggled, trying to fight my way free. I kicked and screamed; I -had to make some noise in that black silence. But they held me, and -strapped me into the chair. And still there was no sound in the Arena.</p> - -<p>I felt a shock, a tension, and I looked up.</p> - -<p>There, in the audience, sitting before his little panel with the blue -light and the red Executioner's button, was a young man staring at me.</p> - -<p>I could feel his stare, like a cool hand touching me. It drew me up, -into the dimness....</p> - -<p>I felt my eyes widen with recognition.</p> - -<p>"<i>Bob</i>," I said.</p> - -<p>His reply sounded deep inside my mind, "<i>Hello, Rosebud.</i>"</p> - -<p>"<i>I knew you'd be here</i>," I said, and then I drew him close to me.</p> - -<p>"<i>It's been a long time.</i>"</p> - -<p>"<i>Don't ever forget</i>," I said, and opened myself to him at last.</p> - -<hr class="tb" /> - -<p>The lights in the Arena dimmed, rose, dimmed again. The first signal -I pressed against the straps, but they were firm and unmoving. Yet -I—we—leaned forward, and watched the panel with its blue light. Our -stomach was knotted like tight leather cords.</p> - -<p>The blue light flashed. I reached out a hand to the small red button. -The straps bit into our flesh. The panel was dim, ghostly beneath the -glaring lights from the dark above.</p> - -<p>A thousand hands touched a thousand red buttons.</p> - -<p>One of them was the first to touch the button, the first to complete -the circuit. No one knew who he was. No one even knew if every button -was connected, but someone touched a button and somewhere the circuit -was completed.</p> - -<p><i>Shock!</i> Pain jerked our body rigid! We <i>screamed</i>; our skin blistered -as hair singed and fell away. And there was a greater shock, a pain -somewhere else, as our images cleaved and I fell away from her. I -reached out my hand to her, and almost felt her touch ... but my hand -was on the button, and she was slumped in her chair on the floor of the -Arena.</p> - -<p>I jerked my hand away from the button as though it were hot -electricity. My whole body was moist with perspiration.</p> - -<p>I stared about me, suddenly and deeply frightened. Which of us had -screamed? I'd felt it surging up in me, felt it tearing at my throat, -bursting from my mouth—but next to me the others were unconcernedly -waiting for me to rise from my seat so that we could file in an -orderly fashion from our places in the Arena. They had noticed nothing.</p> - -<p>When I stood up my legs were trembling. I could still feel where the -leather straps had bitten into them. I stepped carefully up the stairs -and went out into the morning sunshine. Though the floodlights had been -bright in the Arena, still the sunlight hurt my eyes. I paused at the -door, and looked at my ring-watch. It was nine-thirty. Only half an -hour had passed.</p> - -<p>How long does it take to destroy a few spoiled lives?</p> - -<p>It was over. I forced my breathing into a more normal rate and stepped -onto the sidewalk. Don't think about it, I told myself. After all, it -had been years earlier that I had really lost her....</p> - -<p>I had almost made it to the corner when I felt the tap on my shoulder, -began to turn, saw the green-sleeved arm extending toward me a familiar -black indicator, and heard the proctor say:</p> - -<p>"This is the one. Definite case: schizoid condition, latent telepath."</p> - -<p>"We're all sorry," said another of them.</p> - -<p>And they led me away to face it again.</p> - - - - - - - - -<pre> - - - - - -End of Project Gutenberg's I, Executioner, by Ted White and Terry Carr - -*** END OF THIS PROJECT GUTENBERG EBOOK I, EXECUTIONER *** - -***** This file should be named 61335-h.htm or 61335-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/1/3/3/61335/ - -Produced by Greg Weeks, Mary Meehan and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions 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-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. 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-tm 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-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -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-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm 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-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain 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-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside 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-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm 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 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/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm 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-tm 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-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -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-tm 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-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (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-tm -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-tm 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-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm 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-tm - 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-tm 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-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm 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 -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project -Gutenberg-tm 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-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm 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-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm 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-tm's -goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at http://www.pglaf.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. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. 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 principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread 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 http://pglaf.org - -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: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -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. - - -</pre> - -</body> -</html> diff --git a/old/61335-h/images/cover.jpg b/old/61335-h/images/cover.jpg Binary files differdeleted file mode 100644 index a9cd666..0000000 --- a/old/61335-h/images/cover.jpg +++ /dev/null diff --git a/old/61335.txt b/old/61335.txt deleted file mode 100644 index 0841459..0000000 --- a/old/61335.txt +++ /dev/null @@ -1,807 +0,0 @@ -The Project Gutenberg EBook of I, Executioner, by Ted White and Terry Carr - -This eBook is for the use of anyone anywhere 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/license - - -Title: I, Executioner - -Author: Ted White - Terry Carr - -Release Date: February 7, 2020 [EBook #61335] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK I, EXECUTIONER *** - - - - -Produced by Greg Weeks, Mary Meehan and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - - - I, EXECUTIONER - - BY TED WHITE AND TERRY CARR - - I am the executioner of the law, terrible - in my majesty. The doomed felon is--myself! - - [Transcriber's Note: This etext was produced from - Worlds of If Science Fiction, March 1963. - Extensive research did not uncover any evidence that - the U.S. copyright on this publication was renewed.] - - -I always shook when I came out of the Arena, but this time the tension -wrapped my stomach in painful knots and salty perspiration stung my -neck where I had shaved only a little over an hour earlier. And despite -the heavy knot in my stomach. I felt strangely empty. - -I had never been able to sort out my reactions to an Execution. The -atmosphere of careful boredom, the strictly business-as-usual air -failed to dull my senses as it did for the others. I could always -_taste_ the ozone in the air, mixed with the taste of fear--whether -mine, or that of the Condemned, I never knew. My nostrils always gave -an involuntary twitch at the confined odors and I felt an almost -claustrophic fear at being packed into the Arena with the other nine -hundred ninety-nine Citizens on Execution Duty. - -I had been expecting my notice for several months before it finally -came. I hadn't served Execution Duty for nearly two years. Usually it -had figured out to every fourteen months or so on rotation, so I'd -been ready for it. A little apprehensive--I always am--but ready. - -At 9:00 in the morning, still only half awake (I'd purposely slept -until the last minute), vaguely trying to remember the dream I'd had, -I waited in front of the Arena for the ordeal to begin. The dream had -been something about a knife, an operation. But I couldn't remember -whether I'd been the doctor or the patient. - -Our times of arrival had been staggered in our notices, so that a long -queue wouldn't tie up traffic, but as usual the checkers were slow, and -we were backed up a bit. - -I didn't like waiting. Somehow I've always felt more exposed on the -streets, although the brain-scanners must be more plentiful in an Arena -than almost anywhere else. It's only logical that they should be. The -scanners are set up to detect unusual patterns of stress in our brain -waves as we pass close to them, and thus to pick out as quickly as -possible those with incipient or developing neuroses or psychoses--the -potential deviates. And where else would such an aberration be as -likely to come out as in the Arena? - -I had moved to the front of the short line. I flashed my notification -of duty to the checker, and was waved on in. I found my proper seat on -the aisle in the "T" section. It was a relief to sink into its plush -depths and look the Arena over. - -Once this had been a first-run Broadway theater--first a place where -great plays were shown, and then later the more degenerate motion -pictures. Those had been times of vicarious escape from reality--times -when the populace ruled, and yet the masses hid their eyes from the -world. Many things had changed since then, with the coming of regulated -sanity and the achievement of world peace. Gone now were the black arts -of forgetfulness, those media which practiced the enticement of the -Citizen into irresponsible escape. Now this crowded theater was only -a reminder. And a place of execution for those who would have sought -escape here. - - * * * * * - -Perhaps thirty people were sitting on the floor of the Arena, where -once there had been a stage. They sat quietly in chairs not so -different from mine, strapped for the moment into a kind of passive -conformity. I looked at them with interest. Strangeness has as much -attraction as the familiar at times. As usual, most of them were -young--from about ten to the early twenties. But at whatever age, -they were rebels. They were potential enemies of society. Criminals. -Probably some of them hadn't yet realized it. But they were on the -verge of anti-social insanity, and the brain-scanners had singled them -out. - -They were so young.... How long does it take a boy to become neurotic, -psychotic, dangerous? - -A flurry of movement at the gates caught my eye. Apparently at least -one of them was a full-fledged Rebel. He struggled furiously, and the -three proctors were having an awkward time carrying him into the Arena -without hurting him. - -Then, as they moved into the floodlights, I saw with a faint shock that -it was a girl. - -She was dressed in man's clothing, but betrayed by her neurotic and -unsanitary long hair. - -Long, blonde hair. For a moment I forgot where I was, and allowed -myself to revel in this nearly forbidden sight. The soft waves fell -halfway down her neck, disarrayed now. The floodlights shined on it, a -strangely gentle mockery of sunlight. Something within me stirred, and -I almost remembered.... - -Then they were strapping her into one of the chairs, carefully pulling -the soft leather straps with their attached metal electrodes around -her, pinioning her. One set joined her arms to the armrests, another -her legs to the specially devised footrests. Her tunic was opened, and -a third set was passed around her chest, the metal plate fastened just -under her left breast. - -And then she was alone. - -I stared at her, drawn at first to her hair, and then, as my vision -focused across the distance, to her eyes. - -Strange eyes; light blue irises, surrounded by a ring of dark blue, and -flecked with gold. They were shining. She had been crying. Her eyes -seemed to melt, like a pool of clear water growing deeper; I could -almost see into them, into the darkness beneath. I was no longer aware -of the chair in which I sat ... only of her, alone before me, so close. - -Her eyes widened for just an instant when she recognized me. - -"_Bob._" - -"_Hello, Rosebud._" - -"_I knew you'd be here. I knew._" - -"_It's been a long time.... I think I was trying to forget._" - -"_Don't,_" she said. "_Don't ever forget._" - - * * * * * - -Sun drenched me, and I was rocked back into time. - -"Hey, you pushed me!" I shouted at her. - -"Yes," said a faint voice, and then, "I'm sorry," the little -golden-haired girl said. - -I sat up. Mother was going to be mad at me again, I knew. I wiped the -seat of my pants with my hand, and then stared at the muddy hand with -interest. - -"Look," I said to her, and showed her my hand. When she stepped forward -to look closely at it, I pushed it at her, and smeared mud onto her -face. Then I laughed.... - - * * * * * - -My laughter faded, blending with hers ... and then ... and then we were -no longer standing separately in the sun. - -It was a dark night, the air fresh and cool to my skin, and the leaves -of the trees which stretched over us rustled with a faint wind. - -I laughed again, a soft girlish sound that brought discomfort to the -boy's face before me. - -"Your mother says. Your father says. Don't you ever say anything for -yourself, Bob?" - -"Look, Rosalie, I'm sorry. Maybe I just don't think the way you do. My -father says sex at our age is just another escape from reality. You've -got to face yourself as an adult first. He--" - -"Your father is a bigger nincompoop than you are!" I shouted at him. "I -thought you said you loved me. I thought you had some _feelings_ buried -under that so-called rational mind of yours! Or does your father say -you're too young to _love_ somebody?" - -He tried to say something, but I was right. He pressed his lips -together and looked away. I was almost enjoying it now; with deliberate -coolness I buttoned up my tunic, feeling the soft fibers on my skin. - -"How long does it take to love somebody?" I said, but my voice was -beginning to tremble. I turned away from his still figure in the night, -and began the slow walk back along the path to the house. Tears stung -my eyes, and spilled onto my cheeks; I started to run through the dark. - -I slammed the door when I ran in, and went directly to my room. At -one end of it was a small studio, where an easel was lit coldly by -a fluorescent light. Almost blindly I began beating my fists on the -still-wet canvas, blurring and then ripping the nearly finished -portrait of a young man. - - * * * * * - -I was crying quietly when the low, calm voice stopped me on the street. - -"Just a moment, Miss." - -I felt the sudden skip in my heart which signaled danger, and when I -turned I saw the light green uniform of a proctor in the vague street -light. My eyes were still blurred with tears. I couldn't make out his -face. - -"I'm sorry, but I'll have to ask you a few questions." - -Shielding my face from the light, I tried to make my voice calm. I -hoped my homesick tears were hidden, that my cheeks wouldn't glisten in -the light. I wanted very badly for him not to see I had been crying. - -"Yes?" - -"I'll have to know why you're out on the streets at this time of the -morning," the proctor said. "There's a curfew, you know. Unless you can -show cause...." - -Oh God; I had completely forgotten the city's curfew! - -"I--I'm sorry, Officer. I'm new to the city and I didn't realize...." - -"You're transient? Where are you staying?" - -"The Statler Dormitory for Women," I answered meekly. - -"And why are you out at this hour, so far from the dorm? That's down -near 34th Street, almost thirty blocks south." - -"I know. I couldn't sleep--" His eyes narrowed at that; had I made a -mistake? I plunged on: "--and I wanted to see Central Park. I didn't -realize there was any harm...." - -"I guess not this time, Miss, but you'd better get back to your dorm. -Take this pass." He scribbled a few words on a pad and then detached a -slip of green paper for me. "You can take a train down to 34th Street. -Now." - -"I'd just as soon walk, sir." - -He stared at me for a moment and then I turned and started for the -nearest subway entrance. - -It had been horrible, those first few days in the Dorm. I'd -never dreamed that a sane society could be so ... not cruel, but -_unthinking_. Back home in Woodstock we were all supposed to be sane -too, but neither Father nor Mother had ever forced any rigid rules on -me. They had let me roam the woods, scuffing the dry leaves in autumn, -drinking water from the creeks in my cupped hands. They hadn't objected -when I was gone for hours. Usually I was just sitting on a log and -staring into the sky, and what harm was there in that? - -They had encouraged my painting. "It's supposed to be a sign of -escapism," Dad said, "but there are a lot worse ways of escaping." He -made an easel for me, and I used tubes of house-paint tint-colors and -stretched canvas and burlap over frames Dad made. He even gave me a -book of reproductions of the Old Masters that he'd saved. - -Life in Woodstock had been pleasant for me, I realized now, even if -it had often seemed lonely. I couldn't have told the proctor that I'd -really woken up from a dream about Bob before I'd gone out walking. -I'd seen Bob's face so clearly, standing in the night, unable to say -anything to me. Suddenly it had seemed that my voice was stopped too, -and I'd woken up gasping.... - -I boarded a local train, not caring that an express would be much -faster, and began the trip back to my cubicle at the Statler Dorm. If -only they hadn't taken my parents.... - - * * * * * - -I had succeeded in setting up a makeshift easel in my room at the Dorm, -and was working on a painting, wearing some of Dad's old clothes, when -the proctors broke in. - -One of them pointed a small indicator at me, glanced at it and nodded. - -"She's the one. Instability and escapism. And look at the kind of -clothes she wears." - -"What are you doing?" I whispered. This was how they'd taken my parents! - -"You're under detention as a criminal against society. Miss," one of -the proctors said. "We're all sorry." - -Another one stepped forward and held out a hand to me as one might a -child. "Come along now." - -"_No!_" I backed away from them, and when they trapped me in the corner -I kicked and screamed at them. "Leave me alone, leave me alone! You're -killers!" One of them grabbed me and held me around my waist, my arms -pinned to my sides. - -"We're not killers, Miss," he said, and his voice was incredibly calm. -"We have nothing to do with it." - -I twisted free and struck at him, tearing skin from his face with my -nails. "_Weren't my parents enough?_" - -One of them pointed another device at me, and I blacked out. - - * * * * * - -When I came to, I was being carried by three proctors through a door -and down a hall. My head was fuzzy and throbbing. I caught a glimpse -of a stenciled sign in the corridor, lettered neatly over an arrow -pointing in the direction we were going. The words leaped out at me: -_Execution Arena Floor_. - -One of the proctors saw that I was conscious and looked down at me -pleasantly. "No sense struggling now," he said. "It'll be over soon." - -I stared back at him for a moment, not understanding. But then the -kindness in his face became clear. He pitied me! The proctors were -carrying me as gently as possible, as though I were a dog with a broken -leg. - -I felt incredibly sad, and so tired that I was sure I must suddenly -weigh twice as much. But they carried me through the door and out onto -the floor of the Arena, and there were a thousand people up in the dark -waiting for me. There were floodlights on the chairs where the others -of the Condemned were strapped. They sat quietly, dully, as though they -were the Executioners and the people above were waiting for _them_ to -press the buttons. - -But it was insane! How could they take it so calmly----were they dead -already? Did they _want_ to die? - -Or was I really insane? Where _was_ the sanity in this Arena? - -I couldn't lie still while they carried me to that chair. I was -frightened. I was terrified! They were all so silent, so calm, so -kindly. As though nothing at all were happening--nothing at all! - -I struggled, trying to fight my way free. I kicked and screamed; I -had to make some noise in that black silence. But they held me, and -strapped me into the chair. And still there was no sound in the Arena. - -I felt a shock, a tension, and I looked up. - -There, in the audience, sitting before his little panel with the blue -light and the red Executioner's button, was a young man staring at me. - -I could feel his stare, like a cool hand touching me. It drew me up, -into the dimness.... - -I felt my eyes widen with recognition. - -"_Bob_," I said. - -His reply sounded deep inside my mind, "_Hello, Rosebud._" - -"_I knew you'd be here_," I said, and then I drew him close to me. - -"_It's been a long time._" - -"_Don't ever forget_," I said, and opened myself to him at last. - - * * * * * - -The lights in the Arena dimmed, rose, dimmed again. The first signal -I pressed against the straps, but they were firm and unmoving. Yet -I--we--leaned forward, and watched the panel with its blue light. Our -stomach was knotted like tight leather cords. - -The blue light flashed. I reached out a hand to the small red button. -The straps bit into our flesh. The panel was dim, ghostly beneath the -glaring lights from the dark above. - -A thousand hands touched a thousand red buttons. - -One of them was the first to touch the button, the first to complete -the circuit. No one knew who he was. No one even knew if every button -was connected, but someone touched a button and somewhere the circuit -was completed. - -_Shock!_ Pain jerked our body rigid! We _screamed_; our skin blistered -as hair singed and fell away. And there was a greater shock, a pain -somewhere else, as our images cleaved and I fell away from her. I -reached out my hand to her, and almost felt her touch ... but my hand -was on the button, and she was slumped in her chair on the floor of the -Arena. - -I jerked my hand away from the button as though it were hot -electricity. My whole body was moist with perspiration. - -I stared about me, suddenly and deeply frightened. Which of us had -screamed? I'd felt it surging up in me, felt it tearing at my throat, -bursting from my mouth--but next to me the others were unconcernedly -waiting for me to rise from my seat so that we could file in an -orderly fashion from our places in the Arena. They had noticed nothing. - -When I stood up my legs were trembling. I could still feel where the -leather straps had bitten into them. I stepped carefully up the stairs -and went out into the morning sunshine. Though the floodlights had been -bright in the Arena, still the sunlight hurt my eyes. I paused at the -door, and looked at my ring-watch. It was nine-thirty. Only half an -hour had passed. - -How long does it take to destroy a few spoiled lives? - -It was over. I forced my breathing into a more normal rate and stepped -onto the sidewalk. Don't think about it, I told myself. After all, it -had been years earlier that I had really lost her.... - -I had almost made it to the corner when I felt the tap on my shoulder, -began to turn, saw the green-sleeved arm extending toward me a familiar -black indicator, and heard the proctor say: - -"This is the one. Definite case: schizoid condition, latent telepath." - -"We're all sorry," said another of them. - -And they led me away to face it again. - - - - - -End of Project Gutenberg's I, Executioner, by Ted White and Terry Carr - -*** END OF THIS PROJECT GUTENBERG EBOOK I, EXECUTIONER *** - -***** This file should be named 61335.txt or 61335.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/1/3/3/61335/ - -Produced by Greg Weeks, Mary Meehan and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions 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-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. 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-tm 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-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -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-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm 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-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain 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-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside 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-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm 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 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/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm 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-tm 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-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -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-tm 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-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (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-tm -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-tm 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-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm 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-tm - 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-tm 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-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm 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 -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project -Gutenberg-tm 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-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm 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-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm 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-tm's -goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at http://www.pglaf.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. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. 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 principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread 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 http://pglaf.org - -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: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -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. diff --git a/old/61335.zip b/old/61335.zip Binary files differdeleted file mode 100644 index c38bb77..0000000 --- a/old/61335.zip +++ /dev/null |
