The Destroyer. 1. Created
This novel is a work of fiction. Names, characters, places, and incidents are either the product of the author's imagination or are used fictitiously. Any resemblance to actual events or places or persons, living or dead, is entirely coincidental.
(Editor's Note: When we decided to reissue this book, we were told by Chiun, the Master of Sinanju whose exploits are described in this series, that he would write the foreword. We could find nobody to tell him no, and we dared not do otherwise.)
FOREWORD
By Chiun, the Reigning Master of Sinanju.
YOU READ LIES
Do not believe what you read in this book. It is too late for them now to set things right and you should not encourage these people to try.
This book is called a reissue which apparently is a new Pinnacle publishing word for a thin fabric of lies and distortions that is repeated at least once.
Do you know that when this alleged book was originally printed, it lacked even my picture? So now they make amends. Hah! Quick. Turn back. Look at the cover again. See? The pale piece of pig's ear shown there looks indisputably like my disciple, Remo. Notice the lines of weakness about the eyes. Notice the slobbering lips showing the creature's sloth. Notice the big white nose, a standard of ugliness to civilized people everywhere.
But, hold. Who is this Oriental on the cover? Who is that old man?
I know what these people are up to. They are trying to deceive you into believing that that is the countenance of the Master in an effort to trick some people into buying this compendium of literary duck droppings.
DO NOT BE FOOLED
That is not my picture. The face they portray is a cruel, hard, evil face. Where is the love, the kindness, the general sweetness that is my countenance? (To Pinnacle editors: «countenance» means what someone looks like.-Chiun.)
MORE LIES IN THIS BOOK
I appear briefly in this shoddy manuscript. The scribbler, Murphy, describes me as a karate teacher. To call the art of Sinanju karate is to call the noontime sun a flashlight. So much for Murphy.
I am going to tell you some things about this book. It is called Created, The Destroyer. Everyone knows its real title is Chiun Meets Pale Piece of Pig's Ear.
And then they call the Masters of Sinanju killers. We are not killers but assassins. If America had competent assassins instead of amateur do-it-yourselfers, your civilization would be more orderly. But what can you expect of a country which would take off its beautiful daytime dreams to show fat men yelling about Gatewater? I will not forget them for that.
And another… oh, why bother? Trying to correct a typical Murphy set of mistakes is like trying to scoop out the ocean with a spoon.
CONGRATULATIONS
Fortunately, through a clerical error on the part of the scribbler, I have established my own following who receive bits of countervailing truth to stem this vicious propaganda. If you are among them, you are very lucky. You have perceived the goodness of this series, which is me.
But do not write to me at Pinnacle, for then you will expose yourself to all sorts of solicitation for various garbage which emanates from that publisher.
When you have Chiun, you need nothing else.
A FINAL DECEIT
Pinnacle Books has offered Murphy a chance to correct some of the errors in this pile of trash. I have warned him that he had better not: his perfidy should stand untouched through the ages as a demonstration of how low some men will sink just to enrich themselves.
Instead, out of the goodness of my heart, I offered to help set things straight with this foreword. He said they would print it as I wrote it I do not trust these people.
Let them know now that I will read every word of these pages.
You are reading an English translation of my remarks. It is not as good as real language, but it is better than nothing. When you are done with what I say, THROW THIS BOOK AWAY. It will do you no good.
With moderate tolerance for you,
I am forever,
Chiun
Master of Sinanju.
CHAPTER ONE
Everyone knew why Remo Williams was going to die. The chief of the Newark Police Department told his close friends Williams was a sacrifice to the civil rights groups.
«Who ever heard of a cop going to the chair… and for killing a dope-pusher? Maybe a suspension… maybe even dismissal… but the chair? If that punk had been white, Williams wouldn't get the chair.»
To the press, the chief said: «It is a tragic incident. Williams always had a good record as a policeman.»
But the reporters weren't fooled. They knew why Williams had to die. «He was crazy. Christ, you couldn't let that lunatic out in the streets again. How did he ever get on the force in the first place? Beats a man to a pulp, leaves him to die in an alley, drops his badge for evidence, then expects to get away with it by hollering 'frame-up.' Damn fool.»
The defense attorney knew why his client lost. «That damned badge. We couldn't get around that evidence. Why wouldn't he admit he beat up that bum? Even so, the judge never should have given him the chair.»
The judge was quite certain why he sentenced Williams to die. It was very simple. He was told to.
Not that he knew why he was told to. In certain circles, you don't ask questions about verdicts.
Only one man had no conception of why the sentence was so severe and so swift. And his wondering would stop at 11:35 o'clock that night. It wouldn't make any difference after that.
Remo Williams sat on the cot hi his cell chainsmoking cigarettes. His light brown hair was shaved close at the temples where the guards would place the electrodes.
The gray trousers issued to all inmates at the State Prison already had been slit nearly to the knees. The white socks were fresh and clean with the exception of gray spots from ashes he dropped. He had stopped using the ash tray the day before.
He simply threw the finished cigarette on the gray painted floor each time and watched its life burn out. It wouldn't even leave a mark, just burn out slowly, hardly noticeable.
The guards would eventually open the cell door and have an inmate clean up the butts. They would wait outside the cell, Remo between them, while the inmate swept.
And when Remo was returned, there would be no trace that he had ever smoked in there or that a cigarette had died on the floor.
He could leave nothing in the death cell that would remain. The cot was steel and had no paint in which to even scratch his initials. The mattress would be replaced if he ripped it.
He had no laces to tie anything anywhere. He couldn't even break the one light bulb above his head. It was protected by a steel-enmeshed glass plate.
He could break the ashtray. That he could do, if he wanted. He could scratch something in the white enameled sink with no stopper and one faucet.
But what would he inscribe? Advice? A note? To whom? For what? What would he tell them?
That you do your job, you're promoted, and one dark night they find a dead dope-pusher in an alley on your beat, and he's got your badge in his hand, and they don't give you a medal, they fall for the frame-up, and you get the chair.
It's you who winds up in the death house-the place you wanted to send so many men to, so many hoods, punks, killers, the liars, the pushers, the scum that preyed on society. And then the people, the right and the good you sweated for and risked your neck for, rise in their majesty and turn on you.
What do you do? All of a sudden, they're sending people to the chair-the judges who won't give death to the predators, but give it to the protectors.
You can't write that in a sink. So you light another cigarette and throw the burning butt on the floor and watch it burn. The smoke curls up and disappears before rising three feet. And then the butt goes out. But by that time, you have another one ready to light and another one ready to throw.