Hearts of Three (Adventure Classic). Jack LondonЧитать онлайн книгу.
“The time, the place, and the men are met; the moving pictures producers, the newspapers, and the capital, are ready: let us get together.” And we got. Result: “Hearts of Three.” When I state that Mr. Goddard has been responsible for “The Perils of Pauline,” “The Exploits of Elaine,” “The Goddess,” the “Get Rich Quick Wallingford” series, etc., no question of his skilled fitness can be raised. Also, the name of the present heroine, Leoncia, is of his own devising.
On the ranch, in the “Valley of the Moon,” he wrote his first several episodes. But he wrote faster than I, and was done with his fifteen episodes weeks ahead of me. Do not be misled by the word “episode.” The first episode covers three thousand feet of film. The succeeding fourteen episodes cover each two thousand feet of film. And each episode contains about ninety scenes, which makes a total of some thirteen hundred scenes. Nevertheless, we worked simultaneously at our respective tasks. I could not build for what was going to happen next or a dozen chapters away, because I did not know. Neither did Mr. Goddard know. The inevitable result was that “Hearts of Three” may not be very vertebrate, although it is certainly consecutive.
Imagine my surprise, down here in Hawaii and toiling at the novelization of the tenth episode, to receive by mail from Mr. Goddard in New York the scenario of the fourteenth episode, and glancing therein, to find my hero married to the wrong woman!—and with only one more episode in which to get rid of the wrong woman and duly tie my hero up with the right and only woman. For all of which please see last chapter of fifteenth episode. Trust Mr. Goddard to show me how.
For Mr. Goddard is the master of action and lord of speed. Action doesn’t bother him at all. “Register,” he calmly says in a film direction to the moving picture actor. Evidently the actor registers, for Mr. Goddard goes right on with more action. “Register grief,” he commands, or “sorrow,” or “anger,” or “melting sympathy,” or “homicidal intent,” or “suicidal tendency.” That’s all. It has to be all, or how else would he ever accomplish the whole thirteen hundred scenes?
But imagine the poor devil of a me, who can’t utter the talismanic “register” but who must describe, and at some length inevitably, these moods and modes so airily created in passing by Mr. Goddard! Why, Dickens thought nothing of consuming a thousand words or so in describing and subtly characterizing the particular grief of a particular person. But Mr. Goddard says, “Register,” and the slaves of the camera obey.
And action! I have written some novels of adventure in my time, but never, in all of the many of them, have I perpetrated a totality of action equal to what is contained in “Hearts of Three.”
But I know, now, why moving pictures are popular. I know, now, why Messrs. “Barnes of New York” and “Potter of Texas” sold by the millions of copies. I know, now, why one stump speech of high-falutin’ is a more efficient vote-getter than a finest and highest act or thought of statesmanship. It has been an interesting experience, this novelization by me of Mr. Goddard’s scenario; and it has been instructive. It has given me high lights, foundation lines, cross-bearings, and illumination on my anciently founded sociological generalizations. I have come, by this adventure in writing, to understand the mass mind of the people more thoroughly than I thought I had understood it before, and to realize, more fully than ever, the graphic entertainment delivered by the demagogue who wins the vote of the mass out of his mastery of its mind. I should be surprised if this book does not have a large sale. (“Register surprise,” Mr. Goddard would say; or “Register large sale”).
If this adventure of “Hearts of Three” be collaboration, I am transported by it. But alack!—I fear me Mr. Goddard must then be the one collaborator in a million. We have never had a word, an argument, nor a discussion. But then, I must be a jewel of a collaborator myself. Have I not, without whisper or whimper of complaint, let him “register” through fifteen episodes of scenario, through thirteen hundred scenes and thirty-one thousand feet of film, through one hundred and eleven thousand words of novelization? Just the same, having completed the task, I wish I’d never written it—for the reason that I’d like to read it myself to see if it reads along. I am curious to know. I am curious to know.
Jack London.
Waikiki, Hawaii,
March 23, 1916.
Back to Back Against the Mainmast
| Do ye seek for fun and fortune? Listen, rovers, now to me! Look ye for them on the ocean: Ye shall find them on the sea.Chorus:Roaring wind and deep blue water! We’re the jolly devils who, Back to back against the mainmast, Held at bay the entire crew.Bring the dagger, bring the pistols! We will have our own to-day! Let the cannon smash the bulwarks! Let the cutlass clear the way!Chorus:Roaring wind and deep blue water! We’re the jolly devils who, Back to back against the mainmast, Held at bay the entire crew.Here’s to rum and here’s to plunder! Here’s to all the gales that blow! Let the seamen cry for mercy! Let the blood of captains flow!Chorus:Roaring wind and deep blue water! We’re the jolly devils who, Back to back against the mainmast, Held at bay the entire crew.Here’s to ships that we have taken! They have seen which men were best. We have lifted maids and cargo, And the sharks have had the rest.Chorus:Roaring wind and deep blue water! We’re the jolly devils who, Back to back against the mainmast, Held at bay the entire crew. —George Sterling. |
Chapter I
Events happened very rapidly with Francis Morgan that late spring morning. If ever a man leaped across time into the raw, red drama and tragedy of the primitive and the medieval melodrama of sentiment and passion of the New World Latin, Francis Morgan was destined to be that man, and Destiny was very immediate upon him.
Yet he was lazily unaware that aught in the world was stirring, and was scarcely astir himself. A late night at bridge had necessitated a late rising. A late breakfast of fruit and cereal had occurred along the route to the library—the austerely elegant room from which his father, toward the last, had directed vast and manifold affairs.
“Parker,” he said to the valet who had been his father’s before him, “did you ever notice any signs of fat on R.H.M. in his last days?”
“Oh, no, sir,” was the answer, uttered with all the due humility of the trained servant, but accompanied by an involuntarily measuring glance that scanned the young man’s splendid proportions. “Your father, sir, never lost his leanness. His figure was always the same, broad-shouldered, deep in the chest, big-boned, but lean, always lean, sir, in the middle. When he was laid out, sir, and bathed, his body would have shamed most of the young men about town. He always took good care of himself; it was those exercises in bed, sir. Half an hour every morning. Nothing prevented. He called it religion.”
“Yes, he was a fine figure of a man,” the young man responded idly, glancing to the stock-ticker and the several telephones his father had installed.
“He was that,” Parker agreed eagerly. “He was lean and aristocratic in spite of his shoulders and bone and chest. And you’ve inherited it, sir, only on more generous lines.”
Young Francis Morgan, inheritor of many millions as well as brawn, lolled back luxuriously in a huge leather chair, stretched his legs after the manner of a full-vigored menagerie lion that is overspilling with vigor, and glanced at a headline of the morning paper which informed him of a fresh slide in the Culebra Cut at Panama.
“If I didn’t know we Morgans didn’t run that way,” he yawned, “I’d be fat already from this existence.... Eh, Parker?”
The elderly valet, who had neglected prompt reply, startled at the abrupt interrogative interruption of the pause.
“Oh, yes, sir,” he said hastily. “I mean, no, sir. You are in the pink of condition.”
“Not on your life,” the young man assured him. “I may not be getting fat, but I am certainly growing soft....