Hearts of Three | Page 2

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 wilich 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 w r ords 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:
Bearing 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