(thoughtful music) (triumphant music) >> Narrator: Sausalito, California.

One of the greatest crowds in the West gathers to witness the launching of a liberty ship.

There is something about this crowd, as there is about this ship, that is different from any other.

Something you cannot see, yet something that all who are assembled here can feel.

The presence of an unseen yet vital personality.

For the name of this ship is "Jack London".

Never was a Liberty ship more fittingly named.

The fearless spirit and purpose of the man lives again in every member of its crew and invests the ship itself with true significance.

For Jack London was more than a great author.

He was a real American.

(dramatic music) >> Narrator: He lived and wrote that others might be free.

Free to read the truth.

Free to right a wrong.

Free to raise their voices on behalf of the welfare of their fellow man.

(dramatic music) (tense music) (sad music) >> Was it bad?

>> It was awful.

She just sits there and falls asleep.

And the next thing you know, she's into it.

And the machine smashes her hands.

>> Come on, all of ya.

Everybody back to work.

(factory bell rings) Hey, London.

You too.

Come on, get back to work or you won't have a job.

>> It coulda been my fingers just as easy as that girl's.

Lots of times I've almost dozed off and just caught myself in time.

It's the rotten air and the noise that never stops.

12 hours a day beating in your brain.

For 10 cents, 10 cents an hour.

>> Oh, I know honey.

But things are bad all over.

It isn't that, Mammy Jenny.

It's, it's just that people like us, poor people, have to work in filthy holes just to exist.

And that other people, rich people, can have everything they want.

Fine clothes and carriages.

And not only things, but time.

Time to live, and time to think, and time to learn.

That's what I want, Mammy Jenny.

Time.

>> I guess you're right, Jack.

>> Mammy Jenny, have, have you got any money?

>> Well, I've got some.

Some I've been saving.

>> Would you lend it to me?

>> What for?

>> I'm gonna get myself a boat.

I can make money.

Lots of it.

Fast.

>> Jack London, what are you thinking about?

>> Oyster hauling.

>> Oyster hauling?

Oyster pirating, you mean.

>> I wouldn't stay at it long, Mammy Jenny.

Just a few hauls and I'd have enough money that'd last me three months.

A whole year maybe.

Then I'd be free to get some schooling.

>> Don't you let me hear you talk like that.

I helped to bring you in this world, and I want to see grow up right, so you amount to something.

I ain't gonna help you get in no trouble.

>> I don't want to get into trouble.

I'm trying to get out.

Is it wrong to want to fight your way out?

I'd pay you back.

Every cent.

More even.

>> Oh, it ain't the money, darlin'.

You can have all I got.

But I couldn't sleep nights worrying over you.

Oh, Jack.

If anything would happen to you, I'd never forgive myself.

>> Never mind, Mammy Jenny.

Forget about it.

170, 180, 200.

220 and five makes 225.

>> And you get bargain here.

I tell you straight, I hate to give her up.

But I got chance to buy bigger boat.

>> I've had my eye on her for a long time.

I've been a fool working in those jute mills and canning factories.

Hm.

>> Well, come on, let's, uh, work down the deal, huh?

Oh, Mamie.

Get your stuff off that boat.

Meet me on the right pier.

You know, you're gonna like that boat.

Good boat.

>> Yeah.

(happy music) >> Hello.

>> What are you doing here?

>> Fell asleep below.

You going in with French Frank?

>> What's that gotta do with you?

>> Nothing.

Only there's an awful lot to learn about oyster pirating.

>> Who taught you?

>> My brother.

He was the best of 'em.

Until he got a bullet in him.

You're sorta young looking to be getting a bullet in you.

>> Well, that's the chance you take.

>> Hey, you shouldn't go out tonight.

>> Jack: Why not?

>> With the moon up?

>> Ah, I'm not going out for raiding.

>> Just like to try her out, huh?

>> Jack: That's right.

>> When you get a boat of your own, it sorta makes a man outta ya, don't it?

>> Sure does.

>> We got some sail patching to do.

A rat musta got at this one.

(lively music) >> Hey, there's Scratch Nelson.

Hi, Scratch.

>> Hello, Jack.

Hi, Mamie.

>> How've you've been?

I haven't seen you around lately.

Hey, what happened to you?

>> Oh, I, uh, I had a run in with French Frank over the split.

>> Oh.

>> Well, a new dress.

>> New everything, from the skin out.

>> Yes, sir.

Mamie the queen of the Oyster Pirates.

(Scratch laughs) Come on, let's sit down, huh?

>> Yeah.

Hey, uh, Jack.

You know, I was just wondering.

How's about me coming in with you?

>> Why sure, Scratch.

We make enough for a three-way split.

Be glad to have you.

Only you better talk to my skipper here.

>> Well, what do you say, Mamie?

>> Sure.

Why not?

Then I'd have somebody to chew the fat with when Shakespeare here's writing one of them yarns of his.

(men laughing) >> Hey, Curly.

Double drinks all around.

To my new partner.

>> Coming up, Jack.

>> Jack: We'll have a real blowout after our first big haul.

(quiet, tense music) All right, Mamie, tie her up.

Heh.

Well, we're in first again, Scratch.

>> Scratch: We ain't been second yet.

>> Here comes Frenchie.

>> Scratch: Yeah.

Coming in on a dragnet.

(man shouts in distance) >> Come on, let's beat him to the market.

That's a girl.

>> Man: Gigs up, boys.

What do ya' say?

(gunfire popping) (dramatic music) (gunfire popping) (gunfire popping) (sad music) >> What are you thinking?

>> I'm thinking that one of these days it's gonna be me laid out there on a slab.

Like a hulk, a dead fish, or worse, a 10 year prison stretch.

Life, maybe.

>> Let's go someplace, huh?

>> I can't.

>> What are you gonna do?

>> I'm through with this rotten business.

>> Aw, don't talk like that, honey.

You're just downhearted on account of what happened.

And it wasn't your fault.

>> It isn't that.

I'm through.

>> What about me?

>> You gotta choose for yourself.

>> You bet your life I'll choose, if that's the way you are.

>> I'm sorry, but I got to.

>> You're yellow, that's what you are.

Quitter!

Dirty, stinkin' quitter!

(ship horn blowing) >> $30 a month from town.

Sign here and make your mark.

$30 a month from town.

Sign here and make your mark.

$30 a month from town.

Sign here... Well, Tom.

Old 48.

Why, I thought you were back on that farm.

>> I didn't make it.

I'll make it this time, though, you bet.

How long is this cruise?

>> About seven months.

The Bering Sea.

>> Well, that ain't so long.

>> That's right, Tom.

That's right.

$30 a month from town.

Sign your name.

$30 a month from town.

Sign here and make your mark.

$30 a month from town.

Sign here.

Name?

>> Jack London.

>> Experience?

>> Not very much, sir.

But I'm a good sailor.

>> What are you signing on for?

>> Able-bodied seaman.

>> All right.

$30 a month from town.

Sign here and make your mark.

>> He writes fine, just like a girl.

>> $30 a month from town.

Sign here and make your mark.

$30 a month from town.

Sign here and make your mark.

$30 a month from town.

Sign here and make your mark.

>> How soon do we sail, Captain?

>> Oh, you're anxious to sail, eh?

>> Sure am.

>> You just can't wait to tangle with them seals, huh?

Down the forecastle.

(captain chuckles) (lively music) (sailors chattering) >> Hey folks!

>> Help yourself, mate.

Everybody for yourself.

>> Man: Shut up!

>> Man: What do I need?

>> You're gonna like this old boat.

>> Jack: I'm glad to be on it.

>> Hey, you.

That's my bunk, and my things was in it.

>> Those are my things in there now.

>> Listen.

I always want to bunk by the ladder.

>> I'll match you for it.

>> Go ahead.

>> You lose.

>> Maybe I'll bunk by the ladder next week.

>> Maybe.

(men laughing) >> Oh, shut up!

Well, if it isn't old 40 acres.

>> You mind your own business.

Keep your mouth closed.

>> How's the farm?

>> Shut up!

(man laughing) >> What's that, a Bible?

>> No, but I got a Bible, if you want one.

>> What's this about, dames?

>> No, it's about men.

Darwin's "Origin of Species".

>> For heaven's sakes.

Hey, mates.

We got a professor aboard.

>> Give me that book.

>> You ain't gonna be selfish with your learning, are ya?

>> Give me that book.

>> Hey, Victor.

(men all chattering) (lively music) (punch thudding) (men exclaim) That's something you won't get out of books.

(growls) >> Why don't you leave the boy alone?

>> Let's finish the game.

(men chattering) >> What is it?

>> Uh, 300.

>> 20.

>> 20.

Good.

>> Good.

>> Good.

(bright music) >> Seals ahead.

Thata way.

(men chattering) >> Somehow it doesn't seem right, killing these poor innocent seals only to get a fur coat for some dame.

>> Eh, who's doing it for dames?

We're doing it for dough.

>> You mean, we're doing it for dough to put fur on dames.

(men laughing) >> Is that right?

Well, I got one down in New Orleans and I'm gonna marry her right after this trip.

We're gonna have plenty of kids, too.

>> That's right, Victor.

>> Yeah, the trouble is you'll never get past the first saloon.

>> Not this trip.

Boy, I'm gonna save every cent I make this time.

>> Yeah.

Like old Tom.

He's always going to buy a farm.

(men laughing) >> You mind your own business.

Shut your big mouth.

>> Jack: Eh, why don't you leave the old man alone.

>> Hey, Victor.

Come here.

>> Oh, land lover!

Greenhorn!

Hey, London!

What'd you do with that wet stone?

>> I left it there.

>> Well, get it, will ya?

This knife of mine won't scrape a seal's eyelash.

>> I'm gonna slip a seal in Jack's bunk.

Don't nobody say nothing.

We're gonna have a rip-roaring time.

(men chuckling) >> Hey, where you going with that?

>> She's got a date tonight, and don't nobody say nothing.

(men laughing) Pretty soon this dirty sealing business'll be finished.

Then we'll be heading for Yokohama.

You ain't never been there, have you, Jack?

>> What's it like?

>> Just imagine us here, with a flock of Geisha girls swarming all around you.

>> Geisha girls, huh?

Just like any other girl, only better in some respects.

>> That sure sounds great.

I wish it would happen soon.

>> It'll be soon enough.

You got an experience coming that you'll never forget.

Never.

>> Sure sounds wonderful.

(startled yelling) (men laughing) >> Looks like the kid turned the tables on you.

The joke is on you.

>> Jack!

Better get outta here until he cools off.

Go on.

(men chattering) (dramatic music) (punch thuds) (crashing) (men chattering) (punches thudding) Get up, Jack.

Get up, Jack.

>> You gonna leave me alone?

Gonna leave me alone?

Now you'll leave me alone?

You leave me alone?

You leave me alone?

(quiet music) >> Why don't you turn in, get some sleep?

>> Nah, I just want to set something down.

Not a man, but a beast.

A wolf.

A sea-wolf.

That's what we all are.

But it's the sea that makes us that way, son.

Cooped up here like a lot of animals.

Doing the same thing day after day.

Thinking the same things night after night.

No wife.

No kids.

Nothing.

Just dreams.

Pretty soon we'll be back where we started from, and then you'll see.

The big, pale go in the night.

And the dreams will go in the night, too.

Then we'll sign on again, and it'll be the same thing all over.

>> Not me.

I'm gonna be a writer.

>> What are you gonna write about?

>> Well, about all this, I guess.

Only sometimes I worry about words.

I don't know enough about words.

>> Well, keep digging, kid.

They'll come to you.

And when they do, weed them.

Make every one count.

I don't know anything about writing stories, but it seems to me it ought to be something like, well, like making a good net.

Make every string and every knot mean something.

And when you've got them together, you make them hold.

You make them strong.

>> Hm.

I hardly ever went to school.

And there's so much I want to learn.

>> Well, keep after it, kid.

Just steer a straight course and keep that slush light burning.

(happy music) (door slamming) >> Good morning.

>> Good morning.

>> Good morning.

(clears throat) I spent a pleasant evening going over your short story compositions.

As usual, I have selected examples from the submissions.

And as usual, the author shall remain anonymous.

So if the shoe fits, you can hide your consternation behind a poker face.

The two stories I've selected represent the extremes in writing.

One is fraud.

An attempt at whimsy that evaporates into thin air.

The other is raw Almost brutal to the point of unbelief.

In other words, one of you will tickle a cloud with a feather, and the other has battered good taste with a sledgehammer.

(class laughs) I shall read from the feather.

"Penelope nibbled at her bonbon.

Her thoughts skipped from nothing to nothing.

She was in a pink blue haze.

Her mama wafted in and blended with the nothingness.

She seemed desperately worried.

'Penelope,' she breathed.

'Have you seen my thimble?'"

(class laughs) This made a profound impression on me.

I immediately stopped reading and went back to my Police Gazette.

(class laughs) I now come to the sledgehammer.

"'Go on,' he advised her.

'Pull the trigger and kill a man.

Spatter his brains on the floor, and slap a hole in him the size of your fist.

That's what killing a man means.'"

(class laughs) Excuse me, Professor Hilliard, but since you've made me a horrible example, would you mind discussing my story a little bit?

>> Not at all.

Not at all.

>> Well, sir.

Just what is it that's so wrong with my writing?

>> Well, boiled down, I should say, too much imagination.

Too much exaggeration.

After all, you know, London, slap a hole in him the size of a man's fist is, ah- >> I saw it happen in a joint in Singapore.

>> You saw it happen?

Well, perhaps I shouldn't have brought it up.

>> You see, Professor Hilliard, I've only written about what I saw.

It seems to me there's nothing wrong in writing about life and truth.

>> But do you think you will get very far writing about poverty, cruelty, brutality?

>> It's my experience that they exist, sir.

And if I could put 'em down on paper so people would think about 'em, and try to destroy 'em, then I'm doing something.

>> Ah.

Now we're coming to it.

Do you want to be a writer or a crusader?

>> Well, I don't know if I'm capable of being either.

I knew when I came here that I was different from the rest of you, but that didn't stop me.

Your entrance exams almost did, but I crammed myself with what I needed to get by.

I knew that I had to dig harder than the next fellow, because I am rough and barren ground.

But sir, I've watched the Chinese cut terraces into a rocky hillside, and patiently wait for the rain to wash down silt so things could be planted and made to grow.

In a way, I felt that I was like that.

That with a little help I could make the things grow that are inside of me.

I learned that a strong back wouldn't take me half as far as a good head, if I could develop one.

That's why I came here.

But, Professor Hilliard, if my great fault lies in writing about what I know and what I've seen, then I'm afraid it's a fault that can't be corrected here.

I'm sure you didn't intend to ridicule me, sir.

It's perhaps a trick of yours to make me think.

Well, sir, the trick has worked.

Thank you, Professor Hilliard.

>> You have just witnessed an unusual display.

Unusual in that we so seldom meet with it today.

The uncommon thing called courage.

I would suggest that the rest of you do not try to emulate him.

It takes a lot of, ah, intestinal fortitude.

For which Mr. London, undoubtedly, has another word.

>> Jack.

Jack, darling.

What's wrong?

You in trouble?

>> No, Mammy Jenny.

I sent for you to help me pack and store some things.

>> Pack and store?

What are you talking about?

>> I'm going away, Mammy Jenny, and I don't know when I'll be back.

>> Oh, quit being foolish.

What about your schooling?

What about your writing?

>> There goes most of it.

>> You, you mean you burning all them stories you done wrote?

>> And rewrote, Mammy Jenny.

Not all of them, though, I'm saving some.

And one of these days when I'm successful, I'll dig 'em up out of this trunk, and dust 'em off, and send them to the same editors who are turning 'em down now.

They'll buy them when I'm famous and write to tell me how good they are.

>> But Jack, you got me all mixed up.

First you sweat and you grub and you work yourself sick so as you can go to school and learn to write.

And toss it just like that.

They say you're going away.

Where are you going?

>> In the Yukon, Mammy Jenny.

>> Yukon?

Where is that?

>> Up north in Alaska.

>> What are you going up there for?

>> To get some money, Mammy Jenny.

There's been a gold strike.

And with a little luck I can hit it.

Then I won't have to worry.

I can sit tight, and study, and read, and write what I want to write, and not what a lot of editors and professors expect me to write.

>> But, but how do you know you can do better up there than you can do here?

And how are you so sure you ain't biting off more than you can chew?

>> I got as much chance as the next fellow.

You don't understand, Mammy Jenny, I, I just can't stay around here and be cramped between the jaws of a vise.

I've got to get out.

I've got to get away.

>> Oh, I just wish I could be sure you wasn't jumping yourself out of a frying pan into the fire.

It's so easy to do, Jack.

But there's very few people that can jump out of the fire back in the pan again.

>> Nothing could be as bad as the fire that's burning inside of me now.

It's trying to burn through.

It's got to burn through.

Someday, Mammy Jenny, maybe you'll know what I mean.

Someday, maybe a lot of people'll know what I mean.

(lively music) (woman screams) (slap cracks) (patrons laughing) >> Raise that 20.

>> Man: Make it 50 more.

>> And 100.

>> Man: That's not too much.

Make calls.

>> Man: 200 more.

>> Man: All in.

Come in, Charlie.

>> How are ya, stranger?

>> Fine.

How are you?

>> Writing home to your best girl?

>> No, just jotting down an idea.

It's a sour devil over there betting his fool head off.

He's all wrapped up in rabbit's feet.

>> That's Lucky Luke Lannigan.

>> Man: That's the end of the poker game, boys.

(men chattering) >> Now get back to the bar and I'll buy for all of you.

Give 'em anything they want, Al.

Hey, Freda.

Freda!

I just won a claim worth a million bucks.

Imagine that Stein boy trying to bluff me out of a pair of deuces.

(man laughing) Come on, baby, I'll buy you the joint.

>> Oh, I'm busy.

Can't you see?

>> Well, don't give me that now.

>> Look, Rabbits- >> You promised me if ever I won- >> Oh, let me go.

>> You heard what she said, didn't ya?

Some other time.

(punch thuds) >> What happened?

>> What's the matter, Lucky?

(patrons chattering) >> Good thing I blocked that one.

Oh, what's the difference?

Come on, I just made a million bucks.

Everybody to the bar.

(men chattering) >> Quite a character.

>> Say, where are you from?

>> California.

You from Spain?

>> Nuh-uh.

From Greece.

>> Oh.

"The Isles of Greece!

The Isles of Greece."

>> "Where burning Sappho loved and sang."

>> You know your Byron.

Hey, what's the name?

>> Freda Maloof.

>> Freda from Athens.

Freda, do you remember these famous lines?

"Oh Maid of Athens, ere we part.

Give, oh, give me back my heart."?

>> Why don't you stay here for a while, and rest up.

We could have a great time together with Byron and Shelley.

>> Well, maybe I will.

(knocking at door) >> See who that is.

It's Cheechako.

>> Hello.

You got a minute?

>> Where have you been all day?

>> Well, I got an idea last night from what you were telling me about that masked...

Excuse me.

(chuckles) I got an idea last night from what you were telling me about that masked ball, and I wrote a story about it.

Of course, it's still rough, but I think I caught something of you in it.

I'm gonna call it "The Scorn of Women".

>> Hey, that doesn't sound bad.

>> All right.

Here it goes.

Freedom was a Greek girl.

At least she purported to be Greek.

Her furs were the most magnificent from Chilcoot to St. Michael.

>> Oh, that's overdoing it a bit, isn't it.

(Jack chuckles) And her jewels were the envy of every woman.

(knocking at door) >> Man: Ready, Miss Maloof.

>> All right.

(gentle music) Are you going to come and hear my number?

>> Sure.

I want to fix this first.

>> Men: Gold!

Gold!

(excited chattering) >> What's all the excitement?

>> Gold strike!

Biggest since El Dorado.

>> Whereabouts?

>> 80 miles from here.

>> Jack!

Where are you going?

>> There's been a gold strike 80 miles north of here.

>> Oh, but you're not going, are you?

>> Well, sure I am.

Oh, listen to me, Cheechako.

You haven't got a chance out there.

I know this Yukon game.

You'll muck in the grass or still your heart breaks, until you rot of scurvy on the trail.

>> I know, but- >> Believe me.

In the end, the winner is the loser.

All the money comes here.

It stays here.

Right here in Dawson.

>> Thanks, Freda.

But I don't think I'm cut out for this stuff.

>> Oh.

Ideals.

Listen, I gave up a million bucks for you last night.

Doesn't that mean anything to you?

>> Everything, beautiful.

>> Oh, Cheechako.

>> I'll think of you on the trail, Freda.

Byron and Shelley under the stars.

And I'll wish I was back here with you.

(sad music) (unsettling music) (wolves howling) (wind howling) (wolf howling) Buck, where does all that snow come from?

And why?

To snow a man in all winter?

Keep him from his purpose?

(Jack chuckles) Frozen haunches.

See, there's an idea for you.

A man commits a crime, evades the police, and escapes to the Yukon.

And gets snowed in.

And spends the whole winter in solitary confinement.

Oh.

Don't like it, huh.

Not good.

(Jack chuckles) Yeah, maybe you're right.

Well, let's light the lamp and spend a cozy evening working.

Now if you're a good fellow, I'll let you in on the last two chapters I wrote.

Remember where we left off last night?

Right in the middle of the big fight.

Well listen to this.

In vain, Buck strove to sink his teeth in the neck of the big white dog.

Fang clashed fang, and lips were cut and bleeding, but Buck could not penetrate his enemy's guard.

Time and time again he tried for the snow-white throat, where life bubbled near to the surface.

Where the life bubbled near to the surface.

Hm.

Not a bad phrase there.

What do you say?

Hey you!

Buck!

Wake up.

Aren't you even interested in hearing about yourself?

Ah, you're a lazy dog.

Say, where did you get that terrible scar?

That musta ripped you wide open.

Yeah, what a life you must have led, Buck.

If you could only speak, what stories you could tell.

What a collaborator you'd be.

(thoughtful music) (happy music) Thank you, Mr. Brett.

>> There's only one little point.

Well, I'm not awfully keen about.

>> Oh?

What's that?

>> The title you've chosen.

>> "The Call of the Wild"?

Why, that's a wonderful title.

It's the whole idea of the story, sir, and I wouldn't change it for the world.

A dog reverting to the primitive, just as a human being, under hardship and brutality, reverts to the wilder.

>> Well, it's your baby.

I'm only the godfather.

>> I'd like to change it for you, Mr. Brett, but that's its name.

It was born that.

>> All right, George.

>> Thank you, sir.

>> Well, shall we go?

Sometime you must tell me how it was born.

Writing like that doesn't come out of nowhere.

>> Came out of the Yukon.

And unless I miss my guess, it's going to mark a milestone in American letters.

>> A story about a dog?

>> A dog, huh?

>> Here you are, Mr. Brett.

>> Thank you, Jenny.

>> That's what it's about, sir.

>> It's about life, you said so yourself.

Wouldn't surprise me if the critics hailed you as the Rudyard Kipling of this country.

>> Kipling!

He's always been my idol.

>> He was mine too until, well, quite recently.

(boys yelling playfully) (auto horn honking) Charmian!

>> Why, hello, Mr. Brett.

>> Well, you two must know each other, of course.

>> No, I'm afraid not.

>> Let me introduce you.

Miss Charmian Kittredge, and my favorite author, Mr. Jack London.

>> How do you do, Miss Kittredge?

>> Oh.

How do you do.

I'll see you later, Mr. Brett.

>> Well.

(lively music) >> Hello, Miss Kittredge.

>> Charmian: Morning!

>> Beg your pardon, did you wish to see someone?

>> You must excuse me for trailing you here, but I had to ask you an important question that just couldn't wait.

>> I can imagine why you're really here.

I want to apologize to you, Mr. London.

>> Apologize?

>> Yes.

I, I was in such a hurry to, to, I'm afraid I was a little abrupt on the street just now.

>> Abrupt?

>> I'm glad you didn't notice it.

I have to get to work, but I'm happy you gave me the chance to explain that I didn't snub you purposely.

>> Of course you didn't.

Why did you snub me, purposely?

>> But I assure you I didn't.

>> You snubbed me.

Purposely.

>> Believe me, Mr. London, I didn't.

>> Purposely?

>> But everyone says you're going to be a gold mine to this firm.

I wouldn't dare snub you.

Why, what would Mr. Brett say?

>> Purposely.

>> Mr. London, if you're not going to believe me- >> Pardon me, Miss Kittredge.

Mr. Brett wants to see you right away.

>> And may I offer a couple of words of advice?

>> What?

>> Don't go.

No, no.

You stay here.

Let me go.

I'll explain to him, and tell him it's all right as far as I'm concerned.

>> Thank you, Mr. London, but I happen to be quite capable of taking care of my own affairs.

Well.

Do you usually read what you find on other people's desks?

(Jack chuckles) >> I have no compunction about reading my own manuscripts.

But I do wish you'd consult me before making additions.

>> Additions?

>> Yes.

For instance.

"Once in 10,000 times, a manuscript appears from an unknown author, which is a masterpiece.

'The Call of the Wild,' by Jack London, makes a reader's life worth living at last."

Thank you, Miss Kittredge.

"P.S.

Unless you want to lose your favorite reader, never introduce me to Mr. London.

If he's anything like his book, my heart will stand still when I meet him."

>> I, I wish you'd go.

(gentle music) >> Did Mr. Brett rake you over the coals?

>> No.

No, it isn't Mr. Brett.

It isn't you.

Maybe it's myself.

I don't seem to be, to know what I'm saying, do I?

I, I guess I'm babbling.

Mr. London, I assure you I'm not this sort of person at all.

>> I don't know what kind of a person you are, Miss Kittredge.

But I do know you're a person.

(happy music) (horse whinnies) I don't think that horse likes me.

>> He doesn't like the way you ride him.

>> Well, I don't like the way he rides me.

You know, I don't get it.

When I was poor, I rode the rods because I had to.

Now I ride a horse and I don't have to.

Is that supposed to be an improvement?

(Charmian chuckles) >> Well, Jack, it, it wouldn't matter if you were rich or poor, obscure or famous, you'll always be riding somewhere.

You see, you just wrote the books.

I read them.

I think I know more about you than you know about yourself.

You're not like other men.

>> Well, that's not true.

>> You should read the words of Jack London sometime, and find out about yourself.

No, the ordinary man is content to stay put, but you've got something in you that won't let you rest.

>> Well, it's just that I hate traps.

When I was young, I thought poverty was the only trap and I swore I'd get out of it.

Now I find that money can be just as much of a trap.

Words can be a trap, too.

Have you ever thought of all the people who've been caught in hell by words like honor, duty, and love?

>> You mean that, you think love is a trap, too?

>> No, I didn't mean that.

I mean, that- >> I understand.

You're afraid for me, aren't you?

You're afraid that I'll be the one to be caught in the trap.

Oh, don't be foolish.

I thought you understood about women.

Don't you remember Frona?

Your own heroine in "Daughter of the Snows".

A girl who makes her own way.

Daring, courageous, loyal, and understanding.

She loved a man.

Without that terrible possessiveness.

>> You're like that.

>> I'd like to be.

>> Charmian, when a man and woman meet who are meant for each other, it's like a ship, new launched, rushing to the sea.

The sliding waves rebel, but neither sea nor ship hear them as they rush into each other's lives.

("For He's a Jolly Good Fellow") (man laughing) >> Come right in.

Happy New Year.

>> Happy New Year.

>> Happy New Year.

>> Please come right in.

>> Happy New Year, Mammy Jenny.

>> Happy New Year to you.

>> And here's a special Happy New Year for you, Mammy Jenny.

>> Oh, thank you, Captain Allen.

Thank you.

But, but ain't you a little mixed up with Christmas?

>> Oh, this is a different kind of Happy New Year, Mammy Jenny.

It comes only once every 100 years.

>> Happy New Century, you mean.

>> That's right.

>> Oh, I can't wait to see what I got.

Oh, that's beautiful, Captain Allen.

Just beautiful.

>> Now if you're good I'll be back with the mate to that.

In 100 years.

(both laughing) >> Oh, no sir, Captain Allen.

In 100 years, we both gonna be wearing golden slippers.

I hope.

(gentle music) >> But gentlemen, there's never been a century like it.

When you think of the progress we've made in culture and industry, the comforts we enjoy, electric lights, the telephone- >> And don't forget those horseless carriages.

>> A friend of mine has one, and one uncle.

And I swear we must have been whizzing along at 20 miles an hour, at least.

>> No doubt it, Jack.

Civilization's darn near reached the apex.

>> The millennium, huh?

>> Not far from it.

>> Well, the way I see it, we've only got one foot out of the dark ages.

Machines are great, sure.

But they only make more things more quickly.

There's nothing spiritual about them.

You can't change what's in a man's mind or in his heart.

And you can brag all you want about culture and progress, but what bucks big in a man's mind today is materialism.

Money.

Money out of machines and money out of everything.

That's what rules this world today, greed and selfishness.

In people and in nations.

And before we get through, instead of a millennium, we'll be ringing in a century of tyrants.

>> Aw, Jack.

>> You old pessimist.

>> Good evening, Mammy Jenny.

>> Good evening, Mr. Brett.

Happy New Year.

>> Happy New Year to you.

>> Jack: How do you do, Mr. Brett.

Glad you could come.

>> Hello, Jack.

Jack, I took the privilege of bringing a friend of mine, Mr. Kerwin Maxwell.

>> How do you do, Mr. Maxwell.

>> Mr. London, I've been wanting very much to meet you.

>> Oh, thank you, sir.

Oh, I'll take those, Mammy Jenny.

Now you can go back to your decorating.

>> Yes, sir.

>> You're having quite a shindig, aren't you?

>> Yes.

Why don't you go in?

You know everyone.

>> Jack, Mr. Maxwell would like a word with you privately.

Something rather interesting.

>> Oh?

>> You'll forgive my barging in on your party like this.

>> That's quite all right, sir.

Glad you could come.

Sit down?

>> Try one?

>> No, thank you, sir.

I'll, I'll stick to these.

>> What I want to talk to you about won't wait.

>> Oh?

What is it?

>> How would you like to cover the Boer War for my paper?

>> The Boer War?

>> Yes.

>> Well, there's, there's nothing I'd rather do.

But I've never done any newspaper reporting, much less war reporting.

>> You're very modest, Mr. London, because I've read your stories.

You have the gift of setting down what you see, and that, in my opinion, is the quintessence of good reporting.

>> Oh, thanks.

Thanks very much.

>> You'll have to leave immediately for London.

From there, you go to South Africa.

What will you say?

>> I'd like to, but, will you excuse me a moment?

(bright music) >> What is it, dearest?

>> It's quite a surprise.

I hardly know how to tell you.

Mr. Maxwell of the Globe has just made me a very flattering offer.

>> Well, that's wonderful.

>> Well, maybe it is and maybe it isn't.

See, he wants me to leave right away for South Africa to, to cover the Boer War.

>> What did you tell him?

>> I, I didn't tell him anything.

>> But you want to go, don't you?

>> Well, it's out of the question, of course.

It would mean postponing all our plans.

>> We'll have all our lives.

This will be great adventure for you.

>> But... (cheering from other room) >> Happy New Year, dear >> Happy New Year, sweetheart.

("Auld Lang Syne") (bright music) (upbeat music) (doorbell rings) >> Special delivery for Miss Charmian Kittredge.

>> All right.

Thank you sir.

Oh, Miss Charmian!

Miss Charmian.

Here's a letter from Mr. Jack.

Return address Portside.

>> He's on his way home!

He'll be here the 16th!

But today's the 16th.

>> It sure is!

>> Lay out some things, Mammy Jenny.

>> Yes'm.

>> Market 9623, please.

>> Man On Phone: Cunard Line.

>> Could you please tell me, what time does the Cambria get in?

>> Man On Phone: Why, the Cambria docked two hours ago.

>> Thank you.

(energetic music) I won't have time to change, Mammy Jenny.

The boat docked two hours ago.

>> Jenny: For goodness sake.

>> Just give me my cape.

>> Yes'm.

>> And my gloves.

>> Yes'm.

>> Oh, and Mammy Jenny, don't forget my purse.

>> Yes'm.

He's home.

>> Thanks.

>> Oh, you're welcome.

(romantic music) >> You're as lovely as I knew you'd be.

>> Jack.

Oh, Jack.

Oh, Jack.

It's beautiful.

>> I got that at a bazaar in Benares.

To tell you the truth, I wasn't gonna buy it, but you put up such an awful fuss.

>> I?

>> Everywhere I went, you were right there beside me.

>> Now you're really here.

>> For keeps.

Nothing will ever take me away from you again.

Nothing.

You still want to marry me?

Tomorrow?

Then tonight we celebrate.

>> I just sent a batch of that only yesterday to that outlandish place you was at.

>> Good.

Then I won't have to answer them.

(both laughing) >> Mr. Jack.

Here's a telegram.

>> A telegram?

>> Yes.

It just come for you about an hour ago.

You want these, Mr. Jack?

>> No, thanks, Mammy.

I won't do it.

I won't do it.

I tell you, I won't go, Mammy Jenny.

I won't go.

>> But this has got to be the last.

It's past closing time.

You want to have me lose me license?

>> But Mike, we've got to settle this first.

>> There's only one way to settle it.

I've been telling you all evening.

Get married and raise a house full of kids.

>> But how can I do that with a war breaking out?

>> It ain't our war.

We ain't even in it.

>> But I'm in it.

They want me to leave in the morning for Japan.

Lot of correspondents are going.

Jimmy Herr and Fred Palmer.

And Richard Harding Davis.

Oh, I've never seen a war, Mike.

You can live your whole life and never see a war.

>> Sure.

But what beats me is, if you're brave enough to face a war, why can't you face her and tell her you're going?

>> Mike, in a war you got a chance.

But with a woman?

>> Yeah, I know.

You're licked before you start.

>> But I gave her my word of honor.

>> And if you go, you lose her.

And if you don't go, you lose the war.

>> That's right.

That's what I've been telling you all evening.

>> Then we're right back where we started.

>> Night, Mike.

Thanks.

You've been a big help.

>> Better stay home, Jack, and raise them kids.

>> Now don't start that again.

(sad music) >> Hello.

>> Hello.

>> This is a fine way to keep our first date in three years.

>> Oh, God.

Please don't.

>> How could you?

>> Well, I, I was detained.

>> How?

Where?

>> Well, I received a telegram from Mr. Maxwell, and I had to go see him about it.

Can you imagine?

He wants me to leave for Japan.

In the morning.

>> Japan.

>> Yes, there's a war breaking out with Russia.

>> Well, what did you tell him?

>> Well, I, I, I told him no, of course.

>> And did it take you until 2:00 o'clock in the morning to say no?

>> Well, Maxwell's a funny fellow.

He, he, he can't take no like an ordinary person.

He kept insisting that this is the chance of my lifetime.

Wars are getting scarcer and scarcer.

>> And marriages are getting commoner and commoner.

Well, you can go.

It's perfectly obvious I mean nothing to you.

Nothing whatsoever.

>> You mean everything.

>> No.

It's no use, Jack.

If you think I'm going to ruin my life for a man who's blown here and there by every wind of adventure, you're very much mistaken.

>> I won't let you go.

Even if I was a little tempted by Maxwell's offer, which I don't admit, you come first.

I love you, darling.

And I swear I'll never think of leaving you again.

>> Promise?

>> My sacred word.

(playful music) >> Your bags, Mr. Jack.

All packed and ready to go.

>> Of course you're going, darling.

Mr. Maxwell tried to get you at my house.

I knew all about it.

(dramatic music) (thoughtful music) >> They're suddenly breaking their necks to make us comfortable.

>> You can have it.

Geishas and all.

What I'd give for a steamed beer and a corned beef sandwich.

>> Looks like you're gonna have it.

They're concluding peace negotiations right now.

>> 7000 miles for Tokyo and nothing to show for it but a nice pot belly from washing rice down with sake.

(men laughing) >> You can't tell.

As long as those skirmishes on the Korean border keep up, there's no telling, >> They don't mean a thing, Dick.

Just saber wrapping can scare the Tsar into conceding some point or other.

>> Maybe.

>> Then I'll string along with Davis.

Russia doesn't want war, that's a cinch.

And if these boys want peace, why are they sending troops into Korea?

>> Who said they are?

>> I say they are.

I was down at the waterfront this morning, (man speaking in foreign language) Do you understand?

>> Can't make it out.

>> Do you know what he's talking about, Dick?

>> No, I don't get it.

(speaking in foreign language) >> Say, just a minute.

What's all the excitement?

>> I have the pleasure to report that our honorable navy has just sunk the Russian fleet at Port Arthur.

(men all clamoring) >> I believe they're all here.

>> I deeply regret that I cannot grant your minister's request that you be allowed go to the front at this time.

Personally, I have no objections.

But unfortunately, such permission must come from a higher official than I have the honor to be.

However, I will use my humble persuasion in an effort to make your desires possible.

We shall arrange a banquet, where perhaps you will meet the official who can grant permission for you to go to Korea.

>> A banquet won't bring us any closer to the front.

>> We're all accredited correspondents, Mr. Hiroshi.

All we want to do is get the news and get it back to our papers so the world will know what's going on.

>> Sometimes it is not practical that the world know what is going on.

If, for instance, the Russians would have known what was going on, there would have been no Port Arthur.

We could not have dealt, what you call in your country, the first punch.

>> You're a little mixed up, aren't you?

You mean sneak punch.

>> The idioms of your country are so quaint, young man.

I'm sorry.

There's nothing I can do at the moment.

(men chattering) Who is that young man?

>> One of our new writers.

Very brilliant and very popular.

>> Yes.

It will be very interesting to follow his career.

(bright music) >> Hey, Dick, what are we going to do about this?

Well, there's no use of arguing about it.

We're in the same predicament as the girl who was told she could go swimming but not to go near the water.

>> Well, I'm going near the water.

I don't care what that little sawed off runt says.

Permission or no permission, I'm going to Korea.

>> Jack, that's being plain bull headed.

I've been in the game too long.

You can't get out of Tokyo without official sanctions.

>> Dick, I'll bet you $100 I can get to the front.

>> I'll bet you $100 you won't.

>> You're on.

>> Hey, Jack!

>> Jack!

Wait up!

(men chattering) >> Man: Good luck, Jack.

Good luck, Jack.

(lively music) (speaking in foreign language) >> Hey, lotta money, I want to go in the boat.

We want to go to the Yellow Sea.

Here, you can take a lot of money, see?

Here.

You have the money, huh?

The boat across the Yellow Sea, huh?

>> Hut.

Hut.

>> What?

>> Hut.

>> Hut?

>> Hut.

(speaking in foreign language) >> Yeah, I'd like to get passage.

(speaking in foreign language) Look, I'd like to get passage on one of those sampans across the Yellow Sea.

>> No can do.

>> I'll pay.

Plenty of money.

>> Sampan no go.

(speaking in foreign language) (dramatic music) (ominous music) (marching music) (suspenseful music) >> Man: Let me see that, please.

>> I'm an American War correspondent.

>> Yes.

But this is a forbidden zone.

And pictures sometimes fall into the wrong hands.

Hm.

Wonderful.

Very fast lens, I imagine.

Let me congratulate you.

>> Let me congratulate you on your knowledge of my language.

You must have spent some time in America.

>> Yes.

Although, I learned my English at Oxford.

I am Captain Tanaka.

>> Glad to know you, Captain.

My name is Jack London.

>> Oh.

I've read some of your books.

Very good, too.

>> Well, thank you very much.

Now you know I'm not a spy.

>> Where are you going?

To the front, if I can persuade someone to give me permission.

>> Perhaps I can arrange it.

Meanwhile it will be a great honor to have you as my guest.

Come along.

Better try some of this excellent caviar.

It will do much for your appetite.

>> No, thank you.

This is fine.

This is a nice cozy place you have here, Captain.

>> I believe in comfort, Mr. London.

Especially when our enemies are gracious enough to possess good taste.

As we go deeper toward Russia, I expect to add to my collection.

>> Is this part of your collection?

>> No, Mr. London.

This is a game we've devised, which has become very popular in my country.

We call it (speaking in foreign language).

(speaking in foreign language) Literally, that means patience.

But you might even call it destiny.

And this little contrivance here, I call (speaking in foreign language).

The prophet.

Since it foreshadows coming events.

Interesting, is it not?

>> Yes, very interesting, Captain.

>> You see, Mr. London, this is not only the rising sun, it is also a wheel.

The center, or hub of which, is Japan.

>> It's a very unusual map you have there, Captain Tanaka.

>> Yes.

Our eventual sphere of influence.

Here.

I shall show you.

You will note that the spokes radiate in all directions from the hub from which they naturally emanate, and to which, of course, they must converge.

Now, if you will be good enough to watch the map, I shall explain more fully.

Here is the theater of our present operations.

But tomorrow, as you shall see, we will have crossed the Yalu River.

And soon we'll have all of Korea.

A stepping stone to Manchuria.

>> Manchuria?

>> And then Mongolia.

A land of milk and honey.

200 million tons of timber.

A billion tons of iron.

Two billion tons of coal.

Enough to last Japan for 70 years.

We'll be stronger then.

Able to move both east and west.

>> You're out to gobble up all Asia.

>> Oh, yes.

Though, not at once.

First we must conquer China.

>> It sounds a little bit incredible.

>> But entirely logical, I assure you.

Oh, uh, won't you be seated, Mr. London.

>> Thank you.

>> You see, a policy of peace is quite impossible for Japan.

England can afford to pursue peace and develop trade relations, because she has India and Australia to supply her with food stuffs.

So can America, because of South America and Canada.

But in Japan, our food supply decreases in proportion to our population, you understand.

If we merely hope to develop trade, we shall be defeated by England and America.

In the end, we will get nothing.

That is a mathematical certainty.

We've got to control China, but in order to control China, we will have to crush your country and England.

That may take many years, of course.

50, 100 perhaps.

But it has all been carefully planned.

Scientifically.

The Rising Sun has a destiny.

Our expansion is inevitable.

This, the taking of Korea, is only the first step.

The first act of the drama.

But the play is on.

The curtain is up.

And it will rain down, you'll see, upon a Japanese world.

>> Why are you telling me all this?

>> Why not?

You'll not believe it.

(dramatic music) >> Man: He scooped the whole world!

>> Man: No other newspaper has it.

>> Not even the European papers.

>> How did he do it?

>> Wait a minute.

Wait a minute, boys.

If you want to hear some good reporting, listen to this.

>> I knew he would do it.

I knew it.

Isn't it wonderful?

Read it, Mr. Brett.

>> He jumped the gun on us.

>> He said he'd do it.

>> Man: Just a cub reporter, in fact.

You know what I suggest, David.

>> David: Yes?

>> That we draw up a petition from the Japanese government, protesting, demanding, that London be ordered back from the front, or else that we be granted instant permission to leave.

>> I second that idea.

>> We'll all sign it.

>> You write it out, David.

>> I'm as mortified as the rest of you celebrated war correspondents.

Being scooped by a novice.

As a matter of fact, I should feel worse, having lost $100 to boot.

(men laughing) We all had the same chance to get to Korea, at the risk of our lives.

To my mind we should draw up a commendation to a very courageous newspaperman.

>> I suppose you're right, if you look at it in that point of view.

>> I propose a toast.

As a matter of fact, I read it in one of London's books.

"Here's to the man on the trail this night.

May his grub hold out.

May his matches never misfire."

(men all talking at once) (ominous music) (dramatic music) >> You're under arrest.

>> What for?

>> Writing.

(speaking in foreign language) >> Take off hat.

>> Oh, sorry.

(speaking in foreign language) >> How did you get to Korea?

>> By sampan across the Yellow Sea.

(speaking in foreign language) >> How did you get past (inaudible)?

>> Through the courtesy of Captain Tanaka.

>> Tanaka!

>> Tanaka.

(speaking in foreign language) >> Do not believe you.

>> Well, why don't you ask Captain Tanaka.

(speaking in foreign language) >> Why did you take pictures in Nagasaki?

>> Hm?

>> Why did you take pictures in Nagasaki?

>> I was never in Nagasaki.

(speaking in foreign language) >> Japanese customs differ from America's.

Therefore, you must not tell any lies.

(speaking in foreign language) General, it's all true.

>> Good.

Good.

>> You stay in the jail!

= Hey, now wait a minute.

You can't do this, I'm an Am- (translator yelling in foreign language) (prisoners all yelling out) >> All they want is water.

Why don't you give it to 'em?

>> Them, no.

You?

(dramatic music) (suspenseful music) (banging) (frenzied music) (men all yelling out) (gunfire popping) (men yelling) (shouting in foreign language) (soldiers laughing) (sad music) (playful music) >> Oh, Mr. Hiroshi.

Good morning, Your Excellency.

Any news?

>> Always news.

Very good news.

Oh, about that writer friend of yours.

Jack London.

>> Yes?

>> No wonder he was so anxious to get to the front.

>> Why?

>> He's in jail, in Pinat.

He turned out to be a Russian spy.

>> Cable line, please.

(American patriotic music) It's the Japanese Ambassador, Mr. Takahi.

>> Mr. Takahi: You wish to see me, Mr. President?

>> Kindly inform your mikado that I demand the immediate release of Mr. Jack London.

>> I'll convey your suggestion, Mr. President.

(gong reverberates) (speaking in foreign language) >> General Fuji say he very sorry.

His most honorable ancestors very sorry.

Me very sorry too.

Sorry you have been detained.

He say he find out you very truthful young man.

(speaking in foreign language) He say, our most honorable country and your most honorable country always, uh, most honorable friends.

>> Well, that's just dandy.

Now tell General Fuji to give me my honorable camera.

(speaking in foreign language) (speaking in foreign language) (ominous music) >> Japanese peril.

The brown beast.

Asiatic dream.

It's great writing, Jack.

Great.

But good heavens, man, you don't expect me to publish these things.

>> Why not?

>> Because you're known for good common sense.

For hard facts.

For the truth.

Now who do you suppose is gonna swallow this stuff?

>> A big truth is more difficult to swallow than a big lie, but it doesn't make it any the less the truth.

I didn't write these articles for fame or money, Mr. Maxwell.

I wrote them because I felt it was my patriotic duty.

And it's your duty as a publisher to print them.

>> No, I'm sorry, Jack, but I can't.

For two reasons.

First, you've nothing to substantiate the charges you make against Japan.

>> But I saw it with my own eyes.

Japanese treachery, Japanese barbarism.

I've told you the hours I spent listening to Tanaka.

>> Hm.

An Army captain, a madman, most likely.

>> Genghis Khan was a madman, most likely.

So was every conqueror down through history.

>> And second, and most important, Japan and this country are friends.

Japan is one of this country's best customers.

We do billions of dollars worth of business with her, and you insult her at every turn, where, look, you say here "The Japanese race has embarked on a course of conquest, the goal of which no man knows."

>> Jack: That's right.

And here, again, "The head men of Japan are dreaming ambitiously, a Napoleonic dream."

>> I say more.

What happened at Port Arthur will happen again someday.

Will happen here to us.

When the Japs beat the Russians, they conquered the white man for the first time in history.

And they mean to go on conquering them.

Someday the white man's dream bubble of peace with Japan'll be punctured.

But one country, at least, won't be surprised.

That country will be Russia.

She was wakened from her dream.

We're still dreaming.

>> Oh, really.

Jack, you're a cuckoo.

Those sawed off little runts and their paper mache island, why, we could lick them with one hand tied behind us.

>> But Mr. Maxwell, if Jack feels so strongly- >> Don't argue with him, Charmian.

I'll get this stuff published.

I'll yell it from the rooftops!

Come along, dearest.

>> All right, you old firebrand.

But nobody'll believe you.

>> Two reasons.

It's not the truth he's worried about.

I proved that to him.

It's money.

$2 billion worth of business.

Sure, sure.

Lull yourself to sleep, then your little brown customer sneaks up and slits your throat.

And he says they won't believe me.

Maybe they won't believe me.

>> Of course they'll believe you.

Darling, everything you write, everything you say, rings with truth.

It's real and honest.

It's you.

It's the spirit of Jack London.

>> You're that part of me.

I knew it when I first met you.

Remember what I told you?

>> About a ship and the sea?

I'll always remember.

>> When a man and woman are meant for each other, like a ship new launched, they rush to the sea.

The sliding waves rebel, but neither sea nor ship hear them as they rush into each other's lives.

(romantic music) ("My Country 'Tis of Thee") (dramatic music)