Upon hearing Carl's request, Monet immediately thought of the work referred to as the "Titanic Sequel," known as "Revolutionary Road." The story depicted therein could essentially be understood as the post-America life of the surviving Jack and Rose. However, this portrayal gradually dismantled their once beautiful love through the trivialities of life. With this in mind, Monet decided that he absolutely could not write this novel.
So, he declined with, "I'm sorry, Mr. Carl, I'm not skilled at writing this kind of story."
Originally, Monet believed that Carl would be angry due to his refusal, considering the tempting offer of a thousand dollars. However, Carl's response surprised Monet, as he said nonchalantly, "No problem. If you can't write it, I'll just relay your words to Rose."
Seeing Carl's expression, a shiver ran down Monet's spine. He suddenly realized that if Rose were to hear him say this, wouldn't it affect her feelings for Jack? Whenever she reminisced about Jack, she inevitably imagined the happy days they could have had in New York if Jack hadn't died. Now, by saying he couldn't write it, wasn't he essentially implying that he didn't have faith in their future?
But if he did write it, unless he followed Carl's suggestion of wildly altering the story to favor Jack, or artificially creating a deity-like Jack, it would be difficult for them to lead the conventional notion of a happy life. Of course, he could also depict a more profound spiritual happiness, which Monet believed they should value more. Yet, wouldn't that indirectly admit that their material life might not be particularly joyful?
From this perspective, Carl's proposition was a strategic move. Regardless of whether he wrote it or not, and regardless of how he wrote it, Carl could achieve part of his goal. For instance, if Monet didn't write it, it would signal his lack of confidence in Jack and Rose's future. If he recklessly gave Jack unrealistic advantages, that essentially showed a lack of faith too. If he portrayed their lives truthfully, it would accentuate the disparities between their current life and Rose's.
In any case, whatever he chose, it would introduce some doubt and uncertainty into Rose's feelings for both him and Jack, thus achieving Carl's objective.
The reason Monet was chosen to write this was that he had witnessed firsthand the romantic relationship between the two and had documented, described, and extolled it. If even he didn't believe in their future, the impact would be maximized.
Originally, Monet had prepared for Carl's retaliation due to his failure to disclose Rose's whereabouts, but he never expected Carl to abstain from physical or verbal aggression. Instead, he retaliated in this "bloodless" manner, leaving Monet without a proper response.
After much consideration, Monet felt he could only give his best effort. So, with a hint of embarrassment, he began, "Um, after thinking it over, I suppose I can write it, but I can't guarantee it'll be as exciting as 'Titanic.'"
"That's fine. I believe that anything written by you, Mr. Monet, will make Rose very happy. However, I hope you can finish it by the end of the month. Our wedding is on the first of next month, and I'd like to put an end to all emotional entanglements before then. Well, I'm entrusting this task to you!" Before leaving, Carl generously placed the agreed-upon payment of one thousand dollars on the table.
After Carl left, Shan Shan, observing Monet's pained expression, inquired with concern. Monet proceeded to confide in her about his troubles. Then, intrigued, she asked, "Since Mr. Carl doesn't seem to like Miss Rose very much, why is he going through so much trouble to marry her?"
"A significant part of this has to do with Rose's background. Nowadays, even though many Americans are wealthy, their lineage isn't noble enough or their families aren't ancient enough. Thus, they seek out a fallen aristocrat. As for the fallen nobility, no matter how noble their title, it can't mask their struggles or erase their debts. So, they end up marrying a nouveau riche."
This kind of situation has been quite frequent in the past two years. That's why high society marriages are not connected to love or lack thereof; they are all about individual interests," Monet explained.
"But isn't a lifetime with someone you don't love a painful life?" Shan Shan inquired further.
Monet chuckled softly and replied, "Wealthy individuals like Carl can't possibly spend their whole lives facing just one woman. To him, Rose is essentially an expensive vase used to showcase his affluence. At other times, he can easily find other women, possibly more than one!"
"I get it now. She's like a mistress, right?" Shan Shan exclaimed, suddenly comprehending.
Monet nodded in agreement. "Exactly. Whether it's Chinese or foreign men, they're all the same. Once they have money, how could they settle for just one woman?"
"Will you be like that too if you become wealthy in the future?"
"Me? My first step is to figure out how to become wealthy."
As Monet chatted with Shan Shan, on the other side of New York City, the wife of author Archie B. Gracey IV complained to her husband, "Look, you've personally experienced the Titanic incident, and yet you haven't thought of writing a novel about it!"
Gracey sighed and replied, "Who said I haven't thought about it? I had already thought about it while on the lifeboat. It's such a thrilling experience, an extraordinary theme. But before I even got off the ship, I received warnings. And you know that behind the Titanic is the Morgan Group. Who dares to provoke them?"
"But how can Mr. Monet dare to write about it?" his wife asked in confusion.
"Because what he writes is what White Star Line and the Morgan Group want to see. I must admire him for this. He's really clever; he not only found a suitable angle, but also received the support of the Morgan Group," Gracey answered admiringly.
"Then why don't you write something similar?" his wife suggested.
Gracey waved his hand dismissively. "It's futile. Even if I write something better than 'Titanic,' it's still Monet's work, so it won't have the same effect. Moreover, my professional ethics wouldn't allow me to follow such trends."
However, he then changed the topic: "But you know, some trends can still be followed. For instance, I can write something like 'The Lucky Japanese Man.'"
"Hey, Tom, have you read the recent article in 'The New York Post' called 'National Treasure'?"
"Of course, I have! Jerry, do you really think there's treasure hidden in the 'Declaration of Independence'?"
Jerry smirked and replied, "Come on, isn't it obvious? It's probably fake. If there were really treasure in there, why would the author write about it? They'd just go dig it up themselves, right?"
"Well, you can't be sure. Maybe the author just realized there might be clues to treasure inside. But they themselves might not have found it! Think about it, when Washington and the others were founding the country, who could have imagined that the United States would become what it is today? So, leaving a backup plan isn't that far-fetched!" Tom retorted.
"I suppose you make a point. So, should we look into it?"
...
In fact, at this moment in New York, the discussion of this matter wasn't limited to just the two brothers, Cat and Mouse. Many others were also exploring and researching the authenticity and feasibility of this claim. After all, adventure and treasure hunting were ingrained in the American spirit. Otherwise, movies like 'Indiana Jones' wouldn't have been so popular! Even the museum housing the 'Declaration of Independence' had recently seen a significant increase in visitors.
This trend naturally boosted the sales of 'The New York Post.' The chief editor, Russell, was overjoyed about this. Little did he know that someone was trying to undercut his success.
This day, an unfamiliar visitor arrived at Monet's house. Upon their first meeting, the visitor introduced themselves, "You must be Mr. Monet. Allow me to introduce myself, I am Richard Mann, the editor-in-chief of 'Brooklyn Weekly.'"
"Hello, Mr. Mann. I am Tony Monet. May I ask what brings you to me?" Monet asked curiously.
Mann explained, "Well, it's like this. I'm representing 'Brooklyn Weekly,' and we're interested in inviting you, Mr. Monet, to become one of our contracted writers. Are you interested?"
For a new writer, becoming a contracted writer for a newspaper was definitely a cause for celebration. While not every newspaper provided a fixed salary each month, being a contracted writer meant you would be prioritized for assignments, and you'd have a dedicated editor to work with, unlike those editors from detective stories who always bothered you for your work.
If it were 'The New York Post' offering a contract to Monet, he would've readily accepted. However, it's worth noting that major newspapers like 'The New York Post' didn't easily sign on writers, and another reason was that 'The New York Post' wasn't primarily focused on fiction.
As for 'Brooklyn Weekly,' Monet had only a vague impression. It was probably located in the Brooklyn area, but he wasn't sure about the scale of the newspaper.
Mann seemed to have sensed Monet's thoughts, so he decided to lay it all out, saying, "From what I know, 'The New York Post' is offering you a payment of a thousand dollars for your writing. In order to demonstrate the sincerity of 'Brooklyn Weekly,' we're prepared to offer you two thousand dollars! Once we're pleased with your new work, we'll sign a contract immediately and pay you an advance."
Upon hearing that his payment would double, Monet's hesitation vanished. After all, his primary purpose in writing novels was to make money. However, to exercise caution, he still inquired, "I wonder what kind of work your magazine is looking for?"
"It would be best if it's something along the lines of a treasure hunting story, similar to 'National Treasure,' something that captures the readers' attention."
"No problem at all. In fact, I had already planned on writing a sequel to 'National Treasure.' This time, the story revolves around a treasure hidden by Southern slave owners during the Civil War, intended to aid their rebellion. It's a treasure that they'd use to regain their nation!" Monet answered without hesitation. He truly intended to write in this direction. Although it differed greatly from the plot of 'National Treasure 2,' Monet believed this angle would be more captivating. To be honest, he thought 'National Treasure 2' was much weaker compared to the first one, so he had no interest in copying its storyline. Unexpectedly, Mann hesitated for a moment, then cautiously proposed, "This is a good theme indeed, but I have a rather bold suggestion. I hope you won't mind my saying it."
"No problem at all, please, go ahead!" Monet signaled.
"Well, it's like this. While your previous two stories are inspired by true history, making them feel very authentic, they are still fictional. I'm wondering, wouldn't your stories become even more enticing if the treasures you write about were actually real?" Mann explained.
In reality, Mann's intention was for Monet to base his stories on existing treasures, but unfortunately, there was a misunderstanding. Monet gave a wry smile and replied, "Mr. Mann, you're placing quite a challenge here. If I knew about real treasures, why would I write stories about them? I'd simply go and dig them up, wouldn't I?"
Suddenly, a bright idea crossed his mind, "Speaking of which, I do know about a real treasure. Currently, it's definitely untouched by anyone. However, this treasure, even if it's not for me, even you won't be able to excavate it."
Mann had originally wanted to clarify that Monet had misunderstood his intention. Yet, when he heard that Monet indeed knew about a treasure's location, his interest piqued, and he eagerly inquired, "Mr. Monet, are you telling the truth?"
Monet nodded and replied, "Of course, I have no reason to deceive you."
"Could you tell me more about this treasure? Is it buried in a remote, inaccessible location?" Mann continued probing.
Monet shook his head and explained, "Quite the opposite, actually. The burial site of this treasure is surprisingly easy to find. However, precisely because it's so easy to find, any excavation efforts would undoubtedly attract public attention. Additionally, this treasure is located on private property owned by a particular family. To undertake such large-scale digging, you'd need the family's permission. The catch is, unless you can bring along a few hundred heavily armed soldiers, even if you manage to unearth the treasure, the family probably won't let you take it away.
Furthermore, it's a religious site, and most of the treasures inside are connected to religious practices. Even if you get the family's approval, I doubt the fervent believers there would allow you to walk away with the treasures! Therefore, while I know the location of this treasure, I've never even considered attempting to excavate it."
Hearing this, Mann was even more intrigued. "So, given what you've said, I'm even more curious. Could you please tell me where this treasure is? It's not in the United States, I presume?"
"Absolutely not. This treasure is located beneath a temple in the distant East, in India!"
"India, huh? That's British territory, your domain, which explains your thorough knowledge of it!" Mann mumbled to himself in a self-assured tone. Then, suddenly, he suggested, "Since it's unlikely we can retrieve it anyway, why not write about it instead, Mr. Monet?"
The reason I dared to write about the treasure of the Indian temple is because, before my time travel, I had written a web novel about India titled "Rebirth in India: Superiority Achieved." During the process of writing that book, I conducted extensive research on India. The Padmanabhaswamy Temple treasure was a crucial part of my research. This treasure was discovered only in 2011, and despite interventions from both the temple's owners, the Valmara family, and the Indian government, the treasure remained untouched. Given the current circumstances, there seems to be even less hope of its discovery. Therefore, I decided to bring it to light. My intentions were twofold: to reveal the treasure sooner and to make the most of the opportunity.
As Tony Monet diligently worked on his various manuscripts (including "National Treasure" for the New York Post, "Treasure of the Indian Temple" for the Brooklyn Weekly, and "Revolutionary Road" for Carl), an unexpected visitor arrived. The visitor was a middle-aged man of apparent importance. Upon their introduction, the man identified himself as Michael Orwell, the manager of the Whiskoff Theater.
"Good day, Mr. Monet. I am Michael Orwell, the manager of the Whiskoff Theater," he said.
"Hello, Mr. Orwell. May I ask the purpose of your visit?" inquired Tony with curiosity.
"Well, recently, I've been reading your work 'Titanic'," began Michael, "and I was deeply moved by the sincere love between the main characters. Hence, I'd like to discuss the possibility of acquiring the opera adaptation rights for this piece. Would you consider such an arrangement?"
Though Tony had never seen an opera before, neither in his previous nor current timeline, he was aware that operas, particularly those on Broadway, were well-received in the United States. Especially at a time when the film industry wasn't as advanced, operas were a popular form of entertainment.
With these thoughts in mind, Tony's mind began to wander. He pondered the state of Hollywood at this point in time – even if it existed, it probably wasn't as grand. Perhaps, he mused, it might be wise to invest in Hollywood beforehand, securing a stable future for his descendants.
Just as Tony's mind wandered, Michael misinterpreted his thoughts as hesitance. In response, Michael quickly added, "Mr. Monet, rest assured, we will ensure that you're satisfied with the adaptation fee. Would two thousand dollars suffice?" (Adaptation fees were generally higher than regular writing fees.)
Upon hearing this price, Tony pretended to "consider" for a moment before nodding and replying, "The fee isn't of utmost importance, but the adaptation must not deviate too much from the original."
"Mr. Monet, what do you mean by 'deviate too much'?" Michael asked curiously.
Only then did Tony realize he had used a phrase that was ahead of his time. He awkwardly explained, "Uh, I mean making excessive exaggerations or alterations that diverge from the essence of the original. For instance, turning 'My Uncle Jules' into a story where Yule is actually a millionaire, and his actions are merely tests for his brother and sister-in-law."
Quick to reassure, Michael responded, "Rest assured, we won't make haphazard changes. Your novel's scenes are already quite suitable for the stage, so major alterations are unnecessary."
Tony thought to himself, "Of course the scenes are suitable for the stage – the novel itself was adapted from a movie!"
To his surprise, Michael continued, "However, I find your suggested adaptation for 'My Uncle Jules' rather intriguing!"
"If you are interested in adapting 'My Uncle Jules'," Tony began, "I actually have a more interesting concept based on the Tulip Mania incident from the Netherlands." He proceeded to provide a rough recap of his pre-time travel side story, "True and False,"
"I believe you could actually turn this concept into a captivating novel as well. It would undoubtedly be remarkable!" Michael suggested.
But Monet waved his hand and said, "No, I declined. Firstly, I find this story too short to be developed into a lengthy piece. Secondly, Guy de Maupassant is one of the three greatest short story writers in my opinion. Out of respect, I don't want to make significant changes to his work."
Michael nodded in agreement, "I understand your perspective, but I'm still curious. Besides Mr. Maupassant, who are the other two notable short story authors?"
Monet responded casually, "Mr. Chekhov from Russia and Mr. O. Henry from your country!" He mentioned these three as they were recognized as the world's three greatest short story masters in the future.
After a brief chat, they returned to the main topic. First, they signed the contract, then Michael handed over a prepared check to Monet before taking his leave.
After Michael departed, Shan Shan curiously asked Monet, "Mr. Monet, was Mr. Michael planning to turn your novel into a drama?"
Monet paused for a moment, then realized that "drama" likely referred to opera in this context. He nodded and answered, "Yes, he intends to adapt it into an American opera. Do you enjoy watching performances? I can take you and your sister to the opera when the time comes."
Shan Shan joyfully replied, "Sure, we love watching performances! But I've heard that American opera is different from our Chinese opera, and I'm not sure if I'll understand it."
"There are some differences, but overall, they both rely on singing. The main distinction is probably in the choice of music. If you're not familiar with the stories, it might be a bit challenging. It's similar with Chinese opera. For instance, a foreigner like me who doesn't know the story of 'Yang Family Warriors' would have a hard time understanding 'Silang Visits His Mother'," Monet explained.
Suddenly, Shan Shan nervously asked, "Um, Mr. Monet, I've had a question I've wanted to ask you for a long time, but I never found the right opportunity."
Without waiting for Shan Shan to finish, Monet waved his hand and said, "Feel free to ask whatever you want!"
"You're clearly British, so how come you're not only fluent in Chinese but also seem to have a deep understanding of many things about China?"
Fortunately, Monet had already prepared for this question. He adjusted his emotions slightly, tilted his head up at a 45-degree angle, and answered with a touch of sadness and choked voice, "Because when I was in London before, I had a relationship with a girl from your China. She taught me Chinese and introduced me to the rich culture of China. Unfortunately, she fell seriously ill and passed away later. To avoid painful memories, I decided to leave London and boarded the Titanic. Little did I know, I would encounter a disaster at sea."
Broadway, a long street that traverses north and south of Manhattan Island in New York City, is home to dozens of theaters. The theaters located between 44th and 53rd streets on Broadway are referred to as "Inner Broadway," while those situated on 41st and 56th streets are known as "Outer Broadway."
The distinction between the two lies in the type of productions they feature. Inner Broadway showcases classic, popular, and commercial plays, while Outer Broadway presents experimental, lesser-known, and low-budget productions. There even exists a term called "Outer Outer Broadway," which emphasizes its avant-garde and experimental nature.
However, in 1912, Broadway hadn't yet reached its peak (that would come in 1920), so only Inner Broadway was prominent. The Wiskov Theater, on the other hand, was situated in a slightly more remote location.
Today, Tony Monet had been invited by Mike to attend a rehearsal of "Titanic." Ordinarily, the preparation time for an opera shouldn't be this short; it usually takes several months or even years. But perhaps Mike was capitalizing on the popularity of the Titanic, as he planned to launch it in just a month. Of course, his excuse was that Tony's writing resembled a script, making adaptation relatively easy.
Upon arriving at the theater, Mike introduced Tony to the main cast members: "Mr. Monet, this is Alan, who plays Leonardo; and this is Jenny, who portrays Kate."
Indeed, to avoid any confusion for Jack and Rose, Tony had changed the names of the main characters from the novel and, in a rather mischievous manner, substituted them with the actors' names. Little did he know that decades later in this time and space, this change of names would grant Leo DiCaprio the opportunity for this role.
As for the casting of this opera, Tony felt it remained true to the original. Alan, playing Leo, was handsome, and the girl portraying Kate had a charming plumpness to her.
Just as Tony was lost in his thoughts, Mike continued with introductions, "And this is the playwright, Groth!"
"Mr. Monet, I really enjoyed your novel in the Brooklyn Weekly!" Groth greeted excitedly.
"Thank you for your appreciation, and I also want to thank everyone for bringing my immature work onto the stage!" Tony expressed his gratitude.
"Mr. Monet, you're too kind. But may I ask you something about your recent article in the Brooklyn Weekly, 'Temple Treasure'? While it's truly captivating, you seemed very certain in the article about the existence of treasure in the Padmanabhaswamy Temple in Kerala, India. Have you visited the temple in person?" Groth inquired curiously.
In fact, this question had been asked by many recently, and quite a few had doubted and even ridiculed him. So, Tony was somewhat regretful of writing that piece in this way. Nevertheless, at this moment, he had to persevere, despite not having visited the temple: "Although I haven't been to the temple myself, I can assure you that there is definitely treasure inside. If one follows the methods I described, it will undoubtedly be discovered!"
"Why don't you go and uncover this treasure then? Is it really due to fear of the local king and fanatical believers?" Jenny interjected with a mischievous grin.
Seeing Tony's slightly awkward expression, Mike stepped in to defuse the situation, "Alright, alright, let's not dwell on these unrelated matters. The most important task today is the rehearsal of 'Titanic.' You all should get ready!"
As a few actors departed, Mike apologized to Tony, "I'm sorry about that, Mr. Monet. The curiosity of these young folks is quite overwhelming!"
"It's alright. It's normal for young people to be curious like this. In fact, a lot of people have been asking me similar questions lately. Comparatively, they are being quite polite!" Tony Monet answered with a wry smile.
Subsequently, the rehearsal officially commenced. Even though this was Tony's first time attending an opera, truth be told, he found himself engrossed. The actors' performances were captivating, and the props were meticulously crafted. While budget and stage limitations prevented the creation of a lavish cruise ship as in the movie, many details were on point. The only regret was that the modification of the scene where "Little Leo" drew was quite substantial.
After the performance ended, Mike nervously asked Tony, "Mr. Monet, how did you find it?"
Tony applauded enthusiastically, "Absolutely fantastic! This is undoubtedly the most splendid opera I've ever witnessed. I believe that once this production is launched, it will surely be a hit!" (Tony's statement was sincere, given that this was the only opera he had seen, making it naturally the most impressive.)
"Thank you for your praise!" Mike expressed his gratitude.
After leaving the theater, Tony initially intended to visit Russell, the editor-in-chief of the New York Post, to discuss "National Treasure 2." Due to his signing with the "Brooks Weekly," Russell was somewhat displeased, so the success of publishing "National Treasure 2" this time was uncertain.
However, just as Tony was about to step into his carriage, he suddenly noticed a young girl quietly weeping in a corner across from the theater's entrance. Concerned, he walked over and asked in a gentle voice, "Little sister, what's the matter?"
"I, I can't find my daddy!" the little girl replied tearfully.
"Don't worry, dear. Let me ask you, where did you and your daddy get separated?" Tony inquired softly.
The little girl pointed towards the entrance and answered, "Right here. When my daddy and I came out after watching 'Romeo and Juliet,' somehow we got separated!"
Tony examined the girl's attire and realized that she was dressed well, having come to the theater with her father. This indicated that their family was likely well-off, so it was more probable that they had truly gotten separated rather than her being intentionally abandoned. He reassured her, "Alright then, you'll wait with me by the main entrance for your daddy. I believe he will come find you!"
After bringing the little girl to the entrance, Tony sought to alleviate her anxiety and asked, "Little sister, what's your name?"
"I'm Margaret, Margaret Mitchell," the little girl replied softly.
Though her voice was quiet, it struck Tony's ears like thunder. To confirm his suspicion, he hurriedly asked, "How old are you?"
"I'm twelve years old!"
"Is your family from Atlanta?" Tony continued to inquire.
"How do you know, mister?" Margaret asked curiously.
Tony thought to himself, "How could I not know? I've seen your 'Gone with the Wind' many times, although, well, it was Vivien Leigh's movie version that I watched."
In the year 1936, as soon as "Gone with the Wind" was published, it shattered all the existing publication records of the time. In the first six months alone, its distribution reached a staggering 10 million copies, with daily sales peaking at 50,000 copies. Despite being priced at $3, it was speculated up to $60, while a decent hotel room in the United States only cost around $30 a month. Such a remarkable and well-received achievement led to its recognition in 1937 when it was awarded the Pulitzer Prize and the American Publishers Association Award.
The film adaptation of this book, titled "Gone with the Wind," premiered in Atlanta on December 15, 1939. The film caused a sensation and rapidly gained popularity worldwide. The actors who portrayed the main characters, Clark Gable and Vivien Leigh, became deeply ingrained in the hearts of many fans.
It can be said that there are many authors who have achieved fame and a lasting position in the literary world. However, very few have achieved this feat with just a single work, and one such person is the author of "Gone with the Wind," Margaret Mitchell. Remarkably, she only wrote this one book in her lifetime, despite numerous lucrative offers from various publishing houses. Her unshaken attitude towards fame and accolades was a rarity, as only a handful of individuals possess such resilience. In contrast, Monet, who could be thrilled by just two thousand dollars, felt a sense of shame in comparison.
While Monet was lost in contemplation, little Margaret tugged at his sleeve and asked, "Uncle, what's wrong with you?"
"Oh, Uncle is fine. Um, Margaret, did you enjoy today's play?" Monet changed the subject.
"It was alright, but I think the stories my grandmother tells me are more interesting!" Margaret earnestly replied.
"Oh? What stories does your grandmother tell you?" Monet asked curiously.
Initially, Monet assumed that Margaret's grandmother would be telling her fairy tales. However, after listening for a while, he couldn't help but silently critique the situation. What kind of old lady tells a young girl stories about the Civil War, especially from the age of three or four? Nevertheless, it might be due to these early impactful memories that Mitchell later conceived the idea of creating a novel set against the backdrop of the Civil War in her adulthood.
While the two were engrossed in conversation, a worried male voice suddenly came from behind, "Margaret, what are you doing here?"
Upon hearing the voice, Margaret immediately ran over and tearfully responded, "Daddy, I thought I had lost you!"
"It's Daddy's fault. I was careless a moment ago and didn't look after little Margaret properly!" Mr. Mitchell consoled. Then, he turned his attention to Monet and asked Margaret, "And who is this gentleman?"
"Uncle Monet saw me crying alone in the corner just now. He came over to keep me company and waited with me, saying you would definitely come to find me!" Margaret explained.
"Mr. Monet, I presume. I am so grateful to you. Without your help, I can hardly imagine what might have happened after losing track of Margaret!" Mr. Mitchell expressed his gratitude.
"Don't mention it, it's what I should do," Monet waved his hand in response. Then, after a brief pause, he took out a notebook from his pocket and handed it to Margaret, saying, "Little Margaret, can you give Uncle your autograph? Uncle believes you will become a great writer in the future!"
"But I can't even write properly now," young Margaret muttered while carefully writing her name in the notebook and adding, "To dear Uncle Monet."
After parting ways with young Margaret and Mr. Mitchell, Monet boarded a carriage and headed to "The New York Post." Though he had visited "The New York Post" many times before, this time he felt a palpable shift in the atmosphere upon entering. Everyone seemed excitedly engaged in discussions.
Especially when Monet entered, Evan, an editor with whom he had a close relationship, hurried over and said, "Mr. Monet, you really need to be cautious lately!"
"Why, what should I be cautious about? What's happening?" Monet asked, looking puzzled.
"Someone might be after you recently!" Evan leaned in and whispered.
Startled by these words, Monet exclaimed, "What?! Someone wants to kill me? Why, I haven't offended anyone!"
"It's true you haven't offended anyone, but the problem is, this person is a lunatic. If you don't believe me, look at this." Evan took out a newspaper and pointed to a section, explaining, "This is a letter we received from a reader yesterday. They claim responsibility for two recent murders, both committed by them. Their goal is to eliminate all the survivors of the Titanic because their own family members perished, reportedly being denied a spot on a lifeboat. They've redirected their anger toward all the survivors, aiming to kill you all."
"At first, we thought they were just talking nonsense. Thankfully, Rock is cautious, so he informed the police about this. Just now, the police informed us of their investigation results: both victims were indeed survivors of the Titanic. But since there are over seven hundred survivors, the police can't provide individual protection. Therefore, they agreed to let our newspaper publish this letter from the killer to remind everyone to stay vigilant about their safety."
Upon hearing this, Monet quickly grabbed the newspaper and read it. It confirmed Evan's account, and at that moment, a terrifying image flashed through his mind. He involuntarily blurted out, "Jack the Ripper?"
Evan nodded, saying, "Exactly, it's Jack the Ripper. This demon is like the American version of Jack the Ripper. By the way, isn't it true that the British police haven't caught the real Jack the Ripper even now?"
While Monet knew the true identity of Jack the Ripper, all he could do was shake his head and reply, "Not yet."
"Ah, and now there's an American version of it. It's truly frightening. Mr. Monet, you really need to be careful lately. It's better not to go out unnecessarily. Even though there are hundreds of survivors, your fame is among the highest. Oh, and don't eat out recently, because these two victims were poisoned." Evan cautioned.
Monet understood Evan's concern. Due to the immense popularity of the "Titanic" novel and the upcoming opera, his visibility was undoubtedly prominent among the Titanic survivors. If the killer had intentions to strike, he would be a prime target due to his fame and lack of bodyguards like Karl. However, for some reason, Monet felt that this matter wasn't as simple as it seemed. Therefore, he started paying closer attention to this series of cases, and shortly after the fourth murder, he began to detect some inconsistencies.
"Chief, there's a Mr. Monet claiming he knows who the murderer of the Titanic case is!" On that day, just as Chief Klein had arrived at the police station, one of his officers reported to him.
"Monet? Why does that name sound so familiar?" Chief Klein murmured to himself.
"It's the same Mr. Monet, the writer who specializes in treasure hunt stories, that you've been following recently!" the officer reminded.
Chief Klein had a sudden realization, "Oh, it's him. Please, bring him in!"
Two minutes later, the officer brought Monet in, and Chief Klein asked him, "Mr. Monet, do you know who the murderer behind the recent series of murders targeting Titanic survivors is?"
Monet hesitated for a moment and then answered, "To be precise, I have a conjecture, and I'm quite confident about it."
To be honest, when Chief Klein heard that Monet's information was merely a conjecture, he felt a bit disappointed. However, since he had invited Monet in and had a favorable impression of him due to enjoying his novels, Chief Klein reluctantly gave him a chance, urging, "Then please share your conjecture with us."
"I speculate that the murderer is none other than Jack Donne, the younger brother of the third victim, Tom Donne," Monet said in a serious tone.
"Why do you believe he's the culprit? Remember, his brother, just like you, is a survivor of the Titanic incident!" Chief Klein asked in confusion.
Monet explained, "Actually, this whole matter has nothing to do with the Titanic incident. Or rather, the reason the murderer made us think these murders were related to the Titanic incident was to mislead us.
Imagine, if only Mr. Tom Donne had been killed, wouldn't you immediately suspect his brother, Mr. Jack Donne? As far as I know, Mr. Tom wasn't married, and his only heir was his brother, Jack. However, Tom was dissatisfied with Jack because he's a spendthrift who indulges in a life of excess. So, Tom was considering adopting an accomplished stepson to inherit his estate."
Before Monet could finish his explanation, Chief Klein interjected, "So, he killed three survivors of the Titanic incident one after another, then intentionally sent a letter to the newspaper, making everyone believe that he was targeting Titanic survivors due to a family loss in the shipwreck. This way, no one would suspect Jack. Is that right?"
Monet nodded and said, "Exactly, that's the idea. Essentially, he combined elements of 'Jack the Ripper' and 'The ABC Murders'."
But halfway through his sentence, he suddenly realized that maybe Agatha, the little girl, hadn't written "The ABC Murders" yet.
However, Chief Klein unexpectedly inquired, "Mr. Monet, what does 'The ABC Murders' mean?"
With no other choice, Monet awkwardly replied, "Um, actually, it's a detective novel I've written, but it hasn't been published yet." He then proceeded to outline the general plot of "The ABC Murders."
Surprisingly, Chief Klein wasn't surprised by this information, "So, Mr. Monet, you can write detective novels as well. It makes sense, your 'Treasure in the Declaration of Independence' is also a sort of detective story, with a rather rigorous deductive process. I wonder when you'll publish this piece; I'll definitely buy a copy to read!"
"When it's finished, I'll be sure to send you a copy!" Monet replied.
"Well, I appreciate that. But I'm still a bit confused. If that's the case, then shouldn't the relatives or heirs of the other three victims also be suspects? Why do you only suspect Jack Donne, Mr. Monet?" Chief Klein curiously inquired.
"Because among these four victims, only Mr. Tom Donne had left behind a substantial inheritance. The other three victims were poor, so there was no benefit in killing them.
Moreover, the sequence of Mr. Tom's death is crucial. If he were the first to die, the misdirection wouldn't work, and if he were the last, it would seem abrupt. Only by placing him in the middle would it be less noticeable.
Finally, the cyanide used to poison the four victims was found in Mr. Tom's dyeing factory. This substance isn't easy to obtain, yet Mr. Jack Donne could easily access it in his brother's factory." Monet explained.
Chief Klein nodded in agreement, "Yes, what you're saying makes sense. I'll go arrest this Mr. Jack Donne right now!" Saying so, Chief Klein stood up.
Monet, however, was a bit surprised and asked, "Ah? Shouldn't you investigate first?"
"Let's bring him in first and then investigate. We don't want him to escape," Chief Klein replied dismissively.
Later, Chief Klein came to thank Monet with a gift and said, "Mr. Monet, I believe you should write detective novels. This case is exactly as you analyzed. Initially, Jack Donne tried to deny it, but when we questioned him about the times of the four crimes, he couldn't provide alibis. Plus, after investigation, witnesses confirmed he had interactions with the other three victims. Soon enough, he admitted to the four crimes."
Unexpectedly, Monet furrowed his brow and asked, "He admitted so easily?"
"With all the evidence against him, what choice did he have but to admit?" Chief Klein asked, puzzled.
"I just find it hard to believe that someone capable of devising such a complex modus operandi would leave behind so many loopholes and confess so quickly."
"But during the interrogation, I didn't perceive him as particularly clever!"
"Chief, doesn't this seem contradictory? If this Jack isn't that smart, then how did he come up with such a method? And how did he know that the other three victims were survivors of the Titanic? Remember, the list of survivors hasn't been publicly disclosed."
"Mr. Monet, you guessed it right. After I returned from your place yesterday, I interrogated Jack once again. It turns out that there was indeed someone behind him orchestrating things!" Early the next morning, Chief Klein hurriedly arrived at Monet's place to inform him.
"Oh? So, who was behind instructing him?" Monet asked curiously.
To his surprise, Chief Klein shook his head and replied, "Jack said he never actually met this person. He carried out his actions based on the letters he wrote to himself. He doesn't know how this person got information about him, but he found the suggested methods of murder to be feasible. Moreover, he was in urgent need of his brother's inheritance, so he took a desperate risk and committed this act!"
"So, what's the name of this instigator? And can I see the letters he wrote to Jack?" Monet inquired further.
Chief Klein shook his head again, saying, "Jack mentioned that he destroyed the letters as instructed by this person after reading them. However, this person has been referring to themselves as Professor Moriarty!"
"Professor Moriarty? Well, I might not be Holmes, but it's quite interesting that Jack obeyed this 'Professor Moriarty'," Monet grumbled sarcastically. (In 1887, Arthur Conan Doyle had already published "A Study in Scarlet," and by 1893, Professor Moriarty had appeared in his works.)
"According to Jack, even if the letters were preserved, they wouldn't be of much use. The letters were all typed, so it's impossible to verify handwriting," Chief Klein added.
"Even if the letters were typed, different typewriters produce subtle differences in the typeface, and elements like writing style and language habits could still provide clues. Unfortunately, there's nothing left now," Monet responded frustratingly.
After hearing Monet's words, Chief Klein looked at him for a moment and then sighed, "Mr. Monet, I must say, you really resemble Mr. Conan Doyle's Holmes!"
"I'm nowhere near as brilliant as Mr. Holmes, and I certainly don't possess the same deductive reasoning skills," Monet humbly replied, but then he added with pride, "However, there's one skill I have that Mr. Holmes doesn't—I can create a visual representation of a perpetrator based on eyewitness descriptions, even if I haven't seen the culprit myself."
Upon hearing this, Chief Klein was momentarily taken aback, but then he quickly realized and exclaimed, "Oh, right, I almost forgot—you're a painter!"
Monet waved his hand and said, "I wouldn't call myself a painter. At best, I'm an artist. I don't have any particular talent in painting; I just enjoy it. Ironically, I seem to have some talent in writing novels according to recent events."
"I believe you have a natural talent for solving cases," Chief Klein added.
"It was mostly luck this time."
At that moment, Chief Klein seemed to recall something suddenly and hurriedly continued, "Oh, and Jack mentioned something else. In the letters Moriarty sent him, he was instructed to kill five people, including his brother. This way, placing his brother in the middle would create a symmetrical pattern. However, after killing the fourth victim, Jack felt safe, busy claiming his brother's inheritance. He didn't act against the fifth victim. Care to guess who this fortunate fifth victim was?"
"Where should I even begin to guess? After all, there were over seven hundred survivors of the Titanic. But halfway through saying that, a dreadful thought arose in Monet's mind. With a trembling voice, he asked, 'C-could it be me?'
Chief Klein nodded and answered, 'Yes, it's you.'
'It can't be. W-why would he want to kill me? I-I've only been in New York for a few days. I haven't offended anyone!' Monet asked anxiously.
"I'm not certain about that. Perhaps he just happened to come across your information. Your article about the 'Titanic' is quite famous, after all. Even though Jack has been captured, I believe you should still be cautious. There's a chance that Professor Moriarty might come after you in the future," Chief Klein kindly warned.
"In that case, I must find a way to expose this Professor Moriarty. Otherwise, I won't be able to sleep peacefully!" Monet muttered to himself.
After pondering for a while, aside from Carl, Monet couldn't think of a second person who might be involved. Moreover, he hadn't offended Carl to such an extent, and Carl wouldn't go through so much trouble if he wanted to harm Monet. With his wealth, he could simply hire an assassin.
As Monet struggled to think, in the Indian state of Kerala, on the other side of the ocean, a British officer turned to his companion and asked, "George, did you read the novels from those newspapers I gave you the day before yesterday?"
George nodded and said, "Mervyn, you're talking about 'The Treasure of the Indian Temple,' right? I read it, very captivating!"
"You find it merely captivating? Didn't you notice how the author fervently assures that everything he's describing is true? That there's a vast treasure buried in the secret chamber of the Paduwanabha Swamy Temple?" Mervyn reminded him.
Surprisingly, George sneered, "Do you actually believe that? It's obvious the novelist just made it all up."
"But the legend of the Paduwanabha Swamy Temple treasure has been circulating for a while; it's not something the author invented out of thin air," Mervyn argued.
"Why, do you plan to follow his instructions and give it a try?" George asked, taken aback.
Nodding, Mervyn responded, "Yes, I do want to give it a shot. After all, even if it fails, we won't have much to lose. At most, we'll treat our soldiers to a few rounds of drinks."
"What about the Valmha family?" George inquired.
Mervyn let out a cold snort, saying, "Do we, the British Empire's army, need to care about the opinions of these natives?"
"That's true, but to prevent the situation described in the novel, it might be wise to share some with them," George cautiously replied.
Mervyn teasingly remarked, "You're thinking further ahead than I am. I can't even be sure if there's any treasure, and you're already considering how to distribute it!"
As a result, George's face couldn't help but show embarrassment as he said, "So, are you going to dig or not?"
Quickly reassuring him, Mervyn said, "Dig, dig, of course we will!"
"Tony, great news, huge news!" On that day, as soon as Monet got up, he heard a knock on the door. Upon opening the door, he saw Mann's excited face.
"Oh? What's the good news?" Monet asked curiously.
Mann handed a newspaper to Monet and said, "Take a look at the front page headline news. An astonishing treasure trove has been discovered at the Padmanabhaswamy Temple in the Indian state of Kerala. The location of the treasure is exactly as you described in 'Treasures of The Indian Temple.' Even the several hundred long and thick gold chains and the life-sized statue of Lord Vishnu that you mentioned in the book are there!"
While Monet had known that if the temple treasure were ever discovered, it would match his novel since he had based the excavation process on real events, he could still understand Mann's excitement. It reminded him of his own reaction when he saw a bronze tree branch similar to the one in "Qinling Divine Tree" being unearthed at Sanxingdui before his time travel. However, that was a rather far-fetched coincidence compared to this instance of a hundred percent accuracy.
Seeing Monet's calm demeanor, Mann thought Monet hadn't grasped the importance of the situation, so he reminded, "Tony, do you realize this means everything you wrote is true? No one will dare call you a storyteller anymore. And it's bound to boost our newspaper's sales. I've decided that we will publish and release 'Treasures of The Indian Temple' as a standalone book. I believe this wave of interest will easily sell thousands of copies!"
"But wouldn't that mean people won't buy the newspaper anymore? After all, they can read the ending in the book!" Monet asked with concern.
Mann waved his hand dismissively, saying, "Don't worry, the profit from selling books is higher than from newspapers. And those who are reluctant to buy books will still buy newspapers!"
In fact, selling books was more advantageous for Monet, as he had already received his fee for the newspaper article. Regardless of how many copies the newspaper sold, he wouldn't earn an extra cent. On the other hand, royalties from the standalone book were a separate income, and the more books sold, the more he would earn. So, after Mann's well-intentioned reminder, the matter was dropped.
Changing the subject, Monet asked, "By the way, who discovered the temple treasure?"
"It's said to be two British officers stationed in the state of Kerala. They saw your 'Treasures of The Indian Temple' in our 'Brooklyn Weekly' that their relatives sent from the US. Out of curiosity, they followed the clues you provided in the book and actually unearthed the treasure," Mann explained.
"Oh, so does the treasure belong to them now?" Monet inquired further.
Mann answered with a smirk, "How could that be? Ownership of the treasure has turned into a mess. There are different opinions even within the British forces stationed in India, not to mention the government of Kerala, the Valmaha family that owns the temple, and the most frightening entities you mentioned in the book—the fanatics! But they'll surely gain some advantages. It's clear that your decision not to dig up the treasure originally was very wise."
At this point, Mann's eyes twinkled as he leaned in and asked in a hushed tone, "By the way, Tony, is your 'National Treasure' also real?"
Monet gave a wry smile and said, "That's not possible. The treasure here isn't in a sensitive place like an Indian temple. If it really existed, I would have dug it up myself long ago. How could I write about it openly?"
"Well, that's true. But I believe that after the discovery of the treasure at the Padmanabhaswamy Temple, some people will surely take it as true and follow this lead to search!" Mann responded.
"I can't control that," Monet shrugged.
Although Monet was aware that the situation Mann guessed might happen, what he didn't anticipate was the sheer number of people who would approach him after the public revelation of the Padmanabhaswamy Temple treasure, asking about the "National Treasure." Even Russell, who had been somewhat distant due to the contract with the "Brooklyn Weekly," came over. He first secured the rights for "National Treasure 2" at a high price, and then mysteriously inquired, "Tony, we've been working together since you arrived in New York. Tell me the truth, is the 'National Treasure' real?"
Monet reluctantly repeated the explanation he had given to Mann, but to his surprise, Russell was still persistent, asking further, "Do you also know about locations similar to the Padmanabhaswamy Temple, where you're certain there's treasure but it's impossible to excavate due to constraints? Rest assured, if we can really find the treasure, I'll definitely share it with you. You won't end up with nothing like this time!"
"Well, I do know about that, but I doubt you'd get it either!" Monet replied mysteriously.
Hearing that Monet actually knew, Russell's eyes lit up. He patted his chest and assured, "Tony, don't worry. While my resources are limited, I do know some influential people. Even for a case like the Padmanabhaswamy Temple, if they could have confirmed it in advance, they would have prearranged everything and smoothly moved all the treasures away. It wouldn't have turned into the chaotic situation it is now. So, you can confidently tell me!"
Monet cleared his throat and then slowly responded, "Alright then, I'll tell you. Do you know about the Atacama Lady?"
Russell pondered for a moment, then nodded and said, "Yes, that's the ship rumored to be carrying ten tons of gold, the Spanish galleon, right?"
"Exactly, that's the ship. If my calculations are correct, it's in the waters near Los Angeles, at a depth of around twenty to thirty meters," Monet began.
However, before Monet could finish speaking, Russell interrupted impatiently, "You don't need to explain underwater shipwreck treasures. Who doesn't know that there are dozens of sunken merchant ships and pirate ships laden with gold, silver, and jewels from ancient times till now on the ocean floor? But the problem is, even if you know the location, you can't salvage them! Can you mention treasures that can realistically be found?"
"In that case, there's Mount Chokai in Japan. It's said to be buried with four million taels of gold. However, I don't know the exact location. Also, there's the entrance to Hell in Ireland, probably near Danmore Cave. There might be some treasures there, but not too many. However, that place is extremely terrifying, and I doubt anyone would dare to search for treasure there," Monet explained.
In fact, Monet is most familiar with the treasures within the country. However, he doesn't want these so-called "treasure seekers" to go to his homeland and dig and steal recklessly. Therefore, he diverted their attention to Japan and Ireland.
Speaking of Ireland's Danmo Cave, Monet thought it could be put to good use. He remembered that there was a staff member at Danmo Cave attraction who, while cleaning, had accidentally discovered a batch of coins and gold and silver jewelry in a small cave off the main path. Of course, the quantity couldn't compare to the Paduana Bawa Swami Temple treasure, but both the historical and archaeological value were extremely high. So, he could write a novel about this place, and then personally verify it to establish his reputation as a "treasure hunting master."
There's also another place, the Hoxne Hoard in Suffolk County, England. However, he currently only knows the village, not the exact location. Although it was found in Mr. Laus' house at that time, who knows where Mr. Laus' house was in 1912 during 1992. Nevertheless, he could gather a team and use metal detectors to slowly search for it.
Although he managed to handle Russell, Monet realized over the next few days that he couldn't stay at home. Too many people who were curious about this "treasure hunting master" came to visit him every day. So, during the day, he decided not to stay at home, opting to write novels at the library.
One day, as he was passing by a theater, he suddenly exclaimed, "Oh!" Then he stopped by a poster and after a while, walked to the nearby ticket booth and bought three tickets.
Back home, he handed two of the tickets to Shanshan and said, "You've been working hard during this time. So, the day after tomorrow, I'll treat you and Wenwen to a play!"
"Thank you, Mr. Monet, but Wenwen and I aren't very good at English. Even if we go, we won't understand what's being sung in the play," Shanshan politely declined.
Monet waved his hand and said, "It's alright. This play, 'The Masked Bird,' is a silent play. There are no dialogues at all. You just need to watch, and it's a comedy, so it will be quite relaxing."
"Really? That's great then. Thank you, Mr. Monet!" Shanshan answered excitedly.
However, when Shanshan shared this happy news with her younger sister at home, Wenwen frowned and asked, "Sister, do you think Mr. Monet likes you? That's why he's inviting you to the play. If that's the case, I won't go, so as not to disturb you two!"
"You're overthinking it. Mr. Monet is such an impressive person. How could I be worthy?" Shanshan replied embarrassedly. Then, to cover her embarrassment, she pretended to be annoyed and asked her sister, "Do you want to go or not?"
"I'll go, I'll go! Why wouldn't I go when there's a play?" Wenwen quickly answered.
"Oh, come on, Mr. Monet said it's a silent play. There's no play to listen to. We're going to watch!" Shanshan corrected her.
"Alright, alright, I'll go watch. Mr. Monet is right. Is that okay now?" Wenwen conceded.
Actually, this whole thing was a misunderstanding between the two sisters. Monet was mainly interested in the play, and he invited the two sisters because he had developed a habit of not going to the movies alone before he time-traveled, to avoid the aftermath of being teased as a single dog.
The reason he chose this play wasn't due to an elevated taste; rather, it was because he saw a familiar name on the poster of "The Masked Bird" - Charlie Chaplin!
Although Monet had never watched a complete Charlie Chaplin's work before his time travel, this fact did not affect his admiration for the comedic master. Therefore, upon seeing the familiar name, he wanted to go in and see if it really was him. He wasn't quite sure of Charlie Chaplin's birthdate, but he estimated it should be close.
While the two sisters were chatting, in a villa in Philadelphia, Ruth's door suddenly creaked, followed by a familiar voice from outside, "Madam, there's something I'd like to discuss with you."
Upon hearing that it was Wendy, Ruth hesitated for a moment, then softly said, "Come in."
After Wendy entered, Ruth asked her, "Wendy, what's the matter you want to talk to me about?"
Instead of answering directly, Wendy remained silent for a couple of seconds. Then she gathered her courage and asked, "Ruth, do you think if I go back to Tony, he'll forgive me?"
Because Wendy had been addressing herself as "Madam" during these recent times, hearing her use her name suddenly felt a bit unfamiliar to Ruth. She hesitated for a moment due to this, before realizing Wendy's question. She chuckled dryly and responded, "Wendy, I remember you left Tony in the first place because you thought he couldn't provide you with a stable life. Now, why do you think he has that capability? But, I must say, I can't quite recall Charlie Chaplin's birthdate either."
Wendy felt awkward, looking down as she replied, "Through reading newspapers recently, I discovered that Tony not only writes highly popular novels but has also become a contracted author for the 'Brooklyn Weekly'. He also has a talent for treasure hunting. The treasure at the Paduana Bawa Swami Temple in Kerala, India, which he mentioned in 'Treasure of the Indian Temple', has been found. So, I think he must have the ability to provide the life I want. However, due to what happened last time, Tony surely must hate me by now." Wendy's voice trailed off towards the end, and she seemed to struggle to find more words.
Truth be told, when Ruth was first brought back by Carl, she did harbor some resentment towards Wendy. While things had not completely turned a new leaf, they had faded a lot since then. However, Wendy's words instantly brought back memories of the past for Ruth, thus she replied with a hint of resentment, "I'm not Tony, so I can't say for certain how he would feel. But logically speaking, your actions back then must have deeply hurt him. So, seeking his forgiveness might indeed be difficult."
Wendy started crying and confessed, "I, I know I made a mistake back then. I'm sorry to you, sorry to Tony, and even more sorry to myself. We were all on the same lifeboat back then, but now it's turned out like this."
Wendy had planned to continue speaking, but at that moment, the sound of footsteps on the stairs interrupted her. She hastily wiped her tears and said, "It seems the master has returned. I'll leave now. I'll seek your forgiveness another day."
Wendy's hunch proved to be correct. Two minutes later, Carl walked in. Curiously, he asked Ruth, "Why did Wendy leave crying? Did something happen?"
Ruth waved her hand and replied, "It's nothing. By the way, why did you come back so early tonight?"
"Mike, can I ask you for a favor?" On that day, Monet approached the theater manager, Mike, and said.
Due to the pleasant collaboration on "Titanic" and Monet's recent success as the "Treasure Hunter Extraordinaire," Mike didn't hesitate and nodded, replying, "No problem, what do you need my help with?"
"The British Carno Theatre Troupe that's currently performing at the Huntington Theater. Could you find a way to help me get in touch with them? I'd like to meet one of the actors from their troupe!" Naturally, the actor Monet wanted to meet was Charlie Chaplin. After watching a performance of "The Masked Bird," Monet had confirmed that this was the comedy genius he remembered. However, at this time, Chaplin was still quite young and hadn't yet donned his iconic mustache. But for Monet, it was a perfect opportunity to make his acquaintance. Otherwise, it might not be as easy once Chaplin became famous.
However, to his dismay, Mike misunderstood his intention. With a knowing smile, he teased, "Oh, I understand. So, which young lady have you set your eyes on?"
Upon hearing Mike's words, Monet paused for a moment, then quickly realized that Mike had misconstrued his meaning. He hurriedly explained, "Mike, you've misunderstood. I want to meet a male actor."
But before he could finish his sentence, Mike took a step back in a "shocked" manner and exclaimed, "Oh my, Tony, so you're into men!"
"No, can your mind come up with something else? I genuinely appreciate this actor's art and I just want to get to know him. There's no other meaning behind it!" Monet explained, somewhat exasperated.
"But I don't really think you have an eye for appreciating art," mumbled Mike. But seeing Monet's intense glare, he quickly added, "Don't worry, I'll go ahead and make the contact for you, I promise to complete the task! By the way, what's the name of the actor you want to meet?"
"Charlie - Charlie Chaplin!" Monet answered, enunciating each word.
As it turned out, Mike's organizational skills were quite impressive. That very evening, Mike invited the key members of the Carno troupe, who were touring the United States, to dinner. Naturally, Charlie Chaplin was among them. Monet also attended the dinner in the capacity of an invited screenwriter.
The Carno Theatre Troupe was established by the renowned British vaudeville theater manager, Mr. Fred Carno. This Mr. Carno was incredibly skilled; he not only trained and coached performers but also wrote scripts, designed sets, props, and costumes. He was, in a sense, a true all-rounder.
Chaplin's inclusion in this prestigious troupe was due to his elder brother, Sidney Chaplin, having joined in 1906. Sidney subsequently recommended his younger brother to the boss, resulting in Charlie Chaplin signing the contract in 1908, a mere two years later. However, it didn't take long for Charlie to surpass his elder brother's achievements.
During the dinner, Monet seized an opportunity to say to Chaplin, "Hello, Mr. Chaplin. I enjoyed your performance in 'The Masked Bird' yesterday. You were splendid!"
"Thank you for your praise, Mr. Monet!" Chaplin replied politely.
"How do you feel about coming to the United States this time?" Monet casually inquired.
"It's been wonderful. Everything here has left me utterly amazed!" Chaplin answered earnestly.
In reality, everything Chaplin said was true. In his memoirs, he once recorded that after his first American tour, upon returning to England, he felt as though he had been exiled. So, when the Jessup Film Company wanted to sign him, he was overjoyed. Despite Jessup being a newly established small company, as long as he could come to the United States, Chaplin wasn't concerned about much else. Of course, this isn't to say that Chaplin wasn't patriotic; he never changed his nationality throughout his life. However, in his later years, the U.S. denied him entry for this reason.
Initially, Monet had wanted to persuade Chaplin to switch to acting in films. However, upon second thought, he realized that advising someone to switch troupes while they were present with their current one could easily lead to getting beaten up.
Thus, the two began chatting about other topics. But, somehow, they drifted into a conversation about Chinese Peking opera. What surprised Monet even more was that Chaplin had actually seen Peking opera and held it in high regard.
This left Monet rather puzzled, so he asked, "Charlie, didn't you say you didn't know Chinese? How did you appreciate Chinese Peking opera?"
"Well, the Peking opera I watched was almost like silent theater. It was entirely conveyed through physical gestures. Uh, it was basically about two people searching for each other and attempting to apprehend the other in a dark room without lights. Uh, what was it called again? I can't quite recall, but it seemed to be a place name," Chaplin explained.
After hearing Chaplin's description, Monet vaguely felt as though he had seen that segment too. He pondered for a moment and then asked, "Are you talking about 'Crossroads'?"
Chaplin nodded repeatedly and answered, "Exactly, 'Crossroads.' Tony, have you seen it too?"
Somewhat guiltily, Monet nodded and replied, "Yes, I've seen it once. It was truly spectacular!" His guilt stemmed from having watched it on television rather than in person.
"Exactly, it was exceptionally thrilling. I was utterly amazed at the time. The control those Chinese actors had over their bodies was incredible. I even suspected they might have trained in ballet. Originally, I thought I could incorporate some of that into my performances, but sadly, I found my body simply couldn't execute those movements!" Chaplin answered with frustration.
After a moment of contemplation, Monet responded, "Actually, those Chinese performers haven't trained in ballet. According to them, they practice a form of body control called Chinese martial arts. However, the martial arts performed on stage and those used in combat are different. Roughly speaking, it's similar to our gymnastics, both aiming for visually appealing movements rather than actual combat effectiveness. But this requires rigorous training from a young age and is quite demanding."
"It seems, Tony, that you know quite a bit about China," Chaplin asked in surprise.
With no other choice, Monet had to pull out the familiar excuse about his "former Chinese girlfriend," which elicited a sigh from Chaplin.