New-York tribune., 1922-08-06

Sleepy Hollow. Somehow or other we feel,
almost by instinct, that he is going to have
trouble. In fact, we can't think of any other
piece Of literature which would give him more
trouble.
One can imagine the scenario work ending
with whole series Of compromises with the di-
rector, the actors the shade of Washington
Irving and with the scenarist's Gt's terrible
word, "scenarist," but maybe it will fit easier
after it's been done a few times) own con-
science.
Probably it will not be so hard compromis-
ing with the director and the producing mana
ger and the actors, as that has to be done with
almost every script, but it may not be SO easy
getting the ghost of Washington Irving
quieted. Indeed, it may prove to be most
unsatisfactory business.
Let US suppose that Mr.. Irvings shade has
entered the scenario factory after the whistle
has blown and everybory has gone home but
the one who has been tagged with the
difficult job of putting the Sleepy Hollow
script into shape.
After announcing its name which causes
the pallor of guilt to whiten the scenarist's
cheeks, the visitor comes to the point with:
II understand that my Legend of Sleepy
Hollow is to be done for the screen. and
thought would like to find out about it."
at is true" says the scenarist {the word
does not come any easier, but we are going
TO persist in using it), 'but don't see what
help you can render. In fact, think you'd
be hindrance, and, after reading your prosy
dope seventeen or eighteen times in an effort
to get some real action out of it, think
you've hindered me enough as it is"
"Hindered-I do not grasp your meaning.
The story is mine. How can you talk of the
author being hindrance?"
That's just the whole trouble-the fact
that the story is yours. If some one with a
little perception of melodrama had written it
--Zane Grey, for instance-my job would be
lot easier. But, now that you are here,
perhaps we fix up some essentials"
'If | be of assistance l shall be only
too happy
'1n the first place, the title ought to be
changed. That business of having the word
Sleepy in title is fatal mistake right at
the start. There are enough people who make
practice of falling asleep in the theater as it
is, word like sleepy has the power of
suggestion in it. It's just as bad as having
picture of some one yawning on the screen.
In five minutes every is yawning in SYM
pathy and planning on beating it home before
the show is out. Let's rename the script
'Beating the Dutch; or The Schoolmaster's
Thrilling Race for the BRIDGE
r"I protest.
"Or perhaps a comedy title, like Heart
Throbs and Pumpkins would be the best as
drawing card. But we can leave that to the
Big Boss. l always have half dozen or more
titles, and he picks the one that suits him
best. He used to be a shirt manufacturer, and
picked the names for his shirts that way He
put across some big sellers in the shirt line
Leave it to him to grab title that will make
you famous on the screen, Mr.. Washington
or, | should say, Mr. Irvin-related to Irwin
Cobb, suppose you are"
Really, young man, this isl
II can see that you getting interested in
this proposition. Believe me, there's nothing
that gives author thrill like having his
first book fixed over for the screen. After
the first one is done he doesn't mind so much,
but the first one always gets a writer excited
Some of em we have to give morphia, right
here, before we can get 'em home, but of
course you, being a shade, won't need any
thing like that. That race for the bridge will
be the big scene, of course, but I'd suggest
having the Brom Bones gang dressed like cow
boys. Thatn give our star, Tom Stir,
chance to show off some of his riding stunts,
like picking up the schoolmasters handker-
chief from the ground while Toms horse is
going full tilt. Then we could arrange for
Toms pony to do little plain and fancy
bucking at the start-off A little Wild West
stuff is always good card. If we feel that a
film is slipping we can always save it with
bit Of bronco busting. If the West ever gets