The hum of the moving-picture machine is the predominating note in “The Mysterious Rider,” Zane Grey’s latest contribution to the literature of unrealism. All that is necessary for a complete illusion is the insertion of three or four news photographs at the end, showing how they catch salmon in the Columbia River, the allegorical floats in the Los Angeles Carnival of Roses and the ice-covered fire ruins in the business section of Worcester, Mass.

In order that the change from book to film may be made as quickly as possible, the author has written his story in the language of the moving-picture subtitle. All that the continuity-writer in the studio will have to do will be to take every third sentence from the book and make a subtitle from it. We might save him the trouble and do it here, together with some suggestions for incidental decorations.

Remember, nothing will be quoted below which is not in the exact wording of Zane Grey’s text. We first see Columbine Belllounds, adopted daughter of old Belllounds the rancher of Colorado. She is riding along the trail overlooking the valley.

“TODAY GIRLISH ORDEALS AND GRIEFS SEEMED BACK IN THE PAST: SHE WAS A WOMAN AT NINETEEN AND FACE TO FACE WITH THE FIRST GREAT PROBLEM IN HER LIFE.” (Suggestion for title decoration: A pair of reluctant feet standing at the junction of a brook and a river.)

She stops to pick some columbines and soliloquizes. The author says: “She spoke aloud, as if the sound of her voice might convince her,” but it is not clear from the text just what she expected to be convinced of. Here is her argument to herself:

“COLUMBINE!... SO THEY NAMED ME THOSE MINERS WHO FOUND ME A BABY LOST IN THE WOODS ASLEEP AMONG THE COLUMBINES.” (Decorative nasturtiums.)

Having convinced herself in these reassuring words as she stands alone on the ridge in God’s great outdoors, she explains that she has promised to marry Jack Belllounds, the worthless son of her foster-father, although any one can tell that she is in love with Wilson Moore, a cow-puncher on the ranch. You will understand what a sacrifice this was to be when the author says that “the lower part of Jack Belllounds’s face was weak.”

To the ranch comes “Hell-Bent” Wade, the mysterious man of the plains. He applies for a job, and not only that, but he gets it, which gives him a chance to let us know that:

“EIGHTEEN YEARS AGO HE HAD DRIVEN THE WOMAN HE LOVED AWAY FROM HIM, OUT INTO THE WORLD WITH HER BABY GIRL ... JEALOUS FOOL!... TOO LATE HAD HE DISCOVERED HIS FATAL BLUNDER.... THAT WAS BENT WADE’S SECRET.” (Fancy sketch of a secret.)

And as we already know that Columbine is almost nineteen (I think she told herself this fact aloud once when she was out riding alone, just to convince herself), the shock is not so great as it might have been to hear Wade murmur aloud (doubtless to convince himself too), “Baby would have been let’s see ’most nineteen years old now if she’d lived.”

Any bets on who Columbine really is?

Let us digress from the scenario a minute to cite a scintillating passage, one of many in the book. Wade is speaking:

“’You can never tell what a dog is until you know him. Dogs are like men. Some of ’em look good, but they’re really bad. An’ that works the other way round.’”

Oscar Wilde stuff, that is. How often have you felt the truth of what Mr. Grey says here, and yet have never been able to put it into words! It is this ability to put thoughts into words that makes him one of our most popular authors today.

But enough of this. “Hell-Bent” Wade determines that his little gel shall not know him as her father, and, furthermore, that she shall not marry Jack Belllounds. So he goes to the cabin of Wils Moore and tells him that Columbine is unhappy at the thought of her approaching you guessed it nuptials.

“PARD! SHE LOVES ME STILL?”

“WILS, HERS IS THE KIND THAT GROWS STRONGER WITH TIME, I KNOW.” (Heart and an hour-glass intertwined.)

Let it be said right here, however, that Jack Belllounds, rough and villainous as he is, is the kind of cow-puncher who says to his father: “I still love you, dad, despite the cruel thing you did to me.” No cow-puncher who says “despite” can be entirely bad. Neither can he be a cow-puncher.

It is later, after a thrilling series of physical encounters, that Columbine tells Jack Belllounds in so many words that she loves Wils Moore. “Then Wade saw the glory of her saw her mother again in that proud, fierce uplift of face that flamed red and then blazed white saw hate and passion and love in all their primal nakedness.

“LOVE HIM! LOVE WILSON MOORE? YES, YOU FOOL! I LOVE HIM! YES! YES! YES!” (Decorative heart, in which a little door slowly opens, showing the face of Columbine.)

But time is short and there is a Semon comedy to follow immediately after this. So all that we can divulge is that Jack has Wils Moore wrongly accused of cattle-rustling, bringing down on his own head the following chatty bit from his affianced bride:

“SO THAT’S YOUR REVENGE.... BUT YOU’RE TO RECKON WITH ME, JACK BELLLOUNDS! YOU VILLAIN! YOU DEVIL! YOU”

It would be unfair to the millions of readers who will struggle for possession of the circulating-library copies of “The Mysterious Rider” to tell just what happens after this. But need we hesitate to divulge that the final subtitle will be:

“‘I HAVE FAITH AND HOPE AND LOVE, FOR I AM HIS DAUGHTER.’ A FAINT, COOL BREEZE STRAYED THROUGH THE ASPENS, RUSTLING THE LEAVES WHISPERINGLY, AND THE SLENDER COLUMBINES, GLEAMING PALE IN THE TWILIGHT LIFTED THEIR SWEET FACES.” (Decorative bull.)