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By Jimi Hendrix

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We were going to Sidney Buchman's house. ) Buchman was not at home; neither was the man whose instructions had led us here. But ten or twelve guests were assembled in the living room. I knew only a couple of those present, and though the aura of a small, upper-class Hollywood affair was something I had rarely encountered, there was no mistaking the underlying conspiratorial atmosphere of a party fraction. That titillation was present at all party meetings, which should have rung a bell, but I always enjoyed the exhilaration.

This film was my only working experience with John Wayne, truly an amazing man in many ways. He threw his 6-foot, 4 1/2-inch, 245-pound body around like a lightweight gymnast. His acting was honest, which is a good deal better than clever; he lived life with gusto; and he was already beginning to think of himself as some kind of political pundit, but we all make mistakes. Due to the undercover work set up by the Motion Picture Alliance for the Preservation of American Ideals, of which he was a charter member, Wayne probably knew more about me than I could have suspected.

A message was sent through Adrian Scott, and we knew that something was in the works; for the first time, he and I were to attend a group meeting together. (Scott and I made four of RKO's most successful films, he as producer and I as director. I admired him for his skill at working with screenwriters and appreciated his support when production problems arose, but though we obviously respected each other's talents, we had never been close friends. If memory serves, this meeting and two or three relating to Cornered, which will be discussed later, were the only evenings I ever spent with Adrian.

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