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2054 COMMUNISM IX HOLLYWOOD MOTION-PICTURE INDUSTRY Mr. Wheeler. That will be perfectly all right. Mr. Straws. I have brought this with me in the interest of ac- curacy. I was graduated from high school in St. Louis in 1918. After volunteering for service in the First World War, and the war ending before I could serve, although I had been accepted, I then went on and attended Washington University of St. Louis, from which I was graduated. First, I should say, I did a year at Stanford and then I got my bachelor of arts degree from Washington University in 1925 or 1926. Mr. Wheeler. Does that conclude your formal education? Mr. Strawn. Yes. Mr. Wheeler. What is your occupational background after leaving school ? Mr. Strawn. I began writing while I was still going to college. I did newspaper work and then when I left the university I continued on with that, I worked on the St. Louis Post-Dispatch, and from there I went to New York and became, for a number of years, their New York correspondent and began to write for magazines and had books published and so on. _ Mr. Wheeler. How long have you been associated with the motion- picture industry? Mr. Strawn. Well, while I was in New York, and still while I was doing newspaper work and contributing to magazines, I did work on several pictures by an independent outfit. I also wrote plays, but I would say that my first formal connection with motion pictures was around 1935 or 1936, when I came out to Hollywood. Mr. Wheeler. Are you a member of the Screen Writers' Guild? Mr. Strawn. Yes, I am. Mr. Wheeler. What stories or scripts have you written that were made into motion pictures ? Mr. Strawn. Do you want them all ? Mr. Wheeler. Yes. Mr. Strawn. Well, you have had, probably, more impressive lists than mine. I did the original story and joint screen play on The Black Koom for Columbia. I did a joint screen play for The Man Who Lived Twice. I also worked on a joint screen play called Lady in Distress. I also did added scenes for Don't Gamble with Love. I did the original story Here Comes the Girls. I also worked on a joint screen play entitled "Road Agent." Another joint screen play entitled "The Enemy Meets Ellery Queen." I did another joint screen play called Eyes of the Underworld. That brought me up to the war and I was sick, recovering from a minor operation, when the Japs hit us at Pearl Harbor, but I im- mediately began to correspond to see if there was any way I could get into the service. By the time I had recovered from the operation, and the Screen Writers' Guild knew of my desire to serve, I was notified that there was a representative out here from the Air Force, and I went to see him. I was interviewed by him and he thought that he could use me and could get me a commission, but he asked me if I couldn't get a commission whether I would be willing to serve in a civilian capacity.