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formulal is— any more did in 3235 when I first into the theatre. N | “In those days you had a point of view and wrote your pley for better or worse. You didn’t discuss your play with everyone and take all kinds of Zgestions—suggestions that’ might have been perfectly valid, but valueless to you—unless you believed in them yourself." Miss Heliman conceded that: if a writer wanted to collabo- rate for success, that was per-! fectly all right. But what con, fuses her ts the writer who. collaborates to produce a hit! and then Jater complains that he was biudgeoned into it— and tes a book about ft or Publisfes the “original” version, f hisl script, which, presum-! ably, Be prefers. - Seems to me a question! f-wahting your cake and @t-! Ing it,” she said. “It’s a cise! Wanting, at the same tife,! a large‘sounding thing oF integrity, and a large amownt of money, Sometimes they go together, thank God, but, some-| times they don't.” Miss Hellman, who wants {Simply to have her new play, Produced as she wrote it re-| vealed that jt was set in New ‘Orleans “for no particular rea- on,” and concerned five people: |. & man, his two sisters, his wife and his wife's mother, The role of the man is to be played by bards Jr. who com- still to be signed. The play's title, Miss Hell- man hopes, will be Jumished by her tiend, Dorothy | , whg provided the rete be can never think of « tit 0 B thy and told her she ito come through for me again. ee