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A typewritten letter, regarding Beaton's arrangement to fly to the U.S. on 20th October 1954, and his desire to know the period Quintero would prefer for his set designs.

Went to see the solicitor who made the following comments about the three documents sent to him for consideration: About the equity statement: Although it contains libellous words such as "virtual blackmail" or "deliberately sabotaged" he thinks Beaton would be protected of charges of libels because he is reporting a misdemeanour in the theatrical profession to Equity. As both parties have a mutual interest in this, this would constitute a "privileged occasion" or exemption. The solicitor will investigate this. Beaton might have to rephrase some sentences. Has not been able to speak to Minster, who is not in London. Sykes does not know if Minster intends to report Wolfit, but in any case he would wait until after Wolverhampton. Beaton's statement can only go forward with Minster's support in writing, and he can't see how Minster can be forced. They must know what are his intentions. About the press statement. It is "libellous in every line" and the newspapers would probably not publish it. Should be destroyed. About the personal letter. It is full of libellous statements but Beaton can't be sued as long as he writes the letter in his own hand (i.e. no third party would be involved) and marks it PRIVATE AND CONFIDENTIAL. Will send the Brighton and Wolverhampton reviews as soon as he gets them.

Typescript letter; Hose had a meeting with the solicitor and Helenus Milmo, a learned counsel, about whether a complaint to Equity would really constitute a "privileged occasion". Milmo will need to know the terms under which Equity deals with complaints. As Beaton is not a member of Equity he might not be protected. Minster is not a member either but he belongs to the Society of West End Theatre Managers. Sykes thinks he will probably report Wolfit to them, but not to Equity. Sykes says that recently there had been several cases of actors behaving badly and that managers are not properly protected against this in the existing standard contracts. This will certainly be put right. Both Equity and the Society of West End Theatre Managers are reluctant to give their rules to Beaton's solicitor. They might also try to contact the London Theatre Council. This might however prove very expensive and is unlikely to succeed. Sykes does not think Wolfit will get away from this with no damages; he will find it difficult to get another job. Milmo and the solicitor thought the proposed statement to Equity was well-balanced, but they are strongly against the press statement.

Beaton asked him to take down these notes while he dressed. He has just spoken to Weissberger who said that in the USA Beaton could sue Wolfit for damages. The complaint would be reported in the press, which would be very damaging to Wolfit, and then they could drop the suit. According to Beaton, Sykes' confidence that Wolfit would not find another job is "wishful thinking" and he is determined to denounce Wolfit even if it costs him money - but not too much. Asks Eileen if she has posted the private letter yet - Beaton does not want to read the reply when it comes. Weissberger suggested replacing the word "blackmail" by "exert pressure". Seale might be able to get a list of Equity Rules from Ernest Clark who said they were "all terribly sorry" about what Wolfit was doing to the play. Quotes the concluding sentences of the London Times Review [A3/1/65] which Jim will include in his report.

Hose was afraid that Beaton had given up as she has not heard from him, until she received Weissberger's letter, confirming that the reports of her visits to the solicitor and counsel had reached him. Was confused as to why he asked her if the private letter had been sent. Beaton needs to write it in his own hand, mark it private and ask for a receipt so that Wolfit won't be able to sue him. That "will be one sure good dig at him". They managed to get the rules of the Society of West End Theatre Managers through the Registrar of Friendly societies. Milmo and the solicitor will see which course of action can be taken in light of these rules. Will pass on Weissberger's suggestion to Milmo but thought Beaton did not want to go to court. Has supplied the solicitor with many press cuts and asks Beaton to send the latest one from the Irish press. Saw Alan [Tagg]'s play "One more River", which is "a bit coarse and sweaty, but very exciting". They all voted [for the general election of the 8 Oct.] and "tremble to hear the result". Autograph postscript: Sykes told her that Berman is going to buy all the costumes.

Milmo studied the rules of Equity. A complaint from Beaton would not be a privileged occasion as he is not a member. Beaton would be open to a long and expensive libel action. His defence could only be a plea of justification, i.e. he would have to justify all the statements made in his complaint. Statements would have to be taken from Minster, Seale and the members of the cast. The hearing of the case would take at least a fortnight. Milmo will try to see if Equity has ever taken complaints from non members. Any complaints put forward to the Society of West End Theatre Managers by Minster, a member, would be privileged, so there is no need to change the statement.

Following their meetings with Milmo Beaton forwarded the statement initially intended for Equity onto Minster with a covering letter dictated by Milmo. Also encloses a copy of Minster's reply.

A typewritten letter, in which Hose asks whether Bing would confirm that he would like Beaton to complete his set and costume designs for 'Turandot' by April 1960. If so, then he must hear from Yoshio Aoyama straight away, with his suggestions and complete dress chart.

A typewritten letter, in which Hose (who is possibly not the author) confirms that Weissberger will negotiate the terms of Beaton's contract as a designer for 'Turandot' with Rudolf Bing. Hose reminds Weissberger of the unanticipated amount of work Beaton was asked to do for 'Vanessa', and adds that he cannot be expected to supply as many technical drawings and variations of expensive models for 'Turandot'. The drawings which he produced for 'Vanessa' cost almost as much as he was paid for them. Hose mentions this so that just such another eventuality may be covered by the terms of the contract from the beginning. She concludes by writing that Beaton will probably need an assistant for his work on 'Turandot' and that he will most likely ask Bob Randolph.

Further to their phone conversation, Hose encloses the script of Landscape with Figures, so that Czech can tell them what chances the play might have in Central Europe, in the theatre and on TV, and whether she is willing to represent them in that part of the world.