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Typescript letter to the American designer Eleanor LeMaire, in which Beaton thanks LeMaire for her letter informing him about the situation with Mr Marcus. He is keen to work on the project they discussed; he also thinks that it would be a good idea to take one or two bridal photographs to begin with and show how the background can be best used.

Refers to a long delayed telephone call with Garbo. Discusses the Royal family. Details his activities over the preceding five days at Reddish House. Sends news that an elderly female friend and neighbour of his had a near-fatal stroke. Also sends news of David. Encourages Garbo to visit him in England.

A letter from Beaton, regarding the royalty status of the set designs for "Quadrille"; designs for "Portrait of a Lady", and details from a postcard sent by Enid Bagnold. Beaton concludes by indicating that he will shortly depart for Paris, to "sniff the new breezes" and a break before his trip to America.

Worries about the nearness of death. Speculates that these concerns have been brought on by the impending death of his elderly female friend and neighbour, and a visit from his youngest sister who now has children. Details his activities at Reddish and during a two night stay in London. Suggests that he and Garbo stay with David in Morocco. Writes that he is enjoying not being involved in filmmaking. Refers to his inheritance from an aunt. Postscript: News that a wasps' nest has just been found in his roof.

Draft typescript letter, in which Beaton writes that he has heard from Miss Le Maire that Mr Marcus is in Europe and unable to make any firm decision about the backdrop for the Bridal Salon until he returns. Beaton thinks that he will stay until the first week of April, but cannot be certain of that. However, he believes that he may well return in the late summer and would be interested to hear from Mr Marcus at any time. Beaton thinks that the backdrop could be a great success and would be willing to take photographs.

Reports that he is staying at the Old Priory with the Oliviers. Refers to Larry with his hair dyed blonde to play Hamlet. Describes the hectic atmosphere at the film set on which he is working for director, Sir Alexander Korda. Refers to a weekend of productions of 'Twelfth Night', 'Midsummer Night's Dream' and 'Hamlet'. Praises Constance Collier, who dined with him. Considered inviting Oscar Wilde's son to dinner. Suggests that Garbo should play Dorian Gray and he Lord Henry in a film. Announces that he has put a deposit on a house in the country (Reddish House) and plans to visit it again at Easter. Remembers their visit to Paley's house the previous Easter.

Typewritten letter, in which Beaton voices his initial concerns in working with Yoshio Aoyama, and requests clearer information regarding what exactly is expected from him in terms of his sketches.

Typescript letter, in response to Bing's letter dated 6th March, regarding his involvement in producing the stage designs for "Adriana Lecouvreur". Beaton writes that he wanted a short break after having worked on "Turandot", but having done some preliminary work and having developed a greater appreciation of the music through conversations with his neighbour, the music critic, Desmond Shawe-Taylor, he is eager to progress further with "Adriana Lecouvreur". He would, however, prefer to set the opera in the Edwardian period, rather than the eighteenth century, which Beaton feels has been "over-done". He also proposes a meeting with Nathaniel Merrill [stage director for the Met between 1956 and 1985], for further discussions before he becomes engaged in other summer activities.

Writes about reminiscing with his old school master. Critiques Lawrence Olivier's film version of 'Hamlet'. Mentions that he spent the weekend at a house party before returning to London and then Reddish House. Sends news that his elderly female friend and neighbour, Edith, died. Mentions Michael Duff and David.

A typewritten letter, in which Beaton discusses wigs and costumes for 'Turandot'.