Letter from Ruth Prawer Jhabvala, Delhi, India, to James Ivory, Mumbai, India, 1970 July 13 : autograph manuscript signed.

Telling him that she and Anna Carol Dudley believe they could work out a song, and that they are still waiting for musical notation from Jaikishan; supposing that she could still find someone to write Hindi lyrics, but the conditions that made that particular option appealing "won't be there at all" with Dudley's assistance; relaying Dudley's impression of Usha Iyer's singing abilities; revisiting the idea of ending on a more traditional song for this kind of film, specifically mentioning "Typewriter Tip Tip Tip"; explaining why using "Typewriter Tip Tip Tip" might be a "daring" idea; reiterating that she likes the idea of title cards but doesn't care for the particular wording he has chosen; reflecting on her communication style with him; sympathizing with the pressure he is facing from deadlines and from filming itself; observing that people often say "what a wonderful experience it was working together" when a film is successful (citing M.A.S.H. and Catch 22 as examples) and "it's only when it's not successful that they all admit to hating one another's guts"; applying that observation to her own experiences in filmmaking and to specific people she has worked with in the course of making films; explaining why she tends to write such long letters ("I know soon I'll be back on air letters and won't be able to spread myself in this indulgent way. And my handwriting too will have to go all tiny and cramped again."); relaying news about a trip to India that Morris Carstairs is planning with his youngest son, an avid reader; wondering how the introductions between Carstairs' son and her children might go.