had died in 1970 before being able to complete the drawings. Lawrence met with Airflow Streamline to discuss the changes they wanted in the maquette and Lawrence convinced Airflow to build two bodies on the two chassis they had using prototype #3, which would be left there, as a structural guide. The car they would produce, prototype #4, would be Lawrence's favourite Monica of all. David Coward was hired from Autocar magazine where he was working as an illustrator. Prior to that he had worked at coachbuilder James Young. Coward refined Rascanu's design by lowering the side window line and deepening the windscreen to give the car a more contemporary appearance. The body was also lowered three inches between the floor pan and the roof and four inches were added to the width. After sorting out some issues with prototype #4 attention turned to tooling. Tooling to produce the bodywork in aluminum turned out to be prohibitively expensive, but a company named Abbate was found in Turin that would make tooling out of resin that would be able to produce up to 100 body sets in steel. The price for the set would be £100,000. When the unrest in Paris had subsided the idea of contracting out production of the car had ended, but Tastevin had kept Coventry Victor under contract to produce the engines. They had been asked to produce 25 copies of the engine in a 2.8 litre displacement. Coventry Victor was only able to produce 18 engines before declaring bankruptcy. At the same time Lawrence had pressed ahead with producing the engines at LawrenceTune headquarters in England. Tests of the 2.8 litre engine led him to believe that this version was under-powered for the car, and so he enlarged his. With displacement increased to 3423 cc fed by four 2-barrel Weber 40 DCLN down-draught carburetors and the Monica name in script cast into its valve-covers, the revised engine produced @6000 rpm. While maximum torque wasn't produced until 4000 rpm the torque curve was relatively flat from 2500 to 4000 rpm. Eventually the technical drawings were completed and approved by Tastevin, which Lawrence delivered to Turin along with prototype #4 so that production of the body panels using the resin/steel hybrid tooling could begin. Comparisons have been drawn between the final shape of the Monica and many of its contemporaries, with the front view having been compared to