THEIR PATHS CROSSED IN ROME.

INTRODUCTION

The introduction is narrated or introduced. Narrator stood on a balcony next to the Spanish Steps in Rome. The balcony provides a panoramic view of Rome.

Narrator: The rooms form this balcony lead into the rooms where the painter Angelica Kauffmann lived during her years in Rome. Who is Angelica Kauffmann you may ask. (Beat.) Angelica Kauffmann is one of the foremost female artists ever to live. She painted aristocrats, nobles, famous and Royalty. In fact she painted Royalty several times. Her paintings now hang in the major art galleries and private collections across the world. Probably the painting of Angelica Kauffmann�s that you are most likely to recognise it this �Hesitating between the arts�

I:1 Fifteen Seconds.

View the steps

The seventeen eighty nineties was a turbulent year top say the least, France was in the midst of a revolution. By the winter of seventeen eighty nine the Bastille had fallen and many French aristocrats couldn�t escape madam guillotine. Fade to someone been guillotined.

1:2 Fifteen Seconds.

Fade back to Rome.

Many exiled themselves to cities throughout Europe. Many came here to Rome. Already here were many Stewarts from Scotland after their chosen exile after the conflict with Georgian England. (Beat.) Ah yes Georgian England, Georgian England wasn�t as we may think of it now. No, indeed no Georgian England was far from it, as The Daily Courant the newspaper, the newspaper of the time reported �The mob rules!�

1:3 Fifteen Seconds.

Fade to a mob scene on a London street.

1:4 Fifteen Seconds.

Fade to a tongue in cheek party English gentry party in an English country estate with Narration. The English gentry playing Cutchacutchoo. The gentry in the meantime were enjoying the gentry when not touring the major cities of Europe. They managed their country estates through the summer months and city life through the winter months, they le played called CUTCHACUTCHOO. A sort of blind man�s bluff, but even more rowdier.

Fade back to Rome on the balcony.

Angelica in her latter years would sit here under this tree and paint, enjoying the panorama of old Rome, as she sat at her easel and .painted. The tree was given to her by Louise Vegee Le Brun, another female painter of the time. Like Angelica Louise Vegee Le Brun was an outstanding painteress.

There were simiar to each other in many ways. They were both child prodigy�s, they met only the once. That was here in the winter of seventeen eighty nine.

Fade to Scene One Rome.

SCENE ONE.

THE YEAR SEVENTEEN EIGHTY NINE.

They meet in Rome.

It is late November. Tonio is stood out on the loggia looking down onto the Spanish Steps. Angelica is sat in the main room of the apartment. Fix on Tonio out on the loggia.

1:1 Fifteen seconds.

Tonio: Do you know what she looks like Angelica?

Angelica: Like me you�ve seen her canvasses Tonio. Mademoiselle Le Brun ids petit in features and stature and has a passion for delicate head apparel.

Tonio: And so have many or the women in Europe! Most of which are here, here in Roma!

Angelica: (Beat.) Tonio! (Beat.) Really Tonio you know very well that sarcasm is the lowest form of wit!

Tonio: (Laughing.) By your very answer Angelica you declare that it is wit!

Angelica: (Beat.) I was going to paint today.

Tonio: Then why not paint Angelica!

Angelica: Mademoiselle Le Brun�s arrival Tonio! That�s what Tonio!

Tonio: Entertaining never stopped you painting before Angelica!

Angelica: Before what Tonio!

Tonio: (Beat.) Just before!

Angelica: (Beat.) Yes before. (Pause.) I shall paint tomorrow.

Tonio: (Quietly.) Always tomorrow! Always tomorrow! Tomorrow never arrives!

Angelica: What was that you said Tonio?

Tonio: Oh nothing! Nothing Angelica! I just said its nice to be stood out here doing nothing Angelica.

Cut to two women and a girl walking up the Spanish Steps. One of the women is arguing with the girl.

Cut back to loggia Tonio is laughing uncontrollably.

Angelica: What�s amusing you so much Tonio?

Tonio: Come Angelica, come see! You must see this.

Angelica: See what Tonio?

Tonio: This women arguing with a girl!

Angelica: You�ve seen women argue before Tonio!

Tonio: Yes but not like this Angelica! They are almost like the Stewarts brawling in the streets! Come Angelica! Come Angelica and watch!

Angelica: Oh if it keeps you quite Tonio. Alright!

Angelica puts down her goblet on a small table at side of the chaise longue. Picks up a hand fan the table, gets up from the chaise longue and walks out to join Tonio out on the loggia.

Tonio: Just look how she wags that finger in the face of the child! Just look at her Angelica!

Angelica: (Laughing.) Yes, yes Tonio! Just look at her! Do you think she�s had too much of the vino?

Tonio: (Laughing.) I think so Angelica! I think so Angelica! What language do they speak Angelica?

Angelica: (Laughing.) Quiet! Quiet! Tonio let me listen Tonio! Let me listen.

Tonio: Are they English? Are they Stewarts�?

Angelica: No, no there not. They�re Francais I think. (Silence.)

Angelica stares at the three women.

Tonio: Angelica! Angelica are you alright? Is anything the matter? Are you well Angelica? Do you feel faint Angelica?

Angelica: I�m fine. The woman! The woman! The woman is wagging finger at the girl!

Tonio: Yes Angelica

Angelica: (Silence.) That�s, that is Mademoiselle Louise Vegee Le Brun!

Tonio: (Silence. ) (Disbelief.) Mademoiselle Le Brun!

Angelica: (Beat.) Yes Tonio Mademoiselle Le Brun!

Tonio: Are you sure Angelica! They are a distant away! But how do you know that Angelica?

Angelica: (Beat.) The lips! Those lips I would recognise anywhere! (Joyful.) Mariana! (Pause.) Mariana! Mademoiselle Le Brun, Mademoiselle Le Brun she is walking up the steps Angelica! How do I look Tonio? How do I look?

Tonio: You look just fine Angelica! Just fine!

Fade out then into the main room both Angelica & Tonio are standing as Louise, Julie & Madame Charrot are ushered into the room by Mariana.

Mariana: May I introduce Mademoiselle Louise Vegee Le Brun and her daughter Julie.

Angelica: Bonjour Mademoiselle Le Brun this is my husband Tonio and I�m

Louise: Angelica Kauffman!

Angelica: Yes, now lets do away with the formalities call me Angelica.

Louise: Yes, yes of course call me Louise. This is my daughter Julie.

Julie curtseys.

Julie: Mademoiselle.

Angelica: I�m charmed to meet you Julie.

Louise: And this is Julie�s Governess Madame Charrot.

Angelica: Please sit Mademoiselle Le Brun. Sorry, Louise.

Louise: Thank you Angelica

Louise sits on the chaise longue

1:2 Fifteen Seconds.

Tonio: I wonder if Mademoiselle Julie would care to sit out on the loggia. It provides the most marvellous view of the city.

Louise: The loggia!

Tonio: Ah you may know it as a mezzanine!

Louise: Ah oui tres bon Tonio. That would be most educational. (Beat.) Madame Charrot accompanies Tonio and Mademoiselle Julie.

Charrot: Oui Madame

Angelica: Mariana would you attend to dinner.

Mariana: Yes Angelica.

Tonio, Julie & Madame Charrot go out onto the loggia and Mariana goes back into the kitchen.

Louise: You allow your staff to call you by name!

Angelica: Mariana has been with me for years. (Beat.) Back from my Venice days.

Flash back (Here forward) to de Horne at the Burney�s ball. Obviously would have to unnamed. Maybe the flashback is silent, perhaps a ball.

1:3 Thirty seconds worth.

Louise: Is that your latest canvas Angelica!

Angelica: (Silence.) Sorry! Sorry!

Louise: Is everything alright Angelica.

Angelica: Yes! Yes Louise. Now what is that you said Louise?

Louise: I asked if that was your latest canvas?

Angelica: Sorry Louise yes it is. I started that a few weeks, sorry months ago. I�ve hardly touched it. I shall restart work on it perhaps tomorrow. Yes tomorrow. (Beat.) Or the next day! (Beat.) Only the face is complete, there is much still to do as yet.

Louise: I don�t understand Angelica! All need be done is have it sent to you artisans to complete.

Angelica: No! No you don�t understand Louise. I don�t, I have never used as you say artisans, apprentices or what ever title they are given. Every brush stroke upon the canvas is my own.

Louise: But Angelica it is the done thing. All the great masters, did so!

Angelica: A great many things exist that it is unless to close one�s eyes upon, and yet the very wants and disappointments and ineffectual efforts may themselves be a part of proof of the possibility of the things to which we cannot quite reach, the love we can not hold, the duty which we cannot quite fulfil. Is life a science? Are not its very deviations sometimes the key to its secrets? Are we all philosophers with instincts which set to us work upon its awful problems. (Quote: Kauffmann.)

Louise: (Beat.) That�s, that�s as maybe. (Pause.) You came here from London didn�t you Angelica?

Angelica: London. Yes I did.

Louise: Did you find the change in cities difficult?

Angelica: Difficult! No, I�ve moved from city to city since, since I was a little girl. (Pause.) But London, London then was different. Yes very different!

SCENE TWO.

PART ONE

Angelica in London.

Angelica: Here aged twenty six.

Reynolds: lightly death carries an eartrumpet.

M. Moser: Moser. Of similar age to Angelica, is naive in the ways of the world.

Mariana. Angelica�s personal maid. Here she is a lady in her early forties.

It is the winter of seventeen sixty eight winter, Angelica has a house in Golden Square (near Soho then fashionable.) Possibly number eleven. The Princess of Wales visited her there to view her portrait.

ANGELICA IS IN BED WITH SOMEONE HAVING JUST HAD SEX (TURNS OUT TO BE REYNOLDS ENGRAVER, TO BE REVEALED LATER IN THE PLOT IN ROME.) THEY HEAR FOOTSTEPS FROM THE CORRIDOR OUTSIDE. THEY STOP HAVING SEX AND THEN ANGELICA RUSHES HER LOVER TO DRESS AND OUT OF A REAR DOOR TO HER BEDROOM. (PUT EMPHASSIS ON HER BED CAP.)

Her bedroom was a great dark room, with a red paper and one or two dark old-fashioned pieces of furniture which had been left by the last inhabitants, a melancholy old bachelor who had died there. One door opened into the studio the other to the entrance hall. It would help for the tone of the play if flesh, breasts what ever are shown at the very beginning of this scene.

Angelica is sat at her dressing table. There is knock on the door the Mariana enters the bedroom.

Angelica: Yes Mariana

Mariana: Its Mr. Reynolds.

Angelica: (Softly.) Yes!

Mariana: He is here to see you Angelica.

Reynolds: Good, good.

Mariana: I have put him the studio Angelica.

Angelica: Good, good! Thank you Mariana. Could you lace my dress please Mariana?

Mariana: Of course Angelica.

Mariana assists Angelica to dress.

2.1:1 Thirty seconds.

Mariana: (Silence.) Don�t you think that its early to have a male caller Angelica?

Angelica: Yes Mariana but this is Mr Reynolds Mariana. Mr Reynolds insisted that he be the very first to see the studio. (Pause.) After all Mariana it is thee Mr Joshua Reynolds! Questionable!

Mariana: (Beat.) That�s as maybe Miss Angelica!

Angelica: Honestly Mariana! I know exactly what I�m doing Mariana!

Mariana: I tell you Miss Angelica tongues will wag Miss Angelica! Tongues will wag! Don�t say that I haven�t warned you Miss Angelica!

Angelica: Yes. Yes, then let the gossips gossip! Let them do their worst. (Silence.) There how do I look Mariana?

Mariana: You look fine Miss Angelica. Shall I announce you to Mr Reynolds Angelica?

Angelica: No, no Mariana it�s Mr Reynolds! No need to stand on ceremony with Mr Reynolds!

Mariana: As you wish Miss Angelica! As you wish

Cut to the studio. Reynolds is back to camera looking at an unfinished portrait of The Princess of Wales. He hears a door close, he turns to face the door to the studio which is directly behind him. Then Angelica confidently enters the studio.

2.1:2 Thirty seconds.

Angelica: Good morning Mr. Reynolds.

Reynolds: Please, please Angelica lets not stand on ceremony! It�s Joshua! Angelica!

Angelica: Yes, yes, of course. Joshua. Yes.

Reynolds: I must congratulate you on the studio its most, most

Angelica: (Interruption.) (Sternly.) Most what Joshua!

Reynolds: (Pause.) Oh Angelica if you would have only accepted my offer!

Angelica: Why have you not just congratulated me on, my studio!

Reynolds: Yes but

Angelica: (Interruption.) Yes but what Joshua!

Reynolds: Well, Golden Square Angelica! It�s hardly well

Angelica: Well what Joshua?

Reynolds: (Beat.) Desirable! At least at Lady Wentworth�s you had the advantage of the Hill Street, Mayfair address!

Angelica: Lady Wentworth and I came to an amicable arrangement!

Reynolds: Yes, yes and how long will it take you to pay Lady Wentworth back!

Angelica: I don�t know but at least I don�t have.

Reynolds: (Interruption.) Before, whilst awaiting you I couldn�t help but admire your canvas, your canvas the Princess of Wales.

Angelica: Really! You where?

Reynolds: Why yes but of course Angelica!

Angelica: It�s in its early stages as yet.

Mariana enters the room.

Mariana: Miss Kauffmann.

Angelica: Yes Mariana.

Mariana: Miss Moser asks audience with you.

Angelica: Yes, yes of course Mariana. Straight away Miss Kauffmann.

Reynolds: (Half laughing.) Please Mariana there is no need to stand ceremony!

Mariana: Yes Mr, Reynolds! Of course Mr Reynolds!

Angelica: Stop Mariana! Stop! You�re in my service!

Mariana: Yes, yes Miss Kauffmann!

Angelica: Then ignore what Mr Reynolds has spoken and do as I say Mariana!

Mariana: Why yes, yes of course Angel�. Sorry Miss Kauffmann! Yes!

Angelica: Decorum is all I ask Mariana, surely that is not too much for me to ask for! Its not you at which I�m drawing my, well anger Mariana but you Reynolds, for I should thought the better of you Mr. Reynolds to incite such behaviour Mr Reynolds!

Mariana: Shall I request Miss Moser�s presence in the room Miss Kauffmann?

Angelica: Yes, yes do Mariana.

Mariana: Very good Miss Kauffmann.

Mariana leaves the studio. (Silence.) Angelica & Reynolds stand in silence as Mariana leaves the room. Reynolds stares at Angelica intensely, his stare is only broken when Mariana walks into the studio.

Mariana: Madame, Mr Reynolds Miss Moser.

Angelica: Good morning Mary.

M. Moser: Good morning Angelica.

Reynolds: The best of the morning to you Miss Moser.

M. Moser: Mr. Reynolds. (Beat.) Is he here?

Angelica: No not as yet!

M. Moser: I am so looking forward to meeting him and your aunt.

Angelica: (Beat.) Oh you mean my father!

M. Moser: Why of course your father, who else could I possibly mean Angelica?

Angelica: He and my aunt Rosa will be here shortly.

M. Moser: Good, good. (Beat.) Your canvasses for the exhibition have you entered them as yet Angelica?

Angelica: I gave them to Mr. Reynolds.

Reynolds: Yes everything is in order. I think I might have a buyer for them!

Angelica: Really! Whom?

Reynolds: John Parker. John is considering, considering purchasing all of the five after the exhibition.

M. Moser: Why That�s marvellous Angelica isn�t it?

Angelica: (Beat.) Yes, yes it is. May I ask Mr. Reynolds but what if I wish to show the pictures elsewhere?

Reynolds: That should not be a problem John Parker is a very accommodating gentleman. There should be no problems with that Angelica.

There is a knock on the door, Mariana enters the studio.

Angelica: Yes Mariana?

Mariana: Miss Kauffmann your father and Aunt Mariana are downstairs with Mr Hone

Angelica: Mr. Hone is here!

Mariana: Yes the parlour with your father Joseph and Aunt Mariana.

Angelica: Ask Nathanial, Mr Hone to, come up here immediately!

Mariana: What about your father and Aunt Rosa?

Angelica: (Beat.) I shall attend to them in good time.

Mariana: Very good Miss Kauffmann.

M. Moser: Will you be attending the party at Dr Burney�s house this evening Mr Reynolds?

Reynolds: Yes dear I have my invite. I always look forward with fondness to the parties Dr Burney gives, such delightful company!

M. Moser: (Beat.) (M. Moser fans herself.) Why thank you Mr Reynolds.

Reynolds: My pleasure Miss Moser!

SCENE TWO.

SECOND PART.

Fade to scene a party at the Moser�s house Angelica is singing beside a piano. Reynolds and Hone talk as Angelica sings. Conversation between Reynolds and Hone.

2.2:1 Thirty Seconds.

Reynolds: She is of good voice isn�t she Mr Hone!

Hone: Yes, yes she is that Mr Reynolds. She has the voice of that of an angel.

Reynolds: (Beat.) Some might say that her voice is the maker of her true art.

Hone: Surely you jest sir!

Reynolds: I have no time for jest good Sir!

Hone: But.

Reynolds: (Interruption.) There is no but, as you only just said sir she has the voice of an angel!

Hone: Yes but it rumoured that you yourself arranged for the purchase of not one but five of Angelica�s canvass yourself to John Parker!

Reynolds: Yes, yes my good friend, but with a generous commission for myself! Please sir, do tell, if you had the same opportunity you would not do the exact same!

Hone: No I certainly would not sir! I would not even dream of such an idea! How can be so lude so as to place a price be put on a thing such as art!

Reynolds: Now it is you who jest Sir!

Hone: (Silence.) So you are artist turned a dealer in art Mr. Reynolds!

Reynolds: (Laughing.) Me! No! (Laughing.) You need to give time for yourself to think and think long and hard my friend for the answer is staring in the face and you no not of it!

Hone: But I don�t know the question that�s has to be answered!

Reynolds: Its not a question to be answered but more of observe and observe well, then replicate.

Hone: Replicate!

Reynolds: Yes rean Tenons plicate! Have you not looked carefully at Angelica�s works? Have you not noticed the limbs of the subjects in her paintings! They are limbs of men!

Hone: I do not follow you Sir!

Reynolds: They are the limbs of women!

Hone: What on the men? But.

Reynolds: (Interruption) You forget Sir or maybe you know not aware Sir that our Miss Kauffmann has never seen well painted the limbs of a male not even a model! Needs looking at again

Hone: I did not know that Mr. Reynolds!

Reynolds: Does that surprise you? (Beat.) I dare say that I have given thought that her artistic reputation might be somewhat higher if she would keep to painting of that of one genre.

Hone: (Beat.) Maybe! (Beat.) Are you trying to tell me something Mr. Reynolds!

Reynolds: (Beat.) Merely suggest Hone.

Hone: Suggest what?

Reynolds: (Beat.) This has to be just between our two selves you understand Nathaniel. Gentleman too gentleman, you understand!

Hone: Yes, yes of course Joshua! What is it?

Reynolds: You have more than, well the ear of Angelica!

Hone: Yes, yes I believe that I do.

Reynolds: She shares ideas for her paintings with you? (Beat.) Pillow talk so to speak!

Hone: (Beat.) Why?

Reynolds: (Beat.) Should I say that if you were well to shall we say employ our Miss Kauffmann�s attributes into practice. I myself would obviously turn a blind eye. (Beat.) Needless to say a deaf ear! (Laughter.)

Hone: (Beat.) Yes interesting! Very interesting, but what of the attention of that of the Royal Society! Angelica is bound to make an appeal to them!

Reynolds: You just leave that side of things to me!

Hone: Yes of course. But my I ask what you have to gain from this?

Reynolds: Me, gain from this! Nothing! Nothing at all!

Hone: (Pause.) May I as a question of you?

Reynolds: You can ask doesn�t mean to say that I will give an answer mind! What�s your question Mr Hone?

Hone: Why have you never married Sir?

Reynolds: (laughing.) Why I have I never married! Why have I never married! Well on that I think as Mr Garrick an artist married is an artist ruined!

Thirty seconds.

Angelica: How was I?

M. Moser: You were good!

F. Burney: Superb Angelica! Bravo Angelica!

M. Moser: Bravo Angelica!

Angelica: Just good!

M. Moser: You were excellent as always Angelica!

F. Burney: Excellent Angelica!

Angelica: (Beat.) You could hear me alright?

M. Moser: Yes! Yes I could hear you just fine Angelica!

F. Burney: We could hear just fine Angelica!

Angelica: Good! Good!

M. Moser: It came to my notice that Mr Reynolds and Mr. Hone kept giving you more than the occasional glance Angelica.

F. Burney: Yes they did. Especially Mr. Hone Angelica.

Angelica: Yes, yes I know.

F. Burney: Tell me do you have desires in either of them?

M. Moser: Pray do tell Angelica.

Angelica: (Laughing.) I do not desire Mr. Reynolds nor Mr. Hone No neither of them! No certainly not!

M. Moser: But why Angelica! Mr Hone is a dashing figure of a man!

Angelica: Yes I know.

F. Burney: And Mr. Reynolds is more than wealthy!

Angelica: This I know Mary. I know. But alas neither have that what I desire.

M. Moser: And what is it that you desire Angelica?

Angelica: I desire something of a man that can gained by no amount of money.

F. Burney: Is that love that you are talking about Angelica?

M. Moser: Yes is it love that you desire Angelica?

Angelica: No its not love no Mary. For there is no such thing as love. Well that is to say that I don�t think that there is anyway! Not in the way that the two of you see love.

M. Moser: Silly! Of course there is love!

F. Burney: Yes of course there is love Angelica. One day I shall find true love!

Angelica: If you say that there is Mary, then there is. And I hope the both of you find this true love. I do! I really do!

M. Moser: (Beat.) You could have anyone you desire Angelica!

Angelica: Yes I know that Mary.

M. Moser: So!

Angelica: (Beat.) So I can look at people half in jest and half in earnest and make them turn pale and then do anything that I wish!

M. Moser: (Silence.) Yes you can.

Angelica: (Silence.) Who is that over there?

M. Moser: Where?

Angelica: Him there dressed in green.

F. Burney: Ah yes that�s the Count de Horne. He arrived in a carriage driven six horses! Can you believe that Angelica?

Angelica: Yes I can! Yes I can Mary. (Beat.) He does dress well doesn�t he?

M. Moser: He does.

Angelica: Where is he from Mary? Do you know?

M. Moser: Sweden I think. He�s foreign that I do know!

Angelica: But so am I a foreigner here!

F. Burney: Oh Angelica I don�t look at you as foreign, after all you are in the Royal Court and you are painting the Princess of Wales!

M. Moser: Quite an honour Angelica.

Angelica: That�s as maybe. (Beat.) Could you introduce me to the Count?

F. Burney: Me Angelica! No! I haven�t been introduced to him myself as yet! (Beat.) I could ask Papa!

Angelica: Would you! Would you please Franny!

M. Moser: Why yes of course Angelica!

Cut to a shot of the room from above, M. Moser and F. Burney go across to F. Burney �s father. F. Burney whispers in is ear (Not heard.). Then M. Moser and F. Burney go back to Angelica, Mr Moser goes to De Horn then De Horn and Mr Moser walk across too Angelica, F. Burney and M. Moser.

2.2:3 Thirty Seconds.

Dr Moser: Ladies my I please introduce the Count Frederick de Horn.

De Horn: Thank you Dr Moser the pleasure is entirely mine ladies.

Giggles M. Moser and F. Burney.

De Horn: Ladies to whom do I have the pleasure of meeting Dr Burney?

Dr Burney: This is Miss Mary Moser, Count de Horn.

De Horn: Most charmed Miss Moser, most charmed.

Dr Moser: This is my daughter Franny. Franny Burney.

De Horn: I�m charmed Miss Burney.

Dr Moser: And this Count de Horn is.

De Horn: (Interruption.) You don�t have to tell me Dr Moser. Angelica! Angelica Kauffmann the one with the voice of an angel!

Angelica: Why thank you Count De Horn.

De Horn: Please call me Frederick, Miss. Kauffmann I have seen your paintings in cities and grand houses throughout Europe Miss Kauffmann. Only the best cities and the very best of houses of course Miss Kauffmann.

Angelica: Please, please call me Angelica Count De Horn.

De Horn: The pleasure is mine Angelica.

Angelica: Tell me Count De Horn, sorry Frederick, but where have you seen my work and where.

Dr Moser: I shall leave you ladies in the capable hands of the Count De Horn.

De Horn: Thank you Dr Moser. I assure you that the pleasure in mine Dr Moser.

Dr Moser: Yes Count. Ladies!

Dr Burney leaves the four. Camera surveys the room then closes onto Reynolds and Hone.

2.2:4 Twenty Seconds.

Hone: Who�s that talking to Angelica, M. Moser and F. Burney?

Reynolds: Pardon! You�ll have to speak up Nathaniel.

Hone: Who�s that talking to Angelica, Mary Moser and Franny Burney?

Reynolds: Now let me see. (Beat.) Dare say that I do recognise him! (Beat.) He�s new to London! He doesn�t dress like us does her! A foreigner I dare say. Yes a foreigner definitely!

Hone: A foreigner Sir!

Reynolds: Yes a foreigner! (Beat.) I know, I know who he his now!

Hone: Who Sir?

Reynolds: That, that Count, what�s his name! The Count de Horn! That�s the chappie everyone�s going on about. (Beat.) He�s somewhat on the flash side from what I hear!

Hone: (Beat.) Yes, yes so I have heard. The Count de Horn! (Beat.) I wonder if the Count will meet Miss Kauffmann�s bed cap this evening!

Reynolds: What did you say?

Hone: On nothing Mr. Reynolds. Nothing at all!

Cut back to Angelica, M. Moser, F. Burney & De Horn.

M. Moser: Mr Reynolds and Mr Hone are looking in our direction!

F. Burney: They are! (Beat.) A really long look I might add!

Angelica: Really! You can't measure things by time.

THIRD SCENE.

Cut back to Rome.

Louise: But I never knew that you sang Angelica!

Angelica: I did. I don�t now.

Louise: But why not?

Angelica: I made my choice.

Louise: Choice! What choice?

Angelica: The choice between music art.

Louise: I don�t understand, but why a choice Angelica? You do what you like. You do what you whish to do. That is the way of things now!

Angelica: Now maybe Louise, but back then not. Certainly not back then in England.

Louise: Maybe you will sing for us later!

Angelica: Tell me about Paris. I remember seeing the Rueben�s.

Louise: Ah yes the Rueben�s. (Beat.) So Angelica London was good to you yes. (Laughter.)

Angelica: Good to me! How do you mean good to me?

Louise: All these men! Monsieur Hone! Monsieur Reynolds! Yes that�s two gentlemen. What became of them? Where are they now? What are they doing? Do you still see them or hear of them Angelica?

3:1

ADD WHAT HAPPENED TO THEM. FLASHBACKS. Maybe more.

Thirty Seconds.

Angelica: I believe they are well. That is apart from Joshua I heard that he had a stroke which has left him of ill health.

Louise: Yes I have heard the sane of Mr. Reynolds. (Beat.) Where there more, gentlemen friends?

Angelica: It is warm in here!

Louise: Where there more, well gentlemen friends Angelica?

Angelica: (Beat.) That�s what I thought you said Louise!

Louise: If I don�t ask then I won�t know will I Angelica!

Angelica: (Laughing.) No! No! I suppose you won�t! (Pause.) Well there was one, gentleman friend that I cannot forget.

Louise: What was, is his name.

Angelica: His name is unimportant, well it is now anyway.

Louise: You can tell me! It will not utter another word to anyone, I promise Angelica! Please do tell Angelica? What was his name?

Angelica: I was young, I was innocent! He was young but he certainly wasn�t innocent! He made me laugh! To me he was fun. (Beat.) Probably the only fun that I was having back then.

3:2

CUT TO AN ENGARVERS WORKSHOP Angelica & the engraver are there they are laughing and joking. There is no dialogue, just Angelica talking over the scene. Show the streets of London.

Twenty Seconds

Angelica: He lived in Newgate Street near to the Old Bailey.

Louise: I have not heard of this Newgate before.

Angelica: Probably best not too have heard of it, its not one of the better parts of London.

Louise: Newgate isn�t that way they hang people?

Angelica: Yes Louise, its where they hang people. (Beat.) He was Joshua�s engraver, well one of Joshua�s engravers. He called me �His ministering Angel.� He knew how to treat a woman, well girl in my case back then. In the day time he would make the plates, he could only work by day on his plates. The light you see.

Louise: Yes.

3:3 TWENTY SECONDS.

CUT TO A COFFE HOUSE COME BAR SCENE OCCUPIED BY ARTISTIC TYPES Angelica is sat there with Mariana. Still with Angelica & Louise talking over the scene.

Angelica: I would sit and wait in the Old slaughterhouse Coffee House at the top of St Martin�s Lane. Do you know of it Louise?

Louise: Near Whitehall isn�t it?

Angelica: Why yes it is! How do you know that?

Louise: I have been there (this could go a lot further right here.) Did you go there on your own?

Angelica: I would go there with Mariana, we would sit near the window and I would watch and wait for the daylight to fade. Then when the day faded, then I would go to him.

3:4 Twenty Seconds.

CUT TO A DITRY SQALIED BEDROOM SCENE Angelica AND THE ENGAVER ARE HAVING SEX. Still with Angelica & Louise talking over the scene.

Angelica: Unknown to me then he was an ex-bankrupt. But been an ex-bankrupt wasn�t the only thing that he was hiding from me! Oh no that I could have easily have lived with but no!

Louise: What else! What else was he hiding Angelica! Was he married?

Angelica: Oh yes he was married alright, I think even then I realised that but didn�t want to admit it to myself. It all came out at the trial!

Louise: The trial!

Angelica: Yes the trail, there were allegations brought against him that he had been selling engravings himself.

Louise: So everyone likes to earn a little extra! Nothing wrong with that Angelica!

3:5 Thirty Seconds.

CUT TO A CHARATAER DRESSING AND DISSAPPEARING OUT THROUGH A BEDROOM WINDOW. Still with Angelica & Louise talking over the scene.

Angelica: Ah yes but when these allegations are brought by Sir Joshua Reynolds the people who are tend to take notice. Needless to say my lover took plight, a reward for three guineas was put on his head, he was caught within the week. Then, then there was the trial;

3:6 Thirty Seconds.

CUT TO COURTROOM SCENE (Angelica is in the courtroom also Reynolds. Have two women, his wife and mistress carrying on as he is sentenced.) Still with Angelica & Louise talking over the scene.

Angelica: And there in the Old Bailey it all came out. He had a wife with yes I knew about but he also had a mistress and an illegitimate child to mistress!

Louise: What happened to him Angelica?

Angelica: Oh the evidence to say the least was much to be desired but alas he was hung. (Beat.) Hung by the neck.

3:7 Thirty Seconds

CUT TO GALLOWS SCENE: Angelica is there, sobbing daring not to look.

Angelica: To add to my troubles, the very next day I was at the Royal Academy. Mr Hone was showing his latest works, to be perfectly honest I found them to say the least somewhat bland.

Louise: Bland! Sorry I don�t understand!

3:8 Twenty Seconds.

CUT TO THE ROYAL ACADEMY. Angelica looking at the paintings on her own. There are others in the background.

Angelica: There was a lack of passion within in them. Well that was until I viewed the very last canvass.

Louise: That had passion?

Angelica: A kind of passion. One of the characters portrayed myself naked!

Louise: Naked!

Angelica: Yes naked Louise!

Louise: What did you do?

Angelica: Needless to say I complained bitterly, of course Mr Hone denied that it was a likeness of me but eventually he painted over it.

Louise: I should think so Angelica. (Beat.) And this Count de Horn!

Angelica: What of him?

Louise: What ever became of him? Do you still hear of him? See him maybe?

Angelica: How was Paris Louise?

Louise: Ah Paris. I had not even been there three months! Three months and the criminals, yes criminals had signalled me out! There was a mob outside in the street, it would have been that night of all nights! (Beat.) I had a coach waiting outside in the yard.

I had decided to leave several portraits that I had already begun, among them Mademoiselle Contat's. At about the same time I refused to paint Mademoiselle De Laborde. She was barely sixteen, and very charming. But it was no longer a question of success or money it was becoming a question of staying alive!

Angelica: Yes it certainly looks that way Louise. (Beat.) Please do tell more Louise, we have heard little of the happenings in Paris. Stories that we hear are confused by other stories!

Louise: It�s been a nightmare! A complete nightmare Angelica! (Beat.) Well the Bastille was, well taken.

Angelica: By the mob!

Louise: Yes by the mob Angelica. People, good people were murdered in their cells!

Angelica: (Beat.) Excuse me for asking but if they were well good people as you say what were they doing in cells?

Louise: (Sigh followed by laughter.) The mob and its comrades had imprisoned for anything! Anything at all! (Beat.) It all started with the crops failing, understandably the money had to begotten so taxes were well increased.

Angelica: I see.

Louise: From there things got out of hand, as I have said it was no longer a question of success or money it was becoming a question of staying alive! They call the King and the Queen the baker and his wife!

Angelica: I�ve heard that also, alas I did not understand why!

Louise: It was terrifying the drunken mob ran Paris! It was not the Paris that I love.

Angelica: Will you go back there Louise?

Louise: One day I will. One day I will go back. But for the moment it is unsafe for me to do so Angelica. (Beat.) For a time things were well, bearable, that was until that article!

Angelica: Article!

Louise: Yes the article came out a few months ago now. A totally fictitious correspondence was created by a reporter, between and Mademoiselle Calonne. What little was left of my personal reputation is destroyed. I suppose I got of easy Mademoiselle Calonne was exiled just a few months ago.

Angelica: So you are not exiled yourself Louise?

Louise: No I suppose I�m not, well officially not. Suppose that I exiled myself! (Beat.) But one day I shall return!

SCENE FOUR.

PARIS.

PARIS SEVENTEEN EIGHTY NINE. Louise.

Julie

Charrot: Madame Charrot

N.G. One, N.G. Two & N.G. Three National Guardsmen

M in coach: Fat and in coach aged about fifty.

It is a cold evening in November seventeen eighty nine; following the invasion of Versailles by Parisian mobs, Mademoiselle Le Brun is preparing to leaves for Italy on the public coach. They are in their house/studio on the Rue Gros Chenet, where the sound of a mob on the streets can be clearly heard. They might have a coach waiting if their yard. Louise and M. Charrot are in Louise�s bedroom.

Louise: You can hear the mobs even more now it is becoming dark.

Charrot: Oui Madame.

Louise: I wonder where they are! I do worry.

Charrot: I don�t know Madame.

Louise: At least they don�t bother us Madame Charrot.

Charrot: No. At least not as yet Madame. (Quietly.) They will!

Louise: My dresses. My dresses, Madame Charrot have you the trunk in the carriage?

Charrot: Yes Madame. What about those on your bed Madame?

Louise: I would like to take them but I very much doubt if we will have enough room in the carriage.

Charrot: No we won�t Madame.

Louise: I think I shall leave my jewellery here on my dressing table until we go. It may be stolen in the carriage out there on the street!

Charrot: Yes Madame. Yes of course Madame.

Louise: Even though we have only been here but for a few months I shall miss this place Madame Charrot. It has been a home.

Charrot: Yes Madame.

4:1 Ten Seconds. added as they pack.

Julie: Mammon! Mammon!

Louise: What! What Julie!

Julie: Look Mammon! Look there is fire! There is afire! A fire Mammon!

Louise: Where Julie where!

Julie: Over there Mammon! Look! Look! Look Mammon!

Louise goes to her bedroom followed by Madame Charrot.

Ten Seconds

Julie: See Mammon see!

Louise: Madame Charrot! Madame Charrot! Come here! Come here quickly Madame. Charrot! M. Charrot joins Louise & Julie at the window.

Louise: Where is it! Where is the blaze Madame Charrot?

M. Charrot: (Beat.) I don�t know! I can�t tell! I can�t tell for surf Louise!

Louise: Its not far away that is for sure!

M. Charrot: No Madame it�s not.

Louise: (Beat.) No it�s not far away Madame Charrot. Its not! Anyway we shall be gone in the morning.

M. Charrot: Yes Madame Charrot we shall. We shall!

Louise: (Pause.) Is everything of Julie�s in the trunks?

M. Charrot: Yes Madame.

Louise: Good Madame Charrot. Good! (Beat.) What you can�t have the man put on top of the carriage it will have to just go inside.

M. Charrot: Very good Madame. I�ll ask.

Julie: Mammon! Mammon! Look! Look! Look at all the people! Look Mammon. Down at the end of the street! Look!

Louise: (Beat.) Yes Julie. Yes Julie dear I see them! I see them. (Beat.) Madame Charrot are all the doors locked securely?

M. Charrot: Yes Madame! Yes!

Louise: Good! Good!

4:2 Twenty Seconds.

Cut to Louise going about the house, keeping looking out of different windows. Speak over by Louise

Louise: As the evening progressed the scene of the city got no better, it simply went to the worse than one could imagine. (Beat.) I watched, I witnessed. I witnessed the ransacking of peoples houses. Followed by the torching, burning of peoples house. (Beat.) Those people ran to the streets. Many, some, many were killed!

Fade back to Louise�s bedroom.

THE FIRST SWEARING IS IT REALLY NEEDED OR DOEIT GIVE ANY IMPACT.

Louise: Fuck! Fuck that dammed article! We would have none of that if it weren�t for that dammed article! Just listen to that crowd! Just listen to that crowd down on the street Madame Charrot!

M. Charrot: Yes Madame.

Julie: When will they go away Mammon?

Louise: Soon, soon Julie.

M. Charrot: There must be fifty or more Madame!

Louise: Yes Madame Charrot there must be.

M. Charrot: When will they go away Mammon?

Louise: Soon, soon Julie.

Julie: (Beat.) Yes Mammon.

Louise: They are like animals! Animals! Curse there so called revolution! A stone is thrown through one of the windows of the room, breaking it in the process.

Julie: Mammon! Mammon!

4:3 Ten Seconds.

Louise takes hold of Julie and hugs here briefly, then goes to the broken window which the stone came through, pushes the rest of the glass out from the broken pain and begins to shout.

Louise: You bastards! You bastards I have a child in here!

Julie: Mammon! Mammon!

Louise: Be quiet! Be quiet! Take Julie downstairs please Madame Charrot.

M. Charrot: Yes Madame. (Beat.) Come Julie.

Julie: But Mammon!

Louise: (Sternly.) Go with Madame Charrot now Julie! Do as I say Julie!

M. Charrot: Come Julie.

4:4 Thirty seconds.

Louise continues to look out from the window at the mob down in the street. Then there is loud banging coming from downstairs door. Followed by the sound of the door bursting open. Confused shouting can be heard from inside the house, the shouting is from Julie , Madame Charrot, N.G. One, N.G. Two & N.G. Three. Julie& M. Charrot are then manhandled into the room by a crowd of National Guardsmen the room carrying muskets. Most of them are drunk and shabbily dressed.

Louise: What is the meaning of this! What are you doing in my room! Get out! Get out! Get out! (Beat.) Don�t you dare touch that child! Get out of my house immediately!

N.G. ONE: You must go Mademoiselle! You must go!

N.G.TWO: Yes go!

Louise: You go on about liberty. But yet you wish to take mine!

N.G.THREE: You must go Mademoiselle! You must go!

N.G.TWO: Go!

Louise: It is you who must go! And go now! Immediately! (Beat.) You go on about liberty but yet you wish to take my liberty!

N.G.ONE: You will not go citizeness you will not! Why will you not go!

Louise points directly at N.G. One.

Louise: (Beat.) I recognise you!

N.G.ONE: Yes Mademoiselle I live across the street. You cannot live here Mademoiselle; you are changed so much that we feel sorry for you. But do not go in your carriage, go in the stage-coach; it is much safer Mademoiselle Le Brun.

N.G.THREE: We are your neighbours, and we have come to advise you to leave, and as soon as possible.

N.G.TWO: We have the stage-coach in the very next street Mademoiselle.

N.G.0NE: Yes come quickly Mademoiselle.

N.G.THREE: Yes quickly! Now!

Louise: But my things!

N.G.ONE: There is no time Mademoiselle! The mob will be here shortly!

N.G.THREE: Come Mademoiselle Le Brun! Quickly! Come quickly Mademoiselle Le Brun!

Louise: Julie come we must go! Madame Charrot would you fetch my jewellery from my room please.

M. Charrot: Oui Madame.

N.G.ONE: No there is no time. You all must go now this very minute!

N.G.TWO: You will thank us for this someday Mademoiselle.

4:5 Thirty seconds.

At that a stone with burning rags come through another window. Then sound of a large mob can be heard approaching. Cut to inside the stage-coach, Louise is silhouette as she looks out over a burning Paris. Fade out then back in it is now dawn as the stage-coach approaches a town.

M in coach: The revolution is running its course Mademoiselle. Things will be very different from now on!

Louise: I�m sure that they will Monsieur. I�m sure that they will.

M in coach: To where are you bound Mademoiselle?

Louise: Why do you ask Monsieur?

M in coach: Curiosity Mademoiselle. Curiosity! (Silence.) We have the baker and his wife safe in Paris. A constitution will be drawn up, they will be forced to accept it, and then it will be all over. With a few changes of course!

Louise: Yes I�m sure Monsieur.

CUT BACK TO ROME.

Louise: We arrived in a town I didn�t recognise it at first. I left Julie with Madame Charrot and ascended Mount Cenis, as other strangers were doing, then suddenly I was stood still on the narrow path, a group of boys approached me, one suggested, that I ought to take a mule; to climb up on foot is too fatiguing. I answered that I was a work-woman and quite accustomed to walking. �Oh! no!" was the laughing reply. The lady is no work-woman we know who you are Well, who am I, then? I asked him. You are Madame Le Brun, who paints so well, and we are all very glad to see you safe from those bad people. I never guessed how the man could have learned my name, but it proved to me how many secret agents the Jacobins must have known my identity.

Angelica: (Beat.) Are you referring to the man on the stage coach?

Louise: Yes. (Beat.) And what became of the Count de Horn?

Angelica: I married him.

Louise: (Beat.) I didn�t know this! I never heard of that!

Angelica: No you wouldn�t have done.

Louise: What! Didn�t work out for you?

Angelica: As I have said I first met Fredrick at the Burney�s, he kept appearing at my studio�s and well one thing led to another. We got married I didn�t even tell Papa. It was Beatrice that I told the first, I was staying at her fathers� house in Windsor.

Louise: Beatrice? Who�s Beatrice?

Angelica: Shall we say a friend. A good friend!

Louise: (Pause.) In Windsor!

Angelica: Yes I needed to be in Windsor, so as I could finish the Princess of Wales�s portrait. (Beat.) Yes I remember that morning well, it was snowing.

SCENE FIVE:

PART ONE

London seventeen sixty seven Angelica

Beatrice DESCRIPTION

Charlotte Another maid of the Princess of Wales DESCRIPTION

Tonio Zucchi DESCRIPTION

De Horn De Horn DESCRIPTION

HRH The Princess of Wales DESCRIPTION

Angelica and Beatrice are at Beatrice�s parents� house in Windsor. They are in Beatrice�s bedroom which is an attic bedroom, which has one small window which gives a view of the roof tops of the town and in the distance Windsor Castle. Beatrice�s father is a teacher at Eaton School. Beatrice has six sisters of which she is the eldest, thus she has her own room.

Angelica: Not so hard.

Beatrice: I didn�t think father would allow us to share a room.

Angelica: Why not? He won�t suspect anything.

Beatrice: No I suppose not! Is that better?

Angelica: Yes Beatrice it is! Much better! (Silence.) Can I tell you something Beatrice?

Beatrice: Why yes of course Angelica. What is it?

Angelica: I don�t know if I should!

Beatrice: Oh come you must tell me now Angelica!

Angelica: Yes I must tell someone! (Beat.) I got married!

Beatrice: You got married! Who to? What about us! What about me? Do I know him?

Angelica: The Count de Horn. You met him at the Burney�s the other month. Do you remember Beatrice? Would a made to the Princess of Wales be at the Burneys party. If so she needs adding.

Beatrice: Yes, yes I remember Angelica. (Beat.) How�s that?

Angelica: That�s nice! You keep on doing that, that�s lovely Beatrice!

Beatrice: (Beat.) It�s just, its just that it well one thing you getting married Angelica and believe me I do understand your reasons I really do Angelica! Maybe just, maybe just one day things will be different to what they are now. But!

Angelica: But what Beatrice?

Beatrice: Why haven�t you told anyone Angelica?

Angelica: Frederick said not too. Well for now anyway!

Beatrice: (Beat.) That�s as maybe. (Beat.) It�s just, it�s just you could have married Mr Reynolds, Mr Hone just to mention two of many! And I just, well the Count de Horne isn�t, isn�t well the most handsome of gentlemen! So she did see him at the Burneys.

Angelica: Your right Beatrice he�s not the most handsome of men but he does have something the rest don�t!

Beatrice: Does he! What?

Angelica: A title! The Count de Horn!

Beatrice: That makes me the Countess de Horn! Yes it�s a Swedish title but never the less it is a title!

5.1:1 Twenty Seconds.

Beatrice gets out from the bed and walks to the window. IS SHE NAKED OR WEARING A NIGHTSRESS AND CAP!

Angelica: Come back to bed Beatrice!

Beatrice: (Beat.) It�s snowing outside.

Angelica: Snow in the first week of December here! Does it lay?

Beatrice: Yes it lays�. (Beat.) When did you marry Angelica?

Angelica: Oh a couple of weeks ago. Do come back to bed Beatrice you must be cold!

Beatrice: When exactly did you marry?

Angelica: Does it matter Beatrice?

Beatrice: (Raised voice.) It matters to me Angelica! When did you marry?

Angelica: The twenty second of November! (Beat.) Why does it matter?

Beatrice: (Raised voice.) It matters to me! Where did you marry?

Angelica: St. James� Church Piccadilly. Not the most salubrious of places I must admit.

Beatrice: No its not. Who was there? Why wasn�t I invited?

Angelica: No on was there! No one!

Beatrice: (Silence.) If it were not for me you would not have been commissioned for the painting of her Majesties portrait!

Angelica: (Beat.) You are but a maid!

Beatrice: Yes! Yes I may only be a maid in the service, but I�m a maid in her Majesties services who has the ear of her Majesty!

Angelica: That�s as maybe. Joshua would have gotten me the commission. (Beat.) Well eventually.

Beatrice: By Joshua I take that you are referring to Mr Reynolds?

Angelica: Why yes of course!

Beatrice: (Mockingly.) Ah! Mr. Reynolds!

Angelica: Why do you use Mr A Reynolds�s name in jest?

Beatrice: I may take Mr Reynolds name in jest, but it is you Angelica! You Angelica! You who jests at Mr. Reynolds himself!

Angelica: And what is meant by that Beatrice?

Beatrice: Need I explain Angelica!

Angelica: Oh please do Beatrice! Please do!

Beatrice: Did he not offer you the monies for your studio?

Angelica: That is no concern of yours Beatrice! Besides you have never complained when you have shared my bed there!

Beatrice: (Beat.) That is not my point Angelica! You know that!

Angelica: Pray do tell, what is the point that you are trying to make Beatrice!

Beatrice: Lady Wentworth! Lady Wentworth paid for your studio!

Angelica: (Beat.) What of it!

Beatrice: (Pause.) Need I say more! (Pause.) Is she another me but with money!

5.1:2 Thirty Seconds.

There is a silence between the two of them as Angelica gets out of bed and starts to dress.

Beatrice: (Silence.) Her Royal Highness won�t be seeing you in her rooms as the time before.

Angelica: (Beat.) (Sharply.) Why is that?

Beatrice: There is work been done on her rooms.

Angelica: Work! (Beat.) Who is doing the work?

Beatrice: Antonio Zucchi. Why?

Angelica: Tonio! Toni is here in England! He hasn�t wrote me!

Beatrice: You know him?

Angelica: Yes Tonio I have known him since I was a little girl.

5.1:3 Twenty Seconds.

Fade out to St. Jame�s Church Piccadilly. St James is a church with very little character and nothing much else in its favour. De Horn is stood near to the Churches alter with the clergy and two other people as Angelica walks in alone. Only the sound of her footsteps can be heard as she walks down the isle.

SCENE FIVE.

PART TWO.

Angelica: Am I late?

De Horn: No Angelica no! Even if you were I would wait for you Angelica! Let me introduce you to our Clergyman Angelica. Angelica this is.

Angelica: (Interruption.) Are you a Catholic Father?

Clergy: No I�m not Madame.

Angelica: I thought as much. Frederick I insisted that a Priest, a Catholic Priest be present! That was my only request seeing that you would not marry in a Catholic Church! Was that too much to ask?

De Horn: There wasn�t the time Angelica there just wasn�t the time!

Angelica: Time but of course there was time! I shall go and fetch a Catholic Father myself now! This very minute!

De Horn: No! No! Time is of the essence Angelica! The essence! Within the hour you will be the Countess de Horn.

Angelica: (Beat.) Yes Angelica the Countess de Horn! (Beat.) Who arte these people Frederick?

De Horn: (Beat.) They are our Witness Angelica.

Angelica: (Laughing.) I�m Angelica Kauffmann. It is my wedding day any church should be full of my wedding guests! No not any church but St Peter�s its self.

De Horn: St. Peters Angelica surely you do mean St Paul�s!

Angelica: No I mean St. Peters Rome! (Beat.) Now lets get on with this before I change my mind.

5.2:1 Thirty Seconds.

Fade to after the ceremony both of them walking out from the church and down the street. The two of them stand out from the rest of the people on the street by the way that they dress. One: been foreign. Two: being wealthy. Overlook the wedding.

De Horn: We are now married! Married!

Angelica: I�m a Countess! A Countess!

De Horn: (Pause.) Yes a Countess.

Angelica: We should celebrate Frederick!

De Horn: Maybe later Angelica I have business to attend.

Angelica: Business! But I�m to attend her Majesty in Windsor in but a few days Fredrick.

De Horn: Yes business. I wonder Angelica. I wonder.

Angelica: Wonder what husband! I called you husband Frederick!

De Horn: Yes Angelica that is of what I wonder. I wonder if whilst you have her Majesties ear you would ask if I may attend the Royal Court.

Angelica: (Beat.) I shall ask of her of course Frederick. Of course I shall Frederick it is but my duty as a wife. A wife and a Countess! Me a Countess! (Beat.) Do I get a certificate or anything to say that I�m a Countess? Do I Frederick?

De Horn: (Sharply.) No! (Beat.) (Normal.) There is another favour I must request of you Angelica. I wonder if you could see your way to giving me an advance. An advance against the monies I have arriving from Sweden.

Angelica: And when will these monies, arrive Frederick?

De Horn: By the end of the week Angelica.

Angelica: How much do you require Frederick?

De Horn: Shall we say five hundred pounds! That should cover things for now.

Angelica: But five hundred guineas Frederick! That�s a considerable sum!

5.2:2 Ten Seconds.

De Horn stops walking takes Angelica by the arm and turns her to face him.

De Horn: Surely there is no reason for me to remind you Angelica that now we are husband and wife and your estate is now my estate. I have no reason to ask for the monies neither pay them back to you Angelica. (Beat.) Where do you do you banking? Is it far from here?

Angelica: (Beat.) No not far.

De Horn: Good! Take me there now!

Fade back to the bedroom in Windsor?

Beatrice: And did you give him the money?

Angelica: Why yes but of course. He�s my husband Beatrice!

Beatrice: Yes so you have said Angelica.

Angelica: You appear annoyed Beatrice!

Beatrice: Annoyed! Annoyed Angelica! I have never asked anything from you Angelica! Nothing! Never!

Angelica: I know Beatrice you haven�t, but Frederick is my husband Beatrice! Beside Frederick has asked me to speak to her Majesty.

Beatrice: Speak with her Majesty regarding what?

Angelica: Frederick would like an audience with her Highness.

Beatrice: Would he now! (Silence.) So what am I to you Angelica? Just someone who you have shared beds with!

Angelica: (Beat.) If you won�t money ask and I will give it to you Beatrice!

Beatrice: I�ve asked nothing of you! (Beat.) You can�t tell me that you have married De Horn for his charm, wit or looks! No you have wed De Horn for a title! Nothing more!

5.2:3 Ten Seconds.

Beatrice starts to get dressed.

Angelica: You�re dressing!

Beatrice: Yes!

Angelica: Why? Come back to bed Beatrice we have plenty of time!

Beatrice: No we best make haste and get the castle before the snow lays thick on the ground.

Beatrice continues to dress.

Angelica: (Silence.) Is money that you want Beatrice? Is it? If it is I will speak with Fredrick upon my return to London.

Beatrice: (Laughing.) Tell me Angelica has the Count paid you your five guineas back as yet Angelica?

Angelica: No not as yet. But Frederick will pay me back as soon as he receives his money.

Fade out and back into the Castle scene

SCENE FIVE.

PART THREE

5.3:1

No words spoken, Angelica is in a room alone with the Princess of Wales painting here portrait. There are two doors one which Angelica entered the room by from one of the reception areas. The other door leads to the Grand Hall, where the Princess of Wales gives audiences to her invited guests.

Thirty Seconds.

HRH: I was looking from out from the windows of my rooms earlier. Doesn�t one find the snow absolutely amazing Frau Kauffmann?

Angelica: Yes your Royal Highness, amazing.

HRH: You will be use to the snow with you having lived in the Alps Frau Kauffmann.

Angelica: Why yes of course you�re Royal Highness .

5.3:2 Twenty seconds

Frau Kauffmann paints continues HRH.

Angelica: Could I (Silence.)

HRH: (Beat.) Could you what Frau Kauffmann?

Angelica: Oh nothing your Royal Highness. Nothing!

HRH: I�m spared from changing my robes after the sitting Frau Kauffmann.

Angelica: Why is that may I ask your Royal Highness?

HRH: I�m giving audience.

Angelica: (Silence.) May I be so bold as to enquire with whom you�re Royal Highness?

HRH: Some foreign chappie, his name, his name escape me for the moment.

Angelica: (Beat.) Very good you�re Royal Highness .

5.3:2 Twenty seconds

As Frau Kauffmann paints HRH.

HRH: Norwegian I think. That�s what they call people from Norway isn�t it?

Angelica: Yes your Highness.

HRH: (Beat.) No from Finland! (Beat.) No! Swedish! Yes definitely Swedish! Just a matter of remembering his name now! (Pause.) All these dammed foreigners have dam strange names! Don�t you agree Frau Kauffmann? Angelica: (Beat.) Yes you�re Royal Highness they do.

5.3:3 Twenty seconds

As Frau Kauffmann paints HRH.

HRH: I remember now! Yes I remember!

Angelica: You remember what your Royal Highness?

HRH: (Beat.) The chappies name! The Swedish chappie whom has an audience with me! The Count de Horn! How silly of me to forget! (Laughter.)

Angelica: Did you say the Count de Horn your Royal Highness?

HRH: Why yes of course Frau Kauffmann! The Count de Horne.

Angelica: I didn�t know you were hard of hearing your Royal Highness!

HRH: No I�m not. Not what Frau Kauffmann

Angelica: Hard of hearing your Royal Highness I wonder if your Royal Highness would be so good as to tell me as to when the Count de Horn is due to arrive? You Royal Highness!

HRH: Within the hour Frau Kauffmann. Why do you know the Count de what ever?

Angelica: Yes, no! May I beg your Royal Highness�s leave?

HRH: Well I suppose if you must Frau Kauffmann. I suppose so!

Angelica: Thank you your Royal Highness, thank you.

5.3:4 Ten Seconds.

Angelica calmly put her brushes into her canvas bag, curtsies to her Highness, turns and leaves the room.

Outside in a large stately corridor is Beatrice and Charlotte await Angelica coming from where she has been painting the Princess of Wales. Angelica walks out from the room.

Beatrice: That didn�t take long. Is something wrong Angelica?

Angelica: Fredrick, Frederick! Frederick has an audience with her Highness!

Beatrice: Your Frederick?

Angelica: Yes my Frederick

Beatrice: Did you ask her Royal Highness?

Angelica: No that�s just it I didn�t! I don�t know how Frederick has arranged this!

Charlotte: Who is Frederick?

Angelica: Frederick is my husband! The Count de Horne!

Beatrice: You said that you were not going to let it be known to anyone as yet Angelica!

Angelica: Yes but Frederick himself will inform her Royal Highness of our marriage! Then, then the whole of England will know! No, the whole of Europe will know! (Beat.) I must see him, I must see him!

Beatrice: You just can�t go into a private audience with her Royal Highnesses if you are not invited!

Angelica: Not even if its your husband!

Beatrice: Not even if it is your husband Angelica!

Charlotte: (Beat.) We could go up into the gallery of the Great Hall! (Beat.) There, there is a door which leads out onto the ramparts. As short walk along the castles ramparts leads to another door, which will bring us to the small gallery which over looks her Royal Highnesses private room. That�s where she will be entertaining your.

Angelica: The Count de Horn.

Charlotte: Yes.

Beatrice: (Beat.) Isn�t where Mr Zucchi is working?

Charlotte: Yes it is.

Angelica: I haven�t seen Tonio in absolute ages. Not since Venice!

Charlotte: Come let�s make haste.

5.3:5 Thirty seconds.

Angelica, Beatrice & Charlotte going up steep stone spiral staircases, along darkened corridors. Along the castles ramparts, where the three are exposed to the elements (it is still snowing.) Then through a door back into the castle where they are high up on a narrow ledge down onto the Princess of Wales� room. Tonio Zucchi is working on the ledge.

Angelica: Tonio!

Tonio: Angelica! I haven�t seen you since that evening in Venice!

Angelica: (Beat.) No! (Beat.) I didn�t know you were in the country! You should have wrote me!

Tonio: I didn�t like disturbing you Angelica. I have heard of your success. Your fame is known across Europe! (Beat.) Is your father well?

Angelica: Yes he is well.

Tonio: Please send him my regards Angelica.

Angelica: I will Tonio. I will!

Charlotte: (Whispering.) Speak quietly! Speak quietly or her Highness will hear!

Angelica: Alright! Alright!

Tonio: (Whispering.) But what are you doing up here Angelica?

Angelica: (Whispering.) I�ve come to see my husband. He has an audience with her Highness.

Tonio: (Whispering.) (Surprised.) You are married Angelica! Who to? When did you marry? I�ve not heard of this Angelica!

Angelica: (Whispering.) Yes, yes! Isn�t it wonderful Tonio!

Tonio: (Whispering.) (Pause.) Why yes Angelica. Who, who is your husband Angelica?

Angelica: (Whispering.) The Count de Horn!

Tonio: (beat.) The Count de Horn!

Angelica: Yes!

Tonio: But the Count de horn is.

5.3:6 Twenty seconds.

Fade to:

There are noises from out side the room Angelica, Beatrice, Charlotte & Tonio go silent. Camera: viewing Angelica, Beatrice, Charlotte. & Tonio viewing the room from the upper gallery. The Princess of Wales enters the room with two attendants. The Princess of Wales seats herself upon a large chair at one end of the room. The Princess of Wales says something to one of her attendants. The attendant goes to the far end of the room and opens both the double doors. In walks a short fat man in his fifties.

Angelica: (Silence.) What�s happening?

Beatrice: How do you mean!

Angelica: What�s happening?

Tonio: You don�t recognise him Angelica?

Angelica: (Hesitating.) No why? Should I!

Tonio: That�s the Count de Horn.

Angelica: (Beat.) That�s not my Fredrick! Fredrick the Count de Horn!

Tonio: It may not your Count de Horn but it is the Count de Horn! (Pause.) I over heard her Highness talking the other day with the Ambassador for Sweden, requesting the Counts audience with her. The Count claims that someone in England has taken his name. (Beat.) Your Count de Horn Angelica is an impostor!

Angelica: (Shouting.) No! No! No! No! No!

5.3:7 Thirty Seconds.

Angelica runs along the gallery through the door on to the castle ramparts, the wind is blowing, it is snowing, her hair blows in the wind as she runs. Angelica eventually leans over the ramparts and sobs.

BACK TO ROME.

Louise: How terrible Angelica!

Angelica: (Beat.) Oh that was just the start of things Louise. The very next day I had word that Tonio I had left to attend to things back home, his father had died. It was if Brant had planned it!

Louise: Brandt?

Angelica: Brandt. That was the, well Count de Horns real name. To this day I don�t know if Frederick was Brant�s well Christian name. It would be a couple of days later Brant turned up at my studio.

Louise: He did! What cheek!

Angelica: He did indeed Louise. This time there was no fancy carriage, his clothes were well what I can call shabby! The strange thing was is that he acted as nothing had happened!

Louise: The pig!

Angelica: I think that�s an insult to all pigs! (Beat.) He Brandt, suggested that we should remain as husband and wife. I didn�t know what reply to give to him. He left, after he left, then was the first time that I sobbed since that night on the ramparts of Windsor Castle. (Silence.) Come, let us take some air Louise .

Louise: Yes, that would be good. I would like that very much Angelica.

Angelica: Yes.

5.3:8 Ten Seconds.

Angelica and Louise go out to the loggia Madame Charrot. Is entertaining Julie and Johann is dozing in a chair. Angelica and Louise are looking out over the view of the city. Silent at first.

Louise: Do you ever paint from here?

Angelica: No I paint side, the light you see. Oh you mean the view! Do I ever paint the view!

Louise: Well yes I did. Indeed.

Angelica: No, no I don�t. I take the view daily, to have it hung on the wall would be but a waste of canvas. Why I could have a mirror and watch the constancy of the light change.

Louise: Even the reflection would not fulfil the true beauty of the vista. (Beat.) If this were mine I would spend a much time out here, as much time as I could possibly spare.

Angelica: It�s the heat. It�s different here to anywhere else, it�s humid. It�s really humid. Dry!

Louise: (Beat.) You need shade. Madame Charrot! Madame Charrot!

M. Charrot: Yes Madame.

Louise walks across to where M.C. is with Julie, taking a purse from her bag as she does. Then money from her purse.

Louise: Take this and buy the largest palm tree, the largest that you can carry.

M.Charrot: Yes Madame.

Louise: And Madame Charrot. .

M.Charrot: Yes Madame.

Louise : Take Julie with you, the walk will do her good.

M. Charrot: Very good Madame. (Beat.) Julie.

Julie: Yes Madame.

M.Charrot: Come, Julie we shall walk.

Louise re-joins Angelica.

Julie: Where are we going Madame?

Louise: Ask no questions Julie. No questions. Do you understand Julie?

Angelica: Yes Mammon.

Louise: Tell me Angelica whatever became of this De Horn fellow? Did he return? Did you see him again?

Angelica: Yes I did see him. Indeed he returned. Again he whished to continue as nothing had happened! As id he was indeed a Count! (Beat.) I agreed albeit unwillingly at first but father insisted that I paid. (Beat.) Brandt the sum of three hundred guineas which the condition that which gave him the rights of a husband but never to have anymore communications with me, nor any further requests of a financial nature.

Louise: So you were still married to this, this imposter!

Angelica: Yes father wanted to write to the Pope to ask for the marriage to be annulled. But I would not here of it!

Louise: But why not Angelica?

Angelica: Few knew of the situation and to write to the Pope well if this ever got the ear of the public, well my career would have been in ruins!

Angelica: De Horn died back in eighty one so then I was at last free to marry Tonio. (Beat.) Anyway enough of me do tell of Naples Louise!

FADE TO NAPLES.

SIX SCENE

Louise in Naples.

No Nelson, he come son the scene some years later. Although it would be bending history a little too far. To be correct to history Louise went to Rome then Naples, so this is blending history. Although for the sake of the scene not been given to Angelica or loosing a Naples scene I feel history is worth bending.

It is evening the Hamilton�s are hosting an evening at their Villa Sessa. Louise, Johann and Thomas are at the Villa Sessa stood on a terrace looking out over the bay of Naples. Johann and Thomas have been to these evenings at the Villa Sessa many times in the past and now it is almost a chore for them to be there. This is the first time that Louise has been to Naples and doesn�t know what to expect.

Johann: Have you been introduced to Monsieur Jenkins Madame le Brun?

Louise: No I haven�t had the pleasure Johann.

Johann: Then allow me please let me do the honours. (Beat.) Madame le Brun please let me introduce you to Monsieur Thomas Jenkins. Monsieur Jenkins please let me introduce you to Madame le Brun.

Thomas: Pleased to meet you Madame Le Brun.

Louise: I have heard of you Monsieur Jenkins.

Thomas: All good I hope Madame le Brun!

Louise: (Beat.) Well yes but of course Monsieur Jenkins.

Johann: (Interruption.) Have you visited Pompeii?

Louise: No not as yet Monsieur Jenkins. I have heard much of it.

Johann: Oh you must! You must Madame le Brun!

Louise: Yes I must, but I have only been here in Naples but a day Monsieur Jenkins.

Johann: Don�t delay Madame le Brun. They must be seen they are truly a treasure to feast ones eyes upon!

Louise: Yes this I know Monsieur Winkleman.

Thomas: What have you being doing this day Madame le Brun?

Louise: Sir William indulged me in showing me his collection. Most impressive I might add.

Johann: Yes a most impressive collection I agree with you Madame le Brun?

Louise: Yes most impressive. It was most educational to see the items in Sir William�s catalogue there before my very eyes. (Beat.) I must commend you Monsieur Winkleman on compiling such a catalogue.

Johann: It was a pleasure.

Thomas: Tell me are you a collector of antiquettes Madame le Brun?

Louise: Alas no, but my interest in them does grow, the more that I learn Monsieur Winkleman the less I appear to know.

Thomas: Really!

Louise: Why yes Monsieur Jenkins, I use the subject matter in my paintings.

Thomas: Why but of course you do Madame le Brun! How stupid of me! I�m some what of a collector myself Madame le Brun. Maybe you would like to view of collection Madame le Brun?

Louise: Why yes of course Monsieur Jenkins. Yes thank you.

Johann: Don�t you think the view pleasant Madame le Brun?

Louise: Most pleasant Monsieur Winkleman. The bay is much larger than I expected it to be and the volcano Vesuvius does not, well glow!

Johann: (Half Laughing.) Alas no Madame le Brun Vesuvius lost its glow when it destroyed Pompeii, Herculerium and the great Roman fleet. Now its just a little smoke.

Thomas: (Pause.) Yes Pompeii, Herculerium, Vesuvius are but three of the wanders of Naploii.

Louise: There are more to be seen! This, I must hear please Monsieur Jenkins!

Thomas: (Laughing.) Why yes! Have you as yet met Madame Hamilton Madame Le Brun?

Louise: Why no Thomas. Well just a fleeting glance. She has a beauty yes about her!

Johann: Yes she has a beauty. It is her beauty that brings us here this very evening Madame.

Louise: Pardon Monsieur but I do not understand!

Thomas: Her attitudes Madame le Brun!

Louise: Her attitudes! (Beat.) Why does Madame Hamilton have problems with her moods?

Johann & Thomas laughing.

Emma: No, no Madame le Brun Madame Hamilton�s attitudes are well I suppose best explained as portrayals of the Greek Goddesses.

Louise: Intriguing!

Thomas: I suppose intriguing is one word to be used!

Johann: Yes! Baring in mind that Madame Hamilton undertakes he attitudes naked!

Louise: Naked! Naked Monsieur�s! But surely you jest!

Thomas: Madame le Brun! I assure you that we do not jest!

Johann: No we do not jest Madame Le Brun.

Louise: But whom but a common whore or a deranged person would appear in front of an ensemble of people naked! (Beat.) But Sir William is well dare I say of his later years!

Thomas: (Beat.) Madame Hamilton is but half Sir William in years.

Emma walks (More like glides.) out from the ballroom on to the balcony.

Emma: Good evening Johann, good evening Thomas!

Johann: Good evening Madame Hamilton.

Thomas: The best of the evening to you Madame Hamilton.

Emma: And who might this be? No! No don�t tell me! Madame Le Brun, the painteress!

Louise: Why yes I am Madame Hamilton.

Emma: I recognise you, I have seen a painting of you. Can�t remember where though! Although I do remember that you were wearing some silly straw hat! A straw hat like those what the peasants wear! (Laughing.) You really, you really should have strong words with the artist! Well painter! (Beat.) A straw hat! Honestly!

Louise: (Silence.)(Sarcastically.) I�m the artist, I�m the artist who painted myself wearing that silly straw hat!

Emma: (Pause.) Painting yourself now don�t be silly! No one paints themselves! That�s silly! (Beat.) They don�t, do they?

Louise: It�s a self portrait!

Emma: Self portrait whatever. You will all enjoy my performance this evening. Won�t you!

Johann: I�m sure as ever that we will Madame Hamilton.

Thomas: (Beat.) As always we do Madame Hamilton!

Emma: (Beat.) You must paint me Madame le Brun! You must. Something classical! Yes something classical! (Beat.) I could be in classical dress!

Louise: What like a bacchante!

Emma: Yes what ever one of those is! Anyway something that flows!

Louise: Yes!

Emma: I could stand here! Right here! Here in between the two peaks of Vesuvius! What do you think Madame le Brun? That�s good isn�t it! Isn�t it Madame le Brun!

Louise: Ah yes but at the time you speak of Madame Hamilton, Vesuvius would have been of one peak!

Emma: (Beat) Would it! Why? How?

Louise: Vesuvius blew its top when it erupted!

Emma: I don�t know! Did it! Did it really!

William stands in the doorway to the villa.

William: Emma! Emma! Our guests await you!

Emma: Coming William! Coming!

Emma runs off in the direction of Sir William, then cut to inside the Villa, the performance is about to start.

Fade to the �ballroom� in the Villa Sessa. The room holds about thirty seated people with ease. At the far end of the room is a stage which has large curtains draped at either side. Although the stage takes the width of the room it isn�t high it can easily be stepped of. To the left in front of the stage is sat a small orchestra which is playing. Louise, Johann & Thomas are sat together in the room which is now full of guests.

Louise

Johann

Thomas

Louise: What is going to happen? What is she going to do? You can�t be serious Monsieur�s about Madame Hamilton been, well naked!

Johann: Be patient dear you shall see. It will definitely open your eyes Madame Le Brun.

Louise: It will!

Thomas: Most certainly Madame Le Brun! Most certainly!

Johann: Are you of an open mind Madame Le Brun?

Louise: I do believe so.

Johann: Good! Good.

William appears on the stage and signals to the orchestra to be silent, with they do.

William: Lords, Ladies, Gentlemen friends. Welcome! May I welcome in particular another friend from France Madame Vegee Le Brun!

The guests applaud. Cut back to Louise, Johann & Thomas.

Johann: (Excited.) Stand up Madame Le Brun! Stand up!

Thomas: (Excited.) Yes Louise do stand up! Take a bow! Take a bow!

6:1 Ten Seconds

Louise embarrassed stands up bows then quickly sits back down

William: Thank you Madame Le Brun, thank you Madame Le Brun! Many of your country men, women and friends are here already and I am sure, I am sure that many, many more will arrive on these shores shortly. Let us all wish them safe and swift passage to be with us.

Applause from the guests.

William: And now it is my great pleasure to introduce my wife, Lady Hamilton perform for you her interpretation of the Greek Gods with her attitudes! (Beat ) Emma Hamilton! (Beat.) Orchestra please!

6:2 Thirty seconds.

Emma walks out on to the stage, she is dressed in classic Greek dress. On receiving the audience�s applause she stands static, then she stands in a variety of poses each applauded by the audience. After the sixth pose the orchestra changes quickens its tempo and begins to dance about the stage.

Louise, Johann & Thomas talk quietly as Johann continues to perform.

Louise: Well this isn�t too bad I don�t suppose. (Beat.) A little too much cleavage perhaps, but, acceptable. Acceptable.

Johann: You wouldn�t say that if you were a Greek come back from the past!

Thomas: (Half Laughing.) Really Johann you shouldn�t take things so seriously! Lighten up! Lighten up!

Johann: (Beat.) Well! Well it�s a travesty! Honestly a travesty! We�ll be getting ice creams in the interval next!

Thomas: You may jest but Lady Hamilton has looked into the possibility! I don�t jest!

Johann: I�m sure you don�t jest Thomas!

Louise: (Pause.) Dose Lady Hamilton take all this seriously or how should I put it! Tongue in cheek!

Johann: Very seriously Madame Le Brun!

Thomas: Yes very seriously! Some say that she has read up on the subject.

Johann: I might add that there who very much doubt that Lady Hamilton has the ability to read! (Laughter.)

6:3 Twenty Seconds.

Louise bursts into laughter. Member�s of the audience start looking in Louise�s direction. Lady Hamilton continues her performance not oblivious the commotion.

Thomas: Prey be quite Madame Le Brun!

Louise: I�m sorry! I�m sorry! (Beat.) I�m sorry! I just can�t help it! I can�t help it!

Johann: (Pause.) Should I escort you out Madame Le Brun?

Louise: No, no I�m alright, I�m quite alright! But thank you, thank you anyway Johann. Please call me Louise. The both of you! The both of you!

6:4 Twenty Seconds

Cut back to Emma. Towards the end of this Lady Hamilton, lets drop her garment to the floor and then stand motionless in a pose, the expression upon her face serious. The room is silent. Shock reaction Louise. More could be added if need be.

FADE BACK TO ROME.

Angelica: Yes Lady Hamilton is somewhat of a, well dare I say character yes.

Louise: Oh yes she is. I did paint her as a bacchante.

Angelica: Out on the balcony?

Louise: Yes. I got the impression that if someone came along who could offer fame she would be with them.

Angelica: Really.

Louise: Oh most definitely. She is an attention seeker and the more attention she paid the more she does like it. More could be added if need be.

Mariana walks out onto the balcony.

Mariana: Julie and Madame Charrot they have returned Angelica.

Angelica: Good show them through please Mariana.

Mariana: Of course Angelica.

Julie & M Charrot are led onto the loggia. M Charrot is struggling to carry a large potted palm tree. Julie runs ahead of Madame Charrot & Mariana.

Julie: Mammon! Mammon! Look! Look what we bought Mammon!

Louise: That is, well large!

M Charrot: You did say the largest that I could carry Madame!

Louise: Yes, yes I did but

M Charrot: (Interruption.) They did have larger but they said that they couldn�t deliver until tomorrow. Besides I wasn�t sure of the address.

Louise: You did the right thing Madame Charrot. Thank you, thank you very much Madame Charrot!

Angelica: What you going to do with it?

Louise: Plant it!

Angelica: Plant it! But where?

Louise: There! You said you need shaded to work out here. Some care and attention and you will be able to set your easel under it come the summer.

Angelica: Who�s going to plant it?

Tonio: We are!

Angelica: We are!

Louise: Yes!

FADE OUT TO

The tree as since been uprooted by a previous occupant of the apartment.

CONCLUDE: MAN OR WOMAN IN ART GALLERY.

This is it the self portrait of Louise Vegee Le Brun, entitled Straw hat. Or, as Emma Hamilton so eloquently called that silly hat. Louise did eventually return to Paris albeit some (how may years Le Brun exiled). She lived until the age of in. Alas she died not a wealthy woman, her style of painting had gone out of fashion then was the age of the impressionist like who was in vogue when Louise died.

And Angelica, yes Angelica although never got to be a titled lady as she as I am sure that you will agree with me, when I say she so much wished to have, or was it wanted. There is a difference! As with the painting of Angelica that we looked at earlier she was always torn between her love of art and of music.

1 died in 1807

Need more here to conclude.

MAYBE INCREASE PARIS.

Twelve minutes thirty seconds.