The Three Musketeers Page #2

Synopsis: The hectic adventures of D'Artagnan, a young provincial noble who just comes to Paris to enter the musketeers. He will meet action, love, hate, the king and the queen as his impetuousness gets him involved in political plots... and of course virile and indestructible friendship with the three musketeers Athos, Porthos and Aramis.
Director(s): George Sidney
Production: WARNER BROTHERS PICTURES
 
IMDB:
7.2
Rotten Tomatoes:
71%
NOT RATED
Year:
1948
125 min
394 Views


Send him back a corps alright.

But don't send him back|with his trousers dripping.

Now do you understand?

No, sir.|Captain De Treville.

His majesty the King orders|the immediate presence of

Captain De Treville, musketeers|Athos, Aramis and Porthas.

And somebody called D'Artagnan.

Find that brainless cut throat.

Yes, your Majesty.

Obvious imbeciles!

Which is this one?

D'Artagnan, your Majesty.

Well find him some decent clothes.

How can I face Richelieu

when my men don't wear|decent clothes?

Which of these is the one|that so embarrassed me?

D'Artagnan, your Majesty.

Imbecile!

Don't they realize that|Richelieu is my dearest friend

and stance defender?

They are too young, Majesty.

Don't they realize

that the dignity of my first|minister is the dignity of...

They're impetuous men|your Majesty

Don't interrupt me|when I am talking well.

What did you say?

They're impetuous men|your Majesty.

Impetuous imbeciles!

Five hundred francs.

Go on. Go on! Go on away.

And get him some decent clothes.

Wardrobe, a valet, a horse.

All he needs now is a rich widow.

Planchet, my horse.

Gentlemen, my quarters.

Welcome to your quarters|D'Artagnan.

Get that man out of here!

He claims to be your landlord.

He is, monsieur Bonnasieux.

Just as I suspected.

He was telling the truth.

Well, get him out of here.

I can not abide landlords.

Please,|just a moment of your time.

I need you sir.

I live below you.

I am going away on a long journey

and won't be back for weeks.

I have a goddaughter|named Constance.

She is in danger sir.

In danger of what?

Well, she is one of|the queen's maids.

I suspect she is been followed|by Richelieu's men.

Richelieu's men are notorious|for their complete lack of taste.

I believe that.

I beg your pardon sir,

but the purposes are,|as I suspect, political.

But she is trusted, by the queen.

Well, I beg of you sir.

It won't be a matter of|any great inconvenience.

She comes home from the palace|only once or twice a week.

You can keep an eye on the street|from your windows.

And here.

You can keep an eye on our rooms.

Athos.

That all sounds|a little too convenient.

The floorboards, the Goddaughter, the danger

And my young friend has recently|distinguished himself

as an outstanding defender|of the throne.

It smells my dear landlord,|of Richelieu.

Now get out of here.

Oh, gentlemen.

Planchet! Remove this man.

I swear to you.

Monsieur D'Artagnan.

He rolls well.

Planchet!|Get me some nails and a hammer.

Maybe I can borrow some|from the landlord.

Hey!

Get out!

Oh monsieur, monsieur.|You come from heaven.

No, mademoiselle.

Just from upstairs.

Who ever you are, in the queens name I thank you.

And now please, please,|just for an instant.

Alright? Please.

Master, you're wounded.

Mortally, fatally, in the heart.

I shall get a physician.

I shall never recover.

Keep watch man.

I am on the queen's business.

Sorry monsieur, to be in such a hurry.

No greater hurry then I.

I love you.

What?|I love you. I love you.

Oh mademoiselle, inside me is a raging storm.

From the first instant|I behold you.

By the way, what's your name?

Constance.|Constance.

Oh, Constance.

My all.

My all.

My blood rages like a torrent.

My heart beats like a drum.

I come from the end of the earth to employ you.

I thought you said|you came from upstairs.

R from you as that is what it takes to be at the end of

You're mad.

No, don't stop.

Lace me off my back|while you are talking.

I'm your servant,|your subject, your slave.

Your pleasure is my life.

Your will, my law.

My life is yours.

My heart, my sword.

Anything you demand.

My last drop of blood.

Why do I have to|style out oasis?

I didn't do very well, did I?

I was only trying to say|I love you.

Maybe you should|tell me your name first.

D'Artagnan.

D'Artagnan?

The famous swordsman.

The famous will be.

Oh, no.

I only came from the country|a few days ago, I...

I just got these clothes today.

The famous D'Artagnan.

Oh, I'm sorry. I'll go.

No.

Oh, D'Artagnan.

I am just as simple as you are.

I'm just a girl|who works at the palace and...

I am not used to being in love.

I'm late.

Oh, I am late.

Swear on your honor|you won't follow me.

But you're not going out of here alone.

Oh trust me.

I beg of you, trust me.

Where are you going?

If you love me, please,|please don't follow me.

But I...

You asked me to trust you.|D'Artagnan!

Eave me to keep some cheap rendez-vous on a stree

Stop. Stop.

It's George,|the minister of Buckingham,

Prime Minister of England.

Buckingham!

I'm sorry my dear,|but the man can not be left

in the possession|of such knowledge.

It becomes my necessity|to kill him.

Oh, your grace.

He is loyal to the queen|and besides I...

I love him.

I face Richelieu and all his spies

and than I am risking|being impaled on a lovers sword?

What a fate for England.

Come.

In here a moment please.

Your Majesty, a messenger|from Spain has come

with intelligence|about your presence.

Her majesty the queen.

Anne, my little Anne.

George. A thousand times|you must not come.

A thousand times I shall come.

Why don't you help me?

Why can't you understand?

I understand nothing|except that I love you.

But the earth is small

and there is no room on it|for you and me apart.

Oh, my darling.

Confess to me that you still love me.

Bear your tears in my evidence.

I weep for myself.

For my husband, for my country.

Your country is wise.

But your husband is an idiot.

But Richelieu's spies|are everywhere.

In my court, in my bedchamber.

I have no one to trust.

You have me.

I have?

Chelieu's spies discovered you were coming to France

even before you left England.

And Countess De Winter?

What intimate circumstances did she discover the se

Anne!

Can't I even trust you?

And I love you.

And I can't help myself.

You accuse me of faithlessness?

No.

I accept it.

George, I love you.

But you must not come here again.

I forbid you|ever to come to Paris.

Alone, in disguise, at the mercy|of Richelieu's villains.

Richelieu forbids me|to come as ambassador.

Then I shall never see you again.

No, if I can not see you as beggar.

If I can not see you as ambassador,

then I shall see you as conqueror.|You understand?

Buckingham.|England is mine.

France shall be mine and|you shall be mine Anne.

But you must go.

Here.

I give this to you in parting.

We must never meet again.

I shall treasure these

like I treasure the dearest|recollections of you Anne.

As I treasure the anticipation|of our next meeting.

The countess De Winter.

Your Excellency.

Welcome my Lady.

And you were never so welcome|as at this moment.

Nor so unwilling to come.

You promised me a holiday.

I am having my holiday.

Oh.

And what is the name|of your holiday?

The count De Wardes?

Do you know everything|that transpasses in France?

I only know that I am|in the midst of a great project.

And that you my Lady,|are part of that great project.

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Robert Ardrey

Robert Ardrey (October 16, 1908 – January 14, 1980) was an American playwright, screenwriter and science writer perhaps best known for The Territorial Imperative (1966). After a Broadway and Hollywood career, he returned to his academic training in anthropology and the behavioral sciences in the 1950s.As a playwright and screenwriter Ardrey received many accolades. He was awarded a Guggenheim Fellowship in 1937, won the inaugural Sidney Howard Memorial Award in 1940, and in 1966 received an Academy Award nomination for best screenplay for his script for Khartoum. His most famous play, Thunder Rock, is widely considered an international classic.Ardrey's scientific work played a major role in overturning long-standing assumptions in the social sciences. In particular, both African Genesis (1961) and The Territorial Imperative (1966), two of his most widely read works, were instrumental in changing scientific doctrine and increasing public awareness of evolutionary science. His work was so popular that many prominent scientists cite it as inspiring them to enter their fields. more…

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Submitted on August 05, 2018

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    "The Three Musketeers" Scripts.com. STANDS4 LLC, 2024. Web. 18 Nov. 2024. <https://www.scripts.com/script/the_three_musketeers_21843>.

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