The Three Musketeers Page #4

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


Athos, Athos!

Open up, it's D'Artagnan.

Open up, it's D'Artagnan!

We'll fight dragons with wine...

D'Artagnan.

My friend, welcome!

Welcome.

My beautiful magnificent friend.

Hinault,|wine for monsieur D'Artagnan.

The best in the house|for my dearest...

for monsieur D'Artagnan.

I thought we had to be|in Paris tonight.

Here man, I'm drinking.

Please sober up, for heaven's sake.

Ah purity.

His Lady doesn't approve of drink.

Let me tell you about women.

Athos.|I knew a woman once...

Athos!

No. Let's say that|I had a friend.

An aristocratic young friend.

He knew a woman.

Athos, for heaven's sake.

Have you forgotten|we are riding to the queen?

I was telling you about women.

Women! Women are the things|of your own making!

Have you forgotten our pledge?|All for one and one for all?

You pumpkin, village fool.

You hero.

What do you know of|anything besides swordplay?

I was speaking of women?

This friend is aristocratic,|a friend.

Fell in love with a country witch.

He married her.|Took her to his ancestral bed.

She was beautiful.

He worshipped her.

He saw her as nature was.

The pure, the good.

His angel of light.

But within a week's time his angel|of light had led a neighbor,

a young and truthful life|of chastity

and together they eluded|the local church.

My friend run the confession|for the woman

and turned her over|to the executioner.

They branded and shouldered her.

Then they cast her|out of his house,

renounced his ancestral claims|and he fled.

He changed his name and joined|the legions of the king.

He never saw the woman again.

But he still loves her.

I am speaking of...

We will ride to Paris.

Move on.

Move on.

Planchet, take the horses|inside that barn.

Hold those men.

In richelieu's name,|Stop or I'll fire!

Guards!|Surround that barn!

Get to the loft!

D'Artagnan!|Will you surrender?

I drink too much.

Come on!

Oh my headache!

Come on! Attack the barn.

Seize firing.

D'Artagnan.

If we should meet again.

I believe I was drinking|this morning.

I will.

I can tell fairy tales|when I drink.

You remember that.

Are we to surrender?

No, we will be here two minutes|and you will be free.

The gates of Paris will be open.

Come along, Planchet.|There must be two of us.

They will take you for D'Artagnan.

We will spend the night|in the Bastille.

Is Her Majesty|never going to appear?

I told you all I know.

She sent word|she is not feeling well.

Cystic food?

The supper is almost finished.

Well.|Maybe when the dancing begins.

Dancing.

I have a little gift for her.

When she does appear, Your Majesty,

Without sign of 12 studs|that were your gift to her.

Can I ask her|who stole these from her?

I am ready now.

But Your Majesty,|without the jewels you can't...

D'Artagnan!

The jewels, Madame.

I suspected you might have some|need for jewels, Your Majesty.

And so I...

I am heartbroken, Louis.

I had no time to display|the jewels properly.

My dressmaker arrived too late.

Your dressmaker,

Madame D'Artagnan no doubt.

But I am all confused.

Where did you get those two studs?

He said they were stolen.

Our great Prime Minister|reduced to stealing?

Perhaps we better|increase his allowance.

Yes.

You may give them to me|just the same.

My profound compliments.

Dispose of them as you will.

Where can we go?

I can't leave the palace tonight.

Tomorrow, somewhere.

My gratitude.

I kissed the queen's hand.

Have you no higher ambitions?

Tomorrow night.

Eight o'clock as the hand sounds.

The end of the flowers.

All the things|I go through for you, master.

No sooner they let me|out of the Bastille.

And here I am,|wearing your clothes.

I almost prefer the Bastille.

Ah Planchet, we must be careful.|Maybe Richelieu plans revenge.

If we run into an ambush,

surely his men must|mistake you for me.

Oh yes, that's true.

What are you saying, master!

Hahaah!

You may hang me if you desire.

But call upon you to witness|that I surrender freely,

voluntarily of my own choice.

Because I cannot stomach|the kind of justice

that takes the woman|and lets the man go free.

The man surpasses|even your description of him.

It's unbelievable.

You will release|mademoiselle Borassieu.

I bargain with you sir,|my life for hers.

Why should I want your life?

You don't want me?

Of course I want you.

I want you as a lieutenant|in my guard.

Young man, I can't afford to|have you as my enemy.

It's true.

You bring the affairs of state|to a complete halt.

But hang you?

What a waste.

Now a man like you D'Artagnan|brings out but one thing in me,

my inquisitive instinct.|Monsieur, I...

You are an ambitious man or|you would not have come to Paris.

May I suggest that|in your legions to the throne

you have joined your ambitions|with a falling style.

Monsieur, I did not come here|to pair you.

I came here about|a certain young Lady.

Yes.

Why don't we speak of her|another time.

Some time perhaps after you have|accepted my commission.

The countess De Winter.

Over here, you two haven't met.

The Countess De Winter.|Monsieur D'Artagnan.

Or have you met?

I am extremely interested in|this young man, my Lady.

I wonder if you would be so good|as to entertain him.

Give him a glimpse perhaps of|the kind society that will be his.

If he accepts a lieutenancy|in my guard.

Athos!

Aramis.

Porthas!

Careful, my friend Albert|has a very tender butt.

Aramis, they told me|you went to a monastery.

I thought I would not see you again.|It has only been a few days.

A great deal could happen|in a few days

that can change a man's life.

It seems, my friends, I am prepared|to increase the life of the stage.

I expected you at any time|to be joining me in the Bastille.

Richelieu took Constance in stead.

Where is she?

I don't know.

Richelieu knows.

Rochefort.|Countess De Winter, I think.

Oh, the famous countess De Winter...|Has anybody actually met her?

Yes, I have been seeing|quite a bit of her lately.

Gentlemen. Don't misunderstand me.

I love Constance.

How I love her.

My time with my Lady is spent|in polite conversation.

Don't you believe me?

He makes love to one woman|in order to make love to another one.

Gentlemen, all I want form my Lady|is her confidence.

You don't believe me.|We spoke of horses and gaskets.

The woman most notorious woman|in France.

The woman that not even Buckingham|could resist.

The most dangerous, fascinating,|appetizing, tantalizing.

And all he wants is her confidence.

I only see my Lady to find out|where Constance is.

Poor Constance.

Fifty francs he is in love with|his Lady by the end of the week.

You swine. He doesn't know|what it is to be in love.

When a man is in love|he is safe from anything.

You country boy.

You know I almost believe him.

Fifty francs by the end|of the week?

I almost believe him,|but not fifty francs worth.

You're all poor, corrupt creatures.

Well, you'll see.

She hasn't the slightest|appeal for me.

Although if I had|some slight appeal for her

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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. 19 Nov. 2024. <https://www.scripts.com/script/the_three_musketeers_21843>.

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