THE MAN IN THE IRON MASK

PANICKED SOLDIER
Back, toward the palace! We cannot
hold them off! We will fire a
volley into them!

D'ARTAGNAN
No! Run to the palace and close the
gates. But do not fire!

The two new soldiers race away; d'Artagnan waits calmly on
his horse, as the mobs from both directions converge on him.

THE MOB, seeing the dashing Musketeer wait so confidently for
them, slow up; but the ruffian urges them on.

RUFFIAN
Come on! To the palace!

D'Artagnan sits calmly in their way. He doesn't even draw
his sword, though members of the mob grab the reins of his
horse. Some of the mob recognize him, and murmur...

MOB
It's d'Artagnan! Le Generale de
Musketeers!

The mob hesitates -- for the name d'Artagnan means heroism
and patriotism to all of them.

RUFFIAN
One Musketeer can't stop us!

D'ARTAGNAN
Stop you? You are Frenchmen, are
you not? I am one of you.

RUFFIAN
The King is a Frenchman, but he is
not one of us!

D'ARTAGNAN
Citizens of Paris! Give ear to me!

RUFFIAN
We'll give you their ears!

With that he draws a dagger from his filthy shirt and puts it
to the ear of the young Lieutenant who is already bloody from
being dragged through the street.

D'ARTAGNAN
Wait -- and listen! I beg you!

RIOTER
They give us garbage, not fit for
rats! They think we are garbage!

With that one of the rioters hurls a moldy beet at
d'Artagnan, who draws his sword in a slick liquid movement,
he cuts the vegetable from the air.

The display of expertise is startling. Someone else throws a
head of lettuce; d'Artagnan slices it in half, and as the
pieces fly he skewers one with the point of his sword.

D'ARTAGNAN
I'm on my way to a salad! Doesn't
anybody have any endive?

The mob laughs at this panache, and the amazing display of
swordsmanship that lies behind it. Someone tosses more
lettuce, and d'Artagnan divides and skewers this one as well.
This time the crowd applauds.

D'ARTAGNAN
A tomato?

Can he do it? Someone fires a tomato right at his head, and
sure enough d'Artagnan spears it. Then, with a victorious
flourish, he takes a bite of it. His face contorts with the
taste, and he spits the pieces out; the crowd is hushed.

D'ARTAGNAN
You are right. It is rotten. I
will speak to the King myself. You
have my word.

The mob is completely won over by d'Artagnan; the ruffian,
angry that his riot is fizzling, raises his knife again over
the soldiers, but now the point of d'Artagnan's sword flicks
to the ruffian's neck.

D'ARTAGNAN
And you will release those men --
for they serve France... and you.

RIOTERS
Three cheers for d'Artagnan!
Hurrah...!! Hurrah...!!

The soldiers who moments before were about to be ripped apart
now stand and look at d'Artagnan in gratitude and awe. The
mob has forgotten them; they see only d'Artagnan as he rakes
his blade clean, returns it to its scabbard, reins his horse
around, and slowly rides away, escorting the soldiers back
toward the palace.

INT. PALACE - NIGHT

D'Artagnan strides into the long hallway leading to the royal
apartments. As he reaches the door to the king's rooms, he
finds a knot of royal advisors -- among them Pierre and
Claude -- gathered outside the king's door.

CLAUDE
We already know about the riots!

D'ARTAGNAN
Does he know?

PIERRE
We will tell him, when it is...

CLAUDE
Convenient.

Blocked by the advisors, d'Artagnan leaves them, turning down
one hallway, and then another; he reaches the Hall of Mirrors
and touches the golden frame of one mirror at its corner; the
mirror becomes a door, revealing a secret passage within the
walls. D'Artagnan steps through and the portal closes again,
leaving no trace of its existence.

INT. PALACE - BEDROOM - NIGHT

Within a bed whose tapestried posts stretch to the sixteen
foot ceiling, the king is making love; the YOUNG WOMAN lying
beneath him is doing her best to sound sincere.

YOUNG WOMAN
Oh yes! So good! Ooo, wonderful,
Marvelous! Fan-tas --

Louis climaxes with a grunt. She tries to sound pleased.

YOUNG WOMAN
Oh, Louis, that was incredible. It
was better than ever before. It --

LOUIS
I'm hungry.

He hops up, throwing on a silk robe embroidered in gold.

YOUNG WOMAN
I will have food brought.

LOUIS
I like to eat alone.

He moves to what appears to be a wardrobe, standing against
the far wall, and opens its door, revealing a secret
staircase hidden within the thick walls of the palace.

LOUIS
By the way, you'll be moving
tomorrow.

Leaving the girl without another word, he moves down the
concealed stairs.

INT. THE KING'S BEDCHAMBER - NIGHT

Louis reaches the bottom of the stairs, disguised behind a
similar wardrobe in his own bedroom. He steps out -- and is
startled as the lifesize portrait of Louis XIII on the other
side of the room opens to admit d'Artagnan.

LOUIS
Aaa! D'Artagnan! These passages
were constructed for the King's
security, not so you could step from
my father's portrait and startle me
to death!

D'ARTAGNAN
It is for your security that I have
come, your Majesty -- for the
security of your honor.

LOUIS
I already know about the riots,
d'Artagnan, I heard them out there
whispering. Some fool gave the
order to distribute rotten food. I
will deal with it tomorrow.

D'ARTAGNAN
Then there is one more thing, of an
even more personal nature.

LOUIS
A personal nature?

D'ARTAGNAN
Mademoiselle Michelle Beaufort. She
is betrothed to Raoul, the son of
Athos the Musketeer, who has served
France through many tribulations.

The King begins to eat from the food laid out on the table.

LOUIS
Betrothed? I think not.

D'ARTAGNAN
In his mind, anyway, and soon enough
in hers. She had written him many
letters of love.

The King pokes at his food.

LOUIS
Miss Beaufort has accepted our
invitation. By this we can only
suppose that she wishes to come --
as we wish her to be here.

D'ARTAGNAN
Your Majesty has had many women --

LOUIS
That is my desire, and my desire is
what should concern you, not the
sentiments of some commoner!

D'ARTAGNAN
It is not Raoul's heart alone that
concerns me. It is yours. I know
you find women compliant --
especially the poorer ones like
Michelle. But do they love you? Do
you love them? What about a queen
to love? A son of your own?

LOUIS
What quaint notions, d'Artagnan!
But they contradict my father, who
picked his queen when he was old,
and only then to bear me.

D'ARTAGNAN
There is more to love than he knew,
or that you know.

LOUIS
You dare criticize my father?! Or
lecture me?!

D'ARTAGNAN
Not criticize -- plead. Love. Love
your people, and you will not bear
to see them hungry. Love women, and
they will love you. Love yourself,
and --

LOUIS
That is enough! You are a good
servant, d'Artagnan, but you forget
your place!

D'ARTAGNAN
At least help Raoul.

LOUIS
Silence! I order you!

D'ARTAGNAN
Order Fromberge to keep him in
safety! It is the least you can do,
to protect your own honor!

LOUIS
I will consider it. Now leave me.

D'ARTAGNAN
Thank you, your Majesty.

D'Artagnan bows, steps to the lifesize portrait of Louis
XIII, touches a hidden button on its frame and moves into the
secret passage the painting reveals as it swings open.

CUT TO:

CLOSE ON PIERRE'S FACE...

He is sweating, exceptionally pale, as he tries to project
his voice past a huge lump in his throat...

PIERRE
... And I only say that... the
rotten food was... all my fault...
and I take... full responsibility...
and beg the forgiveness of you all.

He steps back, having accomplished something terrifically
difficult, and glances toward

THE KING

who steps to his advisor and shakes his hand, whispering
quietly...

LOUIS
Well done, Pierre. It will be good
for your soul, that you have taken
responsibility for your errors. And
don't worry, I will look after your
family.

Pierre can only nod... He takes two steps, kneels, crosses
himself, and places his head between two upright rails of

THE GUILLOTINE

The King, Pierre, and other attendants are standing on a
platform before a crowd of Parisians. The blade drops,
Pierre's head hits the basket, the crowd cheers.

The King raises his hands to quiet the crowd.

LOUIS
Do not rejoice -- but know that your
King does not tolerate blunders that
hurt his beloved people. More food
is on its way, and my advisors tell
me the new harvests are sure to be
bountiful!

He shoots a glance at his advisors, and they are pale from
the display they've just witnessed.

LOUIS
And I have new joys to announce to
you! Today we decree a fresh glory
for Paris, and for all of France!
The laying of the foundations to
expand Versailles, and make it truly
a palace of the sun!

The advisors all applaud furiously, but from the crowd there
is almost no reaction at all; the triple ranks of soldiers
surrounding the square discourage any protest, and as the
King leaves the platform the crowd begins to melt away.

NEAR THE PLATFORM

Aramis, watching the crowd disperse, hears behind him --

VOICE
Aramis.

Aramis turns to see the King, who moves up alone.

ARAMIS
Your Majesty...

LOUIS
How goes that favor I asked of you?

ARAMIS
I grow closer to my target, your
Majesty.

LOUIS
You bring me the heart of the Jesuit
General, and you will have a palace
of your own.

The King moves away, followed by his fawning advisors.

INT. THE FAVORITE MISTRESS' PALACE ROOMS - DAY

A young Musketeer ushers Michelle into the palace bedroom
previously occupied by the King's last mistress. The
Musketeer leaves her alone, frozen in the center of the room,
awed by the opulence. Her eyes play over the details:

-- The handcarved, richly upholstered furniture, beneath her
fingertips...

-- The carved figures of cherubic angels, gleaming with gold,
upon the posts of the bed...

-- The murals on the walls and ceiling...

Her reverie is interrupted by a HANDMAIDEN who bustles in
carrying a magnificent dress.

HANDMAIDEN
After your bath put on this, it is
the King's favorite color. That
letter on the desk came here for you
this morning.

She tosses the dress onto the bed and is gone. Left alone,
Michelle lifts the letter, and recognizes the writing.

MICHELLE
Raoul!

She opens the letter and reads quickly.

MICHELLE
The army! Oh Raoul, don't despair!
I will always be faithful...

She interrupts herself as her eyes fall on the gorgeous
dress. She looks around at the sumptuous palace apartment,
and gazes again at the murals painted above the bed.

They depict naked gods and goddesses, in Olympian orgies.

CUT TO:

CLOSE - STEAMING WATER, POURED INTO A TUB

The Handmaiden has prepared a 17th Century bathtub for
Michelle, and now retires.

HANDMAIDEN
If you need me further, just ring.

As the handmaiden leaves, exiting frame, we PUSH IN on one of
the murals on the wall. The eye of one of the figures there
is no longer the painted eye it was before, but is a real
human eye, disguised by the mural...

THE KING, IN THE SECRET PASSAGEWAY

is spying on Michelle.

THE KING'S POV

as Michelle undresses and steps into the bath. Louis catches
tantalizing glimpses of her richly sensual body in the soapy
water, and it stokes his desire.

INT. PALACE - MICHELLE'S NEW ROOM - DAY

Michelle stands before the mirror, staring at herself,
breaktakingly gorgeous in her new dress. She stares for a
long time, surprised at her own beauty.

She reaches to a vase of roses and pulls one out, blotting it
around her neck, perfuming herself with its fragrance. She
looks into the mirror, at her eyes... In guilt for what she
is already feeling, she lifts Raoul's letter to read it
again. Then she gasps -- the King stands right before her.

MICHELLE
Sire! I -- How did you --

LOUIS
How did I get in? You're new here,
and will soon learn many secrets.
What is that?

MICHELLE
... Nothing.

LOUIS
A letter. May I see?

He takes the letter; she has no resistance against him. The
King reads, his eyes hardening suddenly; but then he smiles.

LOUIS
From Raoul. He urges you to guard
your honor -- as if it could be in
any danger... from your king.

MICHELLE
Raoul... is in love...

LOUIS
Enough of this, our dinner waits.

Tossing the letter aside, he offers her his arm. She takes
it and allows him to escort her from the room.

INT. PALACE - THE HALL OF MIRRORS

The hall is alive with glorious light, fiery gold frames
surrounding silvery mirrors blazing with reflections.
Musicians line the length of the hall, and when Louis and
Michelle appear at the far doorway they begin playing for the
couple as they parade past. Michelle is speechless, as Louis
smiles at her awed innocence.

INT. ROYAL DINING ROOM - NIGHT

Louis leads Michelle into a towering room surrounding a
magnificent table, decked out with candelabra and sumptuous
delicacies -- set for just two.

THE DINNER

Louis and Michelle sit opposite each other, attended by a
dozen servants. Michelle stares at her plate.

LOUIS
The food doesn't please you?

MICHELLE
It's lovely. It's just...

LOUIS
This is more than you are used to.
Your mother is a seamstress, your
father is dead. You have three
younger sisters, two of whom suffer
from consumption. Don't look so
surprised, Kings know such things.

MICHELLE
I... we are humble people...

LOUIS
Wait, no! Do not be ashamed. The
straits of your family need not be
permanent. It is a simple matter to
have them brought to one of my
country estates, where they may have
fine meals, and physicians to look
after them.

MICHELLE
You would do that, your Majesty?

LOUIS
My dear, I've already done it.

She rushes to him and throws herself at his knees, weeping in
gratitude. Louis smiles, as if embarrassed.

LOUIS
Please, darling, that isn't
necessary. We are friends now.
Mademoiselle needs wine!

A servant quickly approaches with wine; the goblet at
Michelle's place is quite large, and he pours it full.

INT. MICHELLE'S BEDROOM - NIGHT

Louis leads Michelle back to her room; she's a bit unsteady
from the wine; but she grows alert as she notices him closing
the door behind her. He stares into her eyes.

LOUIS
You are beautiful. You know you
are.

MICHELLE
Sire, I --

LOUIS
If you don't want to be so
appealing, why did you touch the
rose to your skin? Where was it?
Here?

He touches his lips to her throat. She gasps, but then pulls
away. She glances at the letter on the writing table.

LOUIS
What is it? Raoul? If he really
loved you, he would have proposed
marriage. He didn't, did he?

He sees her hesitation and uncertainty. He's smooth, gentle.

LOUIS
You have never known love until you
have known the love of a king.

He kisses her; for a moment she seems frozen... and then she
yields. Never having doubted that she would. Louis pulls
the gown from her shoulders. She doesn't resist.

INT. THE FORTRESS PRISON

The old Jailer, carrying a torch that barely pushes back the
darkness, leads another guard up the winding stairs.

JAILER
It's a jolt at first, so brace
yourself.

INT. CELL OF THE MAN IN THE IRON MASK

The Man in the Iron Mask lifts his head as a key rattles into
his door. The door opens, admitting his old Jailer, and a
NEW KEEPER. The New Keeper is just a younger version of the
old one -- greasy, fat, and cruel.

NEW KEEPER
Ugh! He looks 'orrible.

The Man in the Iron Mask rises and takes a step forward; the
new keeper recoils and raises his club threateningly.

NEW KEEPER
Stay back!

MAN IN THE IRON MASK
I frighten you. It's okay. Keeper
was scared of me too, at first.

NEW KEEPER
Scared?

The New Keeper steps forward and clubs the Man in the Iron
Mask in the shoulder, then kicks him as he falls.

NEW KEEPER
Scared of you? Not me. I'll kill
him if he gets near me.

The New Keeper strides out. The Man in the Iron Mask pulls
himself to his knees; his eyes, visible through the slits of
the mask, look sadly at the old Jailer.

MAN IN THE IRON MASK
I miss Keeper. I miss him so much.

JAILER
Moron.

The jailer leaves the cell, locking the door behind him.

INT. A BATTLEFIELD COMMAND TENT

Raoul has just received orders from General Fromberge, who
sits at a map table, Raoul salutes and follows a young staff
officer from the tent. As Raoul leaves, the General
withdraws from his leather field pouch a royal letter --
parchment, with blue and gold seals. Fromberge touches the
edge of the parchment to the candle, and burns the letter...

EXT. TRENCH - DARKNESS

Two men move along a deep trench, the siege works of 17th
century siege warfare. One of the men is Raoul, carrying a
musket; in his new uniform he looks out of place among the
dirty, battle weary men they pass. He is following the STAFF
OFFICER who is no older than himself, but whose eyes are
already dead, while Raoul's are wide and wild.

The trench is deep as a grave; by crouching, both men keep
their heads below the surrounding ground. Thick smoke rolls
over their heads; we can't tell if it is day or night. From
all around come sounds of battle, with the sporadic fire of
muskets and the rumble of cannons; officers shout orders in
the distance; wounded men nearby whimper for water and the
officer leads Raoul by them as if they did not exist.

The young Staff Officer stops at a bend in the trench.

STAFF OFFICER
Here.

Without another word he goes back the way he came. Raoul
grips his musket and looks around him; he finds himself among
several dozen stark eyed men manning the forward curve of the
trench. He has little time to wonder what will happen next.
A horn trumpets close by, and with a shout, the French
soldiers clamber out of their breastworks.

For an instant, Raoul hesitates in pure terror, then joins
the charge with a shout of his own --

RAOUL
Mi-cheeelllll!! --

On the stone wall looming above the French soldiers, orange
blossoms of fire -- the muzzle flash of primitive cannons --
penetrate the smoke, and the ground at Raoul's feet explodes,
hurling him backwards. He covered barely a few feet, and
falls almost exactly where he started.

Dead.

CUT TO:

CLOSE - THE DOOR OF ATHOS' ROOMS - DAY

A gloved hand raps on the door. Athos opens it to a military
messenger, who shoves at him a single sheet of paper, rolled
and tied with ribbon.

INT. ATHOS' ROOM - NIGHT

The message slams onto the table as Athos staggers upon it,
his legs buckling beneath him in shock and grief.

INT. D'ARTAGNAN'S ROOM - DAY

D'Artagnan is working at his desk, as the Lieutenant enters.

LIEUTENANT
Sir... a casualty report came...

D'Artagnan looks at the paper the Lieutenant hands him.

D'ARTAGNAN
No, no, no...

He sags for a moment, then grabs his cloak and sword.

INT./ EXT. MUSKETEER'S GATE OF THE PALACE - DAY

The Musketeer's Gate is close to the stables where the
Musketeers train and keep their horses. D'Artagnan hurries
from the Palace and snaps an order.

D'ARTAGNAN
Saddle my horse!

The grooms jump to work; several young Musketeers nearby stop
their training, noticing their Captain's agitation.

D'ARTAGNAN
Hurry --

But then d'Artagnan sees Athos coming, riding furiously
through the Musketeers' gate. D'Artagnan steps out to meet
him as Athos reins in his horse and jumps from the saddle.

D'ARTAGNAN
Athos, my friend --

Athos marches to the palace door; d'Artagnan cuts him off.

D'ARTAGNAN
Athos, please...!

ATHOS
Get out of my way.

D'ARTAGNAN
(grabbing him)
Athos, I beg you --

Athos punches d'Artagnan with furious strength, knocking him
aside. The young Musketeers reach for their weapons, but
d'Artagnan is up quickly, throwing himself in front of Athos
again, blocking the doorway into the palace.

D'ARTAGNAN
Where are you going?

ATHOS
To kill the king.

At this, the swords of the young Musketeers sing from their
scabbards. Athos wears a sword, but he has not drawn it.

D'ARTAGNAN
Athos! I know life means nothing to
you at this moment, but I will not
let you kill yourself.

ATHOS
The King killed my son!

D'ARTAGNAN
The cannons killed Raoul! The
cannons, and love. But not the King.

A YOUNG MUSKETEER steps up.

YOUNG MUSKETEER
I'll kill the old man for you,
Captain, if you don't wish to --

Athos spins, striking like a rattlesnake, his sword whipping
from its scabbard and slicing off the arrogant young
Musketeer's ear. He flicks another's sword from his grasp,
then brings the the point of his own blade up beneath the
chin of a third, shoving him back.

ATHOS
Come on! All of you!

D'Artagnan tackles Athos from behind and pins him face down
to the hay. For a moment Athos bellows in rage --

ATHOS
Coward! Fight me! Fight me...!

Emotion spills up into Athos' throat, and he begins to sob.

ATHOS
He killed my son, d'Artagnan! He
killed my son...!

D'Artagnan, dying inside, still grips Athos. Athos grows
quiet, and the young Musketeers drift closer.

D'ARTAGNAN
Get back, all of you!

D'Artagnan stands, and Athos rises, still holding his sword.
He looks at d'Artagnan a long beat, then sheathes his sword
and turns to his horse. The young soldiers move to him.

D'ARTAGNAN
Let him go!

Athos mounts his horse, and with a last glance back at
d'Artagnan, he gallops away.

INT. KING'S BEDCHAMBER - DAY

The King has just climaxed in his lovemaking, and lies spent
upon Michelle. His rest is interrupted by a KNOCK at his
door. The King scowls.

LOUIS
What?!

VOICE
Your Majesty... it is Andre.

Louis groans, and pulls on a robe. Michelle whispers --

MICHELLE
Shall I leave?

LOUIS
No, you may wait behind the screen.

Michelle rises and slips behind a painted dressing screen as
Louis goes to the door and admits the young Lieutenant.

BEHIND THE SCREEN, Michelle lifts a jeweled hand mirror and
appraises her face; she begins brushing her long hair. She
can hear the conversation...

LIEUTENANT
I would not have disturbed you,
Majesty, but you ordered me to keep
you informed --

LOUIS
Yes, yes, go on.

LIEUTENANT
Athos, the former Musketeer, has
just fought with several of your
guard, at the Musketeers' Gate.

Behind the screen, Michelle pauses at the mention of Athos.

LOUIS
Did they kill him?

LIEUTENANT
No. He cut an ear from one of the
men, no one else was hurt. Captain
d'Artagnan allowed him to leave.
Athos was upset about the death of
his son, at the front.

CRASH! From behind the screen comes the sound of the mirror,
shattering as it drops to the floor. It startles the
Lieutenant, but the King goes on...

LOUIS
Who was Athos seeking? Tell me!
Did he try to enter the palace?

LIEUTENANT
... He did -- but Captain d'Artagnan
blocked his way.

LOUIS
You may go, Lieutenant.

The Lieutenant moves back to the door.

LIEUTENANT
Do you want Athos arrested, your
Majesty?

LOUIS
Not by you. I will order d'Artagnan
to do it.

The Lieutenant leaves, and Louis moves behind the screen to
see Michelle stagger and grip the dressing table; her bare
feet step onto the broken glass of the mirror, yet she is
oblivious to the cuts. Louis sees this and grabs her.

LOUIS
My dear! The glass -- !

He pulls her to the couch and draws a blanket about her,
cuddling her as she begins to shake.

MICHELLE
Did you know... about Raoul?

LOUIS
I did not want to upset you. It was
tragic. I did everything I could
for him. I ordered him positioned
in a spot of complete safety, far
from the fighting. But he
disregarded my wishes and charged
into danger.

He cuddles her as she weeps.

LOUIS
I will order a Mass for his soul.
It will guarantee his place in
Heaven.

MICHELLE
Oh Louis, Louis...

She clings to him in her grief.

EXT. NOTRE DAME CATHEDRAL - DAY

The great cathedral rises next to the monastery where Aramis
resides. We PAN DOWN and PUSH IN on the cobblestones between
the two structures, as if penetrating to --

SUBTERRANEAN PASSAGES

Aramis leads Porthos through tunnels, twisting, descending.

PORTHOS
Aramis... is this the way to hell?

ARAMIS
Hell may be our destination, dear
Porthos, but not this trip.

They reach an iron door and move through it, into

A GORGEOUS, SECRET CHAPEL

Candles illuminate masterpiece frescoes. The place is
breathtaking.

PORTHOS
Where are we?

ARAMIS
Jesus of Nazareth found the holy
among the profane. If we are to
have a place of private prayer,
where better than here, beside the
channels where the shit and the
garbage run to the river?

Porthos notices niches in the walls; he looks closely and
sees the face of a corpse, enclosed behind glass.

PORTHOS
Mother of God!

ARAMIS
It is also a place of burial.

PORTHOS
A tomb? We're in a tomb?

ARAMIS
Catacombs. Very holy.

Porthos looks as if the bodies could resurrect at any moment
-- then jumps out of his skin as the door opens.

PORTHOS
Yaaaahhh!

A hooded figure, looking like the Grim Reaper, enters.

ARAMIS
Relax, you big fool, it's
d'Artagnan.

And sure enough the hooded figure, whom we now see has been
led in by a little monk, is d'Artagnan. Aramis nods to the
monk, who leaves quickly. Before d'Artagnan can ask
anything, Porthos jumps again; the back door has opened, and
monks usher in Athos, who freezes as he sees d'Artagnan.

ARAMIS
It's all right. D'Artagnan was the
one who warned us that he'd been
given an order for your arrest.
Here you have sanctuary -- does he
not, d'Artagnan?

The escort monks disappear, closing the chapel door so that
the four Musketeers are left to sit at a small table the
monks have set up, Athos and D'Artagnan opposite each other.

ARAMIS
Look at us. We are old men now. But
once we were young. And when we saw
injustice, we fought it.

D'ARTAGNAN
We have grown wiser with age. Now
we know that some problems cannot be
settled with a sword.

ATHOS
And some problems cannot be settled
without one.

ARAMIS
Well here is the problem at hand:
the King has ordered me to discover
the identity of the Governor General
of Jesuits, and kill him. As our
English rivals have left the
Catholic Church, Louis has struck on
a plan to dominate the whole of
Europe by uniting Church and State
and making himself head of both. He
has already picked the Pope. Only
the Jesuits, who put God above
throne or papacy, stand in his way.

PORTHOS
But -- doesn't God ordain both Pope
and King?

ARAMIS
So they tell us. But what are we to
believe when the king is a tyrant,
and the Church, meant to stand for
all those oppressed, has become the
tool of oppression? When no
conscience is tolerated? No
dissent, no objection?

PORTHOS
It is a weighty problem, Aramis --
but perhaps you should leave it to
this secret General of the Jesuits,
whoever he might be.

ARAMIS
Easy to say, but hard to do. For
what I am trying to tell you is that
I am the Governor General of Jesuits
in France.

A stunned silence.

ATHOS
What do you propose to do?

ARAMIS
Replace the king.

D'ARTAGNAN
I cannot hear this!

PORTHOS
It can't be done.

ARAMIS
It can. I know the way.

ATHOS
I am with you!

D'ARTAGNAN
No! Stop --

ARAMIS
I will need you all. All for one.
One for all.

D'ARTAGNAN
(jumping up)
You -- You cannot ask me to betray
my king! I have sworn to him!

ATHOS
It is honor you serve, and when the
king is dishonorable you are removed
from your oath of honor!

D'ARTAGNAN
An oath is an oath precisely because
it cannot be removed!

ATHOS
Why do you follow him, d'Artagnan?!
I know you have put service above
your own life, but why does this
King deserve such loyalty? He is a
monster! He executes ministers for
his own blunders, with their
families hostage so they take the
blame! He has no honor!

D'ARTAGNAN
No man is all bad... or all good. I
believe -- I must believe -- that
Louis can learn. And perhaps I can
help him.

Athos leaps up from the table, and glares at d'Artagnan.

ATHOS
Whatever the plan... I am in it!
The next time we meet, one of us
will die.

He storms out of the rear door of the chapel.

ARAMIS
Porthos, see to Athos, won't you?

Porthos follows Athos; Aramis and d'Artagnan are left alone.

ARAMIS
I have heard many confessions,
d'Artagnan. But even if I were not
a priest, I could tell your heart
has a secret weight, and it is
hurting you to carry it alone.

D'ARTAGNAN
The secret I carry I cannot share.
Not even with God.

D'Artagnan moves to the door.

D'ARTAGNAN
I cannot betray Louis. I will
defend him with my life.

ARAMIS
I know. God go with you.

D'Artagnan leaves Aramis alone in the secret chapel.

EXT. THE MONASTERY - NIGHT

Aramis leads Athos and Porthos out of the catacombs.

ARAMIS
This way.

They move into a moonlit courtyard of the monastery. A
hooded Jesuit standing guard steps from the shadows, then
recognizes Aramis and admits the trio to the monastery's
forge, where more hooded Jesuits are working in secret,
heating iron red hot in the bellows furnace.

ATHOS
What are they doing?

ARAMIS
Making the key to the throne.

PORTHOS
They are very large keys.

One of the blacksmiths uses tongs to remove something red
from the fire; he hammers it in a shower of sparks and
plunges it into water. Aramis pulls the result from the
water and shows it to Athos and Porthos.

It is an iron mask.

EXT. A CARRIAGE - FRENCH COUNTRYSIDE - NIGHT

The carriage rolls through the long sweep of the French
countryside, traveling fast.

INT. THE CARRIAGE - NIGHT

The three Musketeers -- Aramis, Athos, and Porthos -- have
been traveling for some time. Porthos is asleep, snoring.

ATHOS
Porthos sleeps, and you plot. Don't
you think it's time you told me what
it is you are plotting?

ARAMIS
Soon enough. Here we are.

Kicking Porthos' feet to wake him, Aramis opens the carriage
door, and they step out...

EXT. FRENCH COAST - NIGHT

Lying just off the coast is the forbidden island, where the
imposing fortress prison rises on the promontory off shore.

ATHOS
The Prison of Belle Sur.

ARAMIS
Come, we have a boat waiting.

As hooded Jesuits appear from the shadows to guide them,
Athos and Porthos glance at each other; Porthos shrugs.

EXT. AMONG ROCKS AT THE BEACH - NIGHT

The guides lead the Musketeers down a hilly path to a long
boat, hidden among the large rocks that dot the coast.
Sitting next to the boat is a scrawny little man in priest's
garb; at his feet is a long narrow bundle, about the size of
a mummy, with a rope tied at either end.

The guides drag the boat across the sand into the surf.
Aramis throws off his cape, and strips down almost naked.
He's still fit and hard. With the guides helping him, he
lifts the bundle by its ropes and ties it around his waist.

ATHOS
What is that?

ARAMIS
A body.

ATHOS
I see that is a body! But where did
you get it?

Aramis ignores the question, and the guides dress him in
priest's garb. With the robes spreading over the big bundle
added artfully to Aramis' waist, it appears he is a very fat
priest; the wig and false beard the assistants give him adds
to the illusion of Aramis as a wild, reclusive monk.

The sun is beginning to come up over the mountains.

PORTHOS
He gets one day of confession each
year. Today is the day.

ATHOS
Who does?

PORTHOS
Best not to ask. Shouldn't even
talk about it.

Aramis steps onto the boat. The little priest who first
joined them gets in too, along with a couple of rowers.

ATHOS
What do we do now?

PORTHOS
I don't know about you, but I plan
to wait here.

The rowers pull the boat toward the fortress prison.

INT. FORTRESS PRISON - DAY

The pink light of the new day barely penetrates the gloom of
the prison. The boat carrying Aramis and the little priest
reaches the gate of the prison, which reaches to the water
line. As Aramis steps out, GUARDS meet them.

HEAD GUARD
Who is this, then?

The little priest remains in the boat, slumped over. One
GUARD speaks to the little priest in Italian, and the little
priest seems barely able to left his head; Aramis answers for
him, in Italian, and the guard translates --

GUARD
He says he's the replacement.

Aramis rattles off more Italian.

GUARD
He says it is only one day a month
when the prisoner gets confession,
and the little one is too sick to
move. The big one doesn't speak
French either.

HEAD GUARD
Then let's get it done.

The head guard gestures to let them pass.

INT. CELL OF THE MAN IN THE IRON MASK

The prisoner has used the torn Bible to make all sorts of
amazing origami, invented from his own head. He looks up as
he hears the door open, and sees Aramis, the priest.

MAN IN THE IRON MASK
My confession day! But where is the
other one?

Aramis says something in Latin -- the first words of the
ceremony of absolution -- as the guards lock the door behind
him and move off down the corridor.

MAN IN THE IRON MASK
I know you don't speak my language
-- but is the other one all right?
Please tell me he is not dead too,
or I will have lost everyone.

Aramis goes on mumbling Latin mechanically, for the sake of
the retreating guards. The Man in the Iron Mask is desperate
for someone to talk to.

MAN IN THE IRON MASK
I... tore my Bible. Or someone else
did. But it was all right. "Let the
words of my mouth and the
meditations of my heart be
acceptable in Thy sight, Oh Lord our
God and My Redeemer."

Aramis has stopped talking, and stares transfixed at this
sight of the prisoner, in the iron mask.

MAN IN THE IRON MASK
I'm sorry. You're never seen me
before. I must frighten you.

Aramis puts his finger to his lips.

MAN IN THE IRON MASK
What are you doing? Why do you --

Aramis clamps his hand over the mouth hole, and whispers --

ARAMIS
I am a friend, here to help you.

Aramis hurriedly removes his robes, revealing the bundle.

MAN IN THE IRON MASK
What -- ?

ARAMIS
It is an escape. To freedom.

MAN IN THE IRON MASK
Freedom...?

He says it as if the concept is beyond him. Aramis undoes
the bundle, revealing the limp body.

MAN IN THE IRON MASK
Wh-- ? He is dead! Who is he?

ARAMIS
He is you.

Aramis uncovers the head of the body. It is covered in a
mask, identical to the prisoner's.

INT. PRISON CORRIDOR - CELL

The Guards are sharing a bottle of wine, when they hear --

ARAMIS
Hey! Hey!

GUARD
What now?

INT. CELL

The guards enter to find the Man in the Iron Mask slumped on
the floor. Aramis, looking like the fat priest again, stands
over him spouting Italian, as one GUARD translates --

GUARD
He says he just fell stone dead as
he was reading him the Mass.

HEAD GUARD
I never thought the bugger would
last this long. But how could he
just keel over and --

Aramis rattles off more Italian, and suddenly the guard who
understands it stops examining the body and backs off.

GUARD
He says the prisoner has the fever,
just like the little priest does.

HEAD GUARD
Plague? They brought plague in
here? Get him out of here. Now!

Aramis rattles off a protest in Italian.

GUARD
No, no last rites! Get away!

EXT. PRISON - DAY

Aramis climbs into the boat; as he sits down his belly stirs,
but the guards don't see it -- they are using poles to push
the boat away, into the sea.

EXT. THE COASTLINE - DAY

Athos and Porthos stand as the boat reaches the shore, and
tucks in among the rocks. Sheltered from the view from the
prison, Aramis steps from the boat and removes his robes.

The prisoner dangles, tied wrist and ankle, from around
Aramis' neck.

ATHOS
My God...

Athos, Porthos, and the others gawk at the sight of the Man
in the Iron Mask, as Aramis loosens the ropes. As they back
away from him, he sees the sky. Endless blue -- and bright.
He shields his eyes.

ARAMIS
It's all right. Take your time.

Aramis helps him up, and turn him slowly around, to face...

The fortress/prison, in the distance.

THE PRISONER'S POV FROM WITHIN THE MASK: A vast vista -- the
sky, the sea, and the prison on the island in the middle of
it all. The prisoner falls to his knees, and weeps.

ARAMIS
Athos... He needs a gentle hand.

Athos moves over hesitantly, and puts his hand on the
shoulder of the Man in the Iron Mask, who holds his hands
against the mask as if to further hide his shame.

INT. THE PRISON - DAY

The guards are standing in the cell, looking down at the body
now wearing the mask, the man they think was their prisoner.
The guards are quiet, alone.

GUARD 1
You ever wonder who he was?

GUARD 2
No... Yes. But I never asked -- and
you better not either.

They wrap the body, still in its mask, in a weighted sack.

EXT. PRISON - DAY

The prison's WARDEN GENERAL stands at the wall of the
fortress high above the sea and watches as his guards throw
off the body, wrapped in canvas weighted with stones. As the
corpse makes a long fall and crashes into the sea, the Warden
writes a message on a royal scroll:

THE UNSEEN PRISONER IS DEAD.

The Warden seals the scroll and hands it to a messenger.

EXT. COUNTRY ESTATE - NIGHT

A carriage pulls into a country estate, isolated among vast
woodlands silver in the moonlight. Mysterious servants with
shielded lanterns converge on the carriage as it stops.

INT. CARRIAGE - NIGHT

Athos reaches for his sword, but Aramis stops his hand.

ARAMIS
Jesuits.

EXT. MANOR HOUSE COURTYARD - NIGHT

Aramis emerges quickly, whispering directives to the Jesuits;
Athos helps the Man in the Iron Mask from the carriage, his
head shrouded by a cloak.

Aramis has a blacksmith waiting; almost before he realizes it
the Man in the Iron Mask finds his head placed on an anvil;
but as the hammer rises he begins to scream.

MAN IN THE IRON MASK
No! Please!

ARAMIS
What is wrong? We only mean to free
you from the mask!

But the prisoner is shaking, and Athos understands why.

ATHOS
Prison was horrible but it was his
home. He's been torn from it by
strangers. He's frightened,
exhausted -- and the mask is
familiar. Let him rest in it
tonight, and remove it tomorrow.

ARAMIS
Excellent, Athos. You have a keen
sense of this man.

ATHOS
His plight is obvious, isn't it?

Athos, angry with Aramis' arrogance and insensitivity, leads
the Man in the Iron Mask toward the house; then Aramis spots
Porthos, looking downcast.

ARAMIS
And why are you so glum?

PORTHOS
I expected action. There was no
killing, no fighting, I was useless.

In deep depression, Porthos climbs out and shuffles off.
Aramis sighs, shakes his head, and walks to the house.

INT. MANOR HOUSE BEDROOM - NIGHT

Athos helps the Man in the Iron Mask onto the bed; the eyes
behind the slits in the mask are darting, frightened.

ATHOS
Are you hungry?

MAN IN THE IRON MASK
Just... water.

Athos pours a cupful from the water pitcher on the bed table;
but when he tries to help the prisoner drink the liquid
spills as the cup bumps the mouth hole.

MAN IN THE IRON MASK
This way.

The prisoner manipulates the cup in the way he must to get a
drink, then falls back to the pillow.

MAN IN THE IRON MASK
This place... I once lived in a
country house. I had guardians --
an old man and woman. And tutors.
But no friends. Then when I was
twelve, they came and took me to the
prison.

ATHOS
Who came?

MAN IN THE IRON MASK
A man in black. I never saw his
face. He took me to the cell. A
blacksmith came and they put me into
the mask. For days I shouted, "What
have I done? Why do you do this to
me?" But no one heard, so I just
stopped shouting.

ATHOS
And you never knew why?

PRISONER
I thought... there is something
about my face that men do not want
to see. Something that makes them
cruel. But then I realized they
were cruel even when I was wearing
the mask. I knew there must be some
other reason, but I could not think
what it was.

ATHOS
What is your name?

MAN IN THE IRON MASK
The old man and woman called me...
Phillippe.

ATHOS
Phillippe. Rest now.

Athos moves to the door.

MAN IN THE IRON MASK
Thank you... for your kindness.

Athos nods, pauses a moment... and leaves.

INT. A DARK APARTMENT IN PARIS - NIGHT

The lock rattles, and the door swings open. D'Artagnan
enters, lifting a lantern to throw light on the dark room.
It is Athos' apartment, the one he visited earlier; now he
finds it empty, devoid of clues. He stands there alone.

He turns to leave, then glimpses a familiar painting hanging
beside the door. Lifting his light he studies the portrait:
Athos, Aramis, Porthos and himself -- four Musketeers, beat
friends, in their prime. Together then, inseparable.

D'ARTAGNAN
My friends... Where have you gone?

He lowers the lantern, and leaves.

CUT TO:

THE MESSAGE FROM THE PRISON...

has reached the court. Gloved hands pass the message from
one advisor to another, and finally to the King.

INT. PALACE - KING'S STUDY - DAY

The King reads the message, rerolls it, thinks a moment, and
hands the scroll to Claude.

LOUIS
Take this to my mother.

THE MESSAGE

is again passed, this time into the hands of the Queen
Mother's eldest nun-attendant, and then into the hands of the
Queen Mother herself. The Queen is in her private rooms, and
for the first time we see her with her hair down. She
accepts the scroll, opens it, and reads.

Her eyes fill with pain, grief, guilt... emotions she hides,
turning away.

NUN
M'lady... are you...?

ANNE
Please, just... go away.

INT. D'ARTAGNAN'S ROOM - NIGHT

D'Artagnan returns from his ride to Athos' place. He looks
down at the Queen's door. He checks the clock on the wall;
it is a few minutes past nine. He enters his room, moves to
the window, and waits there, to catch a glimpse of her.

INT. COUNTRY MANOR HOUSE - FRONT ROOM - NIGHT

Aramis is digging into a hearty meal, while Porthos only
stares at his plate.

ARAMIS
See? There is plenty of food in the
country. But the King keeps it
going to the army instead of --

Athos marches in, all business.

ATHOS
He is sleeping. Now see here,
Aramis, it's time you told us --

He breaks off as a voluptuous serving girl leans over to
spoon food onto Porthos' plate; her breasts jiggle below his
nose, and she gives him a smile.

PORTHOS
I have no appetite for food, I am
wasting away. Say goodbye to
Porthos, for he is gone. Even women
don't interest me now.

The girl moves to whisper with two other serving girls, who
seem fascinated with the roguish Porthos; their giggles and
winks make Porthos even more morose; he tells his friends...

PORTHOS
I tell you a secret. I sleep with
three women at once, not because my
appetite is so great, but because
now it take three to excite me.

Porthos heaves himself to his feet and shuffles off; Aramis
sighs, having heard all this before. Athos sits down.

ATHOS
Who is he, Aramis?

ARAMIS
Tomorrow.

ATHOS
Tonight! Right now! We steal a man
from a royal prison, we hide in a
country chateau among an assortment
of saints and sluts such as only you
could provide, and still you wish to
tell me nothing?!

ARAMIS
You seek facts, when it would be
better to seek truth.

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