This is the first draft of the time-travel episode that later became the two-parter, Cardinal's Design and Cardinal's Revenge. This first draft was written by Gavin Scott, with a date of September 5, 1997 on the script, almost a year and a half before the story was actually filmed, and nearly a year before the series began filming. The script lists this as the ninth episode of the series. Rebecca Fogg is in the script as Phileas' sister, the original concept for the character.
EXT. THE ROOFTOPS OF PARIS - NIGHT
We cruise slowly across the rooftops of Paris, closing slowly in on the yellow-lit window of a garret.
In days when I was a struggling playwright in Paris, eking a living by looking after other people's theatres
We push in right through the window of the
INT. JULES' GARRET - NIGHT
Jules Verne, thin and poorly dressed, is working at a desk by candlelight.
and wondering where my next meal would come from, there was one great literary figure who did everything in his power to set me on the right track.
The door bursts open and a tall, massively built man with dark, almost Negroid features and hair best described as a nineteenth century Afro bursts into the room with a bottle of champagne in either hand. His name is ALEXANDER DUMAS.
Making notes, Verne, I thought I'd catch you at it! Making notes, scribbling away when you should be at my party.
Monsieur Dumas! I can't come to a party: look at me.
It's a fancy dress party. You can come as a struggling writer.
It is not a fancy dress party!
Dumas claps his arm around Verne's shoulder.
Maybe not now, my young friend: but when you and I arrive - it will be!
And he pulls out of his pocket a coiled up
ball of red velvet which springs to full size as a broad-brimmed hat, complete
with feather, and jams it on his head.
Voila! I am a musketeer - and you are the musketeer's ill-clad servant!
And they disappear out the door.
EXT. ABOVE FRENCH COUNTRYSIDE - DAY
The gondola cruises over the French countryside.
So when I received a message from my old friend asking for my help, I did not hesitate for a moment.
THE GONDOLA - DAY
Dumas? The chap who wrote the Three Musketeers? I'd no idea he was still alive.
Still alive! He has mistresses all over France, writes an entire newspaper himself every week, and still keeps turning out plays and novels by the dozen.
How romantic! I'd love to meet him.
(Suddenly changing his tune) He's also always in debt and quite old and fat.
But full of passion: don't forget - I've read his books. Remember, Phileas- how you kept having to drag me out of the apple-loft?
Babbling about Milady and the Man in the Iron Mask? How could I forget?
Did he say what he wanted?
Remember Cardinal Richelieu - the villain in The Three Musketeers?
(Shuddering) Terrifying man. Red robes and torture chambers.
One of Dumas' admirers found some papers belonging to Richelieu in the attic of his country estate. He says they appear to be drawings of some kind of ... machine.
Interesting. But why does he need you?
He say it's ruined him.
INT. A LANDING
A crowd of angry CREDITORS is pushing and shoving to get in to Dumas' offices. A thin, harassed man named PARFAIT is trying to close the door against them.
No! Monsieur Dumas is NOT in! Leave him in peace - let him finish his book - THEN he'll be able to pay you!
I've been waiting three months! I want my money now!
Three months! I've been waiting a year! COME OUT, YOU SCOUNDREL!
(Pushing his way to the front) Jules Verne, Monsieur Parfait. He's expecting me.
Ah, Monsieur Verne - thank goodness!
And to a roar of anger from the Creditors,
he lets them through. As they try to press in behind, Phileas whips out his
Back, you dogs! How dare you disturb an author at work!
And he slams the door behind them.
INT. DUMAS' NOVEL FACTORY - DAY
A scene of frenzied and chaotic activity, with writers scribbling away with quill pens at tall desks, copy boys gathering up their handwritten pages, and Dumas, on a dais at the end of the room presiding over it all. He rises as he sees Jules and folds him in his arms.
The man of science! Saved!
One of the writers hands over a sheaf of pages.
Chapter Three of the Mohicans de Paris, Monsieur Dumas.
I'll revise it tonight.
The publisher needs it to today.
It it good? [sic]
(Signing his name)
Very well: tell him I've already revised it. Today is the crisis.
(To JULES) Cardinal Richelieu has destroyed me.
Monsieur DUMAS - if we don't come up with twenty thousand francs today they will evict us!
Richelieu's been dead for two hundred years, Alexander.
Come down to the basement - I'll show you how he operates from beyond the grave.
INT. SPIRAL STAIRCASE - DAY
As they descend a spiral staircase Dumas thrusts a sheaf of rolled up parchments into Jules' hands.
The plans for Cardinal Richelieu's chariot. How could anyone resist trying to recreate it?
Provided they could afford it.
I thought I could charge admission - box office receipts at the theatre down a bit lately - draw people in -
What a wonderful idea!
Problem is - it's swallowed everything I own - and it doesn't work. Just - sits there. Nobody's going to pay to see a lump of cast iron. It doesn't even look as if it came from the seventeenth century. Or the nineteenth, for that matter.
INT. BASEMENT - DAY
The little group appear at the top of the stairs leading into the basement - and stare down in astonishment. There below them is an amazing vehicle consisting of a platform with two massive screws on either side and a spherical cabin in the centre.
Good Lord! Does it tunnel, or fly, or -
I keep telling you - it does nothing!
What motivates it, Monsieur?
Isn't that obvious? Malice.
I think he means - what sort of engines does it have?
Ah! Therein lies the mystery. Let me show you.
They descend into the room and Dumas opens a panel in the side of the machine. They peer in to see ...
His watch suddenly flies out of his pocket and slams against one of the stones.
Two magnetised stones, Fogg. Do they revolve?
Of course not! The curse of the Cardinal lies on the whole device.
There is a gear - look. Attached to -
And he disappears inside the engine compartment.
This is very strange ...
Let's have a look in the cabin.
And he starts to climb the short ladder which leads to the top of the platform.
INT. CABIN - DAY
Our heroes and DUMAS squeeze into the spherical cabin and look at the elaborate, swirling rods that constitute the controls.
A poisoned chalice, Miss Fogg.
(He looks at her thoughtfully)
Tilt your chin a little - ah! Your remind me of Madame Bonacieux.
Surely Madame Bonacieux was a fictional character, Monsieur Dumas.
But her hold on my heart was very similar to the hold you're establishing on mine, Miss Fogg.
(Breaking the mood) How's your mistress, Dumas?
Touring engagement in Austria.
I've been VERY lonely. But - one bears up.
Phileas has been busy examining the interior.
It's almost inconceivable anyone could have built something like this two hundred years ago. Look at this gyroscope
He touches a gyroscope - which begins to spin. PASSEPARTOUT's voice comes from the depths.
Is there another one of those, Master? If there is, spin it also. There's one connectifaction here that hasn't been -
Rebecca finds a gyroscope and sets that in motion as well.
And here's a third!
(He spins it)
Anything happening down there, Passepartout?
Drat the man - Passepartout!
He opens the door of the sphere to go check on him - and his mouth falls open in astonishment. The basement has disappeared.
EXT. FIELD - DAY
The machine is now sitting in a piece of ruin-dotted waste ground beside a convent wall on the outskirts of old Paris.
What the devil -
Where have we gone?
Dumas appears beside them.
The convent! It's come back!
What are you talking about?
There! Look! This is my street! And that convent was demolished a century ago!
They look out towards Notre Dame, visible over the low, crooked rooftops.
Paris hasn't looked like this for much longer than a century, Monsieur Dumas.
Which means we haven't travelled through space at all - but through time!
Suddenly a piercing scream comes from the ruins.
MADAME BONACIEUX (OC)
Let me go, you monsters! Let me go!
And as they turn they see a young woman – Madame Bonacieux -being pursued into the ruins by six GUARDSMEN.
Richelieu's Guards! The devils! Come on!
And without further ado he leaps off the machine and races towards the scene.
EXT. THE RUINS - DAY
The Guardsmen are dragging Madame Bonacieux into a coach as Dumas rushes up.
Unhand that woman!
The Guardsmen stare at him.
Do you know who you' re talking to?
Being members of Cardinal Richelieu's guard doesn't give you the right to abduct young women.
Being members of Cardinal Richelieu's guard gives us the right to abduct anyone we please. Now, be off with you before we add you to the list.
Not without the lady.
The Guardsmen draw their swords.
FOGG, JULES AND REBECCA
(Appearing from behind the ruins)
Phileas takes out his sword-stick - and Rebecca brings a kind of three-ended bolo out of her bosom and twirls it menacingly around her head.
INT. CABIN - DAY
A hatch in the floor of the cabin opens up and Passepartout's head emerges.
Master? What's going on?
A shadow falls over him as a figure in red ecclesiastical robes with a magnificent gold chain around his neck steps into the cabin, closely followed by two Guardsmen.
I am going on, peasant.
And a Guardsmen hits Passepartout over the head with the hilt of his sword.
And now - let us consult the book.
And at a gesture, one of the Guardsmen hands him a massive, leather-bound book. Its title: NOSTRODAMUS - THE HIDDEN PROPHECIES.
RUINS - DAY
Tight on Rebecca's bolo around the neck of a choking guardsman - whose sword she removes to turn to the third - as Phileas flicks his opponent's sword to Jules, who engages the fourth - not very elegantly, but with great enthusiasm.
Keep the back straight, JULES, keep it straight.
Our heroes drive the guardsmen back towards the carriage as Dumas spirits Madame Bonacieux into the shelter of the ruins from which he hurls a stone which knocks Jules' opponent senseless to the ground.
There was no need for that, DUMAS! I had him on the run!
But the collapse of Jules’ opponent is the signal for a general retreat: the other guardsmen throw the unconscious one into the carriage, leaps aboard themselves and high tail it out of there. Jules stares.
We beat them!
Good Lord! It's all just as I imagined it!
(Bandaging a wound on JULES' arm)
Except the blood is real.
We beat Cardinal Richelieu's guardsmen! I don't believe it!
I must say - I'm rather surprised too. Almost as if ...
Thank you! Thank you for saving me! You have saved my honour, you have saved the Queen's honour, you have -
The others turn to follow his gaze.
Oh lord ...
For there, sailing along in a stately manner through the ruins, its screws turning slowly about six feet above the ground, is the time machine. And visible through the windows of the cabin is a figure in a. red robe.
And he begins to run towards it - as a hail of bullets comes from the time machine and with a sudden burst of speed it vanishes into the ruins.
They look at each other - and at Madame Bonacieux.
What? What? Why are you looking at me like that?
I should have known it. Did I not write that Cardinal Richelieu was one of the most brilliant schemers ever to dominate France?
RICHELIEU'S DUNGEONS - DAY
Massive doors slam to as the machine glides into the cavernous space at the centre of Richelieu's prison complex. Lit by the lurid glare of iron braziers, festooned with instruments of torture, we can hear the moans of prisoners in the cells all around it as Passepartout, his arms bound behind him, is pushed out of the machine.
What IS this place?
My play pen.
The massive, bald TORTURER, naked to the waist, lumbers up.
(To the Torturer)
Rack me? No, it is too soon for the racking and the rocking! You haven't even done any quizzes yet!
Oh the quizzes will come later. This is just to get - warmed up.
EXT. PARIS STREET - DAY
Our heroes are hurrying through a Paris street: not dissimilar to other we have seen - except that sewage runs down the middle of the road, there are beggars and pedlars and animals everywhere, and it looks altogether like something out of the middle ages.
(Stepping over a dead cat)
Had they no concept of hygiene?
Bottle of scent, madame, keep everything smelling of roses.
(Glancing at a skeleton on a gibbet)
Big on law and order, though.
A footpad emerges from an alley and thrusts a knife under Fogg's chin. Hardly pausing in his stride, Fogg smashes him back into the alley with an elbow in the chest.
Had to be. The place was infested by thieves.
Jules notes the wonderfully low-cut decolletage of a woman selling fruit.
Wonderful fashions, though.
So becoming. Perhaps we ought to get some appropriate clothes, try to blend in a bit more. You in particular, my dear ...
Dumas: concentrate. Even as we speak our friend PASSEPARTOUT may be enduring unspeakable tortures.
(To REBECCA, roguishly)
But as soon as we've rescued him, let's give your figure the chance it deserves.
(Catching JULES' eye guiltily and trying to appear conscientious)
Now - the Cardinal's Palace should be along here somewhere, if I remember my researches correctly.
The question is - what do we do when we get there? We can't just demand that they give us our time machine back.
To say nothing of my valet.
Of course not: don't be absurd. We have to reconnoitre, find a way in. There's sure to be a weak point. There always is.
CARDINAL'S PALACE - DAY
They've arrived in front of a massive building bristling with cannon, and with guardsmen are on duty at every doorway, archway and window.
THIS is Richelieu's headquarters?
He felt the dignity of the church required it.
Rebecca senses people observing them: their nineteenth century clothes do stand out.
You were right, Monsieur Dumas. I do wish we looked a bit less…
In an upper room a guardsman, having his head bandaged, looks down from a second story window and sees them.
Good God! There they are! What effrontery! After them!
After them! Guardsmen! Apprehend those felons!
And immediately it seems every trooper in the building is pouring out towards them, brandishing their swords.
Run! Run for your lives!
I do hope you're in training, old chap.
And they race away as if the devil himself was after them.
END OF ACT ONE
Continued on Page 2
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