SAD LAUGHTER

By Charles Deemer

(based on his stage play)

 

FADE IN:

 

SUPER

 

"Paris, 1663"

 

EXT. PARIS - STREET - DAY

 

A chaotic mass of humanity and animals that makes even a contemporary rush hour look like order itself.

 

A gutter of filthy water runs down the center of the street, not along the sides.

 

PARISIANS move through the streets in all directions. They have to dodge CARRIAGES, WAGONS and CARTS, as well as DONKEYS, MULES, HORSES, DOGS and other animals.

 

STREET PEDDLERS are everywhere, selling vegetables and pastries, needles and barrels, water and brandy.

 

A covered wagon pulled by a mule moves slowly down the street. At the reins is WAGNER.

 

MICHEL BARON, 15, sees the wagon and calls out.

 

MICHEL BARON: Herr Wagner!

 

He runs to the wagon.

 

MICHEL BARON (CONT'D): I'll do it!

 

WAGNER: It didn't take you long to decide.

 

MICHEL BARON: I want to be an actor. At least this is a start.

 

INT. BISTRO - DAY

 

A crowded watering hole and meeting place for the men of Paris.

 

MONTFLEURY, 30s, sits at a table with PRINCE DE CONTI, 40s. They speak in hushed tones.

 

PRINCE DE CONTI: You will, of course, exercise the greatest precaution. No one is to trace this back to us.

 

MONTFLEURY: I understand. I'll get right on it.

 

PRINCE DE CONTI: Finish your brandy. There's no rush.

 

Montfleury drinks.

 

PRINCE DE CONTI (CONT'D): Montfleury, what do you expect to come of all this?

 

The question takes him by surprise.

 

MONTFLEURY: In a more enlightened time than ours, Moliere would be burned at the stake.

 

He laughs but stops when he sees that Conti is not laughing as well.

 

PRINCE DE CONTI: Nothing will happen.

 

MONTFLEURY: Nothing?

 

PRINCE DE CONTI: We will put the King on the spot. Does he support Moliere or not? That's really the point, you see.

 

MONTFLEURY: It is?

 

PRINCE DE CONTI: You are letting thespian jealousy blind you to the deeper meaning here. I realize you and your Hotel players will rejoice if Moliere's plays are banned, but in the bigger picture he's nothing but an irritable writer. The King, on the other hand, represents everything that is wrong with France. The more we expose him, the better for our case to Rome. See the difference?

 

Montfleury stares blankly ahead, showing he doesn't.

 

PRINCE DE CONTI (CONT'D): A great moral struggle is at hand. The King's tolerance clearly leads to immorality. It's time to define the lines of battle. Soon enough the Pope will learn what's going on in France and then will bring the moral authority of Rome against the King.

 

EXT. PARIS - STREET - DAY

 

In the street crowd is Montfleury. He sees Michel Baron in the distance, still talking to Wagner.

 

MONTFLEURY: Michel Baron!

 

Michel says a final word to Wagner and races to Montfleury.

 

MICHEL BARON: Mons. Montfleury! It's your last chance to give me an audition.

 

MONTFLEURY: I'll let you know when something comes up. I want you to go to the new palace and deliver a message to the King.

 

MICHEL BARON: To Versailles!

 

MONTFLEURY: The royal carriage will be arriving there in about an hour. I want you to deliver this letter. And this is for your trouble.

 

He holds out a letter in one hand and a coin in the other.

 

MICHEL BARON: But how can I see the King?

 

MONTFLEURY: You can't. You'll give the letter to one of the guards. Get going, you have a long walk.

 

MICHEL BARON: Yes, sir. I have an acting job -- but it's a secret!

 

The boy races off. Montfleury looks very pleased with himself.

 

Then he elbows through the thick throng of people, off to another destination.

 

INT. HOTEL DE RAMBOUILLET - SALON - DAY

 

Montfleury has just entered the salon of MADAM DUCRAY, 50s. She is a huge woman who is never far from the candy tray.

 

Several other WOMEN, including MADAM JAQUOT, are there as well. The room is decorated with great pretension in the style of a "wannabe aristocrat".

 

MADAM DUCRAY: My dear man, it's been too long since you've paid a visit. I hope you bring news from court - something wonderfully scandalous!

 

MONTFLEURY: Perhaps I came to enjoy your charming company.

 

MADAM DUCRAY: Then have a sweet.

 

MONTFLEURY: I can't stay long, but I do bring news. In fact, it is so extraordinary I was compelled to write the King about it.

 

MADAM JAQUOT: I've heard the King's whore is pregnant. But surely he already knows that himself.

 

MONTFLEURY: This is much worse. It concerns Moliere.

 

All the ladies are in rapt attention.

 

MONTFLEURY (CONT'D): Remember how scandalized we were when he took such a young wife?

 

MADAM JAQUOT: I knew it! This child she now carries is not his, is it?

 

MONTFLEURY: Actually, I think it is. Which makes what I have to say so much more ... evil. You, Madam Ducray, once remarked that Moliere had married a girl young enough to be his daughter. Do you remember?

 

MADAM DUCRAY: Of course. She's not yet twenty.

 

MONTFLEURY: Well, it turns out -- he did!

 

All the plump jowls fall open at once.

 

MONTFLEURY (CONT'D): He married his own daughter!

 

His cackle is chilling.

 

INT. THEATER - DRESSING ROOM - DAY

 

JEAN-BAPTISTE MOLIERE, 40s, stands at a costume rack of women's clothes. He selects a dress.

 

He tries it on.

 

Satisfied, he looks around the room and finds a pillow. He slips the pillow under the dress, arranging it so that he appears to be pregnant.

 

He adds a second pillow, making the pregnancy exaggerated and comic.

 

Almost perfect. He puts on a wig for the finishing touch. Now it's perfect. He grins.

 

He walks slowly forward, trying different steps and postures for moving like a pregnant woman, an actor at his craft. He finds a movement that will work. Suddenly he plops to the ground. His limbs wiggle helplessly, and he softly speaks:

 

MOLIERE: I can't get up!

 

Perfect. He jumps up with ease and makes sure the pillows are firmly in place under the dress.

 

EXT. VERSAILLES - DAY

 

Hundreds of WORKERS are near completion of a new wing at the most extraordinary royal home the world has ever seen. Versailles is a great palace, surrounded by stunning, landscaped gardens, pools and fountains. The royal coach pulls up and stops.

 

TRUMPETERS play a FANFARE as the coach doors are opened. Stepping out is KING LOUIS XIV, 20s, whose every movement reeks of aristocracy. His youth, for a king, is startling.

 

A man rushes forward to present himself. This is ANDRE LE NOTRE, who is in charge of the building project. He bows.

 

ANDRE LE NOTRE: My liege. We are making good progress, as you can see.

 

The King looks around a bit skeptically.

 

KING LOUIS XIV: I'll take your word for it. As long as it's ready in time.

 

ANDRE LE NOTRE: With a week to spare.

 

EXT. VERSAILLES - ANOTHER AREA - DAY

 

Beyond the royal gathering, the boy Michel Baron races up. He is stopped by a ROYAL GUARD before he gets too close to the royal coach.

 

ROYAL GUARD: No farther, boy!

 

MICHEL BARON: I have a letter for the King. It's very important. It's from Mons. Montfleury.

 

He holds it out. The guard snatches it.

 

ROYAL GUARD: You've done your deed, now be off.

 

EXT. VERSAILLES - LANDSCAPED GARDEN - DAY

 

The King is strolling through a new landscaped garden. He's followed by a long line of his ENTOURAGE. Walking beside the King is LOVELL, a personal secretary. The guard with the letter arrives.

 

ROYAL GUARD: A boy brought this.

 

The King takes the note.

 

KING LOUIS XIV: It's from Montfleury. The Hotel Players must be nervous again. Actors have such fragile egos. They get my patronage, what else do they need?

 

LOVELL: Did you see their satire of Moliere?

 

KING LOUIS XIV: No. I heard it was very mischievous, and yet disappointing in its wit.

 

LOVELL: I've heard Moliere is already writing a satire of their satire.

 

He reads the letter. Then he bursts out with great laughter.

 

LOVELL: My liege?

 

KING LOUIS XIV: This is extraordinary! Get me Moliere at once.

 

EXT. PARIS - STREET - DAY

 

Coming down the street is LA GRANGE, 30s, obviously in a hurry. He darts through the crowd, hurrying around the many animal-pulled carts, determined to get where he is going.

 

Montfleury and PIERRE, standing in conversation, see La Grange pass. Montfleury lights up at the visible urgency of the passing actor.

 

He bids goodbye to Pierre and follows La Grange. La Grange is stopped on the street by JEAN-BAPTISTE LULLY, 20s.

 

LULLY: Excuse me! You're an actor with Mons. Moliere.

 

La Grange keeps walking swiftly, Lully hurrying to keep up.

 

LULLY (CONT'D): I'm a composer and have written some dances for him.

 

He shoves some musical sheets at La Grange.

 

LA GRANGE: I'm sorry, I don't have time to talk.

 

LULLY: Would you give these to Moliere? I'm his namesake: Jean-Baptiste Lully!

 

La Grange takes the music, the easiest option. Lully stops and calls after him.

 

LULLY (CONT'D): I can write dances for all his plays!

 

La Grange hurries on, with Montfleury following.

 

INT. THEATER - DRESSING ROOM - DAY

 

Moliere admires himself in the mirror, his costume of a pregnant woman even more exaggerated. He hears:

 

LA GRANGE (O.S.): Jean!

 

Moliere looks around in panic. He steps quickly to a rack of costumes and makes room to hide behind it. La Grange rushes into the room, looks around and quickly leaves.

 

Moliere slowly comes out from behind the costumes.

 

INT. THEATER - STAGE - DAY

 

Two actresses, ARMANDE, barely 20, and MADELEINE, 40s, are rehearsing a scene. They read from hand-written scripts.

 

Armande is six months pregnant.

 

MADELEINE: "Cousin, has no one called on you?"

 

ARMANDE: "Not a soul."

 

MADELEINE: "Then we've both been alone all day. What a pity!"

 

ARMANDE: "Usually all the court loafers are here. I wonder where they are."

 

MADELEINE: "I don't know, but I miss them. They can be so amusing."

 

La Grange rushes in.

 

LA GRANGE: Where's Jean?

 

ARMANDE: He was writing earlier.

 

LA GRANGE: He's not at his desk. The King wants to see him immediately.

 

Madeleine notices the sheets of paper La Grange carries, the musical sheets from Lully.

 

MADELEINE: Are those script changes?

 

LA GRANGE: Music. A young composer wants to write dances for Jean. Could you imagine?

 

La Grange tosses aside the music and leaves as quickly as he entered.

 

ARMANDE: He's already writing a play to ridicule the Hotel's satire of him.

 

MADELEINE: They'll never win a battle of wits with Jean, certainly not on stage. Well, where were we?

 

ARMANDE: "Usually all the court loafers are here..."

 

MADELEINE: Yes. "...they can be so amusing."

 

EXT. THEATER - DAY

 

La Grange comes out and looks up and down the street. He moves off.

 

Montfleury comes out of the shadows and follows.

 

INT. THEATER - DAY

 

The rehearsal continues.

 

MADELEINE: "You're clever enough to appreciate solitude."

 

ARMANDE: "That's kind of you to say -- but I don't think I'm clever at all."

 

MADELEINE: "I get so bored without company."

 

Moliere wanders in, still wearing the exaggerated costume of a pregnant woman. He waddles like a duck, more extreme than the movement we saw him rehearse. Pure slapstick.

 

MOLIERE: Quack, quack! Quack, quack, quack!

 

Armande is amused, but not Madeleine.

 

MOLIERE: Quack, quack! I'm going to give birth to an elephant!

 

ARMANDE: (laughing) Stop it!

 

MOLIERE: My poor feet! They are so sore!

 

He plops down on the floor.

 

MOLIERE: Oops. Now how do I get up? Get a horse and rope. You'll have to drag me.

 

MADELEINE: I think rehearsal is over for the day. Excuse me.

 

She hurries out.

 

ARMANDE: You've upset Madeleine.

 

MOLIERE: Give me a hand, will you?

 

Armande reaches forward with her hand, and Moliere pulls her on top of him.

 

MOLIERE: Quack, quack, quack!

 

ARMANDE: Stop it!

 

Moliere stops and looks suddenly alert.

 

ARMANDE: What is it?

 

MOLIERE: Sshh! Hear it?

 

ARMANDE: What?

 

MOLIERE: It's coming from -- here!

 

He puts his ear at her swollen stomach.

 

MOLIERE (CONT'D): Hush, he's trying to speak!...He wants out! He wants an early release!

 

He cups his hands to shout at the fetus in her stomach.

 

MOLIERE (CONT'D): You have to pull the full duty! You have to do nine months like everybody else!

 

La Grange rushes in.

 

LA GRANGE: Jean!

 

MOLIERE: (still to the fetus) No special favors, understand?

 

LA GRANGE: Jean, the King wants to see you immediately.

 

MOLIERE: The King?

 

He gets to his feet and helps Armande up.

 

LA GRANGE: It's urgent. I've been looking all over for you.

 

MOLIERE: The K-King.

 

Moliere, who stutters when he is nervous or stressed, takes a deep breath. This is not something he looks forward to.

 

EXT. THEATER - DAY

 

Moliere and La Grange hurry out of the theater. Moliere has removed his pregnant- woman costume.

 

Across the way, Montfleury sees them and smiles.

 

EXT. ST. GERMAIN - PALACE - DAY

 

A modest palace, nothing like the magnificence of Versailles that will come.

 

INT. PALACE - KING'S CHAMBERS - DAY

 

Moliere stands in front of King Louis XIV.

 

KING LOUIS XIV: Relax, Jean. You look like you expect to be in trouble.

 

MOLIERE: One never knows, my liege.

 

KING LOUIS XIV: I'll get right to the point. Do you know Montfleury?

 

MOLIERE: He's an actor with the Players of the Hotel de Bourgogne.

 

KING LOUIS XIV: He sent me this.

 

The King hands Moliere a letter. As Moliere reads:

 

KING LOUIS XIV (CONT'D): I don't for a moment believe such an extraordinary accusation. Montfleury is active in the Society of the Holy Sacrament. Those fanatics have been trying to turn the Pope against me for years. They must know I've taken a liking to your work.

 

MOLIERE: This is out-r-rageous!

 

KING LOUIS XIV: Isn't it indeed? You can't fault him for not going for the kill. They can't outwit you on stage, so they widen the arena of combat. The "war of wits" finds a new battlefield: your personal life.

 

Moliere hands back the letter.

 

MOLIERE: This is b-beyond comprehension.

 

KING LOUIS XIV: The disadvantage of having such an attractive young wife. When is the baby due, by the way?

 

MOLIERE: In a few months. My liege, I am used to being called a cuckold -- after all, I so often play one on stage -- but to b-be accused of m-marrying my own daughter!

 

KING LOUIS XIV: Calm down.

 

MOLIERE: I'll d-deny these charges immediately.

 

KING LOUIS XIV: No.

 

MOLIERE: But m-my liege--!

 

KING LOUIS XIV: You will ignore them. They're not worthy of consideration.

 

MOLIERE: With all due respect, you are not the one accused of such an act against nature.

 

KING LOUIS XIV: I'm sure they'll come up with something for me soon enough. I feel I can be frank with you: Louise de La Valliere is pregnant.

 

Moliere does not react.

 

KING LOUIS XIV (CONT'D): Aren't you going to congratulate me?

 

MOLIERE: I'm not sure what to say.

 

KING LOUIS XIV: She will be sent away in time, of course. The farther away we put the bastard child from the Society, the better.

 

MOLIERE: Then you are -- happy?

 

KING LOUIS XIV: Let's say I'm not upset enough to remove her from my life. Of course, mother hasn't found out yet. At any rate, I want you to put Montfleury out of your mind.

 

MOLIERE: How? Why?

 

KING LOUIS XIV: I want to see what the Society does next. Maybe if I give them more rope, they'll hang themselves. Don't look so glum, I'll take a stand in your favor. I've decided to be the godfather of your child.

 

MOLIERE: My liege! This is such an honor.

 

He bows low.

 

EXT. PALACE - DAY

 

Moliere comes out, where La Grange has been waiting for him in a wagon.

 

LA GRANGE: Did he close us down?

 

MOLIERE: No.

 

Moliere climbs up into the wagon. La Grange snaps the reins.

 

EXT. WAGON - ON THE ROAD - DAY

 

They ride off.

 

LA GRANGE: So what was it about?

 

MOLIERE: Nothing important.

 

LA GRANGE: But I was told it was "urgent."

 

MOLIERE: It was n-nothing!

 

La Grange looks confused and hurt by Moliere's outburst. Moliere wings it.

 

MOLIERE (CONT'D): My father is working on the upholstery for the new palace, and the King wanted my opinion of some sketches, if they were within the range of my father's craft. He wanted to know if he had to put another craftsman in charge or not.

 

LA GRANGE: Well, good, I was worried.

 

INT. PARIS - BISTRO - DAY

 

Moliere and La Grange elbow their way to the bar. A BARTENDER pours them wine.

 

The bistro is crowded with FRENCHMEN, many of whom appear to be staring at Moliere and talking about him in low whispers.

 

It doesn't take long for Moliere to notice that he is an object of great curiosity. He downs his glass of wine in one long gulp.

 

MOLIERE: Let's get out of here.

 

La Grange has barely touched his wine. Moliere takes the glass and gulps it down.

 

MOLIERE (CONT'D): Come on.

 

He walks quickly to the exit with La Grange following. In a corner of the bistro sit Montfleury and Pierre.

 

MONTFLEURY: I think he got the news.

 

PIERRE: What will he do?

 

MONTFLEURY: If he has a moral bone in his body ... he will hang himself.

 

INT. PARIS - CHURCH - DAY

 

Prince de Conti stands before the ARCHBISHOP OF PARIS.

 

PRINCE DE CONTI: Montfleury is delivering the letter today.

 

ARCHBISHOP OF PARIS: Excellent. Is he suspicious?

 

PRINCE DE CONTI: No, his jealousy of Moliere blinds him to the consequences for his own theater.

 

ARCHBISHOP OF PARIS: Then the next move is the King's.

 

PRINCE DE CONTI: I think he'll do nothing.

 

ARCHBISHOP OF PARIS: Nothing, for the moment, is good. The longer he delays banning these outrageous theatricals, the stronger our case to Rome.

 

EXT. MOLIERE'S HOUSE - DAY

 

A small, two-story house. Armande enters.

 

INT. MOLIERE'S HOUSE - GROUND FLOOR - DAY

 

Armande comes in and heads for the stairs.

 

INT. MOLIERE'S HOUSE - SECOND FLOOR - DAY

 

Moliere works at a small desk off the bedroom on the second floor. Armande appears behind him.

 

ARMANDE: What did the King want?

 

MOLIERE: It was nothing.

 

She wraps her arms around him. Immediately Moliere gets to his feet and pulls away.

 

MOLIERE (CONT'D): I need to see Charles about some script changes.

 

He starts away.

 

ARMANDE: Jean, is something the matter? Don't I even get a kiss?

 

He quickly gives her a quick peck on the cheek, then is off. Armande looks puzzled and hurt.

 

EXT. MOLIERE'S HOUSE - DAY

 

Moliere comes out, raises his collar against a chill, and moves off.

 

INT. LA GRANGE'S ROOM - DAY

 

La Grange lives in a ground-floor room in a boarding house. It has its own entrance.

 

He opens the door to find Moliere.

 

LA GRANGE: I was just going to come looking for you. I've heard the rumors.

 

INT. LA GRANGE'S ROOM - NIGHT

 

Moliere and La Grange have been drinking wine.

 

LA GRANGE: It shows how desperate they are. It's no accident this comes from Montfleury. He sees you as a threat to his company.

 

MOLIERE: Why are we a threat? We abandoned tragedy. Let them have it. We aren't competition at all.

 

He gets to his feet, wobbling a little.

 

LA GRANGE: Going home?

 

MOLIERE: To the theater. I have to talk to Madeleine.

 

INT. THEATER - NIGHT

 

Madeleine is working on the books of the theater company. Moliere comes in behind her.

 

She hears something and jumps, turns and finds Moliere. He is still a bit uneasy on his feet.

 

MADELEINE: You scared me.

 

MOLIERE: Are we still in b-business?

 

MADELEINE: You tell me. What did the King want?

 

MOLIERE: You haven't heard?

 

MADELEINE: Apparently not.

 

MOLIERE: I'm the new star of the gossip-mongers. And you're my supporting p- player.

 

MADELEINE: Go on.

 

MOLIERE: I think it's an argument by arithmetic. Twenty-odd years ago you leave the company. I w-wanted you to stay and never quite understood your reasons for leaving, but off you went. Then, ten years later, and about t-ten years ago, you return. Only you bring a ten-year old child with you -- Armande, your little s-sister.

 

He stops and stares at her.

 

MADELEINE: Why are you looking at me that way?

 

MOLIERE: The hypothesis is that when you left, you w-were p-pregnant.

 

MADELEINE: Who said--!

 

MOLIERE: Let me finish. You had your child, raised her, and then came back to the company with child in tow. In other w-words, Armande is not your sister b-but your daughter.

 

MADELEINE: That's a vicious lie!

 

MOLIERE: That's not the half of it. I'm the father. Which means, I m-married my own d-daughter!

 

MADELEINE: Jean, who is saying this?

 

MOLIERE: Montfleury. Who else but a m-member of the Hotel Players? They're jealous of our success. They can't outwit me on stage, so they d-desperately try another tactic.

 

MADELEINE: Have you written your denial?

 

MOLIERE: The King won't let me issue one. Montfleury belongs to some secret religious order, and the K-King wants to see how far they will go. At my expense.

 

MADELEINE: You can't let something like this circulate without denying it! People will begin to believe it.

 

MOLIERE: The King says our case will be stronger later. Actually, it's kind of amusing. I p-play the cuckold so often on stage that people assume Armande is unfaithful in life. What could be worse than being a cuckold? Now we know: incest is! M-Montfleury's more clever off-stage than on-. Anyway, I'm glad you heard it from me before you heard it from the gutter. Don't work too late.

 

He leaves.

 

Madeleine watches him go. She looks troubled.

 

EXT. THEATER - DAY

 

The Royal Coach pulls in front of the theater. Quickly SERVANTS of various tasks surround it, opening the door, escorting the King out, clearing a way for him. The King, escorted by his entourage, enters the theater.

 

INT. THEATER - DAY

 

The play has begun. Moliere, the actor, is on stage with La Grange, the actor.

 

MOLIERE: "Moliere run out of material? My dear Marquis, we'll always furnish him with plenty of material since we're hardly changing our ways, despite his satires. Even without going outside the court, he still has twenty types of people who have been spared his pen. For example, consider those in court who show one another the greatest friendship --until backs are turned. Then the entertainment is tearing each other apart!"

 

The audience loves it. The King, too, laughs heartily.

 

MOLIERE (CONT'D): "Or consider those who are positively sickening with the sweetness of their flattery, or those who make no distinction between the various court regulars they adore. Moliere will always have more material than he needs. Indeed, all that he has satirized to date is a mere trifle compared to what is yet to come."

 

Hoots, whistles, applause.

 

INT. THEATER - BACK STAGE - DAY

 

Moliere is taking off his costume and makeup when the King is escorted in.

 

Moliere stands up and bows.

 

MOLIERE: My liege.

 

KING LOUIS XIV: This round to you, Jean. Your wit is incorrigible.

 

Moliere nods. He steps close to the King and speaks privately.

 

MOLIERE: I still think I should m-make a statement and deny --

 

KING LOUIS XIV: Patience! Just keep writing your wonderful plays. For the moment, that's defense enough.

 

MOLIERE: B-But--!

 

KING LOUIS XIV: I do have one suggestion.

 

MOLIERE: Yes?

 

KING LOUIS XIV: You need to put in some dances. Great theater always has dance.

 

MOLIERE: (thinking on his feet) Yes, I'm including a dance in my new play, my liege.

 

KING LOUIS XIV: Excellent. In that case, I am prepared to offer you a commission.

 

This stops Moliere's worry in an instant.

 

MOLIERE: You want to commission a play? You're s-serious?

 

KING LOUIS XIV: For the grand opening of Versailles. Royalty from all around the world will be there. I need new entertainment. Can you give me something?

 

MOLIERE: What about the Hotel Players?

 

KING LOUIS XIV: I'm commissioning something from them as well. The "war of wits" continues, and we can show the world how delightful it is. Are you up for it?

 

MOLIERE: Of course!

 

KING LOUIS XIV: And don't forget -- dancing!

 

EXT. PARIS - STREET - DAY

 

Peddlers set up their stalls and carts. Moliere walks down the street.

 

Montfleury and Pierre stand at a brandy wagon when Moliere passes by across the street. Pierre sees him first and nudges Montfleury.

 

Montfleury calls to Moliere.

 

MONTFLEURY: Mole Hair! Come join us in a brandy!

 

Pierre is shocked by the suggestion, but Montfleury just laughs.

 

Moliere stops, turns and sees who it is. A part of him wants to cross the street, but he regains his composure and continues on.

 

INT. THEATER - DAY

 

La Grange is looking around the mess in the rehearsal area as Moliere watches. He finds the musical sheets he'd discarded.

 

LA GRANGE: Here they are.

 

He smoothes them out and hands them to Moliere.

 

MOLIERE: What's his name?

 

LA GRANGE: I don't recall. Wait: your namesake, Jean-Baptiste something. You're really going to add dancing?

 

MOLIERE: A trifling dance in a trifling play won't do any harm, and it will make the King very happy.

 

La Grange starts to say something but holds his tongue.

 

INT. THEATER - MOLIERE'S OFFICE - DAY

 

Armande, very pregnant now, faces Moliere.

 

ARMANDE: No, I won't do it.

 

MOLIERE: Of course you'll do it.

 

ARMANDE: The part belongs to Madeleine. Or to Therese, or to Catherine.

 

MOLIERE: No, I'm writing it for you.

 

ARMANDE: I'm too young and inexperienced.

 

MOLIERE: Armande, you've been doing fine.

 

ARMANDE: In walk-on roles.

 

MOLIERE: It's time you play the lead. Haven't I been training you for this since you were ten years old?

 

ARMANDE: I don't understand. I thought you were angry with me.

 

MOLIERE: D-Don't be ridiculous.

 

ARMANDE: Lately, when I try to get close to you, you pull away. You've started sleeping at the theater.

 

MOLIERE: Plays d-don't write themselves! I've been w-working very hard on this part for you. No one else can play it.

 

ARMANDE: I--!

 

She gasps and grabs her stomach.

 

ARMANDE (CONT'D): Oh, my God!

 

MOLIERE: What is it?

 

ARMANDE: It's time ...

 

This makes Moliere very agitated. He can't keep still, dashing about like one of his comic characters on stage. He calls for help.

 

MOLIERE: M-Madeleine!...Sit down. G-Get comfortable....Madeleine, we n-need help in here!

 

Armande finds a place to sit. Madeleine and La Grange rush in.

 

ARMANDE: I'm starting ...

 

MOLIERE: She's s-starting! Do something!

 

MADELEINE: Jean, get the doctor. Hurry!

 

MOLIERE: The d-doctor?

 

MADELEINE: Hurry!

 

Madeleine is comforting Armande. La Grange watches helplessly.

 

Moliere can't keep still.

 

MOLIERE: Is she all right? I'll g-get the doctor. W-Where do you suppose he is?

 

MADELEINE: JEAN!

 

MOLIERE: Yes, r-right away!

 

He darts out.

 

INT. THEATER - ROOM - DAY (LATER)

 

Armande is in labor. Madeleine is acting as the midwife.

 

INT. THEATER - DAY

 

In the main area, the DOCTOR is with Moliere. He puts up a dressing room screen.

 

MOLIERE: I don't know why you're always giving me these things.

 

In the adjacent room, there's a WHELP from Armande.

 

MOLIERE (CONT'D): What's g-going on in there?

 

DOCTOR: The miracle of birth.

 

MOLIERE: She sounds like she's d-dying.

 

DOCTOR: Get behind the screen and drop your pants.

 

MOLIERE: I had an enema this morning.

 

DOCTOR: Given the high volatility of your system, one isn't enough. Especially when you get agitated. Do as I say.

 

Moliere moves behind the screen. He drops his pants.

 

MOLIERE: You're getting r-rich giving me these things.

 

DOCTOR: I've told you time and time again that you work too hard. This is the result, you fill your body with impurities. You have no one to blame but yourself.

 

The doctor takes the enema device from his bag. It looks very threatening indeed, more like something used to unplug a modern toilet.

 

DOCTOR: Ready?

 

MOLIERE: I'm n-never ready.

 

DOCTOR: Bend over.

 

The doctor moves behind the screen with the device.

 

INT. THEATER - ROOM - DAY

 

Madeleine delivers Armande's child, a baby boy.

 

INT. THEATER - MAIN AREA - DAY

 

Moliere receives the enema.

 

MOLIERE: Ahhhh!...Oooo!

 

Madeleine enters.

 

MADELEINE: It's a boy!

 

MOLIERE: Ooooo! ... ahhh ...

 

INT. ST. GERMAIN - PALACE - DAY

 

A long entourage moves up a stairway: the GRAND

 

CHAMBERLAIN, FIRST VALET, SECOND VALET, FIRST GENTLEMAN OF THE CHAMBER, and various other SERVANTS and FLUNKIES.

 

INT. PALACE - BEDROOM - DAY

 

The King is in bed with LOUISE, 20s, his pretty mistress. The door opens and the Grand Chamberlain steps inside. Louise SCREAMS. She bolts up, holding the sheet to her bosom.

 

The King sits up. He wears a nightcap and long shirt, looking a bit comic.

 

KING LOUIS XIV: Please give us a moment.

 

GRAND CHAMBERLAIN: Yes, my liege.

 

He bows and exits.

 

KING LOUIS XIV: I'm sorry. I forgot to tell anyone you were here. You'll have to go.

 

INT. PALACE - HALLWAY - DAY

 

The entourage waits in the hallway outside the King's bedroom.

 

The door opens and Louise comes out, dressed. Immediately she is whisked away, down the stairway, by two servants.

 

The Grand Chamberlain gets the attention of the others and nods. He opens the door, going in first with the line following behind him.

 

GRAND CHAMBERLAIN: Good morning, my liege!

 

Everyone enters to help the King dress and prepare for the day.

 

EXT. ST. GERMAIN - PALACE - DAY

 

Louise is escorted into a carriage. She has tears in her eyes.

 

SERVANT: Have a safe journey.

 

INT. ST. GERMAIN - PALACE - DAY

 

The King holds his new godson. Moliere and Armande stand in front of him.

 

KING LOUIS XIV: Little Louis. You're a cutie, aren't you?

 

MOLIERE: Thank you, my liege.

 

KING LOUIS XIV: How is the new play coming?

 

MOLIERE: Splendidly.

 

The King returns the baby to Armande. He moves close to Moliere to speak candidly.

 

KING LOUIS XIV: I sent Louise away today. Mother forbids me to see her again. I'll never see my child.

 

EXT. PARIS - STREET - DAY

 

The carriage bearing Louise moves slowly along a Paris street.

 

It passes Pierre, who has just mounted his horse. He recognizes Louise and turns his mount around to follow the carriage.

 

INT. THEATER - DAY

 

Moliere faces three irate actresses: Madeleine, THERESE and CATHERINE.

 

MOLIERE: This is a conspiracy.

 

MADELEINE: It's a committee to try and bring you to your senses.

 

MOLIERE: My three leading ladies are jealous. Isn't that what it amounts to?

 

MADELEINE: Jean, Armande has made wondrous progress under your good coaching - but this is an extraordinary event.

 

CATHERINE: They say never before has more royalty been gathered under one roof.

 

THERESE: Can she handle the pressure?

 

MOLIERE: I think she can.

 

MADELEINE: (to the ladies) I told you this was a lost cause.

 

She starts away.

 

MOLIERE: Madeleine, I have a new role for you. A lead role.

 

She turns and looks at him. The other actresses look jealous.

 

MOLIERE: In addition to "The Princess of Elise" we will present the first three acts of a work in progress. I call it "Tartuffe." You have the major female role.

 

MADELEINE: That won't help Armande one bit.

 

INT. THEATER - ANOTHER AREA - DAY

 

The three leading ladies are on their way out when Madeleine sees Armande in an adjacent room.

 

MADELEINE: I'll catch up with you later.

 

Catherine and Therese leave. Madeleine moves to the doorway and watches Armande, who is trying on a costume.

 

MADELEINE (CONT'D): Congratulations.

 

ARMANDE: I told him you should have the part.

 

MADELEINE: No, I'm too old.

 

ARMANDE: And I feel too young.

 

MADELEINE: Jean's been a good teacher. You'll do fine....Well, Catherine and Therese are waiting.

 

ARMANDE: Are they angry with me?

 

MADELEINE: Of course not. We're all rooting for you.

 

Madeleine starts away.

 

ARMANDE: Madeleine? Thank you.

 

Madeleine nods and leaves. Watching her go, Armande looks like she still has doubts about her role.

 

EXT. VERSAILLES - NIGHT

 

The new palace is magnificent, especially its surrounding gardens, lit up by torches. Carriages line up to let off royalty for the events in celebration of its opening.

 

INT. VERSAILLES - THEATER - NIGHT

 

A large room in the palace has been turned into a theater space for the occasion. It is lit by hundreds of candles.

 

Royalty -- including the QUEEN MOTHER, the KING OF SPAIN, the QUEEN OF ENGLAND -- gather, along with all their ASSISTANTS and CRONIES.

 

King Louis XIV takes his place in the audience, up front and center. When he stands, all the BUZZING around him comes to a quick silence. The King snaps his finger and sits back down.

 

The play begins:

 

An ACTOR with the Hotel Players comes forward.

 

ACTOR: A strange creature has appeared in the land. Half rodent, half human, this creature spews venom and calls it wit. It is the only rodent in the animal kingdom known to dine on its own excrement. It passes wind through its nostrils. It is called the Mole Hair.

 

He pronounces "Mole Hair" to rhyme with and sound like "Moliere."

 

Montfleury comes on stage, dressed in a grotesque costume, part mole, part pig. He makes grotesque SNORTING sounds.

 

The audience HOWLS, loving it.

 

Looking from the back of the audience are Moliere and La Grange. Moliere turns and storms off.

 

INT. VERSAILLES - ANOTHER AREA - NIGHT

 

La Grange catches up with him.

 

MOLIERE: They can't be witty, so they're crude.

 

LA GRANGE: Crude humor is forgotten as soon as the laughter stops.

 

Behind them, a great ROAR OF LAUGHTER comes from the audience.

 

MOLIERE: The King thinks it's funny. Whose side is he on?

 

INT. VERSAILLES - THEATER - NIGHT

 

The Hotel Players take their curtain call. The King rises.

 

KING LOUIS XIV: Let's make sure this Mole Hair gets locked up in its cage tonight.

 

Everyone laughs and applauds.

 

The King raises his hand for silence. Then he snaps his fingers again.

 

A new play begins: BALLET DANCERS come out and do a short dance piece, introducing the story. The King is delighted.

 

Then Armande comes forward as the Princess of Elise. She is not a very accomplished actress.

 

ARMANDE: "I love to be alone in the countryside -- no room in the palace matches the simple beauty of nature, these trees, these rocks and the river, the fresh air: I never tire of coming here. Why do they demand my presence at the chariot races? I think they want to win my heart but my heart belongs here. They want love -- but love is a great weakness and I'll never give my heart to anyone. They act like my slaves now, wooing me, but if I gave one of them my heart, he'd soon enough become my tyrant."

 

INT. VERSAILLES - BACKSTAGE AREA - NIGHT

 

Watching the performance are Moliere, Madeleine and La Grange.

 

Madeleine makes a face expressing her displeasure at the performance. La Grange smiles, trying to be optimistic. Moliere stares blankly ahead, making it impossible to read his reaction.

 

Finally Madeleine can't take it any more, and she moves off.

 

Moliere follows her.

 

INT. VERSAILLES - ANOTHER AREA - NIGHT

 

Moliere catches up with Madeleine.

 

MOLIERE: She's n-nervous. She'll settle down.

 

MADELEINE: She's embarrassing the company.

 

MOLIERE: "Tartuffe" will be our crowning moment. You'll be brilliant in it.

 

MADELEINE: If anyone comes after seeing this.

 

MOLIERE: They have to come. It would be rude to the King not to come.

 

Moving through the palace, they see some of the Hotel Players gathered, drinking and laughing. Among them is Montfleury.

 

Madeleine can read Moliere's mind.

 

MADELEINE: Jean, don't you dare.

 

MOLIERE: I'll just be a minute.

 

He moves away from Madeleine and joins the group of Players.

 

MOLIERE (CONT'D): Toasting the M-Mole Hair, are we?

 

MONTFLEURY: Gentlemen, we are honored by the presence of Jean-Baptiste M- M-M-M-Moliere, the new upstart of Paris. Did you enjoy our playlet?

 

MOLIERE: I'm afraid I missed it.

 

MONTFLEURY: How unfortunate. I think you would have found it amusing.

 

MOLIERE: I think you will f-find "Tartuffe" amusing.

 

MONTFLEURY: But if you missed it, how do you know about the Mole Hair?

 

MOLIERE: I just followed my nose. And here I am.

 

Madeleine arrives and takes Moliere's arm.

 

MADELEINE: If you'll excuse us...

 

She drags Moliere away.

 

MONTFLEURY: (after him) A Mole Hair chasing his own stench is rather like a dog chasing its tail, don't you think? B-B-B-B-Bye!

 

The Players ROAR, sure they have won the round. As they move away:

 

MADELEINE: They can only be crude. Don't stoop to their level.

 

INT. VERSAILLES - THEATER - NIGHT

 

The curtain call ends for "The Princess of Elise." COURTIERS rush the stage, surrounding Armande to congratulate her. She is the center of attention, different courtiers elbowing forward to get her eye.

 

COURTIER 1: I've never seen a more moving performance on a Paris stage!

 

COURTIER 2: Madam, if you might give me a private moment, I'd like to read a poem I've written for you.

 

But he is elbowed out of the way by:

 

COURTIER 3: Bravo, bravo and bravo! Madam, I have a carriage waiting outside.

 

Armande is beside herself, not sure what to do with so much attention from so many handsome, young men.

 

INT. VERSAILLES - ANOTHER AREA - NIGHT

 

Most of the crowd move outside for the fireworks. Moliere moves through the palace, looking for Armande. He finds La Grange first.

 

MOLIERE: Have you seen Armande?

 

LA GRANGE: I believe she went to see the fireworks.

 

MOLIERE: Alone?

 

LA GRANGE: A bunch of people went together.

 

MOLIERE: An even number or an odd number?

 

LA GRANGE: What?

 

MOLIERE: Were they paired into couples? Did she leave with someone?

 

LA GRANGE: I didn't notice. Perhaps she did.

 

MOLIERE: Who?

 

LA GRANGE: I don't know. She was surrounded by English courtiers.

 

MOLIERE: English c-courtiers! Sycophants. Flattering hypocrites! They'll f-fill her head full of p-praise she doesn't deserve.

 

LA GRANGE: What's a sycophant?

 

MOLIERE: A b-boot-licker! An arrogant imbecile full of false f-flattery! "Tartuffe" couldn't come at a b-better time.

 

LA GRANGE: Damn sycophants.

 

Madeleine arrives in a great rush.

 

MADELEINE: Jean, I've been looking for you everywhere. You must go home immediately. Louis has taken ill.

 

EXT. VERSAILLES - GROUNDS - NIGHT

 

A magnificent FIREWORK DISPLAY rises over the palace. In the crowd are Armande and several courtiers. Armande is finally enjoying all the male attention she's getting. Courtier 2 (ROBERT) is especially attentive.

 

INT. MOLIERE'S HOUSE - BEDROOM - NIGHT

 

The doctor is trying to save the child by draining its blood.

 

INT. MOLIERE'S HOUSE - OUTSIDE BEDROOM - NIGHT

 

Moliere, Madeleine and La Grange wait for the news. Moliere paces nervously.

 

MOLIERE: This would not have happened if Armande w-were home. Instead, she's swept off her feet by English courtiers. She lets their f-flattering lies go straight to her head.

 

The doctor comes out.

 

DOCTOR: I did everything I could. I'm sorry.

 

Moliere stares at the doctor. There's ice in his eyes.

 

MOLIERE: You let him die.

 

He turns and stomps off.

 

La Grange starts to follow but Madeleine stops him.

 

MADELEINE: Leave him be. He's blaming himself.

 

LA GRANGE: He blames Armande.

 

MADELEINE: He's the one who put Armande on stage tonight.

 

INT. VERSAILLES - BALLROOM - NIGHT

 

Dancing has begun.

 

Armande dances in a round dance with Robert (courtier 2) as her partner.

 

Moliere enters, moving through the crowd in search of his wife. Finally he finds her.

 

He moves onto the dance floor, going straight to Armande and interrupting the dance.

 

MOLIERE: You're coming home.

 

ROBERT: Mons. Moliere, allow me to introduce myself.

 

Moliere ignores this and drags Armande off the floor. Montfleury and other Hotel Players watch in amusement.

 

EXT. VERSAILLES - GROUNDS - NIGHT

 

Outside the palace, Armande pulls free of Moliere.

 

ARMANDE: What is the matter with you?

 

MOLIERE: Louis is dead.

 

Armande is speechless in her shock.

 

MOLIERE (CONT'D): He d-died while his m-mother was being whisked away by English courtiers.

 

His stare chills to the bone. He turns and steps off.

 

ARMANDE: You blame me for this?

 

She can't hold her grief. She starts crying. Moliere stops and sees his wife in tears. He returns to her.

 

They embrace, holding on to one another tightly.

 

EXT. PARIS STREET - DAY

 

A tiny casket is pulled in a cart, heading a funeral procession.

 

Moliere, Armande, Madeleine, La Grange and others from the theater company follow on foot behind the cart. Among people watching along the street are Prince de Conti, Montfleury and Pierre.

 

MONTFLEURY: Will you be going to Rome? This proves his sin.

 

PRINCE DE CONTI: Not yet. We've just begun.

 

EXT. HOTEL DE RAMBOUILLET - SALON - DAY

 

The procession passes by the salon. Madam Ducray and her cohorts watch through the windows.

 

INT. SALON - DAY

 

Madam Ducray retreats from the window.

 

MADAM DUCRAY: God is just. A child born of such wedlock could never be allowed to live. This is a sign of providential retribution.

 

MADAM JAQUOT: Amen.

 

Madam Ducray pops a candy into her mouth.

 

EXT. PARIS - GRAVEYARD - DAY

 

The graveyard is isolated on the outskirts of town, a burial area reserved for those without rank or standing in society.

 

The tiny casket is lowered into the ground while the MOURNERS watch on.

 

GRAVE DIGGERS shovel dirt over the casket. Moliere moves to La Grange.

 

MOLIERE: We start rehearsal in an hour.

 

LA GRANGE: An hour!?

 

MOLIERE: Make it thirty minutes. I want the first half of "Tartuffe" p-polished by tomorrow night.

 

INT. MOLIERE'S HOME - BEDROOM - NIGHT

 

Moliere tosses and turns in bed. Armande is asleep beside him.

 

VISION OF HELL - NIGHTMARE

 

A terrifying landscape of fire and brimstone, hell in its most graphic, violent image. Not camp or cute - complete horror. This is the frightening, literal hell of those who believe completely in it.

 

SCREAMS and blood-curdling SHRIEKS from people who are chained and burning.

 

One of the victims is Moliere himself, his face contorted with excruciating pain as his own flesh burns through eternity.

 

INT. MOLIERE'S HOME - BEDROOM - NIGHT

 

Moliere wakes with a start, jerking up.

 

MOLIERE: Ah!

 

He takes deep breaths. He is sweating profusely. Armande is awake.

 

ARMANDE: What is it?

 

MOLIERE: Nothing. I was d-dreaming. Go back to sleep.

 

He lies back down, facing away from her. She moves close and wraps an arm around him.

 

ARMANDE: Jean, don't be angry with me. I can't stand it when you're so distant.

 

MOLIERE: Go to sleep.

 

ARMANDE: I couldn't live with myself if I thought it was my fault. Neither of us gave enough time to him. We don't have enough time.

 

She cuddles closer to him.

 

ARMANDE (CONT'D): I love you so much.

 

She kisses him on the back of his neck. And again. She slowly arouses his interest, and he rolls over to face her. They regard one another in silence. Then he kisses her, and they begin to make love.

 

INT. VERSAILLES - THEATER - NIGHT

 

"Tartuffe" is in progress.

 

INT. THEATER - ON STAGE - NIGHT

 

Moliere plays Tartuffe, who is a priest, and Madeleine plays Elmire. In this scene, Tartuffe is seducing Elmire while her husband Orgon (played by La Grange) hides under a table to observe.

 

MADELEINE: "How can I offer myself to you without offending the Heaven you speak so highly of?"

 

MOLIERE: "If only Heaven stands in the way, there's no problem at all."

 

MADELEINE: "But they terrify us with judgments of Heaven and Hell!"

 

MOLIERE: "Let me get rid of these ridiculous fears for you. True, Heaven forbids certain gratifications. But the strings of conscience can be stretched and the apparent immorality of an action made pure by our good intentions. I'll show you how this can be done. Trust me."

 

INT. THEATER - AUDIENCE - NIGHT

 

Sitting next to Louis XIV is the Queen Mother. Suddenly she gets up and moves in front of people to get out of the theater. She causes quite a commotion. Louis XIV grabs for her, but too late. He can't decide what to do, to follow his mother or to stay. For the moment, he stays.

 

But the Queen Mother's exit has given others courage to leave. A good many get up to escape.

 

INT. THEATER - ON STAGE - NIGHT

 

The scene continues.

 

MADELEINE: "But what about my husband?"

 

MOLIERE: "Don't give him a thought."

 

La Grange as Orgon comes out from under the table.

 

LA GRANGE: "You scoundrel!"

 

INT. THEATER - AUDIENCE - NIGHT

 

King Louis XIV leaves, with all his entourage following him.

 

Seeing them go, still more get up to leave.

 

INT. THEATER - NIGHT (LATER)

 

At curtain call, few in the audience remain. The players take their bows to little applause.

 

INT. THEATER - BACK STAGE - NIGHT

 

Everyone -- except Moliere -- looks shocked by the failure of the fragment from "Tartuffe."

 

LA GRANGE: Back to the drawing boards.

 

MOLIERE: We were wonderful! I'll finish the play immediately. It's my best work.

 

Others in the company can't believe what they are hearing. La Grange and Madeleine exchange a knowing look.

 

INT. VERSAILLES - HALLWAY - DAY

 

Moliere marches down a hallway in the palace. A Palace Guard is on each side of him.

 

INT. VERSAILLES - KING'S CHAMBERS - DAY

 

The guards escort Moliere to the King. They leave as Moliere bows low.

 

KING LOUIS XIV: Mother has left Paris in a snit.

 

MOLIERE: I'm sorry to hear that, my liege.

 

KING LOUIS XIV: She hates your play. So does the Archbishop of Paris. He wrote me: "This new play by Moliere is wholly injurious to religion. It can only have the most dangerous effects."

 

MOLIERE: Then he doesn't understand the play. It's about a pious hypocrite, a m- man who professes to be r-religious but is not.

 

KING LOUIS XIV: You can't have a priest seduce another man's wife!

 

The King studies him silently.

 

KING LOUIS XIV (CONT'D): I'm sorry, I haven't had a chance to express my sympathy. I know how hard it is to lose a child. How is Armande doing?

 

MOLIERE: She feels guilty.

 

KING LOUIS XIV: Don't be too hard on her.

 

MOLIERE: People are saying that it's providential retribution. If you'd let me d- deny—

 

KING LOUIS XIV: I know what I'm doing, Jean. You have to be patient.

 

There's an uncomfortable silence.

 

MOLIERE: What did you think of the p-play, my liege?

 

KING LOUIS XIV: Actually, I liked it. Tartuffe reminded me of some of those rascals in the Holy Sacrament. However, I have no choice but to ban the play from public performance.

 

MOLIERE: I see. Is that all, my liege?

 

KING LOUIS XIV: I want you to finish it. I'll take another look privately when you do.

 

MOLIERE: There's no question of f-finishing it.

 

KING LOUIS XIV: Good. Now before you go, I want your opinion of something.

 

EXT. VERSAILLES - GARDEN - DAY

 

A crowd has gathered around a harpsichord in one of the gardens. Standing near it is Wagner.

 

The King and Moliere arrive.

 

KING LOUIS XIV: You are the one who claims to have this magic harpsichord?

 

Wagner bows low.

 

WAGNER: I am.

 

KING LOUIS XIV: Your accent is German.

 

WAGNER: Your ear for such things is excellent, my liege.

 

KING LOUIS XIV: So this magic harpsichord was manufactured in Germany? They do have a talent for contraptions. Very well, show me what it does.

 

Wagner bows again.

 

Then he turns and stares at the harpsichord. He starts mumbling something and making hocus-pocus gestures with his outstretched hands.

 

Suddenly the harpsichord starts playing on its own! A GASP rises from the crowd.

 

The King laughs. The harpsichord keeps playing.

 

KING LOUIS XIV: Can you stop it?

 

More hocus-pocus and the harpsichord stops.

 

KING LOUIS XIV (CONT'D): So how do you do it?

 

Wagner just smiles and bows.

 

KING LOUIS XIV (CONT'D): (to Moliere) What do you think?

 

MOLIERE: I think you should look inside the instrument.

 

KING LOUIS XIV: But not quite yet. (to Wagner) I am very impressed! You will be my guest at a reception at the main fountain. Everybody's invited.

 

He snaps his finger, and servants quickly escort the crowd toward a nearby fountain. With servants on each side of him, Wagner has no choice but to go along. But the King and Moliere stay behind.

 

When the crowd is gone, the back of the piano cracks open and Michel Baron looks around. Not seeing anyone, he crawls out.

 

KING LOUIS XIV: Aha!

 

The boy is terrified. He quickly runs off.

 

KING LOUIS XIV (CONT'D): German magic is no better than French magic.

 

EXT. VERSAILLES - FOUNTAIN - DAY

 

An elaborate reception with hundreds of GUESTS milling around tables spread with food and drink.

 

Moliere stands alone, staring at something. A GUEST at a punch bowl has picked up a cup that is cracked. Punch leaks from it. When he notices this, he sets the cup down, selects another and fills it from the punch bowl.

 

Moliere comes forward and picks up the cracked cup. He fills it. He watches the liquid leak out.

 

A WOMAN approaches him.

 

WOMAN: I believe your cup is cracked.

 

MOLIERE: (more to himself) They drain the blood but they never replace it.

 

WOMAN: Pardon me?

 

MOLIERE: Oh -- my cup appears to be cracked.

 

He sets it down and hurries off, leaving the woman bewildered.

 

INT. THEATER - NIGHT

 

Moliere scribbles at his desk at the theater. Armande enters.

 

ARMANDE: You wished to see me?

 

MOLIERE: I've heard a rumor you're taking diction lessons.

 

ARMANDE: I am.

 

MOLIERE: I give the d-diction lessons in this company!

 

ARMANDE: You're so busy, I didn't want to trouble you.

 

MOLIERE: Who is he?

 

ARMANDE: Robert Culbertson. You met him.

 

MOLIERE: What q-qualifies him?

 

ARMANDE: He's a poet.

 

MOLIERE: Not quite a p-poet. He writes crude verses.

 

ARMANDE: He told me he's a poet.

 

MOLIERE: He sent you this. Do you c-call it poetry?

 

He holds out a sheet of paper.

 

MOLIERE (CONT'D): Go ahead, read it.

 

ARMANDE: Jean, what is your point?

 

MOLIERE: Very well, I'll r-read it myself. "Armande, these lines are not meant to embarrass / But I'm just wild about your mons veneris."

 

ARMANDE: Stop it.

 

MOLIERE: "And though I am not noted for my wit, / I am a man who appreciates good tits."

 

ARMANDE: I gave him no encouragement to write that!

 

MOLIERE: Oh?

 

ARMANDE: What are you accusing me of, taking him for a lover?

 

MOLIERE: You said it, I didn't.

 

ARMANDE: This is ridiculous.

 

She starts away.

 

MOLIERE: Look who doesn't w-want to t-talk about it.

 

She whirls around and faces him.

 

ARMANDE: I have not been unfaithful to you! You still blame me for Louis' death. You don't approve of anything I do, so what does it matter? I need help with my diction, and Robert is helping me. I'm sorry you don't trust me.

 

She starts to cry.

 

MOLIERE: Stop crying ... You know I hate it when you c-cry ...

 

ARMANDE: How can you believe such things about me?

 

MOLIERE: I'm sorry. I've been working too hard. I p-play the cuckold so often on stage, usually opposite you, that the feeling carries over. Even now, as we w-were arguing, I was wondering where I could use this, what p-play I'd put our dialog in. It's all m-material, you see. My life has become a dress rehearsal for a play. Which r-really doesn't give me much of a life at all, does it?

 

ARMANDE: What makes this especially hard for me now is that I'm pregnant again.

 

MOLIERE: You're serious? This is w-wonderful!

 

ARMANDE: I wanted it to be.

 

MOLIERE: You'll quit the stage. I'm d-dropping you from "Don Juan".

 

He calls into another part of the theater.

 

MOLIERE: Charles! Madeleine! (to Armande) You should g-go home and go to b-bed.

 

ARMANDE: I'm not tired.

 

Charles enters.

 

MOLIERE: Armande is pregnant!

 

LA GRANGE: Congratulations.

 

MOLIERE: She's quitting the stage.

 

La Grange looks surprised. Madeleine enters.

 

MOLIERE (CONT'D): Armande's retiring. She's pregnant and will stay home with the child.

 

Everyone except Moliere looks dumbfounded over the prospect.

 

MOLIERE (CONT'D): Madeleine, take Armande home. But come back -- we have a new play to get ready.

 

EXT. PARIS - STREET - NIGHT

 

Madeleine and Armande walk along a dark street.

 

ARMANDE: You've known Jean so long. Was he always like this?

 

MADELEINE: Like what?

 

ARMANDE: So quick to blame someone for everything.

 

MADELEINE: I think we all grow less patient with age.

 

ARMANDE: He wants me to stay home, and then he casts me in a play. He's not satisfied with my performance, and then he criticizes me for taking private lessons because he doesn't have time to help me.

 

MADELEINE: Jean has a lot on his mind. The special interest the King shows in his work puts pressure on him.

 

ARMANDE: He's not writing to please the King. Almost the opposite. "Don Juan" will be as controversial as "Tartuffe", maybe worse. He's writing like he's possessed.

 

MADELEINE: Maybe he is.

 

Armande gives her an inquisitive look. They walk on in silence.

 

They reach a corner and meet Madam Jaquot and Madam Ducray. The women are shocked and hurry across the street to avoid passing near them.

 

ARMANDE: What's the matter with them?

 

MADELEINE: They belong to the Society of the Holy Sacrament. They believe all actors are sinners and belong in hell.

 

Armande watches them go in fascination.

 

ARMANDE: They don't even know me.

 

EXT. THEATER - NIGHT

 

Madeleine returns to the theater to find La Grange coming out.

 

LA GRANGE: Jean postponed rehearsal until tomorrow morning. He's in one of his huffs.

 

MADELEINE: I hear he's replacing "Tartuffe" with something new, called "Don Juan."

 

LA GRANGE: Don Juan, Tartuffe, not much difference. He's still going to drive everybody out of the theater.

 

MADELEINE: Do you think he'll listen to me about doing a revival?

 

LA GRANGE: I already suggested it. But if he'll listen to anyone, it's you. Good luck.

 

INT. THEATER - NIGHT

 

Moliere is dozing at his desk over a manuscript when Madeleine enters. Hearing her, Moliere snaps up, sees who it is, and busily pretends to be writing.

 

MADELEINE: Can we talk?

 

MOLIERE: We're not replacing "Tartuffe" with a revival. I have a new play.

 

MADELEINE: Can we talk about something else?

 

MOLIERE: What?

 

MADELEINE: You and me. And Armande.

 

Moliere gives her his attention. He looks concerned.

 

MADELEINE (CONT'D): I have a confession to make. I should've told you long ago.

 

MOLIERE: And what is that?

 

MADELEINE: Armande is not my sister. She's my child.

 

MOLIERE: I don't believe you.

 

MADELEINE: I was pregnant when I left the company in Lyon twenty years ago. I had my child and ten years later returned with her. It was a lot easier to tell you she was my little sister.

 

MOLIERE: You're telling me I m-married my own daughter?

 

MADELEINE: No.

 

MOLIERE: I don't understand.

 

MADELEINE: I don't know who her father is. Perhaps you. Perhaps someone else.

 

MOLIERE: You had other lovers?

 

Madeleine nods.

 

MOLIERE (CONT'D): How many? Were you sleeping your way through the entire company?

 

MADELEINE: There are three candidates for Armande's father.

 

MOLIERE: Candidates! Well, let's have a v-vote on it! Is Charles a candidate? Charles!

 

MADELEINE: He went home.

 

MOLIERE: Who w-were they?

 

MADELEINE: It's not important.

 

MOLIERE: I w-want to know if I'm Armande's f-father or not!

 

MADELEINE: I don't know. But I'm terrified you might be. I would never have let you marry her if I had been here to stop it. You were clever, sending me on an errand to Paris. When I returned, it was too late. I pray it's not still too late. I'm leaving the company.

 

MOLIERE: Theater's in your blood. What else could you possibly do?

 

MADELEINE: I'm sure I'll be praying a lot.

 

MOLIERE: You're serious.

 

MADELEINE: Very.

 

MOLIERE: You're too old to b-become a nun.

 

MADELEINE: Don't make light of this, Jean. Your soul may be in as much jeopardy as mine.

 

MOLIERE: Have you told Armande?

 

MADELEINE: Of course not. Will you?

 

MOLIERE: No. For better or worse, this is our little secret.

 

MADELEINE: I'll pray for you, Jean.

 

MOLIERE: Don't w-waste your breath.

 

MADELEINE: You're too stubborn for your own good.

 

MOLIERE: I cannot mount a new play in three days under the assumption that I m- married my own daughter! I'm sure it must be one of the other many, m-many lovers you took behind my back.

 

MADELEINE: I have no other choice but to leave, Jean. Goodbye.

 

He watches her leave. Then he kicks a chair.

 

EXT. THEATER - DAY

 

Therese enters with La Grange.

 

INT. THEATER - DAY

 

Moliere has called a company meeting. A dozen ACTORS, some of whom we are seeing for the first time, stand and give their attention to Moliere.

 

MOLIERE: For personal reasons, Madeleine has left the stage.

 

BUZZING and shock in reaction.

 

MOLIERE (CONT'D): Please! You can g-gossip among yourselves on your own time. Our immediate need is to replace her in "Don Juan" - Therese, that will be you. I'm going to miss her most doing the books. I'll take care of that myself until I can train someone else. I was thinking of you, Charles. Any questions? (quickly, before any can be asked) Good. "Don Juan", act one, scene one, places!

 

EXT. THEATER - DAY

 

Moliere comes out. Lully is waiting for him.

 

LULLY: Mons. Moliere, I've written some dances for you to look at!

 

MOLIERE: I don't want any dances.

 

He hurries past the boy. Lully looks more surprised than hurt.

 

EXT. PARIS - STREET - DAY

 

Moliere walks along a busy street when he sees Michel Baron stealing bread at a cart. When Michel comes by, Moliere grabs him.

 

MICHEL BARON: I'm hungry, mister!

 

MOLIERE: They don't pay you enough in the magic harpsichord?

 

MICHEL BARON: You're Mons. Moliere!

 

MOLIERE: I am.

 

MICHEL BARON: I'm an actor!

 

MOLIERE: I believe you are.

 

MICHEL BARON: Then you probably want to give me an audition.

 

MOLIERE: Yes, I think I do. What are you doing now?

 

MICHEL BARON: Nothing!

 

INT. THEATER - DAY

 

Moliere watches as Michel recites from "Tartuffe."

 

MICHEL BARON: "True, Heaven forbids certain gratifications. But the strings of conscience can be stretched and the apparent immorality of an action made pure by our good intentions. I'll show you how this can be done. Trust me."

 

Moliere applauds, and Michel stops.

 

MOLIERE: Where did you get a script of "Tartuffe"?

 

MICHEL BARON: I don't remember. But they're not hard to get. So what do you think?

 

MOLIERE: I think I can use you. Where are you staying?

 

No reply.

 

MOLIERE (CONT'D): I thought so. I can't have one of my actors living on the street. For now, you'll stay with me.

 

MICHEL BARON: Very good, sir!

 

MOLIERE: You'll have to earn your keep. You'll have chores to do. Do you think you can manage it?

 

MICHEL BARON: Yes, sir!

 

EXT. BISTRO - NIGHT

 

Pierre rushes into the bistro.

 

INT. BISTRO - NIGHT

 

Pierre looks around, finds Montfleury in a group of MEN, who are drinking and laughing.

 

He joins them, coming up behind Montfleury. He whispers something in his ear.

 

EXT. BISTRO - NIGHT

 

Montfleury and Pierre stride outside like two zealots on a mission.

 

INT. SALON - NIGHT

 

Montfleury has the rapt attention of the ladies. The only other man in the room is Pierre.

 

MONTFLEURY: What I propose is a search of the city for her.

 

MADAM JAQUOT: Mons. Montfleury, with due respect, I still don't understand what you would do with Madeleine Bejart if you find her.

 

MONTFLEURY: She can be an important ally. If we can persuade her to confess publicly, not only will she go far in saving her own soul, she might force Moliere to do something to save his own.

 

MADAM JAQUOT: And if he doesn't want it saved?

 

MADAM DUCRAY: Certainly as good Christians we must do what we can for him. I, too, am encouraged that Madeleine Bejart may be moving toward the light.

 

MONTFLEURY: Then we'll begin tomorrow.

 

A SERIES OF SHOTS - DAY

 

as Montfleury and Pierre search Paris for Madeleine. They look in churches.

 

They look in boarding houses. They look in nunneries.

 

INT. MOLIERE'S HOUSE - OUTSIDE BEDROOM - NIGHT

 

Moliere paces the floor. La Grange sits, watching him. Michel Baron hovers, wondrous to what is happening. Armande's cries can be heard from the next room.

 

INT. MOLIERE'S HOUSE - BEDROOM - NIGHT

 

The doctor and a MIDWIFE assist Armande, who is in labor.

 

INT. MOLIERE'S HOUSE - OUTSIDE BEDROOM - NIGHT

 

The doctor comes out of the bedroom.

 

DOCTOR: It's a healthy girl.

 

Moliere is over-joyed. He grabs and hugs the doctor, who is taken aback by the energy of the gesture.

 

INT. MOLIERE'S HOUSE - BEDROOM - DAY

 

Armande is in bed with her child.

 

Moliere brings Armande a bowl of porridge. He sets it next to the bed and takes the child into his arms.

 

MOLIERE: Good morning, Madeleine-Espirit. Did we get a good night's sleep?

 

ARMANDE: She's not as active as Louis was.

 

Moliere shoots her a look of reprimand for mentioning the dead son.

 

Moliere rocks the child. Armande takes a bit of porridge.

 

ARMANDE: How is "Don Juan" coming?

 

MOLIERE: It's my best play.

 

SUPER

 

"1665: Don Juan"

 

INT. THEATER - NIGHT

 

Moliere is on stage as Don Juan.

 

MOLIERE: "Hereon I'll be the censor of everyone, judging all but myself harshly. I'll not forget the slightest disfavor toward me but patiently seek my inevitable revenge..."

 

The AUDIENCE walks out in droves.

 

EXT. VERSAILLES - DAY

 

Once again, Moliere is marched into the palace by guards.

 

INT. VERSAILLES - KING'S CHAMBERS - DAY

 

The King holds a small stack of papers. Moliere stands humbly before him.

 

KING LOUIS XIV: The critics have quite outdone themselves. Rochemont would throw you to the lions, after the Romans.

 

MOLIERE: I'm so happy he doesn't wear the crown.

 

KING LOUIS XIV: Prince Conti writes, "The problem is that a dunce is left to defend religion while the witty Don Juan himself pronounces scandalous criticism on everything holy."

 

MOLIERE: Don Juan is a p-pious hypocrite.

 

KING LOUIS XIV: At least he's not a priest. But you do make him too clever. He's too much fun.

 

MOLIERE: I'm used to critics loathing my work. What about you, m-my liege?

 

KING LOUIS XIV: I can't let the play continue.

 

MOLIERE: Very well. Is that all?

 

KING LOUIS XIV: No! Why must you insist on biting the hand that feeds you?

 

MOLIERE: My liege, I only satirize the v-vices I see all around me. I --

 

KING LOUIS XIV: I know, I know. Listen to me. The Spanish King is dying. His daughter is the rightful heir to Spanish possessions in the Netherlands, and mother has pointed out that if I were to marry her, those possessions would rightfully pass to France. However, it is doubtful if Spain would give them up without a fight. If we are headed for war, Jean, I need harmony here at home. These recent plays that only stir up controversy do not contribute to harmony. Why can't you write like you used to?

 

MOLIERE: I can only write what I write, my liege.

 

KING LOUIS XIV: I want something amusing. I want dances. I am willing to pay for it.

 

MOLIERE: My liege?

 

KING LOUIS XIV: I offer my patronage. Hereafter you will be known as the King's Players of the Palais-Royal. You'll receive an annual allowance of six thousand livres.

 

MOLIERE: I d-don't understand.

 

KING LOUIS XIV: You have another mouth to feed. You have a brand new play to get ready. I hope this provides some incentive.

 

MOLIERE: We are h-honored, my liege.

 

KING LOUIS XIV: Good. Honor me with a play that amuses. And with dances! Have you met the young composer, your namesake, Jean-Baptiste Lully?

 

MOLIERE: I've heard of him.

 

KING LOUIS XIV: He's encouraging me to take up dance myself. I want you to meet him. He can add some excellent dances to your plays. Perhaps there will even be a part for me.

 

MOLIERE: (swallowing his true reaction) A wonderful idea, my liege.

 

EXT. PARIS - RUN-DOWN AREA - DAY

 

Madeleine scrubs the steps of a run-down boarding house. She doesn't look well: she's lost some weight, her hair looks like it hasn't been combed in weeks.

 

Coming down the street are Montfleury and Pierre. Montfleury is the first to see Madeleine ahead, on her knees scrubbing the porch steps.

 

As they get closer. Montfleury slows down and studies Madeleine carefully.

 

PIERRE: Is it her?

 

MONTFLEURY: I'm not sure.

 

They reach Madeleine.

 

MONTFLEURY: Madeleine Bejart?

 

Madeleine works on without responding.

 

MONTFLEURY (CONT'D): Are you Madeleine Bejart?

 

Madeleine stops and looks up.

 

MADELEINE: The lady you want is dead.

 

MONTFLEURY: And who are you?

 

MADELEINE: A mere mortal, born into sin. You are the same.

 

She goes back to work.

 

MONTFLEURY: Good day, then.

 

INT. BISTRO - DAY

 

Montfleury and Pierre are seated in a nearby bistro (different from their usual hangout).

 

MONTFLEURY: I'm sure it's her.

 

PIERRE: She can't help us if she doesn't have her faculties about her.

 

MONTFLEURY: Unless there's a way to make that work in our favor.

 

He thinks a moment.

 

MONTFLEURY (CONT'D): A public display will still help us. Let the people see for themselves the consequences of sin.

 

EXT. PARIS - STREET - DAY

 

Moliere and La Grange walk among the usual throng of people.

 

MOLIERE: The King wants something light, a trifle really. I feel like his patronage has become a cage.

 

LA GRANGE: The King's patronage is what we've been working for, Jean. It took twenty years to get it, you can't dismiss it so easily.

 

MOLIERE: And if I don't have a trifling thought in my head?

 

LA GRANGE: We can always revive "School for Wives."

 

MOLIERE: We'd have to add dances. And a part for the King. Suddenly he thinks he's a dancer.

 

EXT. PARIS - ANOTHER STREET - DAY

 

A BLAST OF TRUMPETS as they reach a corner. They turn onto another street to see a PARADE OF SOLDIERS passing by.

 

Moliere and La Grange join a growing CROWD to watch the soldiers, some on horseback, some on foot. They overhear part of a conversation:

 

WOMAN 1: We're going to war with Spain, you know. My husband heard it this morning.

 

Moliere takes La Grange's arm, and they move off.

 

LA GRANGE: Do you think it's true?

 

MOLIERE: The King hinted as much to me. I didn't think it would happen so soon. This is a godsend, Charles.

 

LA GRANGE: I take it our cause is just.

 

MOLIERE: I have no idea. It's a godsend because the King will be out of the country.

 

INT. THEATER - NIGHT

 

The company of actors waits for a meeting to begin. La Grange enters.

 

LA GRANGE: Attention, please! ... I just spoke to Jean, and we won't rehearse until Thursday. He's feverishly working on a new play.

 

THERESE: Something light, I hope.

 

LA GRANGE: I hope so. He's keeping this one very close to the breast.

 

INT. THEATER - NIGHT - LATER

 

Moliere looks exhausted. He sits at his desk, staring into space. Piles of wadded manuscript surround him. Armande steps in.

 

ARMANDE: Jean?

 

MOLIERE: What are you doing here? Who's taking care of Madeleine-Espirit?

 

ARMANDE: Therese is watching her. I want to know if I'm ever going to see you again.

 

MOLIERE: I believe you are "seeing me" at this very moment.

 

ARMANDE: You spend more nights here than at home.

 

MOLIERE: Plays don't write themselves.

 

ARMANDE: You're different since Madeleine left.

 

Moliere doesn't reply.

 

ARMANDE (CONT'D): It's almost as if you're heart-broken.

 

Still no response.

 

ARMANDE (CONT'D): Were you lovers?

 

This gets his attention.

 

MOLIERE: No. She left for p-personal reasons.

 

ARMANDE: Charles says she was very troubled about something.

 

MOLIERE: Obviously she was troubled, or she wouldn't have left. It was a personal matter.

 

ARMANDE: Do you know what? ... Jean?

 

MOLIERE: Not really. I need to get b-back to work.

 

ARMANDE: Very well.

 

Instead of leaving, Armande takes a blanket nearby and looks around for a place to spread it.

 

MOLIERE: What are you doing?

 

ARMANDE: Making my bed. If you won't come home to sleep, I'll sleep here.

 

MOLIERE: Why are you doing this?

 

ARMANDE: Because I want to sleep with my husband.

 

MOLIERE: You belong home with the child.

 

ARMANDE: Therese will spend the night if I don't return.

 

MOLIERE: I'm ordering you to go home!

 

ARMANDE: You have a lover, don't you? If it wasn't Madeleine, then it's someone else. Why else do you ignore me?

 

MOLIERE: Don't be ridiculous.

 

Armande stares him down.

 

MOLIERE (CONT'D): I'll come h-home tonight.

 

ARMANDE: Promise?

 

MOLIERE: I n-need to finish a scene.

 

ARMANDE: I'll wait.

 

MOLIERE: I can't work with you here.

 

ARMANDE: Then I'll wait elsewhere.

 

She leaves the room.

 

Moliere stares at the blank paper on his desk. Without writing a word, he crumples it up and throws it across the room.

 

EXT. THEATER - NIGHT

 

Moliere and Armande come out together.

 

ARMANDE: Let's walk along the river. We haven't done that in so long.

 

EXT. PARIS - ALONG RIVER - NIGHT

 

They walk slowly along the river. They do not touch; indeed, there is visible strain between them.

 

ARMANDE: What happened to us?

 

MOLIERE: Do we have to talk about this now?

 

ARMANDE: I think we do. It's the first time we've had a moment alone in months. I'm not a foolish young girl any more. I know when you don't want me.

 

MOLIERE: Of course, I w-want you.

 

ARMANDE: Then show me.

 

She stops him. They stand along the river. Moliere clearly wants her. But he makes no move toward her.

 

ARMANDE (CONT'D): I understand.

 

She starts away, but Moliere stops her. Suddenly he takes her in his arms.

 

DISSOLVE TO:

 

INT. MOLIERE'S HOUSE - BEDROOM - NIGHT

 

Moliere and Armande begin to make love.

 

But as they do, Moliere suddenly sees VISIONS OF HELL again, the terrifying stuff of the earlier nightmare. He can't go on. Moliere pulls away, then rushes out of bed.

 

His expression is pained, confused.

 

MOLIERE: I'm sorry, I can't ...

 

ARMANDE: Just hold me then.

 

MOLIERE: I can't! Don't you understand? I can't do this any more ...

 

He grabs his clothes and leaves. Armande rolls over and cries.

 

INT. MOLIERE'S HOUSE - MAIN ROOM - NIGHT

 

Moliere moves through the dark and stumbles into a table. This wakes Michel Baron, asleep on a cot, who sits up with a start.

 

MICHEL BARON: What is it?

 

MOLIERE: Sorry. Go back to sleep.

 

Moliere leaves. Michel glances up the stairway.

 

EXT. MOLIERE'S HOUSE - NIGHT

 

Moliere comes outside into the empty night. He's still dressing himself.

 

He wanders aimlessly away.

 

INT. MOLIERE'S HOUSE - BEDROOM - NIGHT

 

Armande is crying when Michel enters the room.

 

MICHEL BARON: Are you all right?

 

ARMANDE: I'm so lonely ...

 

MICHEL BARON: Is there anything I can do?

 

ARMANDE: You can hold me.

 

Michel hesitates. Armande sits up in bed and holds out her arms, an invitation. Michel moves toward her.

 

INT. BISTRO - NIGHT

 

Moliere drinks alone at a table. He quickly feels the effects of alcohol.

 

Montfleury sits down across from him.

 

MONTFLEURY: Finally you suffer.

 

Moliere has trouble bringing him into focus.

 

MONTFLEURY (CONT'D): First Madeleine Bejart, and now you. That leaves only your young wife.

 

MOLIERE: Who are you?

 

MONTFLEURY: Are you that drunk?

 

MOLIERE: I know that voice ... Montfleury!

 

He reaches across the table to grab him but misses and falls on the floor.

 

MONTFLEURY: Don't you understand I'm your friend?

 

He helps Moliere up as OTHER CUSTOMERS, including Pierre, gather around.

 

MONTFLEURY (CONT'D): He's going to be all right. He just needs some fresh air. Give me a hand.

 

Pierre quickly helps Montfleury lift Moliere to his feet.

 

EXT. BISTRO - NIGHT

 

Montfleury and Pierre support Moliere between them, coming out of the bistro. They head down the street.

 

INT. MONTFLEURY'S ROOM - DAY

 

Moliere is stretched out on the floor. Daylight streams in through a window.

 

He wakes himself COUGHING. Montfleury stands over him.

 

MONTFLEURY: You need to do something about that cough.

 

Moliere brings him into focus.

 

MOLIERE: Where am I?

 

MONTFLEURY: You were too drunk to go home, and I don't really have room for a guest. I planned to give you the bed but you fell so quickly to the floor, I left you there.

 

Moliere struggles to his feet.

 

MOLIERE: Why are you doing this? What do you want from me?

 

MONTFLEURY: You get right to the point.

 

MOLIERE: Your accusations drove Madeleine mad.

 

MONTFLEURY: If I were to flatter myself with having an influence, it would be to help her find the true path. I would like to help you the same way.

 

MOLIERE: You dare stand there and say you want to h-help me? By accusing me of marrying m-my own daughter! You're jealous because my company r-rivals yours.

 

MONTFLEURY: You are good at changing the subject, Mole Hair. But God sees everything. You can hide from me, but you can't hide from Him.

 

MOLIERE: There is no p-proof Armande is my daughter. M-Madeleine had many lovers.

 

MONTFLEURY: I didn't know you were a cuckold even before you married.

 

This is too much for Moliere, who attacks him. They fall to the floor. Montfleury quickly gets the upper hand, twisting Moliere's arm behind his back. He shoves Moliere onto the bed.

 

MONTFLEURY: You don't deserve my help.

 

He stares down at Moliere.

 

MONTFLEURY (CONT'D): I thought by coming to the Society of the Holy Sacrament, by confessing in public, you and Madeleine still had time to save your souls. Maybe it's too late for her. I think she's lost her mind.

 

MOLIERE: You've seen her?

 

Montfleury smiles. He quickly understands what power this knowledge gives him.

 

Moliere jumps to his feet and grabs Montfleury by the shoulders.

 

MOLIERE (CONT'D): Where is she?

 

MONTFLEURY: You didn't want my help.

 

MOLIERE: I must s-see her.

 

MONTFLEURY: If I take you to her, what's in it for me?

 

Moliere lets him go.

 

MOLIERE: Nothing. N-Nothing!

 

He heads for the door. In the doorway, he turns back to Montfleury.

 

MOLIERE (CONT'D): You're a wonderful inspiration. You make me realize that I haven't come close yet to putting h-hypocrisy and evil on stage.

 

MONTFLEURY: And I've never come close to putting cowardice on stage. You inspire me as well, Mole Hair.

 

Moliere stares at him.

 

Montfleury moves to where two swords are mounted on the wall. He removes them, tossing one toward Moliere. The sword lands at Moliere's feet. He stares at it, aghast.

 

MONTFLEURY (CONT'D): Pick it up. Let's see how good a tragic actor you are.

 

MOLIERE: I have no skill at sword play.

 

MONTFLEURY: I'm not "playing," Mole Hair. I'm offering you a chance to settle our differences once and for all. Pick it up.

 

Moliere stares at the sword. He stares at Montfleury. Fear and frustration grip him.

 

Suddenly he bounds out of the room. Montfleury smiles, feeling victorious.

 

EXT. PARIS - STREET - DAY

 

Moliere is walking quickly down the street when Lully appears beside him.

 

LULLY: I was just coming to the theater to see you.

 

MOLIERE: You would have been disappointed. I'm not there.

 

LULLY: The King thinks we should become friends -- so I can add dances to your plays.

 

MOLIERE: I know, he wants a part. I'm working on something for him.

 

LULLY: Excellent! When can I see the script, so I can write music?

 

MOLIERE: Come by the theater next week. I really don't have time now.

 

Moliere hurries into the throng, leaving Lully behind.

 

A SERIES OF SHOTS

 

as Moliere combs Paris, searching for Madeleine. He looks in churches.

 

He looks in nunneries.

 

All the people he talks to shake their heads.

 

EXT. PARIS - RUN-DOWN AREA - DAY

 

Moliere walks down a street in the same run-down area of Paris where Madeleine was scrubbing steps. The building where she was working is ahead.

 

Also ahead is a horse-drawn wagon. It cruises slowly down the street while SOLDIERS walk beside it, grabbing whatever VAGABONDS and other MALES they find on the street. They throw them into the wagon for conscription into the army.

 

Moliere starts up the steps of Madeleine's building when a SOLDIER shouts at him.

 

SOLDIER: Halt! In the name of his majesty, you are chosen for military service!

 

INT. ROOMING HOUSE - DAY

 

Madeleine is in a room on the second floor, which is barely larger than a closet. A cot, a table, no more. She hears the commotion on the street below and looks out the window.

 

She recognizes Moliere, who is arguing with the soldier. She heads for the door.

 

EXT. ROOMING HOUSE - DAY

 

SOLDIER 2 has now joined the first.

 

MOLIERE: I am an employee of the K-King! My company is the King's Players at the Palais-Royal!

 

SOLDIER: What did you write?

 

MOLIERE: Nothing you've heard of.

 

SOLDIER: Throw him in the wagon.

 

MOLIERE: I wrote "Tartuffe"! I w-wrote "The Versailles Impromptu"!

 

SOLDIER 2: I heard about "Tartuffe." The King closed it down.

 

MOLIERE: He told me to finish it, so he can see it privately.

 

SOLDIER: The King's going off to war, he won't be seeing any play.

 

MOLIERE: And if it's not f-finished when he returns, he'll have your h-heads!

 

The first soldier realizes he is in a predicament.

 

SOLDIER: Get out of my sight while you have the chance.

 

Moliere turns and leaps up the steps two at a time.

 

INT. ROOMING HOUSE - DAY

 

He enters just as Madeleine bolts down the stairs. She runs into his arms.

 

For the briefest moment, they embrace like lovers. Then Madeleine pushes away, shocked by her own feelings.

 

MOLIERE: Madeleine ...

 

MADELEINE: I had a dream you would come.

 

MOLIERE: I've been looking all over for you

 

MADELEINE: What did the soldiers want?

 

MOLIERE: They're building up the army to go to war. They didn't know who I was.

 

Moliere looks around.

 

MOLIERE (CONT'D): You live here?

 

MADELEINE: The local priest has given me a small room.

 

MOLIERE: What do you do?

 

MADELEINE: Whatever needs to be done. I've never worked harder in my life. It's part of my penance.

 

An OLD MAN comes down the stairway.

 

MOLIERE: Is there someplace we can talk?

 

EXT. STREET - DAY

 

They walk along the street, moving in a direction away from the soldiers' wagon.

 

MOLIERE: I want you to come back to the company. It's where you belong.

 

MADELEINE: I could never do that.

 

MOLIERE: You're wrong about Armande and me.

 

MADELEINE: I pray so, but it's not for anyone in this life to understand.

 

MOLIERE: Armande and I have drifted apart. We no longer share a bed. So even if you were r-right ...

 

MADELEINE: Jean, will you see Father James with me?

 

MOLIERE: Stop torturing yourself like this! I d-don't understand what's happened to you.

 

MADELEINE: I've never felt more peace in my life. Can't you see how relieved I am?

 

He studies her. She looks more crazed than relieved. Moliere suddenly embraces her, then quickly breaks it.

 

MOLIERE: Goodbye, Madeleine.

 

He steps away, trying to lengthen his strides, trying to keep his composure.

 

INT. MOLIERE'S HOUSE - DAY

 

Moliere throws various possessions into a bag. Armande enters.

 

ARMANDE: What are you doing?

 

MOLIERE: I'm moving in with Charles.

 

ARMANDE: Why?

 

MOLIERE: Isn't it obvious?

 

ARMANDE: Not to me, no, it isn't. What do you think I've done?

 

MOLIERE: I don't have t-time to discuss this now.

 

ARMANDE: What about rehearsals? Will you ignore me there, too?

 

MOLIERE: You were supposed to quit.

 

ARMANDE: You keep writing me roles!

 

He grabs the bag and hurries out.

 

EXT. PARIS - STREET ALONG RIVER - DAY

 

Armande and La Grange stroll along the river.

 

ARMANDE: Everything changed when Madeleine left. You know him better than anyone. Does he talk about what's bothering him?

 

LA GRANGE: No, but I have an idea. I just can't talk about it yet.

 

ARMANDE: He has a lover, doesn't he?

 

He takes her hand.

 

LA GRANGE: No. I can assure you, this is not your fault. It's not something you've done.

 

ARMANDE: I don't understand why he's become so distant.

 

LA GRANGE: It concerns an old issue between Jean and Madeleine. He hasn't faced it, and it's eating him alive.

 

ARMANDE: Can you help him?

 

LA GRANGE: I don't know.

 

ARMANDE: Please try.

 

INT. THEATER - NIGHT

 

Moliere paces with script pages in his hand. He mumbles lines to a new play to himself.

 

La Grange steps in.

 

MOLIERE: Charles! Read this. It's wonderful.

 

He hands a sheet of paper to La Grange, who begins to read it.

 

LA GRANGE: Tartuffe?

 

MOLIERE: It's a new play.

 

LA GRANGE: The character is Tartuffe.

 

MOLIERE: I call it "The Impostor".

 

LA GRANGE: These lines are straight from "Tartuffe." Jean, are you crazy? The King --

 

MOLIERE: It's a new play! I use the same character name, that's all.

 

La Grange reads a little more.

 

LA GRANGE: This is "Tartuffe." We can't do it.

 

MOLIERE: I am finishing "Tartuffe" for a private showing for the King when he returns. But this is different. Of course we can mount it. It's a new play.

 

LA GRANGE: It's "Tartuffe" in the most thin, transparent disguise!

 

Moliere grabs the script back.

 

MOLIERE: I can r-replace you if you wish, Charles.

 

LA GRANGE: I need to talk to you. Not here. Somewhere neutral, where your work won't distract you.

 

MOLIERE: Plays don't w-write -- !

 

LA GRANGE: Damn it, Jean! You're driving Armande away from you, don't you see that? You have to face what's happened.

 

MOLIERE: Are you praying for me now, too?

 

LA GRANGE: I am, as a matter of fact. Don't you ever pray?

 

MOLIERE: Yes, Charles, I pray. But the God I pray to is not hysterical and does not hold grudges.

 

LA GRANGE: Let's get out of here. Please.

 

EXT. OUTSIDE PARIS - COUNTRYSIDE - NIGHT

 

Moliere and La Grange hike under a full moon.

 

LA GRANGE: Have you heard of Pascal?

 

MOLIERE: Of course. You've taken up philosophy?

 

LA GRANGE: Remember Pascal's Wager?

 

MOLIERE: Refresh my memory.

 

LA GRANGE: It's an argument for believing in God.

 

MOLIERE: I believe in God, Charles. A kinder God than many believe in, perhaps.

 

LA GRANGE: Pascal asks you to consider belief as a kind of wager. Now if God doesn't exist, it doesn't matter whether you believe in Him or not, nothing will come of it. But if He does exist, and you don't believe in Him, you burn in hell. This, in fact, is the only negative possibility in all the permutations between belief and God's existence. The only bad outcome is non-belief combined with God's existence. Therefore the wise man believes in order to eliminate this single possibility of negative outcome.

 

MOLIERE: That was quite a mouthful. You missed your calling.

 

LA GRANGE: I think the same argument can be made about whether or not you're Armande's father. The only negative outcome is if you are, but deny it. Therefore you have to embrace the possibility that, in fact, you are.

 

This is too much for Moliere. He stops.

 

MOLIERE: I will never accept that p-possibility. Because I don't think it's true.

 

LA GRANGE: But you think about it. It's like a serpent in your belly, Jean, slowly consuming you.

 

MOLIERE: Not only are you trying to be a philosopher, but a poet! You're an actor, Charles. Stay with w-what you know.

 

LA GRANGE: I know I fear for your salvation.

 

MOLIERE: Goodnight, Charles.

 

He starts away but La Grange catches up with him.

 

LA GRANGE: You don't sleep with her any more. That's a step in the right direction.

 

When Moliere again makes a move to go, La Grange grabs his arm. Moliere twirls around and hits La Grange on the jaw.

 

La Grange falls to the ground. Moliere holds his hand, which hurts badly. He looks shocked by what he's done.

 

MOLIERE: Charles, I --

 

He doesn't know what to say. He quickly leaves, disappearing into the night.

 

La Grange sits up and rubs his jaw.

 

EXT. PARIS - CHURCH - NIGHT

 

Moliere stands across the street from a church, staring at it.

 

His expression is burdened by doubt, a struggle going on inside him between the man who would walk away and the man who would cross the street and enter the church. Finally he takes a step, then another, and crosses the street.

 

He tries the door to the church. But it is locked. This is enough to change his mind. Moliere bolts away from the church, almost in horror, and begins jogging down the street.

 

As he jogs, he starts COUGHING heavily.

 

EXT. PARIS - ALLEY - DAY

 

Moliere lies in a doorway in an alley, where he spent the night. He wakes.

 

He gets up and stretches. He brushes himself off. He moves toward the street.

 

EXT. PARIS - RUN-DOWN AREA - DAY

 

Moliere wanders through the run-down neighborhood where Madeleine lives.

 

He spots a PRIEST on the street and goes to him. They talk a moment.

 

EXT. PARIS - SMALL CHURCH - DAY

 

Moliere stands outside a small church. He steps inside.

 

INT. SMALL CHURCH - DAY

 

Moliere wanders into the small church, which is dark despite the day outside.

 

He passes a small office with its door open.

 

INT. SMALL CHURCH - OFFICE - DAY

 

At his desk is FATHER JAMES, a priest. He is oblivious to Moliere standing in the doorway.

 

Suddenly Moliere starts COUGHING. This, of course, gets the priest's attention.

 

FATHER JAMES: Are you all right?

 

Moliere waves him away, stepping into the office. He gets control of his cough.

 

MOLIERE: Father James?

 

FATHER JAMES: Has a doctor heard that cough?

 

MOLIERE: Yes -- and gave me an enema. It didn't work.

 

FATHER JAMES: How about a shot of brandy?

 

He fetches a nearby bottle and pours two cups.

 

FATHER JAMES (CONT'D): What brings you here?

 

MOLIERE: I'm a friend of Madeleine Bejart. I believe you know her.

 

FATHER JAMES: Oh yes, I know Madeleine. I know you, too, Mons. Moliere.

 

Moliere doesn't know how to respond. He turns to go.

 

FATHER JAMES (CONT'D): What are you afraid of? Finish your brandy, at least.

 

Moliere turns back and sips brandy.

 

FATHER JAMES (CONT'D): So you're here on Madeleine's behalf, not your own?

 

MOLIERE: I'm worried about her. She doesn't look well. She should be sent to a sanitarium where someone can care for her.

 

FATHER JAMES: She is doing better than you think. Her soul is freer than it's been in a very long time.

 

MOLIERE: You can use your authority to help her. She needs constant care.

 

Moliere drinks his brandy.

 

FATHER JAMES: I'm going to do what we priests do so well -- and give you some unsolicited advice. Forget about Madeleine and worry about yourself. Look inward. See if you find shame and pride there. What Madeleine did, facing her demons, is the most courageous act a person can do. I'm not saying it's easy. Just necessary.

 

MOLIERE: Necessary to save my soul?

 

FATHER JAMES: Necessary in the eyes of God. The condition of your soul depends on what you find.

 

Their eyes lock for a moment. Then Moliere goes.

 

FATHER JAMES (CONT'D): (after him) I'll pray for you, Moliere!

 

EXT. BUILDING - LA GRANGE'S ROOM - NIGHT

 

A light flickers in a window.

 

INT. LA GRANGE'S ROOM - NIGHT

 

Moliere sits at his worktable, writing by candlelight. The door opens and La Grange comes in.

 

MOLIERE: Charles, I'm sorry--

 

LA GRANGE: Forget about it. Where have you been? That young composer, Lully, has been pestering me all day. He says he's writing music for your new play.

 

MOLIERE: I found Madeleine.

 

LA GRANGE: Where? How is she?

 

MOLIERE: Looking like she's on her deathbed. It ripped my heart apart to see her like that. She spends her time on her knees, scrubbing floors. And when she's not doing that, she's confessing to a priest. I tried to get him to get her into a sanitarium, some place she could be taken care of.

 

LA GRANGE: And ...?

 

MOLIERE: He told me to mind my own business. He told me he'd pray for me. As you are, Charles.

 

LA GRANGE: Why must you make light of this?

 

Moliere moves quickly to his desk, changing the subject.

 

MOLIERE: Here are new pages for "The Impostor." Get them copied and distributed. I want to open in two weeks.

 

Moliere comes back with script pages but La Grange doesn't reach for them.

 

MOLIERE (CONT'D): Charles, are we the King's Players or not?

 

LA GRANGE: Of course.

 

He takes the pages.

 

LA GRANGE (CONT'D): And there will be dances?

 

MOLIERE: Of course not. This play is not a trifle.

 

SUPER

 

"1667: The Impostor"

 

INT. PALAIS-ROYAL THEATER - DAY

 

A performance of "The Impostor" is on stage. But once again, members of the audience are quick to get up and leave. Soon the house is practically empty.

 

EXT. PALAIS-ROYAL THEATER - DAY

 

As the last audience members come out, a carriage pulls up. It is followed by SOLDIERS on horseback. The Archbishop of Paris is helped out of the carriage. Behind him comes Prince de Conti.

 

The Archbishop nods, a gesture to begin. Soldiers rush into the theater.

 

INT. PALAIS-ROYAL THEATER - DAY

 

On stage the performance of "The Impostor" plays to a practically empty house.

 

Seeing the soldiers rush in, Moliere breaks character.

 

MOLIERE: What is this?

 

SOLDIER: This theater is closed!

 

Moliere's actors scatter backstage as the soldiers start destroying the theater.

 

EXT. PALAIS-ROYAL THEATER - DAY

 

A soldier nails a decree onto the door of the theater, announcing its closure.

 

PRINCE DE CONTI: On to the next one!

 

EXT. HOTEL DE BOURGOGNE - DAY

 

Another decree of closure is nailed to the door.

 

INT. BISTRO - NIGHT

 

Montfleury finds Prince de Conti at a table, gambling. Conti gets up as soon as he sees him and takes Montfleury aside.

 

MONTFLEURY: The Archbishop closed my theater!

 

PRINCE DE CONTI: Just a temporary measure, so it doesn't look like we're playing favorites.

 

MONTFLEURY: When can we reopen?

 

PRINCE DE CONTI: That's up to the Archbishop. Since you have time on your hands, there's another important service you can do for us.

 

INT. PALAIS-ROYAL THEATER - NIGHT

 

Moliere and his players stand and sit among the mess of the destroyed theater. Noticeably absent are Armande and, of course, Madeleine.

 

LA GRANGE: We started as a road company. We can be a road company again.

 

THERESE: If the King were home, we'd be back in business soon enough.

 

LA GRANGE: Anyone hear anything about how the war's been going?

 

CATHERINE: Very well, I think.

 

LA GRANGE: Then we can hope he's home soon.

 

MOLIERE: In the meantime, we can clean up the mess. We can be ready to open again. I refuse to believe this ban will last long.

 

Moliere starts to clean up, but after a moment stops to stare at everyone else, who just stares back at him.

 

MOLIERE (CONT'D): I could use some help here.

 

Players pitch in.

 

EXT. PALAIS-ROYAL THEATER - NIGHT

 

Actors come out of the theater.

 

La Grange comes out last. Starting away, he hears something. A noise from behind the theater, human BREATHING, like a man working himself to exhaustion. La Grange moves along the side of the theater. The BREATHING gets heavier. Then he hears COUGHING. He reaches the back of the theater and sees the source: Moliere has a sword in his hand and is practicing fighting. He slices and slashes against an imaginary opponent.

 

LA GRANGE: Jean? ... What's going on?

 

Moliere keeps fighting the night air.

 

LA GRANGE (CONT'D): Are you adding a tragedy to the season?

 

Moliere notices him and stops.

 

LA GRANGE (CONT'D): What's up?

 

MOLIERE: Nothing. Go on home. I have some writing to do.

 

He disappears through a back door into the theater, coughing as he goes.

 

La Grange, puzzled, watches him leave.

 

EXT. LYON - COTTAGE - DAY

 

A secluded cottage in the woods.

 

Montfleury and Pierre ride up in a wagon and dismount.

 

INT. COTTAGE - DAY

 

Louise is nursing her baby.

 

Suddenly the door bursts open, and Montfleury and Pierre rush in.

 

The baby starts crying.

 

Montfleury grabs the baby from her and drops it into a crib. Pierre takes ahold of Louise.

 

Together, they drag her outside.

 

EXT. COTTAGE - DAY

 

At the wagon, they tie Louise's hands behind her back. Then they throw her into the wagon, climb up into their seats, and head off.

 

EXT. PARIS - BISTRO - DAY

 

Moliere and La Grange come out to see PARISIANS hurrying in the same direction down the street.

 

LA GRANGE: The King must be back. Let's see.

 

They follow the moving crowd.

 

EXT. PARIS - STREET - DAY

 

The wagon is parked in the street, and Louise stands up in it, her hands still bound behind her. Prince de Conti stands beside her.

 

The CROWD grows around the wagon. People are shouting at Louise, things like, "No mercy to a King's whore!" and "Burn her, burn her!"

 

Moliere and La Grange reach the edge of the crowd.

 

MOLIERE: It's Louise de La Valliere.

 

Prince de Conti raises both arms, trying to get the crowd to calm down.

 

PRINCE DE CONTI: Listen to me, please! ... Your attention, please!

 

The crowd finally becomes quiet. Everyone waits expectantly to hear what Conti has to say, including Moliere.

 

PRINCE DE CONTI (CONT'D): Louise de La Valliere wants to confess her sins in public!

 

LOUISE DE LA VALLIERE: That's not true!

 

She spits in the general direction of Conti.

 

VOICE IN CROWD: Kill the bitch!

 

ANOTHER VOICE: No mercy to a King's whore!

 

Conti moves close to Louise.

 

PRINCE DE CONTI: You have two choices: to confess your sins now, or to take your chances with their mercy.

 

The crowd looks like it is ready to eat her alive.

 

LOUISE DE LA VALLIERE: The King will have something to say about this when he returns!

 

Conti's stare cuts through her. He grabs the front of her dress and rips it, exposing a breast.

 

PRINCE DE CONTI: Gaze upon the King's unholy pleasure!

 

Someone in the crowd throws a rock. Someone else another. Conti jumps off the wagon.

 

Rocks come in greater numbers, striking Louise's body. She falls to her knees, but the vicious pelting continues.

 

LA GRANGE: I can't watch this any more.

 

La Grange turns away to face Montfleury, who moves past him to Moliere.

 

MONTFLEURY: Enjoying the spectacle, Mole Hair?

 

La Grange pulls Moliere away.

 

MONTFLEURY: (after him) Madeleine Bejart is next!

 

Moliere starts to respond, but La Grange gets him out of there.

 

EXT. PARIS - ANOTHER STREET - DAY

 

Moliere and La Grange hurry away. The rising hatred of the crowd is heard behind them.

 

MOLIERE: I've got to get to M-Madeleine before they do.

 

He darts off. La Grange quickly follows.

 

EXT. PARIS - RUN-DOWN AREA - DAY

 

Moliere and La Grange arrive at Madeleine's boarding house in a carriage. They get out and enter the building.

 

INT. ROOMING HOUSE - DAY

 

The door to Madeleine's room is cracked open. Moliere and La Grange step inside.

 

Madeleine is in bed. She is very ill.

 

MOLIERE: Madeleine?

 

MADELEINE: Jean?

 

Moliere touches her forehead.

 

MOLIERE: You're on fire.

 

MADELEINE: Get Father James.

 

MOLIERE: I'm bringing you home. Charles, help me.

 

MADELEINE: Father James ...

 

Moliere helps her sit up. He grabs a blanket and wraps it around her.

 

Moliere and La Grange help her to her feet.

 

EXT. PARIS - STREET - DAY

 

The body of Louise is being dragged behind the wagon as the crowd runs along, still throwing rocks at her.

 

INT. PARIS - MOLIERE'S HOUSE - BEDROOM - DAY

 

Armande and Michel Baron make love.

 

Armande hears something. She goes to the window.

 

ARMANDE: It's Jean! ... My God, he and Charles have Madeleine!

 

INT. MOLIERE'S HOUSE - DAY

 

Armande opens the door, and Moliere and Charles help Madeleine inside.

 

They take her to a cot, where she stretches out. Moliere arranges a blanket over her, Armande another.

 

ARMANDE: What's wrong with her?

 

MOLIERE: I don't know. Charles, get the doctor.

 

La Grange quickly leaves.

 

MOLIERE (CONT'D): They're stoning Louise de La Valliere. Montfleury told me that Madeleine would be next.

 

ARMANDE: I don't understand. What has she done?

 

MOLIERE: It's what they imagine she's done.

 

ARMANDE: Which is?

 

MOLIERE: My dear girl, you still don't know, do you?

 

Michel Baron enters.

 

MICHEL BARON: Is there anything I can do?

 

Moliere stares at him.

 

ARMANDE: No. Michel, perhaps you should leave.

 

MICHEL BARON: Of course.

 

He goes.

 

MADELEINE: Armande?

 

ARMANDE: I'm right here ...

 

She moves closer to Madeleine's side.

 

MADELEINE: I must tell you ...

 

Moliere is panicked. He pulls Armande to her feet.

 

MOLIERE: She's delirious.

 

MADELEINE: Armande ...

 

ARMANDE: She wants to tell me something.

 

MOLIERE: She needs something hot. Boil water for tea.

 

ARMANDE: Jean, I think she --

 

MOLIERE: I know what I'm doing! The doctor will say the same thing when he arrives. She needs something hot, now!

 

Armande rushes to the kettle. Moliere sits close to Madeleine.

 

MADELEINE: Armande, you're of my flesh, you're my own child ... do you understand me? ... I think Jean is your father ... You have sinned and must save your soul ... You --

 

MOLIERE: Stop it!

 

Madeleine has no strength to go on. She closes her eyes.

 

MOLIERE (CONT'D): You're d-delirious ...

 

Madeleine is still.

 

Moliere stares at her. He takes the blanket and pulls it over her face.

 

Armande enters with a cup of tea. When she sees the blanket pulled over Madeleine, she drops the cup to the floor, where it shatters.

 

INT. MONTFLEURY'S ROOM - NIGHT

 

Montfleury is sleeping when a POUNDING on the door wakens him.

 

He tries pulling the covers over his head but the KNOCKING persists.

 

He gets out of bed and answers the door. And Moliere storms in, shoving Montfleury across the room. Montfleury trips and falls to the floor. Moliere stands over him with a sword.

 

MONTFLEURY: Will you kill me like a coward?

 

Moliere hesitates. Then he steps back.

 

Montfleury takes advantage of the moment to rush and get his own sword. But when he turns with it, Moliere is gone.

 

EXT. MONTFLEURY'S ROOM - FIELD - NIGHT

 

Moliere has just come outside, sword in hand. He is sweating.

 

Suddenly he hears a SCREAM and turns to face a VISION FROM HELL, a figure from his nightmare. He strikes at it with his sword but the vision vanishes.

 

Another SHRIEK and VISION behind him. He strikes again, hitting only thin air.

 

Montfleury appears behind him.

 

MONTFLEURY: Mole Hair!

 

Moliere turns to face another VISION FROM HELL, which quickly dissolves into Montfleury, in the flesh, his sword raised to invite combat.

 

MONTFLEURY (CONT'D): Or will you run again?

 

Moliere raises his sword.

 

The fight begins. Montfleury is much the superior swordsman, and Moliere is on the defensive from the beginning.

 

It doesn't take long before Montfleury swings hard enough to knock Moliere's sword to the ground.

 

Moliere trips, falling.

 

Montfleury stands over him, the tip of his sword at Moliere's throat. Moliere doesn't speak.

 

MONTFLEURY (CONT'D): Beg for your life, Mole Hair. Or are you too terrified to speak?

 

Instead of speaking, Moliere starts COUGHING violently. He spits up blood.

 

Montfleury raises his sword.

 

MONTFLEURY (CONT'D): God has a painful death planned for you. I don't think I should interfere.

 

Montfleury steps back.

 

MONTFLEURY (CONT'D): Get out of here before I change my mind.

 

Moliere scrambles to his feet. He turns and runs.

 

EXT. PARIS - FIELD - NIGHT

 

Moliere sprints through a field behind Montfleury's house.

 

Now and again he stops, still coughing violently. Still spitting up blood.

 

EXT. PARIS - ALONG RIVER - NIGHT

 

Moliere runs along a path beside the river. He is working himself into total exhaustion.

 

Finally he can bear no more and falls to the ground. His breath comes in great heaves. Dried blood stains the front of his shirt.

 

INT. LA GRANGE'S ROOM - DAY

 

Moliere stands behind an enema screen as the doctor and La Grange watch. He is groaning.

 

DOCTOR: You follow none of my prescriptions. How do you expect to get well? (to La Grange) He's his own worst enemy. He thinks he knows more about medicine than I do.

 

MOLIERE: I know I'm not letting you drain my blood! You wouldn't replace it!

 

DOCTOR: If you don't follow my directions, you'll have no choice!

 

EXT. OUTSKIRTS OF PARIS - GRAVEYARD - NIGHT

 

A candlelight procession of actors reaches a small graveyard outside of town.

 

Moliere walks with La Grange.

 

Armande walks with Michel Baron. Behind them walks Lully. He can't take his eyes off Armande. Madeleine's casket is lowered into the ground.

 

EXT. PARIS - STREET - DAY

 

Soldiers march triumphantly down the street. A large crowd cheers.

 

The cheers become louder when the Royal Carriage passes by.

 

INT. HOTEL DE RAMBOUILLET - SALON - DAY

 

Watching from a window are Prince de Conti, Montfleury, Pierre, Madam Ducray, Madam Jaquot and other members of the Society of the Holy Sacrament.

 

MONTFLEURY: How can they cheer him so soon after stoning his whore?

 

PRINCE DE CONTI: The people are a great, mindless beast. They gobble up whatever scraps get thrown to them.

 

He moves away from the window.

 

PRINCE DE CONTI (CONT'D): The Archbishop and I are going to Rome. It's time to make our case with the Pope.

 

He steps toward the door.

 

MONTFLEURY: Perhaps the Archbishop would open my theater before you go.

 

Conti turns and glares at him.

 

PRINCE DE CONTI: Mons. Montfleury, you must learn patience. Your present sacrifice is small considering the rewards to come. Have faith.

 

EXT. PARIS - STREET - DAY

 

The victory parade continues.

 

INT. VERSAILLES - KING'S CHAMBERS - DAY

 

Moliere bows before the King.

 

MOLIERE: Congratulations on your great victory, my liege.

 

KING LOUIS XIV: The glory belongs to France. At least on the battlefield. I'm told the Society of the Holy Sacrament stretched their wings in my absence. They stoned poor Louise to death. I advised her to leave the country. I begged her to.

 

MOLIERE: It was quite ugly, my liege.

 

KING LOUIS XIV: She should have listened to me.

 

There's a silence.

 

KING LOUIS XIV (CONT'D): They closed down your theater.

 

MOLIERE: And the others as well.

 

KING LOUIS XIV: The Palais-Royal is the crown's theater, and closing it is an insult to me personally. You shall open immediately.

 

MOLIERE: Thank you, my liege.

 

KING LOUIS XIV: You'll open with "Tartuffe." I assume it's finished.

 

MOLIERE: Oh yes, "Tartuffe" is ready to go.

 

KING LOUIS XIV: Perhaps Lully can add some dances to it.

 

MOLIERE: My liege, this particular play would not be improved with dancing. But I do have another play that needs a dance, and I was thinking of you in particular. I'd be delighted to work with Lully on this one.

 

KING LOUIS XIV: Excellent!

 

Moliere takes a deep breath, relieved that "Tartuffe" has been spared.

 

SUPER "1669: Tartuffe"

 

EXT. PALAIS-ROYAL THEATER - DAY

 

A huge throng of people crowd outside the theater, trying to get in.

 

On the outside of the crowd stand Montfleury and Pierre.

 

PIERRE: I don't understand why he's letting the play go on.

 

MONTFLEURY: All the more rope to hang himself.

 

Pierre doesn't look convinced. Montfleury doesn't look all that convinced himself.

 

INT. PALAIS-ROYAL THEATER - DAY

 

Inside, it is standing room only. People are nearly suffocating, it's so crowded.

 

INT. PALAIS-ROYAL THEATER - BACKSTAGE - DAY

 

La Grange peeks through the curtains.

 

LA GRANGE: I've never seen so many people.

 

INT. PALAIS-ROYAL THEATER - ON STAGE/AUDIENCE - DAY

 

A scene from "Tartuffe" plays. Moliere plays Tartuffe (no longer a priest), La Grange plays Orgon, Michel Baron plays Damis (Orgon's son).

 

MICHEL BARON: "This man tried to seduce mother! He has done nothing but use you and lie to you!"

 

LA GRANGE: (to Tartuffe) "Is what he says true?"

 

MOLIERE: (exaggerated grief) "I'm afraid it is. I am a wicked, guilty sinner, the greatest sinner who ever took a breath. My whole life has been a lie, nothing but crime and corruption. At last Heaven is prepared to punish me."

 

LA GRANGE: (to Damis) "See what grief your accusations have caused him!"

 

MICHEL BARON: "What! You're falling for this?"

 

LA GRANGE: "Hold your tongue!" (to Tartuffe) "I'm so sorry you have to be exposed to such nonsense."

 

The audience roars, loving it.

 

INT. PARIS - BISTRO - NIGHT

 

The players celebrate the success of "Tartuffe." Moliere sits at a crowded, noisy table. His attention is directed across the way, where Armande and Michel Baron sit at another table.

 

La Grange puts his hand on Moliere's shoulder.

 

LA GRANGE: Let it go.

 

La Grange fills Moliere's cup with wine, and Moliere drinks up. But he can't keep his eyes off Armande. Lully comes up to her table, and Baron and Lully get into an argument as Moliere watches from across the room. Suddenly Baron is on his feet and a fight starts between them.

 

Moliere races to the scene and steps between them -- and takes a punch from each.

 

Moliere falls to the floor. Baron and Lully stop fighting.

 

Armande hurries to Moliere's side.

 

ARMANDE: Are you all right?

 

MOLIERE: I'm fine.

 

Armande helps him to his feet.

 

MOLIERE (CONT'D): I'm fine! But apparently, my dear, you have to make a choice.

 

He steps away, and La Grange quickly comes forward to comfort him.

 

At the scene of the fight:

 

MICHEL BARON: He's right. You do have to make a choice.

 

ARMANDE: But not tonight!

 

She storms off.

 

Baron and Lully eye one another, then drift off in opposite directions.

 

Moliere and La Grange sit back down, pour more wine.

 

LA GRANGE: It's not something you can fix, Jean.

 

Moliere is lost in thought.

 

EXT. CEMETERY - DAY

 

Moliere sits in front of the small marker of Madeleine's grave.

 

He hears something behind him and turns to find Armande.

 

ARMANDE: I wish she could've been here to see such an audience. You must be very proud.

 

MOLIERE: Proud? This should have happened years ago.

 

ARMANDE: No one was ready for it then.

 

Moliere doesn't respond.

 

ARMANDE (CONT'D): Lully says the King wants him to add dances to your plays.

 

MOLIERE: Then you've made your choice.

 

This is too much for Armande. She prepares to go.

 

ARMANDE: Madeleine-Espirit misses you.

 

MOLIERE: But not her m-mother? You're at h-home so much?

 

ARMANDE: I won't fight with you, Jean.

 

She walks away. Moliere stares at Madeleine's grave.

 

INT. VERSAILLES - KING'S CHAMBERS - DAY

 

Moliere stands before the King.

 

KING LOUIS XIV: Cardinal Chigi is coming to Paris to see "Tartuffe." I'm nervous about it.

 

MOLIERE: Why, my liege? I've never written a more popular play.

 

KING LOUIS XIV: I suspect that the Society is behind this. If the Cardinal bans the play, I'll look bad in Rome for letting it continue.

 

MOLIERE: The audience clearly understands that Tartuffe is a hypocrite.

 

KING LOUIS XIV: Maybe you could reinforce the point somehow. I wouldn't want the Cardinal to miss it. There should be a clearer message at the end, don't you think?

 

MOLIERE: I'll give the matter some thought, my liege.

 

KING LOUIS XIV: More than thought, Jean.

 

The King smiles. Moliere manages to smile back.

 

INT. PALAIS-ROYAL THEATER - NIGHT

 

Moliere stands before his company.

 

MOLIERE: The King has asked us to extend the run of "Tartuffe."

 

Cheers and whistles.

 

MOLIERE (CONT'D): But before we do, I have a few changes to make.

 

Surprised murmurs and groans among the players.

 

CATHERINE: No dances, I hope.

 

MOLIERE: No dances. Charles, you and I are going to switch roles.

 

LA GRANGE: You want me to play Tartuffe?

 

MOLIERE: That would be the effect of it. Thank you for figuring that out.

 

LA GRANGE: What I mean is, I don't understand why.

 

MOLIERE: I want to emphasize the gullibility of Orgon, to play the humor more broadly. I also have a new ending. I know it's late, but we need to rehearse it.

 

EXT. PARIS - STREET - DAY

 

A Papal Carriage moves slowly down the street in front of a crowd. It is even more ostentatious than the Royal Carriage.

 

Following on horseback are papal groupies, including Prince Conti.

 

Montfleury and Pierre watch from the crowd. They applaud as the carriage passes.

 

MONTFLEURY: The cardinal will have Moliere's head.

 

EXT. VERSAILLES - DAY

 

CARDINAL CHIGI is helped from the carriage by servants. Prince Conti dismounts and starts to follow the cardinal but is stopped by guards.

 

PRINCE DE CONTI: (after the cardinal, to save face) I'll wait for you here!

 

INT. VERSAILLES - DINING ROOM - DAY

 

The King and Cardinal sit alone at a huge table. A dozen SERVANTS wait in the room, attentive to their every need. After-dinner brandy is poured.

 

CARDINAL CHIGI: You've reinstated the theater.

 

KING LOUIS XIV: Yes. I learned that it's the only way I can control it. In my absence, the Archbishop closed them all down, which on the surface may seem like good policy. However, when I returned, the most unholy and blasphemous theatricals were being performed in bistros, even on the street. The Archbishop assumed that closing the theaters would solve the problem. Not so. The people will always find their entertainment, one way or another. By legitimizing some theater, and controlling it, I remove the attraction of the worst kind.

 

CARDINAL CHIGI: You've been influenced by the late Cardinal Richelieu, who argued the same point.

 

KING LOUIS XIV: I'm not ashamed to admit such influence.

 

CARDINAL CHIGI: The policy has gained more favor in Rome than it had when he was alive.

 

KING LOUIS XIV: I'm glad to hear that. I think you'll enjoy "Tartuffe" very much.

 

EXT. VERSAILLES - DAY

 

Cardinal Chigi is escorted to the carriage. Guards once again keep Prince Conti from getting too close.

 

PRINCE DE CONTI: Will you be closing the play?

 

He is ignored.

 

INT. PALAIS-ROYAL THEATER - NIGHT

 

"Tartuffe" plays on stage to a small, invited audience. The King and Cardinal Chigi sit front and center. The play's end is near. DUCROISY plays a messenger from the King. He speaks to Orgon, played by Moliere.

 

DUCROISY: "Our King is a great enemy of fraud, and no impostor can escape his watchful eyes. This Tartuffe has not fooled the King for a moment, and our monarch has therefore arrested the vile impostor and added his sins against you to a long list of earlier grievances against others. Your estate and wealth are returned to you, for the King never lets such fraud and injustice rule over what is right."

 

The King is delighted to hear such praise on stage. So is Cardinal Chigi.

 

INT. PALAIS-ROYAL THEATER - BACKSTAGE - NIGHT

 

Moliere is taking off his makeup when La Grange appears behind him.

 

LA GRANGE: Cardinal Chigi loved it!

 

MOLIERE: Then we can extend the run?

 

LA GRANGE: Absolutely. The King had only one question.

 

Moliere turns to hear it.

 

LA GRANGE (CONT'D): When are you going to write him a dance?

 

MOLIERE: Soon, I suppose.

 

He appears none too excited about it.

 

EXT. PARIS - STREET - DAY

 

Cardinal Chigi stands outside the Papal Carriage, facing Prince Conti.

 

CARDINAL CHIGI: If I hear more about your meddling into the affairs of the Church, I'll have no choice but to take action to make sure you cease. Do I make myself clear?

 

Prince Conti bows.

 

The cardinal gets into the carriage. Prince Conti moves away.

 

INT. BISTRO - DAY

 

Prince Conti shares a table with Montfleury and Pierre.

 

MONTFLEURY: It's blasphemous. Isn't it?

 

PRINCE DE CONTI: Think about what you're saying.

 

Montfleury looks puzzled.

 

PRINCE DE CONTI (CONT'D): How can the Church blaspheme itself?

 

MONTFLEURY: Then what can we do?

 

PRINCE DE CONTI: Do what you like. I'm going to Spain, where these revisions in church doctrine have stronger enemies.

 

MONTFLEURY: Take me with you.

 

Conti laughs.

 

PRINCE DE CONTI: I think you've had too much to drink.

 

He gets up to go but Montfleury grabs him.

 

MONTFLEURY: I'm coming to Spain, too!

 

Conti yanks his arm away. He looks at Montfleury as if he's turned into vermin.

 

PRINCE DE CONTI: If you do, you will get no time from me.

 

He turns and leaves. Montfleury turns to Pierre.

 

MONTFLEURY: He used me, didn't he?

 

Moliere and La Grange enter. Moliere immediately spots Montfleury.

 

LA GRANGE: Jean, don't.

 

But it's too late. Moliere goes to the table.

 

MOLIERE: What do you say about Mole Hair now?

 

Montfleury gets up. Pierre quickly stands as well.

 

MONTFLEURY: I say that God sees and knows everything, and Goodness and Justice will rule.

 

As he starts off, Moliere grabs his arm. Montfleury whirls around.

 

La Grange arrives in time to pull Moliere away. Pierre pulls Montfleury away.

 

MOLIERE: I hold you r-responsible for what happened to Madeleine!

 

Moliere and Montfleury glare at one another. Montfleury breaks it, turning and leaving. Pierre follows.

 

EXT. BISTRO - DAY

 

Montfleury and Pierre come outside.

 

MONTFLEURY: Paris has changed. It doesn't feel like home any more.

 

PIERRE: Are you really going to Spain?

 

MONTFLEURY: I don't know. Anywhere but here.

 

INT. BISTRO - DAY

 

Moliere and La Grange sit at a table.

 

LA GRANGE: Everyone loves "Tartuffe." Why so glum?

 

MOLIERE: I'm trying to imagine the King dancing in one of my plays.

 

INT. PALAIS-ROYAL THEATER - NIGHT

 

A ballet scene on stage and the King himself is dancing. For an amateur, he's actually pretty good.

 

INT. PALAIS-ROYAL THEATER - BACKSTAGE - NIGHT

 

Moliere and La Grange watch from backstage.

 

LA GRANGE: He's not too bad.

 

MOLIERE: It's gone to his head, Charles. He's given Lully the right to add dances to all my plays.

 

LA GRANGE: What?

 

MOLIERE: He even wants dances in "Tartuffe."

 

They stare out at the King, who continues dancing.

 

MOLIERE (CONT'D): I'm not the King's favorite any more, Charles. Lully is.

 

Moliere starts COUGHING.

 

LA GRANGE: Jean?

 

But Moliere can't stop coughing to reply.

 

INT. LA GRANGE'S ROOM - NIGHT

 

The doctor listens to Moliere's breathing.

 

DOCTOR: Perhaps a trip to the country ...

 

INT. MOLIERE'S HOUSE - BEDROOM - DAY

 

Early morning. Armande and Lully make love. Suddenly there is a POUNDING on the door below. Armande gets out of bed and slips on her robe.

 

INT. MOLIERE'S HOUSE - GROUND FLOOR - DAY

 

Armande opens the door to find Moliere.

 

MOLIERE: I'm leaving Paris.

 

INT. MOLIERE'S HOUSE - TABLE - DAY

 

Moliere and Armande sit at a table.

 

MOLIERE: My doctor thinks the country will help my cough. I've found a cottage with a garden. It's quite nice.

 

ARMANDE: I hope it helps you feel better.

 

MOLIERE: I want to take Madeleine-Espirit. I plan to hire a housemaid. I can hire a nurse as well.

 

ARMANDE: You certainly can afford it now.

 

MOLIERE: I think living in the country would be good for her.

 

ARMANDE: All right then.

 

Moliere is shocked by how quickly she agrees.

 

MOLIERE: No argument? Just "all right then"?

 

ARMANDE: I'm no better a mother than you are a father, Jean. The nurse will raise her in any event. Of course, I want to be able to visit.

 

MOLIERE: Of course. Then it's settled. I'll be by to pick her up this afternoon.

 

He stands up.

 

MOLIERE (CONT'D): Give my best to ... ?

 

ARMANDE: Lully.

 

MOLIERE: Lully. Of course.

 

INT. PALAIS-ROYAL THEATER - DAY

 

Lully is directing a rehearsal, adding a dance to one of Moliere's plays. Many of the actors are not very good dancers.

 

LULLY: No, no, no, no!

 

Moliere enters and joins La Grange, who has been watching.

 

MOLIERE: This is insane.

 

LA GRANGE: Pretty close. What did Armande say?

 

MOLIERE: She didn't even give me an argument.

 

La Grange raises his eyebrows. Then they watch a bit more.

 

MOLIERE (CONT'D): I can't stand watching this.

 

EXT. MOLIERE'S HOUSE - DAY

 

Moliere stands next to a wagon, waiting. It is packed with Moliere's belongings.

 

Armande brings Madeleine-Espirit outside. The girl, now 6, has been crying.

 

MOLIERE: We're g-going to the country!

 

The girl looks none-too-enthused about it.

 

ARMANDE: I'll be out to visit you very soon!

 

She kisses the child and hands her to Moliere, who lifts her into the front seat of the wagon. Then he climbs up beside her.

 

He and Armande regard one another silently. Then Moliere snaps the reins.

 

SUPER

 

"Three months later"

 

EXT. COUNTRYSIDE - MOLIERE'S COTTAGE - DAY

 

The NURSE and Madeleine-Espirit play a game. Moliere sits nearby, reading.

 

A horseman rides up. It is Lully. Seeing him, Moliere rises.

 

MOLIERE: What a surprise. You should have brought Armande.

 

LULLY: It's a business matter.

 

INT. MOLIERE'S COTTAGE - DAY

 

They sit at a table over a bottle of wine.

 

MOLIERE: I don't understand why the sudden change of mind.

 

LULLY: Look at it this way. What do you think of the King's dancing?

 

MOLIERE: Since I'm no longer in great favor, I can be frank. I find it adequate.

 

LULLY: That good?

 

MOLIERE: You don't? Have you told him?

 

LULLY: Of course not. The point is, you and I are artists. We see things the King is blind to.

 

MOLIERE: And from this you suddenly can deduce that my plays don't need dances?

 

LULLY: I didn't say that. I said many would not be improved by them.

 

MOLIERE: I certainly agree with you.

 

LULLY: Good.

 

MOLIERE: I still don't understand the change of heart.

 

LULLY: I was encouraged to give the matter more scrutiny.

 

MOLIERE: By whom?

 

LULLY: Your agent. Who else?

 

MOLIERE: I didn't know I had an agent.

 

LULLY: Armande. She's incredibly defensive about your work.

 

MOLIERE: I see. Then you have ulterior motives.

 

LULLY: I don't need ulterior motives. And if I did, it wouldn't change anything. What are you working on now?

 

MOLIERE: I call it "The Imaginary Invalid."

 

LULLY: Does it need dances?

 

MOLIERE: No.

 

LULLY: You're sure?

 

MOLIERE: No dances.

 

SUPER

 

"1673: The Imaginary Invalid"

 

INT. PALAIS-ROYAL THEATER - ON STAGE/AUDIENCE - DAY

 

A performance of "The Imaginary Invalid". The audience is loving this comedy.

 

Moliere is playing the lead, Armande his maid disguised as a doctor.

 

ARMANDE: "Who's your doctor?"

 

MOLIERE: "Mons. Purgon."

 

ARMANDE: "Never heard of him. What's his diagnosis?"

 

Moliere coughs and looks lost. Then he recovers.

 

MOLIERE: "I get pains in my chest."

 

ARMANDE: "Do you eat chicken?"

 

MOLIERE: "Yes."

 

ARMANDE: "Imbecile."

 

MOLIERE: "And veal."

 

ARMANDE: "Ignoramus."

 

MOLIERE: "But sometimes only broth."

 

ARMANDE: "Jackass."

 

MOLIERE: "Eggs."

 

ARMANDE: "Moron!"

 

Moliere starts coughing violently.

 

Armande looks in the wings, where La Grange and other actors watch. Then she moves ahead.

 

ARMANDE: "What in the world are you doing with that arm?"

 

MOLIERE: "My arm?"

 

ARMANDE: "It's completely useless. I'd have it cut off immediately."

 

MOLIERE: "But I need my arm ... "

 

ARMANDE: "It draws nourishment to itself and stunts the health of the rest of the body."

 

The audience HOWLS, loving it. Moliere is coughing again. In the wings:

 

LA GRANGE: They're skipping all over the script.

 

On stage:

 

ARMANDE: "I'd also get rid of that right eye. It's causing blindness in your left eye."

 

The audience laughs, and Moliere coughs up blood. In the wings:

 

LA GRANGE: Come on, I'm going to move to the end.

 

La Grange comes on stage with other actors following him. They begin a march around the stage, a parody of Catholic religious ritual.

 

LA GRANGE (CONT'D): (interrupting) "Novus Doctor Ignoramus / Omni regimentus / Sui powerfulble / Et sui monitarble / Et alles be riches"

 

Everyone joins in a chorus. Moliere struggles to keep up between coughing fits.

 

EVERYONE: "Bene, bene, bene / Omna spenda the money / Enemarissimus comprehende / Enemarissimus omni bene / Et bleedest humanee / Et killest humanee"

 

MOLIERE: (struggling) "Omni anni, omni anni / Novus Doctor omni bene / Mille poxas / Mille feveras / Pleurisias et dysentarias / Et sui rigor mortis"

 

EVERYONE: "Bene, bene, bene / Omna spenda the money / Enemarissimus comprehende / Enemarissimus omni bene / Et bleedest humanee / Et killest humanee"

 

The procession marches off stage. The audience rises to its feet, CLAPPING, SHOUTING, CHEERING.

 

INT. PALAIS-ROYAL THEATER - BACKSTAGE - DAY

 

Moliere quickly is lowered to the floor by Armande and La Grange. He is coughing up blood.

 

ARMANDE: Someone get a doctor!

 

Moliere continues to cough up blood.

 

EXT. VERSAILLES - DAY

 

The palace is relatively quiet.

 

INT. VERSAILLES - KING'S CHAMBERS - DAY

 

Armande stands before the King.

 

KING LOUIS XIV: It doesn't surprise me that a doctor wouldn't come. They hated his ridicule as much as Jean hated them.

 

ARMANDE: A priest finally came but it was too late. My liege, I don't know what to do with the body.

 

KING LOUIS XIV: The Archbishop has made it quite clear that holy law is holy law. He can't be buried in consecrated ground.

 

ARMANDE: Am I to dump his body in the river?

 

KING LOUIS XIV: I did find a technicality we can take advantage of. Consecrated ground extends only four feet deep. We'll bury him five.

 

ARMANDE: Thank you.

 

KING LOUIS XIV: But he must be buried at night -- at St. Joseph's.

 

ARMANDE: With the suicides and unbaptized children.

 

KING LOUIS XIV: It's the best I can do. I suggest you take care of it tonight. It would be inappropriate, under the circumstances, for me to be there.

 

ARMANDE: I understand, my liege. Thank you for your help.

 

EXT. PALAIS-ROYAL THEATER - NIGHT

 

A growing CROWD waits outside the theater to begin the funeral procession.

 

INT. PALAIS-ROYAL THEATER - NIGHT

 

Moliere's casket is on stage.

 

La Grange is alone, sitting in the theater, lost in his thoughts.

 

Armande enters. La Grange gets up.

 

LA GRANGE: Do you want a moment alone?

 

ARMANDE: No. We'd better get started. Are you all right?

 

LA GRANGE: He was such a hard man to know. I loved him but I never really understood him.

 

ARMANDE: "All it takes is a ticket to my play to know me."

 

LA GRANGE: "Plays don't write themselves."

 

ARMANDE: Do you think he was tormented by the possibility of providential retribution?

 

LA GRANGE: Yes.

 

ARMANDE: I wonder if I'm next. I'm seeing a priest tomorrow.

 

LA GRANGE: I think that's wise.

 

ARMANDE: Charles, I want to revive "Tartuffe." The version he wanted, before the King had him change the ending.

 

LA GRANGE: I think we'd better talk about that. People love it the way it is. I'll get some help.

 

ARMANDE: I'm coming with you. I don't want to be alone with him.

 

They exit.

 

We MOVE IN ON THE CASKET and for the first time we see that it is open, we see the body of Moliere. He looks peaceful, more peaceful than we've seen him. Suddenly, a SHOCK TRANSITION:

 

HIS EYES OPEN

 

Moliere is looking right at us.

 

Then his SPIRIT sits up in the casket, speaking directly to us.

 

MOLIERE'S SPIRIT: Shed no tears! You rot in one grave as another. / If you don't believe that, don't ever have a mother.

 

He hops out of the casket. Below, he keeps speaking directly to us.

 

MOLIERE'S SPIRIT (CONT'D): The luck that gets us all got me, / Though I'm better off than most, you must agree. / Consider this: though I am dust, you're glad to pay / Right through the nose to see my plays!

 

La Grange and several actors enter and go to the casket. Moliere's Spirit is invisible to them.

 

They lift up the casket and head outside. Moliere's Spirit follows along, talking to us all the while.

 

MOLIERE'S SPIRIT (CONT'D): Without me, Montfleury's just a name; / Because of me, he has a kind of fame. / The Archbishop of Paris is no concern of yours / Except for me -- I give him what notoriety he deserves. / In other words, why shed a tear for me? / My plays live on until eternity!

 

EXT. PARIS - STREET - NIGHT

 

Moliere's funeral procession moves through town. Moliere's Spirit walks beside the casket, speaking to us.

 

MOLIERE'S SPIRIT (CONT'D): Oh, I know -- in your age the time is getting short, / Everywhere there's war, famine, a great environmental wart. / Yet you insist your own age is unique: / "Never has civilization reached such a peak!" / But I question this wisdom found on TV and in Forbes, / Though maybe that's presumptuous, coming from a corpse. / For I don't see our times as different, I confess, / Since in your age, as in mine, it's all a mess.

 

EXT. PARIS - GRAVEYARD - NIGHT

 

The casket is lowered into the ground. Moliere's Spirit stands beside the grave.

 

MOLIERE'S SPIRIT (CONT'D): Though you've reached the moon, discovered strange galactic gasses, / Three hundred years later, the world's still full of asses! / So try to be content and have a little fun. / In truth, there's not a damn thing new beneath the sun.

 

Moliere is buried. People mourn.

 

Moliere's Spirit grins -- and winks at us.

 

FADE OUT