Circus madness
SCENE 40
EXT. PARIS, PLACE CACHÉE—NIGHT
A clear, starry night. TINA GOLDSTEIN, reinstated Auror on a mission of her
own, more elegant and confident than in New York but carrying private sadness,
walks toward the bronzed statue of a robed woman set on a tall stone base,
where witches and wizards dressed as Muggles are vanishing.
SCENE 41
EXT. PLACE CACHÉE, CIRCUS ARCANUS—NIGHT
Music, laughter, and conversation erupt around her. The circus is now in full
swing. A banner declares: CIRCUS ARCANUS: FREAKS AND ODDITIES! Several tents, a
big top in the middle.
TINA walks past the street performers working in the open, scrutinizing them. A
HALF-TROLL performs feats of strength. A few misshapen and particularly
downtrodden humanoids—UNDERBEINGS without powers but of magical
ancestry—shuffle around, taking money from the crowd. Horns hidden beneath
hats, unusual eyes beneath hoods; HALF-ELVES and HALF-GOBLINS juggle
and tumble.
Jacob can't help but look in aww, same as the barebone children, who had never before seem a circus.
A magnificent Chinese Zouwu, a giant catlike creature with a long, plumed tail,
is imprisoned in a cage. Fireworks burst overhead.
Newt feels a sadness to the poor creature that is locked in a cage.
SCENE 42
INT. CIRCUS ARCANUS, FREAKS' TENT—EVENING
NAGINI is kneeling at a trunk, stroking her circus dress. She must perform
shortly. CREDENCE hurries to her.
Credence straightens up getting a good look at himself for the first time.
CREDENCE
(whispers)
Nagini!
She turns.
NAGINI
Credence.
He hands her the note. She scans it, frowns.
CREDENCE
(whispers)
I think I know where she is.
NAGINI looks up, meets his eyes.
CREDENCE
We escape tonight.
The two in question look at each other, why would hey be escaping are they prisoners.
SKENDER comes into NAGINI'S tent.
SKENDER
Hey, I've told you to stay away from her, boy—did I say you could take a break? Clean out the Kappa.
There were many glares at the man in question who happens to be in the middle row. Who hadn't spoken since the movies started.
"what id he's gonna be around my circus he needs to pay his way."
SKENDER closes the curtain between CREDENCE and NAGINI.
SKENDER
(to NAGINI)
And you, get ready!
CREDENCE turns and looks up to a cage full of Firedrakes.
SCENE 43
INT. CIRCUS ARCANUS, BIG TOP—NIGHT
SKENDER is standing beside the circular platform/cage in the middle of a
crowd, many of whom are drunk.
SKENDER
Next in our little show of freaks and oddities, I present to you—a Maledictus!
He whips open the curtains. There stands NAGINI in a snakeskin dress. Men in
the crowd whistle and jeer.
Credence glares at the screen, not liking the way the men treat Nagini as if she's some kind of animals.
SKENDER
Once trapped in the jungles of Indonesia, she is the carrier of a blood curse. Such Underbeings are destined, through the course of their lives, to turn permanently into beasts.
TINA makes her way around the back of the crowd, looking for CREDENCE.
Elsewhere in the tent, an elegant, suited French African, YUSUF KAMA, is
scanning the crowd rather than watching SKENDER. There is a black feather in
the band of his fedora.
Let's stares at her brother who she has not seen in years.
SKENDER
But look at her. So beautiful, yes? So desirable . . . but soon she will
be trapped forever in a very different body. Every night, when she
sleeps . . . mesdames et messieurs . . . she is forced to become—
Nothing happens. The crowd jeers at SKENDER. NAGINI looks at SKENDER, a
look of hatred.
SKENDER
She is forced to become . . .
CREDENCE'S and NAGINI'S eyes meet across the big top.
Everyone leans forward in their seats waiting for it to happen.
ANGLE ON TINA, who has spotted CREDENCE. She starts to edge toward him,
trying not to attract attention.
ANGLE ON KAMA, who does the same.
SKENDER
She is forced to become . . .
SKENDER whips the bars. NAGINI closes her eyes. Slowly, she melts into coils.
SKENDER
Over time, she will not be able to transform back. She will be
forever trapped in the body of a snake.
NAGINI suddenly strikes at SKENDER through the bars and utters a cry in
Parseltongue. SKENDER crumples, bleeding. At the back of the tent,
CREDENCE smashes open the Firedrakes' cage and they soar to freedom like
fireworks. The big top catches fire—screams, panic, the crowd falls over one
another to reach the exit—
SCENE 44
EXT. CIRCUS ARCANUS, BIG TOP—NIGHT
The big top is on fire. Firedrakes weave patterns in the sky above it, trailing
showers of sparks. The fire has terrified and enraged the creatures. A hippogriff
is rearing and plunging while its handlers try to control it. Everywhere
performers are packing up, fast, elves shutting themselves into boxes, which fold
smaller and smaller.
TINA Apparates and, with a flick of her wand, puts out the fire.
The Zouwu crate is on fire and shaking perilously. The creature within roars and
howls. The Zouwu explodes out of it: a monstrous cat the size of an elephant,
five-colored, with a tail as long as a python. It has been horrendously abused:
Scars across its face, it is malnourished, limping, and now driven to a frenzy of
terror.
Newt looks at the poor creature in dispare why anyone would want to hurt such a beautiful creature was beyond him.
TINA spots CREDENCE in the distance.
TINA
Credence!
The Zouwu hobbles as fast as it can, away into the darkness. SKENDER knows
there is no catching it now. He runs to galvanize his workers.
SKENDER
Pack it up! Paris is done for us now.
SKENDER points his wand at the tent, shrinks it to the size of a handkerchief,
and pockets it.
TINA
(approaching SKENDER)
The boy with the Maledictus, what do you know about him?
SKENDER
(contemptuous)
He's looking for his mother. All my freaks think they can go home. Okay, let's go.
Credence leans up in surprise, will he finally learn bout his family and why he was put with ma in the forts place.
He leaps up onto a carriage and, as the crates and boxes are all magically
reduced to a few cases, clatters away into the night.
TINA is left on her own in what seems for a moment to be a deserted square.
Then she realizes that KAMA is standing behind her.
CUT TO:
SCENE 45
EXT. PARISIAN CAFÉ—NIGHT
TINA and KAMA sit together at an outside table. TINA is suspicious of KAMA.
TINA
I think we were both at the circus for the same reason,
monsieur . . . ?
KAMA
Kama. Yusuf Kama. And you think right.
TINA
What do you want with Credence?
KAMA
The same as you.
TINA
Which is?
KAMA
To prove who the boy really is. If the rumors of his identity are
correct, he and I are—distantly—related. I am the last male of my
pure-blooded line . . . and so, if the rumors are correct, is he.
Credence looks forward in anticipation though deflates a little having leta earlier tell him they weren't related.
KAMA takes The Predictions of Tycho Dodonus out of his pocket and holds it
tantalizingly before her.
KAMA
You have read The Predictions of Tycho Dodonus?
TINA
Yes. But that's poetry, not proof.
KAMA
If I could show you something better—more concrete—something
that proves who he is—would the Ministries of Europe and America let him live?
A beat.
TINA
They might.
KAMA
(he nods)
Then come.
He gets up and TINA follows.
SCENE 46
INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM—NIGHT
GRINDELWALD exhales vapor from a glowing skull-shaped hookah. His
ACOLYTES watch as the smoke forms a vision of the Obscurus, a swirl of black
and flashing red, then resolves into an image of CREDENCE.
All look excited, except KRALL, who is sulky.
GRINDELWALD
So . . . Credence Barebone. Nearly destroyed by the woman who raised him. Yet now he seeks the mother who bore him. He's desperate for family. He's desperate for love. He's the key to our victory.
Credence doe snot like the way he is being referred as, amd soo shrinks back in on him self modesty and Chasity look on in sadness.
KRALL
Well, we know where the boy is, don't we? Why don't we grab him
and leave!
GRINDELWALD
(to KRALL)
He must come to me freely—and he will.
Credence looks up, why would be ever follow that man again.
GRINDELWALD returns his gaze to the vision of CREDENCE suspended in the
center of the drawing room.
GRINDELWALD
The path has been laid, and he is following it. The trail that will leadhim to me, and the strange and glorious truth of who he is.
KRALL
Why is he so important?
GRINDELWALD walks to face KRALL.
GRINDELWALD
Who represents the greatest threat to our cause?
KRALL
Albus Dumbledore.
Eyes turn to said man
GRINDELWALD
If I asked you now to go to the school where he is hiding and kill
him for me, would you do it for me, Krall?
(smiles)
Credence is the only entity alive . . . who can kill him.
Credence looks up in fear and tens to the said Professor
KRALL
You really think that he can kill the great—can kill Albus Dumbledore?
GRINDELWALD
(whispers)
I know he can. But will you be with us when that happens, Krall?
Will you?
"I don't want it hurt anyone." Credence whispers out quietly
"you won't credence we won't let it happen." Cordelia Weasley gave credence a comforting squeeze.
SCENE 47
EXT. WHITE CLIFFS OF DOVER—DAWN
NEWT and JACOB are walking with cases toward Beachy Head. Pickett pokes
his head out of NEWT'S breast pocket and yawns.
NEWT
Jacob, that man Tina's been seeing—
JACOB
Don't worry! She's gonna see you and she'll see the four of us
together, it'll be just like New York all over again. Don't worry
about it.
NEWT
Yes, but he's an Auror, Queenie said?
JACOB
Yeah, he's an Auror. So what? Don't worry about him.
A beat. They walk.
NEWT
What d'you think I should say to her, if I see her?
JACOB
Oh, well, it's best not to plan these things. You know, you just say
whatever comes to you in the moment.
A beat. They walk.
NEWT
(reminiscently)
She has eyes just like a salamander.
While many would find that insulting, Tena felt a blush appear on her cheeks at the typical newt compliment.
JACOB
Don't say that.
A beat. JACOB decides NEWT needs help.
JACOB
Nah, look, you just tell her that you missed her. Right, and then you
came all the way to Paris to find her. She'll love that. And then, tell
her you're losing sleep at night for thinking of her. Just don't say
anything about no salamanders, all right?
NEWT
Right. Okay.
JACOB
Hey, hey, hey. It's gonna be all right. We're in this together, pal.
Okay, I'm gonna help you out. I'm gonna help you find Tina, find
Queenie, and we'll all be happy again. Just like old times.
He spots a slightly sinister figure on the edge of the cliff: all black, tattered robes.
JACOB
Who is this guy?
NEWT
He's the only way I can leave the country without documentation.
Theseus hides his face in his hand, sometimes he want to strangle his brother.
Now, you don't suffer from motion sickness, do you?
JACOB
I don't do well on boats, Newt.
A beat.
NEWT
You'll be fine.
PORTKEY TOUT
Stir your stumps—it leaves in one minute!
Confused, JACOB looks around for the conveyance, ignoring the rusty bucket on
the ground.
PORTKEY TOUT
Fifty Galleons.
NEWT
No, we said thirty.
PORTKEY TOUT
Thirty to go to France, twenty not to tell anyone I seen Newt Scamander leaving the country illegally.
Angry, NEWT pays up.
PORTKEY TOUT
Price of fame, pal.
(checks watch)
Ten seconds.
NEWT steps into the BUCKET while holding onto Jacobs hand.
NEWT
(to JACOB)
Jacob.
JACOB
ARGH!
They are pulled away into thin air.