Searching for clues.
SCENE 48
EXT. PLACE CACHÉE—DAY
NEWT and JACOB peer around the corner. A French POLICEMAN is standing
in front of the statue of the robed woman. JACOB is pale, sweaty, and still
clutching the bucket, which has come in handy.
JACOB
I didn't like that Portkey, Newt.
There are sympathetic nods from some people.
Yh not everyone is good with portkeys.
NEWT
(absently)
So you keep saying. Follow me.
NEWT points his wand at the POLICEMAN.
NEWT
Confundus.
The POLICEMAN lurches as though drunk, blinks, shakes his head, then giggles
and ambles off, raising his hat at disconcerted passersby.
There were a few laughs at the Pliocene mans reaction.
NEWT
Come on. That'll wear off in a few minutes.
NEWT leads JACOB through the statue and into Magical Paris. He puts his case
down and points his wand at the street.
NEWT
Appare vestigium.
The tracking spell materializes as a swirl of gold, which illuminates traces of
recent magical activity in the square.
The muggles in the room stare in awe of the tracking spell.
NEWT
Accio Niffler!
Heads shot up.
Did they hear that correctly did newt just let the little trouble maker out willingly.
The case bursts open and a Niffler jumps out.
NEWT
Get looking.
NEWT climbs onto the case and inspects impressions of creatures revealed in the
air, while the now-trained adult Niffler sniffs out clues.
NEWT
That's a Kappa. That's a Japanese water demon—
The Niffler sniffs around some shimmering footsteps. The Niffler has found the
place where TINA stood in front of the Zouwu.
NEWT sees a vision of TINA.
"That's got to come in handy." Chasity piped up.
NEWT
Tina? Tina!
(to Niffler)
What have you found?
He bends down to lick the pavement.
Ummm
"..."
No one knows quite what to say.
JACOB
(glancing around)
And we're licking the dirt now.
NEWT puts his wand to his ear and listens to a terrifying roar. He points his wand to the street.
NEWT
Revelio.
JACOB sees what NEWT is looking at: gigantic paw marks overlaying everything else.
JACOB
(intensely worried)
Newt . . . what made those?
NEWT
That is a Zouwu. It's a Chinese creature. They are incredibly fast and incredibly powerful. They can travel a thousand miles in a
day . . . and this one could take you from one part of Paris to the next in a single leap.
Few people looked impressed.
The Niffler sniffs around more shimmering footsteps—another place where TINA
stood.
NEWT
Oh, good boy.
(intensely worried)
Jacob, she was here. Tina stood here. She has incredibly narrow feet, have you noticed?
There were a few laughs.
Tina felt her cheeks turn a bright red.
"Didn't realise your had such a thing for feet." Jacob commented to newt who similar to Tina was burning up.
JACOB
Can't say that I have.
NEWT sees a vision of KAMA.
NEWT
Then someone came towards her.
NEWT points to a feather from KAMA'S hat, sniffs it, and looks troubled.
NEWT
Avenseguim.
The feather turns like the needle of a compass, pointing the way.
NEWT
Follow that feather.
JACOB
What?
NEWT
Jacob, follow the feather.
JACOB
Follow the feather.
NEWT
(of the Niffler)
Where is he? Ah, Accio Niffler.
The Niffler is carried by the spell back into the case. NEWT takes the case and
dashes off.
JACOB gestures toward the bucket in his hand.
"Jacob you night want to let go of the bucket."
Jacob turned to Tina in confusion.
"why?"
NEWT
Let go of the bucket!
JACOB drops the bucket with disappears and chases after NEWT.
"Oh that's why, where did it go?"
Wizards looked to Jacob like he was mad momentarily forgetting he was a no maj.
"It will be sent back to the provider honey." Queenie spoke to Jacob The awkwardness of earlier forgotten.
SCENE 49
EXT. PARIS—DAY
Establishing shot.
SCENE 50
EXT. PLACE DE FURSTEMBERG—MORNING
QUEENIE approaches the trees in the middle of the square. She coughs. The
roots of the trees rise up and form a birdcage elevator around her, which descends into the earth.
Those who has never stepped foot in the french ministry looked on in awe, I mean the ministry of magic in England was spectacular and underneath the great Whitehall but let's not kid ourselves they apart from the visitors entrance which is through A phone booth on the corner of Scotland Yard, the daily job of standing in a public toilet and flushing yourself down the drain was not that pleasant, unless you just flooed your self in which most workers do, so. Despite how much it kicked there pride the french did have a classier way of entering there ministry.
SCENE 51
INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL—
MORNING
QUEENIE descends into the beautiful Art Nouveau French Ministry of Magic,
its domed ceiling patterned with constellations. QUEENIE approaches
reception.
RECEPTIONIST
Bienvenue au Ministère des Affaires Magiques.
QUEENIE
I'm sorry, I don't know what you just said at all—
RECEPTIONIST
Welcome to the French Ministry of Magic. What is your business,
please?
QUEENIE
(loudly and slowly)
I need to speak to Tina Goldstein, she's an American Auror working on a case here—
The RECEPTIONIST flicks through a few pages.
RECEPTIONIST
We have no Tina Goldstein here.
QUEENIE
No, it's . . . I'm sorry there must be some sort of mistake. See, I know she's in Paris, she sent me a postcard. I brought it, I can show
it to you. Maybe you can help me find her here?
QUEENIE reaches for her suitcase, which falls open.
QUEENIE
It's just in here. Oh rabbits! If you can just wait one moment! I know it's in here somewhere. I definitely packed it. Where is it?
"You left it at newts house." Leta spoke to Queenie.
As the RECEPTIONIST gives a Gallic shrug, a genteel ELDERLY LADY crosses
into the shot behind QUEENIE. She has a distinctive bag in her hands—we
follow her into the elevator—where ROSIER stands waiting. As the doors close,
the ELDERLY LADY transforms into ABERNATHY and he pulls out an
elaborate box . . .
SCENE 52
EXT. PARIS BACK STREET—DAY
QUEENIE stands sadly on the street, holding an umbrella. Then—a double take
—did she just see NEWT and JACOB hurrying from one side street into another?
Sympathy went out to the poor girl.
JACOB
Could we at least stop for a coffee, or like a—
NEWT
Not now, Jacob.
There were a few annoyed voice.
"if they had just stopped for a moment they would of seen her."
JACOB
I don't know.
NEWT
This way. Come on.
JACOB
Pain au chocolat? Half a croissant, or like, a bonbon?
That caused a few stomach to rumble.
Suddenly a tray of food appeared In front of each character.
"Oh I thought you guys might like some snacks."
Each tray had what seemed a bunch of sweets from honeydukes bringing back old memories from wizards who attended Hogwarts.
There was a box of Bertie Bott's Every Flavor Beans.
"Quick warning to the muggles by every flavour they mean every flavour."
3 chocolate frogs boxes each.
"don't worry it's just a spell."
A pumpkin pastie
A cauldron cake each
And a few sherbet lemons (much to the delight of one Albus Dumbledore.)
Everyone looked at there trays with glutton.
The rooms occupants started to dig into there snacks while watching the movie.
NEWT
This way.
QUEENIE sets off down the street, trotting in her haste to catch up with NEWT
and JACOB.
We follow her, drawing ever closer, as she chooses from a bewildering number of
side alleys. So absorbed is she in trying to follow NEWT and JACOB—she can
now "hear" JACOB'S thoughts.
QUEENIE
(calls aloud, joyful)
Jacob! Jacob?
But he has gone. Exhausted and lonely, QUEENIE drops down to the curb in the
rain, deafened by the clamor of the thoughts of those in the crowd around her.
Hearts go out to the poor girl.
A hand falls onto QUEENIE'S shoulder. She turns, beaming. Her expression
turns to puzzlement.
ROSIER
Madame? Tout va bien, Madame?
If it was possible the temperature in the room seemed to of plummeted what was rosier doing with Queenie.
Tina was worried about her sis the r more than ever now.
SCENE 53
EXT. BIRD MARKET—LATER THAT DAY
CREDENCE and NAGINI walk into shot, looking around. CREDENCE steals birdseed as he passes a stall.
GRIMMSON watches them, unnoticed.
SCENE 54
EXT. RUE PHILIPPE LORAND—SHORTLY AFTERWARD—DAY
CREDENCE and NAGINI peer around the corner at the distant Number Eighteen. A light shines in the attic. A shadow moves in front of it.
CREDENCE
(scared)
She's home.
Now he is here, he is rooted to the spot. He dare not proceed. NAGINI prizes his hand from behind his back.
She leads him across the road.
Credence now has his full attention on the screen the snacks forgotten, was this is mother.
SCENE 55
EXT. REAR OF 18 RUE PHILIPPE LORAND—MINUTES LATER—DAY
A door stands open into the yard. They slide through it into a servants'
passageway. NAGINI'S nostrils flare. Her eyes dart around. There is something
wrong. They proceed toward the stairs.
There was a tense silence in the room everyone wanting to see what would happen next.
SCENE 56
INT. 18 RUE PHILIPPE LORAND, LANDING OUTSIDE MAID'S ROOM
—DAY
CREDENCE and NAGINI reach the landing. A door stands ajar. A shadow cast
by lamplight: what seems to be a woman, sewing. The shadow pauses in its
work. NAGINI is edgy, nervous, looking around.
IRMA (O.S.)
Qui est là?
CREDENCE can neither move nor speak. NAGINI realizes this.
NAGINI
C'est votre fils, madame.
She takes CREDENCE'S hand and pulls him gently into the room. Mended and
freshly washed clothing hang from racks on the ceiling. They can see the shadow
of a woman. NAGINI'S senses are hyperalert. She can smell danger. The shadow
stands.
IRMA
Qui êtes-vous?
CREDENCE
(whispers, terrified)
Are you Irma? Are you . . . ? Are you Irma Dugard?
No response. They move through the hanging fabric toward her.
CREDENCE
I'm sorry. Your name is on my adoption paper. Does this make sense? You gave me to Mrs. Barebone in New York.
A beat.
A tiny hand pushes the last piece of fabric aside. There stands IRMA: half-elf,
half-human. CREDENCE'S face reveals confusion, awful disappointment.
IRMA
(to CREDENCE)
I am not your mother. I was only a servant.
(smiling)
You were such a beautiful baby. And you are a beautiful man. I have missed you.
Credence stares at the scene in wonder this lady new him as a baby, she knew about his past
ANGLE ON GRIMMSON, watching them from a doorway.
CREDENCE
Why didn't they want me? But why is your name on my adoption paper?
IRMA
I took you to Mrs. Barebone because she was supposed to look after you.
There were a few Scofts at that admission.
Yh she sure did look after him.
NAGINI'S fear is increasing.
ANGLE ON THE DARK WALL BEHIND SWATHES OF FABRIC.
The perfectly camouflaged GRIMMSON emerges from the wall, raises his wand,
aims for the silhouetted figures, and dispatches a Killing Curse that sears
through the sheets and clothing, leaving smoldering holes. We hear a body fall.
NAGINI screams. CREDENCE'S shadow has vanished.
Grinning, certain of triumph, GRIMMSON slashes away the smoking fabric until
he stands facing—
IRMA, dead on the floor, and NAGINI, who backs away from him. Slowly, his
grin fading, GRIMMSON looks up at the ceiling. The Obscurus is swirling there
like thick black smoke.
In a flash, GRIMMSON conjures a domed Shield Charm around himself and
IRMA'S body.
And the Obscurus dives, pelting the Shield Charm like a million bullets, rising
and re-forming and diving again, but though the magical barrier trembles, it is
not broken.
Now the Obscurus expands in fury, smashing apart the attic like a tornado.
GRIMMSON smiles up at the Obscurus: We'll meet again. He Disapparates.
No one says a word, in simple awe at the power of a tame d obscurel.
Meanwhile credence deflates the only link to his past is now dead.
Mingling with the debris of the destroyed attic, the Obscurus slams inward and
CREDENCE re-forms. He stands looking down at the tiny body.
SCENE 57
EXT. ALLEYWAY—AFTERNOON
Fresh from IRMA'S murder, GRIMMSON stands in a covered alleyway beneath
a bridge over the Seine. GRINDELWALD appears.
There were dirty looks at the screen of the traitor.
GRIMMSON
She's dead.
GRINDELWALD walks toward him and halts when they are face-to-face.
GRINDELWALD
How did the boy take it?
GRIMMSON
(shrugging)
He's sensitive. The Ministry won't be happy when I tell them I've
missed. They know my reputation.
Theseus growls at the screen knowing that since he won't remember any of these events grimmson will get away.
GRINDELWALD
Listen to me. The disapproval of cowards is praise to the brave.
Your name will be written in glory when wizards rule the world.
And the clock is ticking faster. You watch over Credence. Keep him safe. For the greater good.
GRIMMSON
For the greater good.
"Greater good my a..."
"What did she know about doing good"
There were many disapproval looks at the screen.
The film continued.