FANTASTIC BEASTS AND WHERE TO FIND THEM
Written by
J.K. Rowling
Directed by
David Yates
FINAL SHOOTING SCRIPT
August 18, 2015
FOR INSTRUCTIONAL USE ONLY
This script is the confidential and proprietary
property of Warner Bros. Pictures and no portion of
it may be performed, distributed, reproduced, used,
quoted or published without prior written permission.
1.
1 EXT. SOMEWHERE IN EUROPE - 1926 - NIGHT 1
A large, isolated, derelict chateau emerges from the
darkness. We focus on a cobbled square outside the building
shrouded in mist, eerie, silent.
FIVE AURORS stand, wands aloft, tentative as they edge
towards the chateau. A sudden explosion of pure white light
sends them flying.
WE WHIP ROUND: to find their bodies scattered, lying
motionless at the entrance to a large parkland. A figure
(GRINDELWALD) enters the frame, his back to the camera;
ignoring the bodies, he stares out into the night sky, as we:
PAN UP TOWARDS THE MOON.
MONTAGE:
WE SEE various magical newspaper headlines from 1926 relating
to GRINDELWALD'S attacks all over the world:
'GRINDELWALD STRIKES AGAIN IN EUROPE',
'HOGWARTS SCHOOL INCREASES SECURITY',
'WHERE IS GRINDELWALD?'.
He's a serious threat to the magical community and he's
vanished.
MOVING PHOTOS detail destroyed buildings, fires, screaming
victims. The articles come thick and fast the worldwide
hunt for GRINDELWALD continues.
WE PUSH IN: on a final article displaying the STATUE OF
LIBERTY.
TRANSITION TO:
2 EXT. SHIP GLIDING INTO NEW YORK - NEXT MORNING 2
A bright, clear New York day.
Seagulls swoop overhead.
A large passenger ship glides past the Statue of Liberty.
Passengers lean over the rails, looking excitedly towards the
oncoming land.
(CONTINUED)
2.
2 CONTINUED: 2
PUSH IN: towards a figure sitting on a bench with his back to
us NEWT SCAMANDER, weather-beaten, wiry, wearing an old
blue overcoat. Beside him rests a battered brown leather
case. A catch on the case flicks open of its own accord. NEWT
swiftly bends down to close it.
Placing the case on his lap, NEWT leans in, whispering:
NEWT
Dougal you settle down now,
please. It won't be long.
3 EXT. NEW YORK - DAY 3
AERIAL SHOT of New York.
4 EXT. SHIP/INT. CUSTOMS - SHORTLY AFTERWARDS - DAY 4
Among bustling crowds, NEWT walks down the gangplank of the
ship, as we push in towards his case.
CUSTOMS OFFICIAL (O.S.)
Next.
NEWT stands at the Customs a long row of desks by the
shipyard, manned by serious-looking American officials.
A CUSTOMS OFFICIAL examines NEWT'S very tattered British
passport.
CUSTOMS OFFICIAL (CONT'D)
British, huh?
NEWT
Yes.
CUSTOMS OFFICIAL
First trip to New York?
NEWT
Yes.
CUSTOMS OFFICIAL
(gesturing to NEWT'S
case)
Anything edible in there?
NEWT
(placing a hand over his
breast pocket)
No.
(CONTINUED)
3.
4 CONTINUED: 4
CUSTOMS OFFICIAL
Livestock?
The catch on NEWT'S case flicks open again. NEWT looks down
and hastily closes it.
NEWT
Must get that fixed ah, no.
CUSTOMS OFFICIAL
(suspicious)
Let me take a look.
NEWT places the case on the desk between them and discreetly
flicks a brass dial to 'MUGGLEWORTHY'.
The CUSTOMS OFFICIAL spins the case towards him and pops the
catches, lifting the lid to reveal pyjamas, various maps, a
journal, an alarm clock, a magnifying glass and a Hufflepuff
scarf. Finally satisfied, he closes the case.
CUSTOMS OFFICIAL (CONT'D)
Welcome to New York.
NEWT
Thank you.
NEWT gathers his passport and case.
CUSTOMS OFFICIAL
Next!
NEWT exits through Customs.
5 EXT. STREET NEAR CITY HALL SUBWAY - DUSK 5
A long street of identical brownstone houses, one of which
has been reduced to rubble.
A gaggle of reporters and photographers mills around in the
vague hope of something happening, but without much
enthusiasm.
One REPORTER is interviewing an excitable middle-aged man as
they move through the rubble.
WITNESS
-and it was like a like a wind or
like a like a ghost but dark
and I saw its eyes shinin' white
eyes--
(CONTINUED)
4.
5 CONTINUED: 5
REPORTER
(expressionless
notebook in his hand)
--a dark wind with eyes...
WITNESS
--like a dark mass, and it dove
down there, down underground I
swear to God... into the earth
right in front of me.
CLOSE ON: PERCIVAL GRAVES as he walks towards the destroyed
building.
GRAVES: smart clothing, very handsome, early middle-age, his
demeanour differs from those around him. He is watchful,
tightly coiled, an air of intense confidence.
PHOTOGRAPHER
(sotto voce)
Hey did you get anything?
REPORTER
(sotto voce)
Dark wind, blah blah.
PHOTOGRAPHER
It's some atmospheric hooey. Or
electrical.
GRAVES moves up the steps of the now-ruined building. He
examines the destruction, curious, alert.
REPORTER
Hey you thirsty?
PHOTOGRAPHER
Nah, I'm on the wagon. Promised
Martha I'd lay off.
The wind begins to pick up, swirling around the building,
accompanied by a high-pitched screeching. GRAVES alone looks
interested.
A sudden series of bangs at street level. All turn to look
for the source of the sound: a wall cracks, the rubble on the
floor begins to shake before exploding like an earthquake,
ripping out of the building and down through the middle of
the street. The movement is violent, rushed people and cars
go flying.
(CONTINUED)
5.
5 CONTINUED: (2) 5
The mysterious force then flies up into the air, swirling
through the city, diving in and out of alleyways, before
crashing down into a subway station.
CLOSE ON: GRAVES, as he examines the destruction of the
street.
A mingled roar and howl emanates from the bowels of the
earth.
6 EXT. NEW YORK STREET - DAY 6
WATCHING NEWT walk, we see in him an unselfconscious
Keatonesque quality, a sense of a different rhythm to those
around him. In his hand he clutches directions on a small
piece of paper, but he still shows a scientist's curiosity
about this alien environment.
7 EXT. ANOTHER STREET, STEPS OF THE CITY BANK - DAY 7
NEWT, intrigued by the noise of shouting, approaches a rally
of the NEW SALEM PHILANTHROPIC SOCIETY.
MARY LOU BAREBONE, a handsome mid-western woman in a 1920s
version of Puritan dress, charismatic and earnest, stands on
a small stage at the steps to the City Bank.
Behind her stands a man parading a banner emblazoned with the
organisation's symbol: hands proudly grasping a broken wand
amid bright yellow and red flames.
MARY LOU
(to the assembled crowd)
... this great city sparkles with
the jewels of man's invention!
Movie theatres, automobiles, the
wireless, electric lights all
dazzle and bewitch us!
NEWT slows down and watches MARY LOU as he would observe a
foreign species: no judgement, simply interest.
Nearby stands TINA GOLDSTEIN, hat low on her head, upturned
collar. She is eating a hot dog, mustard smeared on her upper
lip.
NEWT accidently bumps into her as he makes his way to the
front of the rally.
NEWT
Oh... so sorry.
(CONTINUED)
6.
7 CONTINUED: 7
MARY LOU
But where there is light there is
shadow, friend. Something is
stalking our city, wreaking
destruction and then disappearing
without a trace...
JACOB KOWALSKI moves nervously down the street towards the
crowd, wearing an ill-fitting suit and carrying a battered
brown leather case.
MARY LOU (O.S.) (CONT'D)
We have to fight join us, the
Second Salemers, in our fight!
JACOB makes his way through the gathered crowd, also pushing
past TINA.
JACOB
Excuse me doll, just trying to get
to the bank excuse me just
trying...
JACOB trips over NEWT'S case, disappearing momentarily. NEWT
hauls him up.
NEWT
I'm so sorry my case-
JACOB
No harm done-
JACOB struggles on, heading past MARY LOU and up the steps of
the bank.
JACOB (CONT'D)
Excuse me!
The kerfuffle around NEWT draws MARY LOU'S attention.
MARY LOU
(charming, to NEWT)
You, friend! What drew you to our
meeting today?
NEWT is startled to find himself the centre of attention.
NEWT
Oh... I was just... passing...
MARY LOU
Are you a seeker? A seeker after
truth?
(CONTINUED)
7.
7 CONTINUED: (2) 7
A beat.
NEWT
I'm more of a chaser, really.
ANGLE ON: people moving in and out of the bank.
A smartly dressed man flips a dime towards a beggar sitting
on the steps.
CLOSE ON: the dime, falling in SLOW MOTION.
MARY LOU (O.S.)
Hear my words and heed my
warning...
ANGLE ON: some little paws, which have appeared in the narrow
crack between the lid and the body of NEWT'S case.
ANGLE ON: the dime hitting the steps with a musical clang.
ANGLE ON: the paws, now trying hard to prise open the case.
MARY LOU (CONT'D)
... and laugh if you dare: witches
live among us!
MARY LOU'S three adopted children, adults CREDENCE and
CHASTITY, and MODESTY (an eight-year-old girl), hand out
leaflets. CREDENCE appears nervous and troubled.
MARY LOU (O.S.) (CONT'D)
We have to fight together for the
sake of our children for the sake
of tomorrow!
(to NEWT)
What do you say to that, friend?
As NEWT looks up towards MARY LOU, something seen from the
corner of his eye catches his attention:
THE NIFFLER, a small furry black cross between a mole and a
duck-billed platypus, is sitting on the steps of the bank,
hastily pulling the beggar's hat full of money out of sight
behind a pillar.
NEWT, startled, looks down at his case.
ANGLE ON: the Niffler, busy shovelling the beggar's coins
into a pouch in its belly. The Niffler looks up, notices
NEWT'S gaze, and hurriedly gathers the rest of the coins
before tumbling away and into the bank.
(CONTINUED)
8.
7 CONTINUED: (3) 7
NEWT jolts forwards.
NEWT
Excuse me.
ANGLE ON: MARY LOU she looks confused at NEWT'S lack of
interest in her cause.
MARY LOU (O.S.)
Witches live among us.
ANGLE ON: TINA, moving through the crowd, eyeing NEWT
suspiciously.
8 INT. LOBBY OF BANK - MOMENTS LATER - DAY 8
A large, impressive-looking bank atrium. In the centre,
behind a golden counter, clerks are busy at work serving
customers.
NEWT skids to a halt in the entrance of the space and looks
around for his creature. His dress and demeanour make him out
of place among the smartly dressed New Yorkers.
BANK EMPLOYEE
(suspicious)
Can I help you, sir?
NEWT
No, I was just... just...
waiting...
NEWT motions towards a bench and backs away, taking a seat
next to JACOB.
TINA peers at NEWT from behind a pillar.
JACOB
(nervous)
Hi. What brings you here?
NEWT is desperately trying to spot his Niffler.
NEWT
Same as you...
JACOB
You're here to get a loan to open
up a bakery?
(CONTINUED)
9.
8 CONTINUED: 8
NEWT
(looking around
preoccupied)
Yes.
JACOB
What are the odds of that? Well,
may the best man win, I guess.
NEWT spots the Niffler, which is now stealing coins from
someone's bag.
JACOB holds out his hand, but NEWT is off.
NEWT
Excuse me.
NEWT darts away. In his place on the bench lies a large
silver egg.
JACOB
Hey, mister... hey, mister!
NEWT doesn't hear; he is too engaged in hunting the Niffler.
JACOB picks up the egg just as the door into the BANK
MANAGER'S office opens, and a SECRETARY looks out.
JACOB (CONT'D)
Hey, fella!
SECRETARY
Mr Kowalski, Mr Bingley will see
you now.
Pocketing the egg, JACOB heads towards the office, steeling
himself.
JACOB
(sotto voce)
Okay... okay.
ANGLE ON: NEWT, surreptitiously pursuing the Niffler as it
moves through the bank.
He finally spots it removing a glittering buckle from a
lady's shoe before scurrying onwards, eager for more shiny
objects.
As NEWT watches, helpless, the Niffler jumps lithely between
cases and into bags, snatching and pilfering.
10.
9 INT. BINGLEY'S OFFICE - MOMENTS LATER - DAY 9
JACOB is facing the imposing and impeccably suited MR
BINGLEY. BINGLEY is examining JACOB'S business proposal for a
bakery.
An uncomfortable silence. The sound of a ticking clock and
BINGLEY murmuring. JACOB looks down at his pocket the egg
has started to vibrate.
BINGLEY
You are currently working... in a
canning factory?
JACOB
That's the best I can do I only
got back in '24.
BINGLEY
Got back?
JACOB
From Europe, sir. Yeah I was part
of the Expeditionary Forces there -
JACOB is clearly nervous, miming a digging action to the
words 'Expeditionary Forces', in the vain hope that a joke
might help his cause.
CUT BACK TO:
10 INT. BACK ROOM OF THE BANK - MOMENTS LATER - DAY 10
NEWT IN THE BANK: in seeking the Niffler he has ended up
waiting in line for a bank teller. He cranes his neck,
peering towards the bag of a lady at the front of the line.
TINA watches him from behind a pillar.
ANGLE ON: coins spilling from underneath a bench.
ANGLE ON: NEWT, who hears the coins and turns to see small
paws hastily gathering them up.
ANGLE ON: the Niffler sitting under the bench looking fat and
smug. Not yet satisfied, its attention is caught by the shiny
tag hanging around the neck of a small dog. The Niffler moves
slowly, cheekily, forwards little paw outstretched to grab
the tag. The dog snarls and barks.
NEWT starts forwards and dives under the bench the Niffler
runs, scuttling over the bank counter screens and out of
NEWT'S reach.
11.
11 INT. BINGLEY'S OFFICE - MOMENTS LATER - DAY 11
JACOB opens his case with great pride. Inside is displayed a
selection of his home-made pastries.
JACOB (O.S.)
All right.
BINGLEY
Mr Kowalski-- JACOB (CONT'D)
--you gotta try the paczki,
okay, it's my grandmother's
recipe, the orange zest
just--
JACOB holds out a paczki... BINGLEY is not distracted.
BINGLEY (CONT'D)
--Mr Kowalski, what do you propose
to offer the bank as collateral?
JACOB
Collateral?
BINGLEY
Collateral.
JACOB gestures hopefully towards his pastries.
BINGLEY (CONT'D)
There are machines now that can
produce hundreds of doughnuts an
hour--
JACOB
--I know, I know, but they're
nothing like what I can do-
BINGLEY
The bank must be protected, Mr
Kowalski. Good day to you.
BINGLEY dismissively rings a bell on his desk.
12 INT. BEHIND THE BANK COUNTERS - MOMENTS LATER - DAY 12
The Niffler sits on a trolley covered in money bags, which it
greedily empties into its pouch.
As NEWT watches through the security bars, aghast, a guard
pushes the trolley away down a corridor.
12.
13 INT. BANK, HALL - MOMENTS LATER - DAY 13
JACOB, downcast, exits BINGLEY'S office. His bulging pocket
vibrates. Alarmed, he pulls out the egg and looks around.
ANGLE ON: the Niffler, still sitting on the trolley, which is
now being pushed into an elevator.
ANGLE ON: JACOB, who sees NEWT in the distance.
JACOB
Hey, Mr English guy! I think your
egg is hatching.
NEWT looks hurriedly between JACOB and the shutting elevator
doors before making a decision: he points his wand at JACOB.
JACOB and the egg are pulled magically across the bank atrium
towards NEWT. In a split second, they Disapparate.
TINA stares, incredulous, from behind a pillar.
14 INT. BACK ROOM OF THE BANK/STAIRCASE - DAY 14
NEWT and JACOB Apparate into a narrow stairwell leading to
the bank's vaults, suddenly past the tellers and security
guards.
NEWT gently takes the egg back from JACOB as it hatches,
revealing a small blue, snake-like bird an OCCAMY.
NEWT, his face full of wonder, looks to JACOB as though
expecting a similar reaction from him.
Slowly, NEWT carries the baby creature down the stairs.
JACOB
Excuse me...
JACOB, very confused, looks back up the stairs towards the
main bank atrium. On seeing BINGLEY approaching, he ducks
down the stairs, out of sight.
JACOB (CONT'D)
(to himself)
I was over there. I was over
there?
13.
15 INT. BASEMENT CORRIDOR OF BANK LEADING TO VAULT - DAY 15
JACOB'S POV: NEWT is crouched down, opening his case. He
carefully places the hatched Occamy inside, whispering
tenderly:
NEWT
In you hop...
JACOB (O.S.)
Hello?
NEWT
No. Everyone settle down stay.
Dougal, don't make me come in
there...
JACOB moves along the corridor, staring at NEWT.
WE SEE a strange green creature, part stick insect, part
plant, poke its head out of NEWT'S breast pocket, intrigued.
This is PICKETT, a BOWTRUCKLE.
NEWT (CONT'D)
Don't make me come down there.
NEWT looks up to see the Niffler squeezing itself through
locked doors, into the central vault.
NEWT (CONT'D)
Absolutely not!
NEWT takes out his wand and points it at the vault.
NEWT (CONT'D)
Alohomora.
WE WATCH the locks and cogs of the vault door turn.
BINGLEY comes round the corner, just as the vault door starts
to open.
BINGLEY
(to JACOB)
Oh, so you're gonna STEAL the
money, huh?
BINGLEY hits a button on the wall. An alarm sounds.
NEWT aims his wand...
(CONTINUED)
14.
15 CONTINUED: 15
NEWT
Petrificus Totalus.
BINGLEY suddenly stiffens and falls back flat on the ground.
JACOB cannot believe his eyes.
JACOB
Mr Bingley!
The vault door opens wide.
MR BINGLEY
(in his paralysed state)
... Kowalski!
NEWT hurries into the vault.
Inside he finds the Niffler lying among hundreds of opened
deposit boxes, and seated on a great pile of cash. The
Niffler stares at NEWT defiantly as it forces another gold
bar into its already overflowing pouch.
NEWT
Really?!
NEWT grasps the Niffler tightly and turns it upside down,
shaking it by its hind legs. An extraordinary, and seemingly
endless, number of precious items fall out.
NEWT (CONT'D)
(to the Niffler)
No...
JACOB looks around him in disbelief, an almost queasy fear.
Despite their altercation, NEWT is fond of the Niffler. He
grins as he tickles its stomach, causing more treasure to
pour out.
Footsteps on the stairs as several armed guards run down and
into the vault corridor.
JACOB
(panicking)
Oh no... no... don't shoot. Don't
shoot!
NEWT quickly seizes JACOB and the two of them, plus the
Niffler and case, Disapparate.
15.
16 EXT. DESERTED SIDE STREET NEXT TO THE BANK - DAY 16
NEWT and JACOB Apparate into a side street. Security alarms
ring out from the bank and, at the end of the side street, WE
SEE crowds gathering, police arriving.
TINA runs out of the bank and looks down. She sees NEWT
wrestling the Niffler back into the case, JACOB cowering by a
wall.
JACOB
Ahhh!
NEWT
For the last time, you pilfering
pest paws off what doesn't belong
to you!
NEWT shuts his case, then looks around at JACOB.
NEWT (CONT'D)
I'm awfully sorry about all that -
JACOB
What the hell was that?
NEWT
Nothing that need concern you. Now
unfortunately you have seen far too
much, so if you wouldn't mind if
you just stand there this will be
over in a jiffy.
NEWT, trying to find his wand, turns his back on JACOB.
JACOB takes the opportunity, seizes his case, and swings it
violently at NEWT, who is knocked to the ground.
JACOB
Sorry-
JACOB runs for his life.
NEWT holds his head for a moment and looks after JACOB, who
has hurried down the alleyway and into the crowd.
NEWT
Bugger!
TINA comes walking down the side street with purpose.
(CONTINUED)
16.
16 CONTINUED: 16
NEWT gathers himself, picks up the case and, trying to be
nonchalant, walks towards her. As he passes her, TINA grabs
NEWT'S elbow and they Disapparate.
17 EXT. NARROW ALLEYWAY OPPOSITE BANK - DAY 17
NEWT and TINA Apparate into a cramped, bricked-up alleyway.
We can still hear police sirens sounding in the background.
TINA, incredulous and out of breath, rounds on NEWT.
TINA
Who are you?
NEWT
I'm sorry?
TINA
Who are you?
NEWT
Newt Scamander. And you are?
TINA
What's that thing in your case?
NEWT
That's my Niffler.
(pointing at hot dog
mustard still on TINA'S
lip)
Er, you've got something on your--
TINA
Why in the name of Deliverance Dane
did you let that thing loose?
NEWT
I didn't mean to he's
incorrigible, you see, anything
shiny, he's all over the place-
TINA
You didn't mean to?
NEWT
No.
TINA
You could not have chosen a worse
time to let that creature loose!
(MORE)
(CONTINUED)
17.
17 CONTINUED: 17
TINA (CONT'D)
We're in the middle of a situation
here! I'm taking you in.
NEWT
You're taking me where?
She produces her official ID card. It bears her moving
picture and an impressive symbol of an American eagle:
MACUSA.
TINA
Magical Congress of the United
States of America.
NEWT
(nervous)
So, you work for MACUSA? What are
you, some kind of investigator?
TINA
(hesitates)
Uh huh.
She stuffs her identification card back into her coat.
TINA (CONT'D)
Can you please tell me you took
care of the No-Maj?
NEWT
The what?
TINA
(becoming irritated)
The No-Maj! No-magic the non-
wizard!
NEWT
Oh sorry, we call them Muggles.
TINA
(getting really worried)
You wiped his memory, right? The No-
Maj with the case?
NEWT
Um...
TINA
(appalled)
That's a Section 3A, Mr Scamander.
I'm taking you in.
(CONTINUED)
18.
17 CONTINUED: (2) 17
She takes NEWT by the arm and they Disapparate again.
18 EXT. BROADWAY - DAY 18
An ornately carved, incredibly tall skyscraper on the corner
of a bustling street the WOOLWORTH BUILDING.
NEWT and TINA hurry along Broadway towards this building,
TINA almost dragging NEWT by his coat sleeve.
TINA
Come on.
NEWT
Er sorry but I do have things to
do, actually.
TINA
Well, you'll have to rearrange
them!
TINA forcefully guides NEWT through the busy traffic.
TINA (CONT'D)
What are you doing in New York
anyway?
NEWT
I came to buy a birthday present.
TINA
Couldn't you have done that in
London?
They have arrived outside the Woolworth Building. Workers
move in and out of a large revolving door.
NEWT
No, there's only one breeder of
Appaloosa Puffskeins in the world
and he lives in New York, so no...
TINA moves NEWT towards a side door, guarded by a man in a
cloaked uniform.
TINA
(to the guard)
I got a Section 3A.
The guard immediately opens the door.
19.
19 INT. WOOLWORTH BUILDING RECEPTION - DAY 19
A normal 1920s office atrium, people milling around and
chatting.
TINA (O.S.)
Hey. By the way, we closed that guy
down a year ago. We don't allow the
breeding of magical creatures in
New York.
PAN AROUND to watch TINA come through the door with NEWT. As
they enter, the whole entrance magically transforms from the
Woolworth Building to the Magical Congress of the United
States of America (MACUSA).
20 INT. MACUSA LOBBY - DAY 20
NEWT'S POV: as they move up a wide staircase and enter the
main lobby a vast, impressive space with impossibly high
vaulted ceilings.
High up, a gigantic dial with many cogs and faces emblazoned
with the legend: MAGICAL EXPOSURE THREAT LEVEL. The hand on
the dial points to SEVERE: UNEXPLAINED ACTIVITY. Behind hangs
an imposing portrait of a majestic-looking witch: SERAPHINA
PICQUERY, MACUSA's President.
Owls circulate, witches and wizards in 1920s dress are hard
at work. TINA guides an impressed-looking NEWT through the
bustle. They pass several wizards sitting in a line, waiting
to have their wands shined by a house-elf who operates a
complex contraption of feathers.
NEWT and TINA reach an elevator. The doors open to reveal
RED, a goblin bellboy.
RED
Hey, Goldstein.
TINA
Hey, Red.
TINA pushes NEWT inside.
21 INT. ELEVATOR - DAY 21
TINA
(to RED)
Major Investigation Department.
(CONTINUED)
20.
21 CONTINUED: 21
RED
I thought you was --
TINA
Major Investigation Department! I
got a Section 3A!
RED uses a long clawed stick to reach an elevator button
above his head. The elevator descends.
22 INT. MAJOR INVESTIGATION DEPARTMENT - DAY 22
CLOSE ON: a newspaper THE NEW YORK GHOST with the
headline 'MAGICAL DISTURBANCES RISK WIZARDING EXPOSURE'.
A group of the highest-level Aurors in the organisation are
gathered together in serious discussion.
Among them are GRAVES, examining the newspaper, his face cut
and bruised from last night's encounter with the strange
entity, and MADAM PICQUERY herself.
MADAM PICQUERY
The International Confederation is
threatening to send a delegation.
They think this is related to
Grindelwald's attacks in Europe.
GRAVES
I was there. This is a beast. No
human could do what this thing is
capable of, Madam President.
MADAM PICQUERY (O.S.)
Whatever it is, one thing's clear
it must be stopped. It's
terrorising No-Majs, and when No-
Majs are afraid, they attack. This
could mean exposure. It could mean
war.
On hearing footsteps, the group looks round to see TINA, who
approaches cautiously, leading NEWT.
MADAM PICQUERY (CONT'D)
(angry but contained)
I made your position here quite
clear, Miss Goldstein.
TINA
(frightened)
Yes, Madam President, but I--
(CONTINUED)
21.
22 CONTINUED: 22
MADAM PICQUERY
--You are no longer an Auror.
TINA
No, Madam President, but-- MADAM PICQUERY (CONT'D)
--Goldstein.
TINA (CONT'D)
There's been a minor incident-
MADAM PICQUERY
Well, this office is currently
concerned with very major
incidents. Get out.
TINA
(humiliated)
Yes, ma'am.
TINA pushes a bemused-looking NEWT back towards the elevator.
GRAVES looks after them, the only one to appear sympathetic.
23 INT. BASEMENT - DAY 23
The elevator descends rapidly through the long shaft.
The doors open onto a cramped, airless, windowless basement
room. A painful contrast to the floor above. Clearly the
place where utter no-hopers work.
TINA leads NEWT past a hundred typewriters clacking away
unmanned, with a tangle of glass pipes hanging down from the
ceiling above them.
As each memo or form is completed by a typewriter, it folds
itself into an origami rat, which scurries up the appropriate
tube to the offices above. Two rats collide and fight,
tearing each other apart.
TINA walks towards a dingy corner of the room. A sign: WAND
PERMIT OFFICE.
NEWT ducks under it.
24 INT. WAND PERMIT OFFICE - DAY 24
The Wand Permit Office is only slightly larger than a
cupboard. There are piles of unopened wand applications.
(CONTINUED)
22.
24 CONTINUED: 24
TINA stops behind a desk, removing her coat and hat. She
tries to regain her lost status in front of NEWT by appearing
official, busying herself with papers.
TINA
So, you got your wand permit? All
foreigners have to have them in New
York.
NEWT
(lying)
I made a postal application weeks
ago.
TINA
(now sitting on the desk,
scribbles on a clipboard)
Scamander...
(finding him very fishy)
And you were just in Equatorial
Guinea?
NEWT
I've just completed a year in the
field. I'm writing a book about
magical creatures.
TINA
Like an extermination guide?
NEWT
No. A guide to help people
understand why we should be
protecting these creatures instead
of killing them.
ABERNATHY (O.S.)
GOLDSTEIN! Where is she? Where is
she? GOLDSTEIN!
TINA ducks behind her desk, which amuses NEWT.
ABERNATHY, a pompous jobsworth, enters. He immediately
realises where TINA is hidden.
ABERNATHY (CONT'D)
Goldstein!
TINA, looking guilty, slowly emerges from behind the desk.
ABERNATHY (CONT'D)
Did you just butt in on the
Investigative Team again?
(CONTINUED)
23.
24 CONTINUED: (2) 24
TINA is about to defend herself, but ABERNATHY continues.
ABERNATHY (CONT'D)
Where've you been?
TINA
(awkward)
What... ?
ABERNATHY
(to NEWT)
Where'd she pick you up?
NEWT
Me?
NEWT quickly looks at TINA, who shakes her head, her
expression one of desperation. NEWT stalls a silent pact
between him and TINA.
ABERNATHY
(agitated by the lack of
information)
Have you been tracking them Second
Salemers again?
TINA
Of course not, sir.
GRAVES comes round the corner. ABERNATHY is immediately
cowed.
ABERNATHY
Afternoon, Mr Graves, sir!
GRAVES
Afternoon, ah Abernathy.
TINA steps forwards to formally address GRAVES.
TINA
(speaking quickly, eager
to have her case heard)
Mr Graves, sir, this is Mr
Scamander he has a crazy creature
in that case and it got out and
caused mayhem in a bank, sir.
GRAVES
Let's see the little guy.
TINA breathes a sigh of relief: finally someone is listening
to her.
(CONTINUED)
24.
24 CONTINUED: (3) 24
NEWT tries to speak up he looks more panicky than might
seem warranted by a Niffler but GRAVES dismisses him.
TINA theatrically places the case onto a table and throws
open the lid. She looks aghast at the contents.
ANGLE ON: the case contents it is full of pastries.
NEWT approaches, nervous. On seeing the contents he looks
horrified. GRAVES looks confused, but smirks slightly:
another one of TINA'S mistakes.
GRAVES (CONT'D)
Tina...
GRAVES walks away. NEWT and TINA stare at each other.
25 EXT. STREET ON THE LOWER EAST SIDE - DAY 25
JACOB marches along the overcast street, case in hand, past
pushcarts, shabby little shops and tenement buildings. He
continually throws nervous glances over his shoulder.
26 INT. JACOB'S ROOM - DAY 26
A tiny, dirty room, the furnishings sparse and shabby.
CLOSE ON: the case as JACOB throws it down onto his bed. He
looks up at a portrait of his grandmother, which hangs on the
wall.
JACOB
I'm sorry, Grandma.
JACOB sits down at his desk, hanging his head in his hands,
downcast, tired. Behind him, one of the catches on the case
flies open. JACOB turns...
He sits down on the bed and examines the case. The second
catch now flicks open of its own accord, and the case begins
to shake, emitting aggressive animalistic sounds. JACOB
slowly backs away.
Tentatively, he leans forward... suddenly the lid flies open
and out bursts a MURTLAP a rat-like creature with an
anemone-style growth on its back. JACOB grapples with it,
holding it tightly in both hands as it struggles.
WE WHIP BACK to the case, which flies open once again as an
INVISIBLE BEING shoots out, crashing into the ceiling before
smashing through the window.
(CONTINUED)
25.
26 CONTINUED: 26
The Murtlap lunges forwards, biting JACOB on the neck,
sending him crashing through furniture and tumbling to the
ground.
The room shakes heavily, and the wall holding the picture of
JACOB'S grandma begins to crack before exploding, as more
creatures escape off-screen.
27 INT. SECOND SALEM CHURCH, MAIN HALL - DAY - MONTAGE 27
A dingy wooden church with darkened windows and a high
mezzanine balcony. MODESTY is playing a solitary variation of
hopscotch, skipping in and out of a chalked grid.
MODESTY
My momma, your momma,
gonna catch a witch
My momma, your momma,
flying on a switch
My momma, your momma,
witches never cry
My momma, your momma,
witches gonna die!
As she sings we see the church is full of group paraphernalia
leaflets advertising MARY LOU'S campaign, and a large
version of the group's anti- witchcraft banner.
28 INT. SECOND SALEM CHURCH, MAIN HALL - DAY 28
A pigeon coos from a high-up window. CREDENCE steps forwards,
staring up towards it before mechanically clapping his hands.
The pigeon flies away.
WE FOLLOW CHASTITY as she moves through the church and opens
the large double doors onto the street.
29 EXT. SECOND SALEM CHURCH, BACKYARD - DAY 29
CHASTITY emerges from the church and rings a large dinner
bell.
30 INT. SECOND SALEM CHURCH, MAIN HALL - DAY 30
MODESTY continues playing hopscotch. CREDENCE pauses, looking
past her and out towards the door.
(CONTINUED)
26.
30 CONTINUED: 30
MODESTY
Witch number three, gonna
watch her burn,
Witch number four, flogging
take a turn.
Young children stream into the church.
TIME CUT:
Brown soup is being ladled out to the children, who jostle
each other to get near the front of the line. MARY LOU,
wearing an apron and looking on approvingly, squeezes through
the little crowd.
MARY LOU
Collect your leaflets before you
get food, children.
Several of the children turn towards CHASTITY, who waits
primly, handing out campaign leaflets.
TIME CUT:
MARY LOU and CREDENCE ladle out soup, CREDENCE looking
intently into every face.
A BOY with a birthmark on his face reaches the front of the
line. CREDENCE stops his work and stares at him. MARY LOU
reaches out to touch the BOY'S face.
BOY
Is it a witch's mark, ma'am?
MARY LOU
No. He's okay.
The BOY takes his soup and leaves. CREDENCE stares after him,
as they continue to serve.
31 EXT. MAIN STREET ON THE LOWER EAST SIDE - AFTERNOON 31
CLOSE ON: a BILLYWIG a small blue creature with helicopter-
like wings on its head flying high above the street.
TINA and NEWT walk along the street, TINA carrying the case.
TINA
(on the verge of tears)
I can't believe you didn't
Obliviate that man! If there's an
inquiry I'm finished!
(CONTINUED)
27.
31 CONTINUED: 31
NEWT
So why would you be finished? I'm
the one that's--
TINA
--I'm not supposed to go near the
Second Salemers!
The Billywig zooms over their heads. NEWT spins, horrified,
watching it.
TINA (CONT'D)
What was that?
NEWT
Er moth, I think. Big moth.
TINA finds this explanation dubious.
They round a corner to find a crowd gathered in front of a
crumbling building. People are shouting, others are hurriedly
evacuating the building.
A POLICEMAN is standing at the centre of the crowd, being
harassed by disgruntled tenement-dwellers.
JUMP CUT:
NEWT and TINA move around the outskirts of the crowd. At the
back, a tipsy HOBO is trying to attract the POLICEMAN'S
attention.
POLICEMAN
Hey... hey quiet down I'm
trying to get a statement...
HOUSEWIFE
... I'm telling you it's a gas
explosion again, I ain't taking the
kids back up there until it's safe.
POLICEMAN
Sorry, ma'am there ain't no smell
of gas.
HOBO
(drunk)
It warn't gas hey, officer, I
seen it! it wuzza a gigantic
a huge hippopotto--
TINA is looking up at the ruined building, and misses NEWT
sliding his wand from his sleeve and pointing it at the HOBO.
(CONTINUED)
28.
31 CONTINUED: (2) 31
HOBO (CONT'D)
--gas. It was gas.
The others in the crowd around him agree.
CROWD
Gas... it was gas!
TINA again catches sight of the Billywig. Taking advantage of
this distraction, NEWT runs up the metal steps and inside the
ruined tenement building.
32 INT. JACOB'S ROOM - AFTERNOON 32
NEWT enters JACOB'S room and stops, staring: the room is
completely destroyed.
Footprints, broken furniture, shattered glass. Even worse: a
massive hole in the opposite wall something huge has
blasted its way out.
We can hear JACOB groaning from the corner.
CUT BACK TO:
33 EXT. TENEMENT STREET - AFTERNOON 33
TINA as she looks around and realises that NEWT has
disappeared from the crowd.
34 INT. JACOB'S ROOM - AFTERNOON 34
NEWT crouches beside JACOB, who lies on his back, eyes closed
and moaning. NEWT tries to examine a small red bite on
JACOB'S neck, but JACOB keeps unconsciously batting him away.
TINA (O.S.)
Mr Scamander!
CUT TO:
TINA: running with purpose up the staircase of JACOB'S
building.
CUT BACK TO:
NEWT: who desperately performs a repairing charm. The room is
righted, the wall repaired, just in time before TINA enters
the room.
29.
35 INT. JACOB'S ROOM - AFTERNOON 35
TINA hurries inside to find NEWT, trying to look innocent and
composed, sitting on the bed. He calmly seals the latches on
his case.
TINA
It was open?
NEWT
Just a smidge...
TINA
That crazy Niffler thing's on the
loose again?
NEWT
Er it might be -
TINA
Then look for it! Look!
JACOB moans.
TINA drops JACOB'S case and makes straight for the injured
JACOB.
TINA (CONT'D)
(worried about JACOB)
His neck's bleeding, he's hurt!
Wake up, Mr No-Maj...
With TINA'S back turned, NEWT makes towards the door.
Suddenly, TINA emits a guttural scream as the Murtlap comes
scuttling out from under a cabinet and latches onto her arm.
NEWT spins, catching the creature by the tail and grappling
it into the case.
TINA (CONT'D)
Mercy Lewis, what is that?
NEWT
Nothing to worry about. That is a
Murtlap.
Unnoticed by either, JACOB opens his eyes.
TINA
What else have you got in there?
(CONTINUED)
30.
35 CONTINUED: 35
JACOB
(recognising NEWT)
You!
NEWT
Hello.
TINA
Easy, Mr--
JACOB
--Kowalski... Jacob...
TINA takes JACOB'S hand to shake it.
NEWT raises his wand. JACOB recoils in fear, clutching at
TINA, who moves protectively in front of him.
TINA
You can't Obliviate him! We need
him as a witness.
NEWT
I'm sorry you've just yelled at
me the length of New York for not
doing it in the first place...
TINA
He's hurt! He looks ill!
NEWT
He'll be fine. Murtlap bites aren't
serious.
NEWT puts his wand away.
JACOB retches into the corner, while TINA looks at NEWT in
disbelief.
NEWT (CONT'D)
I admit that is a slightly more
severe reaction than I've seen, but
if it was really serious he'd
have...
TINA
What?
NEWT
Well, the first symptom would be
flames out of his anus-
Terrified, JACOB feels the seat of his pants.
(CONTINUED)
31.
35 CONTINUED: (2) 35
TINA
This is balled up!
NEWT
It'll last forty-eight hours at
most! I can keep him if you want me
to-
TINA
Oh, keep him? We don't keep them!
Mr Scamander, do you know anything
about the wizarding community in
America?
NEWT
I do know a few things, actually. I
know you have rather backwards laws
about relations with non-magic
people. That you're not meant to
befriend them, that you can't marry
them, which seems mildly absurd to
me.
JACOB is following this conversation, open-mouthed.
TINA
Who's going to marry him? You're
both coming with me-
NEWT
I don't see why I need to come with
you-
TINA tries to lift the partially conscious JACOB from the
floor.
TINA
Help me!
NEWT feels obliged to help.
JACOB
I'm... I'm dreaming, right? Yeah...
I'm tired, I never went to the
bank. This is all just some big
nightmare, right?
TINA
For the both of us, Mr Kowalski.
TINA and NEWT Disapparate with JACOB.
(CONTINUED)
32.
35 CONTINUED: (3) 35
WE FOCUS ON: the photo of JACOB'S grandma, once again hanging
on the wall. Eventually the photo gives a little shake before
falling and revealing a hole in the wall, inhabited by the
Niffler.
36 EXT. UPPER EAST SIDE - AFTERNOON 36
A young boy, clutching a huge lollipop, is led down the busy
street by his father. As they pass a fruit barrow, an apple
suddenly levitates, bobbing along beside him. The boy gazes
in wonder as the apple is eaten by something invisible, then
the smile fades as his lollipop is snatched by the same
unseen hands.
AT A NEWSSTAND: the eyes of a lady on an advertisement blink
open. The outline of a creature becomes visible, camouflage-
like, before it peels away from the poster. It moves along
the street, invisible again, only locatable by the lollipop
it holds seemingly suspended in mid-air. A dog barks in its
direction, and the creature scuttles on, knocking over
newspaper stands, causing bikes and cars to swerve.
ANGLE ON: the roof of a department store we see a thin blue
tail slither inside a small attic window. Suddenly the
building shakes and tiles break away, as the creature's size
expands to fill the whole room.
37 INT. SHAW TOWER NEWSROOM - DUSK 37
The glittering Art Deco headquarters of a media empire. Many
journalists are hard at work in an outer office.
An elevator opens and LANGDON SHAW bustles excitedly through
the room, leading the SECOND SALEMERS. He carries maps,
several old books and a handful of photographs.
MARY LOU is composed, CHASTITY looks shy and MODESTY is
excited, curious.
CREDENCE looks nervous he doesn't like crowds.
LANGDON
... and so this is the newsroom.
LANGDON spins around excitedly, eager to show the SECOND
SALEMERS that he holds authority here.
LANGDON (CONT'D)
Let's go!
(CONTINUED)
33.
37 CONTINUED: 37
LANGDON moves around the office and speaks to some of the
workers.
LANGDON (CONT'D)
Hey, how are you? Make way for the
Barebones! Now, they're just
putting the papers to bed, as they
say.
Looks of veiled amusement from journalists as LANGDON leads
his group to double doors at the end of the open-plan area.
HENRY SHAW SR'S assistant BARKER stands up, anxious.
BARKER
Mr Shaw, sir, he's with the senator-
LANGDON
Never mind that, Barker, I wanna
see my father!
LANGDON pushes past.
38 INT. SHAW SR'S PENTHOUSE OFFICE - DUSK 38
A large, impressive office with spectacular views across the
city. The newspaper magnate HENRY SHAW SR is talking to
his elder son, SENATOR SHAW.
SENATOR SHAW
... we could just buy the boats...
The doors burst open to reveal a harassed-looking BARKER and
an excitable LANGDON.
BARKER
I'm so sorry, Mr Shaw, but your son
insisted-
LANGDON
Father, you're going to want to
hear this.
LANGDON moves towards his father's desk and begins spreading
out photographs.
WE RECOGNISE some of the images: the destroyed streets from
the start of the film.
LANGDON (CONT'D)
I've got something huge!
(CONTINUED)
34.
38 CONTINUED: 38
SHAW SR
Your brother and I are busy here,
Langdon. Working on his campaign.
We don't have time for this.
MARY LOU, CREDENCE, CHASTITY and MODESTY enter the office.
SHAW SR and SENATOR SHAW stare.
CREDENCE stands with his head bowed, embarrassed, nervous.
LANGDON
This is Mary Lou Barebone from the
New Salem Philanthropic Society,
and she's got a big story for you!
SHAW SR
Oh she has has she?
LANGDON
There's strange things going on all
over the city. The people behind
this they are not like you and
me. This is witchcraft, don't you
see?
SHAW SR and the SENATOR look dubious all too used to
LANGDON'S harebrained little projects and interests.
SHAW SR
Langdon.
LANGDON
She doesn't want any money.
SHAW SR
Then either her story is worthless,
or she's lying about the cost.
Nobody gives away anything valuable
for free.
MARY LOU
(confident, persuasive)
You are right, Mr Shaw. What we
desire is infinitely more valuable
than money: it's your influence.
Millions of people read your
newspapers and they need to be made
aware about this danger.
LANGDON
The crazy disturbances in the
subway just look at the pictures!
(CONTINUED)
35.
38 CONTINUED: (2) 38
SHAW SR
I'd like you and your friends to
leave.
LANGDON
No, you're missing a trick here.
Just look at the evidence-
SHAW SR
Really.
SENATOR SHAW
(joining his father and
brother)
Langdon. Just listen to Father and
go.
His eyes shift, focus on CREDENCE.
SENATOR SHAW (CONT'D)
And take the freaks with you.
CREDENCE perceptibly twitches, disturbed by anger in his
vicinity.
MARY LOU is calm, but steely.
LANGDON
This is Father's office, not yours,
and I'm sick of this every time I
walk in here...
SHAW SR silences his son and motions for the BAREBONES to
leave.
SHAW SR
That's it thank you.
MARY LOU
(calm, dignified)
We hope you'll reconsider, Mr Shaw.
We're not difficult to find. Until
then, we thank you for your time.
SHAW SR and SENATOR SHAW watch MARY LOU as she turns, leading
her children out. The newsroom has fallen quiet, everyone
craning to hear the row.
As he departs, CREDENCE drops a leaflet. SENATOR SHAW moves
forwards and bends to pick it up. He glances at the witches
on the front.
(CONTINUED)
36.
38 CONTINUED: (3) 38
SENATOR SHAW
(to CREDENCE)
Hey, boy. You dropped something.
The SENATOR crumples up the leaflet before putting it in
CREDENCE'S hand.
SENATOR SHAW (CONT'D)
Here you go, freak why don't you
put that in the trash where you all
belong.
Behind CREDENCE, MODESTY'S eyes burn. She clutches CREDENCE'S
hand protectively.
39 EXT. BROWNSTONE STREET - SHORTLY AFTERWARDS - DUSK 39
TINA and NEWT stand on either side of an ailing JACOB, trying
to keep him steady.
TINA
Take a right here...
JACOB makes various retching sounds, the bite on his neck
clearly affecting him more and more.
As the group rounds a corner, TINA hurries them to hide
behind a large repair truck. From here she peers at a house
across the street.
TINA (CONT'D)
Okay before we go in I'm not
supposed to have men on the
premises.
NEWT
In that case, Mr Kowalski and I can
easily seek other accommodation-
TINA
Oh no, you don't!
TINA quickly grabs JACOB'S arm and pulls him across the road,
NEWT dutifully following.
TINA (CONT'D)
Watch your step.
40 INT. GOLDSTEIN RESIDENCE, STAIRWELL - DUSK 40
NEWT, TINA and JACOB tiptoe up the stairs.
(CONTINUED)
37.
40 CONTINUED: 40
They have just reached the first landing when MRS ESPOSITO,
the landlady, calls out. The group freezes.
MRS ESPOSITO (O.S.)
That you, Tina?
TINA
Yes, Mrs Esposito!
MRS ESPOSITO (O.S.)
Are you alone?
TINA
I'm always alone, Mrs Esposito!
A beat.
41 INT. GOLDSTEIN RESIDENCE, SITTING ROOM - DUSK 41
The group enters the Goldstein apartment.
Although impoverished, the apartment is enlivened by workaday
magic. An iron is working away on its own in a corner, and a
clothes horse revolves clumsily on its wooden legs in front
of the fire, drying an assortment of underwear.
Magazines are scattered around: THE WITCH'S FRIEND, WITCH
CHAT and TRANSFIGURATION TODAY.
Blonde QUEENIE, the most beautiful girl ever to don witches'
robes, is standing in a silk slip, supervising the mending of
a dress on a dressmaker's dummy.
JACOB is thunderstruck.
NEWT barely notices. Impatient to leave as soon as possible,
he starts peeking out of the windows.
QUEENIE
Teenie you brought men home?
TINA
Gentlemen, this is my sister. You
want to put something on, Queenie?
QUEENIE
(unconcerned)
Oh, sure-
She runs her wand up the dummy and the dress runs magically
up her body.
(CONTINUED)
38.
41 CONTINUED: 41
JACOB watches the display, dumbfounded.
TINA, frustrated, starts tidying the apartment.
QUEENIE (CONT'D)
So, who are they?
TINA
That's Mr Scamander. He's committed
a serious infraction of the
National Statute of Secrecy-
QUEENIE
(impressed)
He's a criminal?
TINA
-uh huh, and this is Mr Kowalski,
he's a No-Maj-
QUEENIE
(suddenly worried)
A No-Maj? Teen what are you up
to?
TINA
He's sick it's a long story Mr
Scamander has lost something, I'm
going to help him find it.
JACOB suddenly staggers, very sweaty and unwell.
QUEENIE runs to him as TINA hovers, also worried.
QUEENIE
(as JACOB falls back onto
a sofa)
You need to sit down, honey. Hey-
(reading his mind)
-he hasn't eaten all day. And-
(reading his mind)
-aww, that's rough,
(reading his mind)
-he didn't get the money he wanted
for his bakery. You bake, honey? I
love to cook.
NEWT is watching QUEENIE from his spot by the window, his
scientific attention now aroused.
NEWT
You're a Legilimens?
(CONTINUED)
39.
41 CONTINUED: (2) 41
QUEENIE
Uh huh, yeah. But I always have
trouble with your kind. Brits. It's
the accent.
JACOB
(cottoning on, appalled)
You know how to read minds?
QUEENIE
Aww, don't worry, honey. Most guys
think what you was thinking, first
time they see me.
QUEENIE playfully gestures towards JACOB with her wand.
QUEENIE (CONT'D)
Now, you need food.
NEWT looks out the window and sees a Billywig fly past he's
nervous, impatient to get out and find his creatures.
TINA and QUEENIE busy themselves in the kitchen. Ingredients
come floating out of cupboards as QUEENIE enchants them into
the components of a meal carrots and apples chop
themselves, pastry rolls itself and pans stir.
QUEENIE (CONT'D)
(to TINA)
Hot dog... again?
TINA
Don't read my mind!
QUEENIE
Not a very wholesome lunch.
TINA points her wand at the cupboards. Dishes, assorted
cutlery and glasses come flying out, setting themselves on
the table with a little prodding from TINA'S wand.
JACOB, half-fascinated, half-terrified, staggers towards the
table.
ANGLE ON: NEWT, his hand on the doorknob.
QUEENIE (CONT'D)
(artless)
Hey, Mr Scamander, you prefer pie
or strudel?
All look at NEWT who, embarrassed, removes his hand from the
doorknob.
(CONTINUED)
40.
41 CONTINUED: (3) 41
NEWT
I really don't have a preference.
TINA stares at NEWT: confrontational, but also disappointed
and hurt.
JACOB is already seated at the table, tucking his napkin into
his shirt.
QUEENIE
(reading JACOB'S mind)
You prefer strudel, huh, honey?
Strudel it is.
JACOB nods with excited enthusiasm. QUEENIE grins back,
delighted.
With a flick of her wand, QUEENIE sends raisins, apples and
pastry flying into the air. The concoction neatly wraps
itself up into a cylindrical pie, baking on the spot,
complete with ornate decoration and a dusting of sugar.
JACOB takes a deep breath in: heaven.
TINA lights candles on the table the meal is ready.
FOCUS ON: NEWT'S pocket, a small squeak, and PICKETT pokes
his head out, curious.
TINA
Well, sit down, Mr Scamander, we're
not going to poison you.
NEWT, still hovering near the door, looks somewhat charmed by
the situation. JACOB glares at him subtly, willing him to sit
down.
42 EXT. BROADWAY - NIGHT 42
CREDENCE is walking alone through a worldly crowd of late-
night diners and theatre-goers. Traffic roars past. He is
trying to give out leaflets but is met with only incredulity
and faint derision.
The Woolworth Building looms ahead. CREDENCE glances towards
it with a hint of longing. GRAVES stands outside, watching
CREDENCE intently. CREDENCE spots him, hope flickering across
his face. Utterly enthralled, CREDENCE moves across the
street towards GRAVES, barely looking where he's going
everything else is forgotten.
41.
43 EXT. ALLEYWAY - NIGHT 43
CREDENCE stands, head bowed, at the end of a dimly lit
alleyway. GRAVES joins him, moving in very close to whisper,
conspiratorial:
GRAVES
You're upset. It's your mother
again. Somebody's said something
what did they say? Tell me.
CREDENCE
Do you think I'm a freak?
GRAVES
No I think you're a very special
young man or I wouldn't have asked
you to help me, now would I?
A pause. GRAVES rests a hand on CREDENCE'S arm. The human
contact seems to both startle and captivate CREDENCE.
GRAVES (CONT'D)
Have you any news?
CREDENCE
I'm still looking. Mr Graves, if I
knew whether it was a girl or boy-
GRAVES
My vision showed only the child's
immense power. He or she is no
older than ten, and I saw this
child in close proximity to your
mother she I saw so plainly.
CREDENCE
That could be any one of hundreds.
GRAVES'S tone softens he's beguiling, comforting.
GRAVES
There is something else. Something
I haven't told you. I saw you
beside me in New York. You're the
one that gains this child's trust.
You are the key I saw this. You
want to join the wizarding world. I
want those things too, Credence. I
want them for you. So find the
child. Find the child and we'll all
be free.
42.
44 INT. GOLDSTEIN RESIDENCE, SITTING ROOM - HALF AN HOUR LATER -
44
NIGHT
The catch on NEWT'S case pops open. NEWT reaches down and
pushes it shut.
JACOB looks a little better for having eaten. He and QUEENIE
are getting on famously.
QUEENIE
The job ain't that glamorous. I
mean, I spend most days making
coffee, unjinxing the john...
Tina's the career girl.
(she reads his mind)
Nah. We're orphans. Ma and Pa died
of dragon pox when we were kids.
Aww...
(reading his mind)
You're sweet. But we got each
other!
JACOB
Could you stop reading my mind for
a second? Don't get me wrong I
love it.
QUEENIE giggles, delighted, captivated by JACOB.
JACOB (CONT'D)
This meal it's insanely good!
This is what I do I'm a cook and
this is, like, the greatest meal I
have ever had in my life.
QUEENIE
(laughing)
Oh you slay me! I ain't never
really talked to a No-Maj before.
JACOB
Really?
QUEENIE and JACOB gaze into each other's eyes.
NEWT and TINA sit opposite each other, uncomfortably silent
in the presence of such affectionate behaviour.
QUEENIE
(to TINA)
I am not flirting!
(CONTINUED)
43.
44 CONTINUED: 44
TINA
(embarrassed)
I'm just saying don't go getting
attached, he's going to have to be
Obliviated!
(to JACOB)
It's nothing personal.
JACOB is suddenly very pale and sweaty again, although still
trying to look good for QUEENIE.
QUEENIE
(to JACOB)
Oh, hey, you okay, honey?
NEWT briskly gets up from the table and awkwardly stands
behind his chair.
NEWT
Miss Goldstein, I think Mr Kowalski
could do with an early night. And
besides, you and I will need to be
up early tomorrow morning to find
my Niffler, so--
QUEENIE
(to TINA)
What's a Niffler?
TINA looks put out.
TINA
Don't ask.
(moving towards a back
room)
Okay, you guys can bunk in here.
45 INT. GOLDSTEIN RESIDENCE, BEDROOM - NIGHT 45
The boys are tucked up in neatly made twin beds. NEWT is
resolutely turned away on his side, while JACOB is sitting up
in bed, trying to make sense of a wizarding book.
TINA, wearing patterned blue pyjamas, tentatively knocks on
the door, and enters carrying a tray of cocoa. The mugs are
stirring themselves JACOB is captivated again.
TINA
I thought you might like a hot
drink?
TINA carefully hands JACOB his mug.
(CONTINUED)
44.
45 CONTINUED: 45
NEWT remains turned away, feigning sleep, so TINA, with some
frustration, pointedly places his cup on the bedside table.
JACOB
Hey, Mr Scamander--
(to NEWT, trying to make
him friendlier)
Look, cocoa!
NEWT does not move.
TINA
(irritated)
The toilet's down the hall to the
right.
JACOB
Thanks...
As TINA shuts the door, JACOB gets a quick glimpse of QUEENIE
in the other room, wearing a much less demure dressing gown.
JACOB (CONT'D)
Very much...
The moment the door closes NEWT jumps up, still wearing his
overcoat, and places his case on the floor. To JACOB'S utter
astonishment, NEWT opens the case and walks down inside it,
now completely out of sight.
JACOB lets out a small scream of alarm.
NEWT'S hand appears from the case, beckoning him imperiously.
JACOB stares, breathing heavily, trying to process the
situation.
NEWT'S hand, impatient, appears again.
NEWT (O.S.)
Come on.
JACOB rallies himself, gets out of bed and steps down into
NEWT'S case. However, he gets stuck at his waistline and
tries hard to squeeze himself through, the case bouncing up
and down with his efforts.
JACOB
For the love of...
With a final frustrated jump, JACOB suddenly disappears
through the case, which snaps shut after him.
45.
46 INT. NEWT'S CASE - A MOMENT LATER - NIGHT 46
JACOB crashes down the steps of the case, colliding with
various objects, instruments and bottles as he goes.
He finds himself inside a small wooden shed containing a camp
bed, tropical gear and various tools hung up on the walls.
Wooden cupboards contain rope, nets and collecting jars. A
very old typewriter, a pile of manuscripts and a medieval
bestiary sit on a desk. Potted plants line a shelf. Rows of
pills and tablets, syringes and vials form a medicine chest,
and tacked up on the walls are notes, maps, drawings and a
few moving photographs of extraordinary creatures. A dried
carcass hangs from a hook. Several sacks of feed are resting
against the wall.
NEWT
(glances at JACOB)
Will you sit down.
JACOB drops onto a crate hand-labelled MOONCALF PELLETS.
JACOB
That's good.
NEWT moves forward to examine the bite on JACOB'S neck one
quick glance.
NEWT
Ah, that's definitely the Murtlap.
You must be particularly
susceptible. See, you're a Muggle.
So our physiologies are subtly
different.
NEWT busies himself at his work station, using plants and the
contents of various bottles to create a poultice, which he
rapidly applies to JACOB'S neck.
JACOB
Oww...
NEWT
Now stay still. Now that should
stop the sweating.
(handing him some pills)
And one of those should sort the
twitch.
JACOB looks suspiciously at the pills in his hand. Finally,
deciding he has nothing to lose, he swallows them.
(CONTINUED)
46.
46 CONTINUED: 46
ANGLE ON: NEWT, who has now removed his waistcoat, undone his
bow tie and lowered his braces. He picks up a meat cleaver
and hacks chunks of meat off a large carcass, before tossing
them into a bucket.
NEWT (CONT'D)
(handing him the bucket)
Take that.
JACOB looks disgusted. NEWT doesn't notice, his attention now
focused on a spiny cocoon, which he slowly begins to squeeze.
As he does so, the cocoon emits a luminous venom, which NEWT
collects into a glass vial.
NEWT (CONT'D)
(to the cocoon)
Come on...
JACOB
What you got there?
NEWT
Well this the locals call
'Swooping Evil' not the
friendliest of names. It's quite an
agile fellow.
As if to demonstrate, NEWT flicks the cocoon, which unravels,
dangling elegantly from his finger.
NEWT (CONT'D)
I've been studying him. And I am
pretty sure his venom could be
quite useful if properly diluted.
Just to remove bad memories, you
know.
Quite suddenly NEWT throws the Swooping Evil towards JACOB.
The creature bursts out from its cocoon a bat-like, spikey
and colourful creature which howls in JACOB'S face before
NEWT recalls it. JACOB recoils dramatically, but this was
evidently NEWT'S idea of a little joke...
NEWT (CONT'D)
(smiling to himself)
Probably shouldn't let him loose in
here, though.
NEWT opens the door of his shed and walks through.
NEWT (CONT'D)
Come on.
(CONTINUED)
47.
46 CONTINUED: (2) 46
JACOB, now thoroughly startled, follows him out.
47 INT. NEWT'S CASE, ANIMAL AREA - DAY 47
The perimeter of the leather case is dimly visible, but the
place has swollen to the size of a small aircraft hangar. It
contains what appears to be a safari park in miniature. Each
of NEWT'S creatures has its own perfect, magically realised,
habitat.
JACOB steps into this world, totally amazed.
NEWT is standing in the nearest habitat a slice of Arizona
desert. This area contains FRANK, a magnificent Thunderbird
a creature like a large albatross, his glorious wings
shimmering with cloud- and sun-like patterns. One of his legs
is rubbed raw and bloody he has obviously previously been
chained.
As FRANK flaps his wings, his habitat fills with a torrential
downpour, thunder and lightning. NEWT uses his wand to create
a magical umbrella, shielding him from the rain.
NEWT
(eyes on FRANK up high)
Come on.... come on... down you
come... come on.
Slowly FRANK calms himself, lowering down to stand on a large
rock in front of NEWT. As he does, the rain dies down and is
replaced by a brilliant, hot sunshine.
NEWT puts his wand away and produces a handful of grubs from
his pocket. FRANK watches intently.
NEWT strokes FRANK with his free hand, calming him,
affectionate.
NEWT (CONT'D)
Oh, thank Paracelsus. If you'd have
got out that could have been quite
catastrophic.
(to JACOB)
You see, he's the real reason I
came to America. To bring Frank
home.
JACOB, still staring, steps slowly forwards. In reaction,
FRANK starts to flap his wings, agitated.
(CONTINUED)
48.
47 CONTINUED: 47
NEWT (CONT'D)
(to JACOB)
No, sorry stay there he's a wee
bit sensitive to strangers.
(to FRANK, calming)
Here you are here you are.
(to JACOB)
He was trafficked, you see. I found
him in Egypt, he was all chained
up.
Couldn't leave him there, had to bring him back. I'm going to
put you back where you belong, aren't I, Frank. To the wilds
of Arizona.
NEWT, his face full of hope and expectation, hugs FRANK'S
head. Then, grinning, he casts the handful of grubs high into
the air. FRANK soars majestically upwards after them,
sunlight bursting from his wings.
NEWT watches him fly with love and pride. Then he turns, puts
his hands to his mouth, and roars beast-like towards another
area of the case.
NEWT moves past JACOB, grabbing the bucket of meat. JACOB
stumbles after him as several Doxys buzz around his head.
JACOB, dazed, swats them out of the way. Behind him a large
dung beetle rolls a giant ball of dung.
We hear NEWT roar loudly again. JACOB hurries towards the
sound, finding NEWT in a sandy, moonlit territory.
NEWT (CONT'D)
(under his breath)
Ah here they come.
JACOB
Here who comes?
NEWT
The Graphorns.
A large creature comes charging INTO SIGHT: a GRAPHORN
built like a sabre- toothed tiger but with slimy tentacles at
its mouth. JACOB screams and tries to back off, but NEWT
grabs hold of his arm, stopping him.
NEWT (CONT'D)
You're all right. You're all right.
The Graphorn moves closer to NEWT.
(CONTINUED)
49.
47 CONTINUED: (2) 47
NEWT (CONT'D)
(stroking the Graphorn)
Hello, hello!
The Graphorn's strange slimy tentacles rest on NEWT'S
shoulder, seeming to embrace him.
NEWT (CONT'D)
So they're the last breeding pair
in existence. If I hadn't managed
to rescue them, that could have
been the end of Graphorns for
ever.
A younger Graphorn trots straight up to JACOB and begins
licking his hand, circling him curiously. He stares down at
it, then gently reaches out and strokes its head. NEWT
watches JACOB, pleased.
NEWT (CONT'D)
All right.
NEWT throws a piece of meat into the enclosure, which is
hastily chased and consumed by the young Graphorn.
JACOB
So what you, you rescue these
creatures?
NEWT
Yes, that's right. Rescue, nurture
and protect them, and I'm gently
trying to educate my fellow wizards
about them.
A tiny bright pink bird, the FWOOPER, flies past and comes to
rest on a little perch, suspended from mid-air.
NEWT heads up a small ramp of stairs.
NEWT (CONT'D)
(to JACOB)
Come on.
They enter a bamboo wood, ducking and diving through the
trees. NEWT calls out.
NEWT (CONT'D)
Titus? Finn? Poppy, Marlow, Tom?
They emerge into a sunlit glade, NEWT producing PICKETT from
his pocket and holding him perched on his hand.
(CONTINUED)
50.
47 CONTINUED: (3) 47
NEWT (CONT'D)
(to JACOB)
He had a cold. He needed some body
warmth.
JACOB
Aww.
They move towards a small tree bathed in sunlight. At their
approach, a clan of Bowtruckles chatters and rushes out of
the leaves.
NEWT extends his arm towards the tree, trying to persuade
PICKETT to rejoin the others. The Bowtruckles clack noisily
when they see PICKETT.
NEWT
Right, on you hop.
PICKETT steadfastly refuses to leave NEWT'S arm.
NEWT (CONT'D)
(to JACOB)
See, he has some attachment issues.
(to PICKETT)
Now come on, Pickett. Pickett. No,
they're not going to bully you...
now, come on. Pickett!
PICKETT clings by his spindly hands to one of NEWT'S fingers,
desperate not to return to the tree. NEWT finally resigns
himself.
NEWT (CONT'D)
All right. But that is exactly why
they accuse me of favouritism...
NEWT puts PICKETT onto his shoulder and turns. On seeing a
large, round, empty nest, he looks concerned.
NEWT (CONT'D)
I wonder where Dougal's gone.
From within a nearby nest, we hear chirping sounds.
NEWT (CONT'D)
All right, I'm coming... I'm
coming, Mum's here Mum's here.
NEWT reaches into the nest and scoops up a baby Occamy.
(CONTINUED)
51.
47 CONTINUED: (4) 47
NEWT (CONT'D)
Ah hello you let me take a look
at you.
JACOB
I know these guys.
NEWT
New Occamy.
(to JACOB)
Your Occamy.
JACOB
What do you mean? My Occamy?
NEWT
Yes do you want to...
NEWT proffers the Occamy to JACOB.
JACOB
Oh wow... yeah, sure. Okay... ah
ha.
JACOB holds the newborn creature gently in his hands and
stares. As he moves to stroke its head, the Occamy moves to
nip him. JACOB starts backwards.
NEWT
Ah, no, sorry don't pet them.
They learn to defend themselves
early. See, their shells are made
of silver so they're incredibly
valuable.
NEWT feeds the other babies in the nest.
JACOB
Okay...
NEWT
Their nests tend to get ransacked
by hunters.
NEWT, delighted by JACOB'S interest in his creatures, takes
back the baby Occamy, placing it in the nest.
JACOB
Thank you.
(croaky)
Mr Scamander?
(CONTINUED)
52.
47 CONTINUED: (5) 47
NEWT
Call me Newt.
JACOB
Newt... I don't think I'm dreaming.
NEWT
(vaguely amused)
What gave it away?
JACOB
I ain't got the brains to make this
up.
NEWT looks at JACOB, both intrigued and flattered.
NEWT
Actually, would you mind throwing
some of those pellets in with the
Mooncalves over there?
JACOB
Yeah, sure.
JACOB bends down and picks up the bucket of pellets.
NEWT
Just over there...
NEWT grabs a nearby wheelbarrow and sets off further into the
case.
NEWT (CONT'D)
(annoyed)
Bugger the Niffler's gone. Of
course he has, little bugger. Any
chance to get his hands on
something shiny.
As JACOB walks through the case, we see what appear to be
golden 'leaves' falling from a tiny tree, which move together
EN MASSE TOWARDS THE CAMERA. They swarm upwards, mingling
with Doxys, Glow Bugs and Grindylows which float through the
air.
THE CAMERA PANS UP to reveal another magnificent creature,
the NUNDU looking almost exactly like a lion, it has a
large mane which bursts forth when it roars. It stands
proudly on a large rock, roaring at the moon. NEWT scatters
food at its feet and purposefully moves on.
(CONTINUED)
53.
47 CONTINUED: (6) 47
A DIRICAWL a small, plump bird waddles in the foreground
followed by its constantly Apparating chicks, as JACOB climbs
up a steep grassy bank.
JACOB
(to himself)
What did you do today, Jacob? I was
inside a suitcase.
At the top, JACOB finds a large moonlit rock face populated
by little Mooncalves shy, with huge eyes filling their
whole faces.
JACOB (CONT'D)
Hey! Oh, hello fellas all right
all right.
The Mooncalves jump and hop down the rocks towards JACOB, who
finds himself suddenly surrounded by their friendly, hopeful
faces.
JACOB (CONT'D)
Take it easy take it easy.
As he throws pellets, the Mooncalves bob eagerly up and down.
JACOB visibly seems to be feeling better he really likes
this...
ANGLE ON: NEWT, now cradling a luminescent creature with
sprouting alien-like tendrils. He feeds the creature with a
bottle, while carefully watching how JACOB handles the
Mooncalves he recognises a kindred spirit.
JACOB (CONT'D)
(still feeding the
Mooncalves)
There you go, cutie. Ah, there it
is.
A kind of icy cry echoes from nearby.
JACOB (CONT'D)
(towards NEWT)
Did you hear that?
But NEWT is gone. JACOB turns to see a curtain billowing
open, behind which is revealed a snowscape.
WE PUSH INWARDS, towards a small oleaginous black mass
suspended in mid-air an OBSCURUS. JACOB, intrigued, moves
into the snowscape to get a closer look. The mass continues
to swirl, emitting a disturbed, restless energy. JACOB
reaches out to touch it.
(CONTINUED)
54.
47 CONTINUED: (7) 47
NEWT (O.S.)
(sharp)
Step back.
JACOB jumps.
JACOB
Jeez...
NEWT
Step back...
JACOB
What's the matter with this?
NEWT
I said step away.
JACOB
What the hell is this thing?
NEWT
It's an Obscurus.
JACOB looks at NEWT, who is momentarily lost in a bad
reverie. NEWT turns abruptly away and heads back towards the
hut, his tone colder, more efficient, no longer happy to play
about in the case.
NEWT (CONT'D)
I need to get going, find everyone
who's escaped before they get hurt.
The pair enters another forest, NEWT ploughing ahead, on a
mission.
JACOB
Before they could get hurt?
NEWT
Yes, Mr Kowalski. See, they're
currently in alien terrain,
surrounded by millions of the most
vicious creatures on the planet.
(a beat)
Humans.
NEWT stops once more, staring into a large savannah
enclosure, which is empty of any beasts.
(CONTINUED)
55.
47 CONTINUED: (8) 47
NEWT (CONT'D)
So where would you say that a
medium-sized creature that likes
broad, open plains trees water
holes that kind of thing where
might she go?
JACOB
In New York City?
NEWT
Yes.
JACOB
Plains?
JACOB shrugs as he tries to think of somewhere.
JACOB (CONT'D)
Ah Central Park?
NEWT
And where is that exactly?
JACOB
Where is Central Park?
A beat.
JACOB (CONT'D)
Well look, I would come and show
you, but, don't you think it's kind
of a double cross? The girls take
us in they make us hot cocoa...
NEWT
You do realise that when they see
you've stopped sweating, they'll
Obliviate you in a heartbeat.
JACOB
What does 'Bliviate' mean?
NEWT
It'll be like you wake up and all
memory of magic is gone.
JACOB
I won't remember any of this?
He looks around: This world is extraordinary.
(CONTINUED)
56.
47 CONTINUED: (9) 47
NEWT
No.
JACOB
All right, yeah okay I'll help
you.
NEWT
(picking up a bucket)
Come on, then.
48 EXT./INT. STREET OUTSIDE SECOND SALEM CHURCH - NIGHT 48
CREDENCE walks home towards the church. He looks happier than
before: his meeting with GRAVES has comforted him.
CREDENCE slowly enters the church, shutting the double doors
quietly.
CHASTITY is in the kitchen area, drying crockery.
MARY LOU sits in semi-darkness on the stairs. CREDENCE senses
her and pauses, his face one of trepidation.
MARY LOU
Credence where have you been?
CREDENCE
I was... looking for a place for
tomorrow's meeting. There's a
corner on Thirty-second that could-
CREDENCE moves round to the bottom of the stairs, falling
silent at the severe expression on MARY LOU'S face.
CREDENCE (CONT'D)
I'm sorry, Ma. I didn't realise it
was so late.
As if on autopilot, CREDENCE removes his belt. MARY LOU
stands and extends her hand, taking the belt. In silence, she
turns and walks up the stairs, CREDENCE obediently following.
MODESTY moves to the bottom of the stairs, watching them go,
a look of fear and upset on her face.
49 EXT. CENTRAL PARK - NIGHT 49
A LARGE FROZEN POND in the middle of Central Park. Children
ice-skate. A boy takes a tumble. A girl comes to help him up,
they link hands.
(CONTINUED)
57.
49 CONTINUED: 49
As they are about to stand, a light becomes visible
underneath the ice. A deep rumbling sound echoes. The
children stare as a glowing beast glides under the ice
beneath them, and off into the distance.
50 EXT. DIAMOND DISTRICT - NIGHT 50
NEWT and JACOB walk along another deserted street on the way
to Central Park.
The shops around them are full of expensive jewellery,
diamonds, precious stones.
NEWT, carrying his case, scans the shadows for small
movements.
NEWT
I was watching you at dinner.
JACOB
Yeah.
NEWT
People like you, don't they, Mr
Kowalski.
JACOB
(startled)
Oh well, I'm I'm sure people
like you, too huh?
NEWT
(not very concerned)
No, not really. I annoy people.
JACOB
(not sure how to answer)
Ah.
NEWT seems thoroughly intrigued by JACOB.
NEWT
Why did you decide to be a baker?
JACOB
Ah, well, um because I'm dying
in that canning factory.
(off NEWT'S look)
Everyone there's dying. It just
crushes the life outta you. You
like canned food?
(CONTINUED)
58.
50 CONTINUED: 50
NEWT
No.
JACOB
Me neither. That's why I want to
make pastries, you know. It makes
people happy. We're going this way.
JACOB heads off to his right. NEWT follows.
NEWT
So did you get your loan?
JACOB
Er, no I ain't got no collateral.
Stayed in the army too long,
apparently I don't know.
NEWT
What, you fought in the war?
JACOB
Of course I fought in the war,
everyone fought in the war you
didn't fight in the war?
NEWT
I worked mostly with dragons,
Ukrainian Ironbellies Eastern
Front.
NEWT suddenly stops. He has noticed a small shiny earring
lying on top of a car bonnet. His eyes move downwards:
DIAMONDS ARE SCATTERED ACROSS THE PAVEMENT, leading towards
the window of one particular diamond shop.
NEWT stealthily follows the trail, creeping past shop
windows. Something catches his eye and suddenly he pauses.
Very slowly, he tiptoes backwards.
The Niffler is standing in a shop window. In order to hide,
it is emulating a jewellery stand, little arms outstretched,
covered in diamonds.
NEWT stares at the Niffler in disbelief. Sensing NEWT'S
stare, the Niffler slowly turns. The two of them make eye
contact.
A beat.
Suddenly the Niffler is off: scurrying further into the shop
and away from NEWT. NEWT whips out his wand.
(CONTINUED)
59.
50 CONTINUED: (2) 50
NEWT (CONT'D)
Finestra.
The window glass shatters and NEWT leaps inside, seizing at
drawers and cupboards, desperate to find the creature. JACOB
stares down the street, incredulous as he watches NEWT who,
from an outsider's perspective, appears to be looting the
diamond shop.
The Niffler appears, scurrying over NEWT'S shoulders in an
attempt to get higher and away from his clutches. NEWT jumps
onto a desk after him, but the Niffler is now balancing on a
crystal chandelier.
NEWT reaches out and trips, both he and the Niffler now
hanging from the chandelier as it swings wildly round and
round.
JACOB looks around the street nervously, checking if anyone
else can hear the chaos coming from within the shop.
Finally the chandelier crashes to the floor, smashing.
Straight away the Niffler is back up, clambering across cases
full of jewellery, NEWT in hot pursuit.
A catch opens on NEWT'S case and a roar comes from within.
JACOB fearfully looks towards the case.
The Niffler and NEWT continue their chase, finally climbing
onto a jewellery case that can't take their weight. The case,
with them both on top, falls to rest against one of the shop
windows. Both NEWT and the Niffler become very still...
JACOB breathes deeply and slowly moves forward to close the
latch on the case.
Suddenly a crack appears on the window. NEWT watches as the
crack spreads across the pane of glass and the window bursts
open, shattering across the pavement NEWT and the Niffler
crashing to the ground.
The Niffler is still only for a moment before running off
down the street. NEWT quickly gathers himself, drawing his
wand.
NEWT (CONT'D)
ACCIO!
IN SLOW MOTION: the Niffler sails backwards through the air
towards NEWT. As he flies, he looks sideways at the most
glorious window display yet. His eyes widen. Jewellery falls
from his pouch as he flies towards NEWT and JACOB, who duck
and dive as they run forwards towards the creature.
(CONTINUED)
60.
50 CONTINUED: (3) 50
Passing a lamp-post, the Niffler stretches out an arm,
spinning around the pole and flying onwards, out of the
trajectory NEWT had him on, and towards the glorious window.
NEWT casts a spell towards the window, turning it into a
sticky jelly, which finally traps the Niffler.
NEWT (CONT'D)
(to the Niffler)
All right? Happy?
NEWT, now covered in jewellery, pulls the Niffler from the
window.
We hear POLICE SIRENS in the background.
NEWT (CONT'D)
One down, two to go.
Police cars come racing through the streets.
NEWT once again sets about shaking all the diamonds from the
Niffler's pouch.
The police cars pull up, and POLICEMEN run out, guns aimed at
NEWT and JACOB.
JACOB, also covered in jewels, holds up his hands in
surrender.
JACOB
They went that way, officer...
POLICE OFFICER 1
Hands up!
The Niffler, stuffed into NEWT'S overcoat, pokes out its
little nose and squeaks.
POLICE OFFICER 2
What the hell is THAT?
JACOB suddenly looks to the left, his face one of terror.
JACOB
(barely able to speak)
Lion...
A beat, then IN UNISON: the police turn both their eyes and
their guns towards the other end of the street.
Perplexed, NEWT looks too... a lion is stalking towards them.
(CONTINUED)
61.
50 CONTINUED: (4) 50
NEWT
(calm)
You know, New York is considerably
more interesting than I'd expected.
Before the police can look back, NEWT grabs JACOB and they
Disapparate.
51 EXT. CENTRAL PARK - NIGHT 51
NEWT and JACOB hurry through the frost-covered park.
As they cross a bridge, they are almost bowled over by an
ostrich, which tears past them, running for its life.
A loud rumble can be heard in the distance.
NEWT tugs protective headgear out of his pocket, and hands it
to JACOB.
NEWT
Put this on.
JACOB
Why why would I have to wear
something like this?
NEWT
Because your skull is susceptible
to breakage under immense force.
NEWT runs on. Utterly terrified, JACOB puts on the hat and
chases after NEWT.
52 EXT. GOLDSTEIN RESIDENCE - NIGHT 52
TINA and QUEENIE lean out of their bedroom window, craning
into the dark.
Another bellowing roar reverberates through the winter night.
Other windows open, neighbours stare sleepily over the city.
53 INT. GOLDSTEIN RESIDENCE - NIGHT 53
TINA and QUEENIE burst into the bedroom where JACOB and NEWT
are meant to be asleep.
Every trace of the two men has gone. Furious, TINA storms off
to dress. QUEENIE looks upset.
(CONTINUED)
62.
53 CONTINUED: 53
QUEENIE
But we made 'em cocoa...
54 EXT. CENTRAL PARK ZOO - NIGHT 54
NEWT and JACOB run up to the now half-empty zoo, the outer
walls of which have been demolished in places. A large pile
of rubble lies at the entrance.
Another bellowing roar echoes around the brick building. NEWT
produces a body protector.
NEWT
Okay, if you just, uh, pop this on.
NEWT stands behind JACOB, fastening the breastplate over him.
JACOB
Okay.
NEWT
Now there's absolutely nothing for
you to worry about.
JACOB
Tell me has anyone ever believed
you when you told them not to
worry?
NEWT
My philosophy is that worrying
means you suffer twice.
JACOB digests NEWT'S 'wisdom'.
NEWT picks up his case and JACOB follows him, stumbling over
rubble and debris.
They stand at the entrance to the zoo. A loud snort comes
from within.
NEWT (CONT'D)
She's in season. She needs to mate.
ANGLE ON: the ERUMPENT a large, rotund, rhino-like creature
with a massive horn protruding from her forehead. Five times
his size, she is nuzzling up against the enclosure of a
terrified hippo.
(CONTINUED)
63.
54 CONTINUED: 54
NEWT takes out a tiny vial of liquid he pulls the stopper
out with his teeth and spits it to the side before dabbing a
spot of the liquid onto each wrist. JACOB looks at him the
smell is pungent.
NEWT (CONT'D)
Erumpent musk she is mad for it.
NEWT passes JACOB the open bottle and heads into the zoo.
TIME CUT:
NEWT places his case down on the ground near the Erumpent and
slowly, seductively, opens it.
He begins to perform a 'mating ritual' a series of grunts,
wiggles, rolls and groans to gain the Erumpent's attention.
Finally the Erumpent turns away from the hippo she is
interested in NEWT. They face each other, circle round,
undulating weirdly. The Erumpent's demeanour is puppy-like,
her horn glowing orange.
NEWT rolls along the floor the Erumpent copies, moving
nearer and nearer to the open case.
NEWT (CONT'D)
Good girl come on into the
case...
JACOB takes a sniff of the Erumpent musk. As he does so, a
fish flies through the air and jolts him, spilling the musk.
The wind changes. Trees rustle. The Erumpent takes a deep
breath in she can smell the new, more powerful aroma coming
from JACOB.
JACOB looks around. A seal sits behind him looking guilty,
before cheekily running away.
When JACOB turns back, he sees the Erumpent is now on her
feet, staring at him.
ANGLE ON: NEWT and JACOB, realising what is about to happen.
BACK TO SCENE:
The Erumpent charges towards the source of the smell,
bellowing madly. JACOB wails, running as fast as he can in
the opposite direction.
The Erumpent gives chase they crash through rubble and ice-
ponds, before charging across the snow-covered park.
(CONTINUED)
64.
54 CONTINUED: (2) 54
NEWT draws his wand-
NEWT (CONT'D)
Repar--
Before he can finish, his wand is whipped out of his hand by
a baboon, which runs off, clutching its prize.
NEWT (CONT'D)
Merlin's beard!
ANGLE ON: JACOB, tanking along, the Erumpent close behind
him.
ANGLE ON: NEWT, face to face with the curious baboon, which
examines his wand.
NEWT breaks a bit of twig from a branch and holds it out,
trying to persuade the baboon to trade with him.
NEWT (CONT'D)
They're exactly the same... same
thing.
BACK TO JACOB:
In trying to climb a tree, JACOB has ended up hanging
precariously upside down from a branch.
JACOB
(bellowing, terrified)
Newt!
We see the Erumpent below him. She lies on her back, wiggling
her legs in the air invitingly.
ANGLE: BACK ON NEWT the baboon shakes NEWT'S wand.
NEWT
No, no, no, don't!
NEWT looks worried BANG the wand 'goes off', the spell
knocking the baboon backwards. The wand flies back to NEWT.
NEWT (CONT'D)
I'm so sorry-
ANGLE ON: JACOB the Erumpent is now on her feet. She
charges towards the tree, digging her horn deep into the
trunk. The tree bubbles with glowing liquid before exploding
and crashing to the ground.
(CONTINUED)
65.
54 CONTINUED: (3) 54
JACOB is thrown off, rolling down a steep, snowy hill and
onto the frozen lake below.
The Erumpent charges after him, hits the ice and skids. NEWT
comes careering down the hill, also hitting the ice. He
performs an athletic slide, his case open the Erumpent is
mere feet from JACOB when the case swallows her.
NEWT (CONT'D)
Good show, Mr Kowalski!
JACOB holds out his hand to shake.
JACOB
Call me Jacob.
They shake hands.
THIRD PERSON POV: someone watches as NEWT hauls JACOB up and
they slip and slide across the frozen lake as fast as they
can.
NEWT
Well, two down, one to go.
HOLD ON: TINA as she hides on the bridge above them, peeking
down.
NEWT (O.S.) (CONT'D)
(to JACOB)
In you hop.
We see the case sitting alone below the bridge.
TINA quickly appears around the corner and hurriedly sits on
the case. She closes the catches, looking shocked but
determined.
ANNOUNCER (V.O.)
Ladies and gentlemen...
55 INT. CITY HALL - NIGHT 55
A large, ornately decorated hall, covered in patriotic
emblems.
Hundreds of glamorously dressed people sit at round tables,
looking towards a stage at the far end. Over this stage hangs
a large poster of SENATOR SHAW with a slogan reading
'AMERICA'S FUTURE'.
An ANNOUNCER stands behind the microphone.
(CONTINUED)
66.
55 CONTINUED: 55
ANNOUNCER
... now tonight's keynote speaker
needs no introduction from me. He's
been mentioned as a future
President and if you don't
believe me, just read his daddy's
newspapers-
Indulgent laughter from the crowd.
WE SEE SHAW SR and LANGDON seated at a table, surrounded by
the crčme de la crčme of New York society.
ANNOUNCER (CONT'D)
-ladies and gentlemen, I give you
the Senator for New York, Henry
Shaw!
Tumultuous applause.
SENATOR SHAW bounds forwards, acknowledging the cheers,
pointing and winking at intimates in the crowd, and mounts
the steps.
56 EXT. DARK STREET - NIGHT 56
Something is streaking through the streets, too large and
fast for a human.
Strange, laboured breathing and snarling it is inhuman,
beast-like.
57 EXT. STREET NEAR CITY HALL - NIGHT 57
TINA is hurrying along, clutching the case. Street lights
start going out around her. She stops, feels something pass
in the darkness turns, staring, scared.
58 INT. CITY HALL - NIGHT 58
SENATOR SHAW
... and it's true we have made some
progress, but there is no reward
for idleness. So just as the odious
saloons have been banished...
A strange, haunting noise comes from the organ pipes at the
back of the room. Everyone turns to look, the SENATOR pauses.
(CONTINUED)
67.
58 CONTINUED: 58
SENATOR SHAW (CONT'D)
...so now the pool halls, and these
private parlours...
The strange noise gets louder.
Guests turn to look again. The SENATOR seems anxious. People
mutter.
Suddenly something explodes forth from underneath the organ.
Something huge and bestial, although invisible, is soaring
down the hall tables fly, people are thrown, lights smash
and people scream as it carves a line towards the stage.
SENATOR SHAW is thrown backwards against his own poster,
raised up high and suspended for a moment in mid-air before
being brought down with a violent crash DEAD.
The 'beast' rips at his poster a frenzied slashing with
harsh, noisy breathing before swarming back out from where
it came.
Sounds of anguish and panic from the crowd as SHAW SR fights
through the debris towards his son's torn and bleeding body.
ANGLE ON: SENATOR SHAW'S body, his face brutally scarred.
SHAW SR looks devastated as he crouches beside his son.
ANGLE ON: LANGDON, now on his feet, slightly drunk.
Determined, perhaps triumphant.
LANGDON
WITCHES!
59 INT. MACUSA LOBBY - NIGHT 59
FOCUS ON the gigantic dial showing the MAGICAL EXPOSURE
THREAT LEVEL. The hand moves from SEVERE to EMERGENCY.
TINA, case in hand, runs up the lobby steps, past witches and
wizards huddled in groups, whispering nervously.
HEINRICH EBERSTADT (V.O.)
Our American friends have permitted
a breach of the Statute of
Secrecy...
68.
60 INT. PENTAGRAM OFFICE - NIGHT 60
An impressive hall arranged like an old parliament debating
chamber. Every seat is occupied by wizards from all parts of
the world.
MADAM PICQUERY is presiding, GRAVES at her side.
The Swiss delegate is speaking.
HEINRICH EBERSTADT
... that threatens to expose us
all.
MADAM PICQUERY
I will not be lectured by the man
who let Gellert Grindelwald slip
through his fingers-
A hologram image of SENATOR SHAW'S dead and twisted body
floats high above the room, emitting a glowing light.
All heads turn as TINA hurries into the chamber.
TINA
Madam President, I'm so sorry to
interrupt, but this is critical-
Echoing silence. TINA slides to a halt in the middle of the
marble floor before realising exactly what she's walked into.
The delegates stare at her.
MADAM PICQUERY
You'd better have an excellent
excuse for this intrusion, Miss
Goldstein.
TINA
Yes I do.
(stepping forwards to
address her)
Ma'am. Yesterday a wizard entered
New York with a case. This case of
magical creatures, and
unfortunately some have escaped.
MADAM PICQUERY
He arrived yesterday? You have
known for twenty-four hours that an
unregistered wizard set magical
beasts loose in New York and you
see fit to tell us only when a man
has been killed?
(CONTINUED)
69.
60 CONTINUED: 60
TINA
Who has been killed?
MADAM PICQUERY
Where is this man?
TINA sets the case flat on the floor and thumps the lid.
After a second or two, it creaks open. First NEWT, then JACOB
emerge, looking sheepish and nervous.
BRITISH ENVOY
Scamander?
NEWT
(closing the case)
Oh er hello, Minister.
MOMOLU WOTORSON
Theseus Scamander? The war hero?
BRITISH ENVOY
No, this is his little brother. And
what in the name of Merlin are you
doing in New York?
NEWT
I came to buy an Appaloosa
Puffskein, sir.
BRITISH ENVOY
(suspicious)
Right. What are you really doing
here?
MADAM PICQUERY
(to TINA, about JACOB)
Goldstein and who is this?
TINA
This is Jacob Kowalski, Madam
President, he's a No-Maj who got
bitten by one of Mr Scamander's
creatures.
Furious reaction from the MACUSA employees and dignitaries
all around.
MINISTERS
(whispers)
No-Maj? Obliviated?
NEWT is absorbed in the image of SENATOR SHAW'S body floating
around the room.
(CONTINUED)
70.
60 CONTINUED: (2) 60
NEWT
Merlin's beard!
MADAM YA ZHOU
You know which of your creatures
was responsible, Mr Scamander?
NEWT
No creature did this... don't
pretend! You must know what that
was, look at the marks...
ANGLE ON: SENATOR SHAW'S face.
ANGLE ON: NEWT.
NEWT (CONT'D)
That was an Obscurus.
Mass consternation, muttering, exclamations. GRAVES looks
alert.
MADAM PICQUERY
You go too far, Mr Scamander. There
is no Obscurial in America. Impound
that case, Graves!
GRAVES summons the case; it lands next to him. NEWT draws his
wand.
NEWT
(to GRAVES) MADAM PICQUERY (CONT'D)
No... give that b--! Arrest them!
A dazzling eruption of spells hit NEWT, TINA and JACOB, all
of whom are slammed to their knees.
NEWT'S wand flies out of his hand, caught by GRAVES.
GRAVES stands and picks up the case.
NEWT (CONT'D)
(magically restrained)
No no don't hurt those
creatures please, you don't
understand nothing in there is
dangerous, nothing!
MADAM PICQUERY
We'll be the judges of that!
(to the Aurors now
standing behind them)
Take them to the cells!
(CONTINUED)
71.
60 CONTINUED: (3) 60
ANGLE ON: GRAVES watching TINA as she, NEWT and JACOB are
dragged away.
NEWT
(screaming, desperate)
Don't hurt those creatures there
is nothing in there that is
dangerous. Please don't hurt my
creatures they are not
dangerous... please, they are not
dangerous!
61 INT. MACUSA CELL - DAY 61
NEWT, TINA and JACOB sitting, NEWT with his head in his
hands, still in utter despair about his creatures.
Finally TINA, on the verge of tears, breaks the silence.
TINA
I am so sorry about your creatures,
Mr Scamander. I truly am.
NEWT remains silent.
JACOB
(sotto voce, to TINA)
Can someone please tell me what
this Obscurial Obscurius thing is?
Please?
TINA
(also sotto voce)
There hasn't been one for centuries-
NEWT
I met one in Sudan three months
ago. There used to be more of them
but they still exist. Before
wizards went underground, when we
were still being hunted by Muggles,
young wizards and witches sometimes
tried to suppress their magic to
avoid persecution. Instead of
learning to harness or to control
their powers, they developed what
was called an Obscurus.
(CONTINUED)
72.
61 CONTINUED: 61
TINA
(off JACOB'S confusion)
It's an unstable, uncontrollable
dark force that busts out and and
attacks... and then vanishes...
As she talks, we see the penny dropping. An Obscurus fits
everything she knows about the perpetrator of the New York
attacks.
TINA (CONT'D)
(to NEWT)
Obscurials can't survive long, can
they?
NEWT
There's no documented case of any
Obscurial surviving past the age of
ten. The one I met in Africa was
eight when she she was eight when
she died.
JACOB
What are you telling me here that
Senator Shaw was killed by a by a
kid?
NEWT'S look says 'yes'.
62 INT. SECOND SALEM CHURCH, MAIN HALL - DAY - MONTAGE 62
MODESTY approaches the long table at which many orphan
children sit hungrily eating.
MODESTY
(continuing her chant)
... my momma, your momma,
flying on a switch,
My momma, your momma,
witches never cry,
My momma, your momma
witches gonna die!
MODESTY gathers several of the children's leaflets from the
table.
MODESTY (CONT'D)
Witch number one,
drown in a river!
Witch number two,
(MORE)
(CONTINUED)
73.
62 CONTINUED: 62
MODESTY (CONT'D)
gotta noose to give her!
Witch number three...
TIME CUT:
The children, having finished their meal, leave the table
with their leaflets and head for the door.
CHASTITY
(calling after them)
Hand out your leaflets! I'll know
if you dump 'em. Tell me if you see
anything suspicious.
CLOSE ON: CREDENCE he's washing dishes, but watching the
children intently. MODESTY follows the last of the children
out of the church.
63 EXT. STREET OUTSIDE SECOND SALEM CHURCH - DAY 63
MODESTY stands in the middle of the busy street. She throws
her leaflets high into the air, watching with glee as they
fall around her.
64 INT. MACUSA CELL/CORRIDOR - DAY 64
Two EXECUTIONERS in white coats lead a shackled NEWT and TINA
down to a dark basement, away from the cell.
NEWT turns to look back.
NEWT
(over his shoulder)
It was good to make your
acquaintance, Jacob, and I hope you
get your bakery.
ANGLE ON: JACOB, scared, left behind, clutching at the bars
of the cell. He waves forlornly after NEWT.
65 INT. INTERROGATION ROOM - DAY 65
A small, bare room, black-walled and windowless.
GRAVES sits opposite NEWT at an interrogation desk, a file
open in front of him. NEWT squints forward, a bright light
shining into his eyes.
TINA stands behind, flanked by the two EXECUTIONERS.
(CONTINUED)
74.
65 CONTINUED: 65
GRAVES
You're an interesting man, Mr
Scamander.
TINA
(stepping forwards)
Mr Graves-
GRAVES holds a finger to his lips, signalling for TINA to be
silent. The gesture is patronising, but authoritative.
TINA looks kowtowed she obeys, stepping back into the
shadows.
GRAVES examines the file on his desk.
GRAVES
You were thrown out of NEWT
Hogwarts for endangering That was an accident!
human life--
GRAVES (CONT'D)
--with a beast. Yet one of your
teachers argued strongly against
your expulsion.
Now, what makes Albus Dumbledore so fond of you?
NEWT
I really couldn't say.
GRAVES
So setting a pack of dangerous
creatures loose here was just
another accident, is that right?
NEWT
Why would I do it deliberately?
GRAVES
To expose wizardkind. To provoke
war between the magical and non-
magical worlds.
NEWT
Mass slaughter for the greater
good, you mean?
GRAVES
Yes. Quite.
(CONTINUED)
75.
65 CONTINUED: (2) 65
NEWT
I'm not one of Grindelwald's
fanatics, Mr Graves.
A tiny change of expression tells us that NEWT has scored a
hit. GRAVES is looking more menacing.
GRAVES
I wonder what you can tell me about
this, Mr Scamander?
With a slow move of his hand, GRAVES raises up the Obscurus
from NEWT'S case. He brings it onto the desk it is pulsing,
swirling and hissing.
CLOSE ON: TINA as she stares, disbelieving.
GRAVES reaches a hand towards the Obscurus he's utterly
fascinated. At his sudden close proximity, the Obscurus
swirls faster, bubbling and shrinking backwards.
NEWT turns instinctively to TINA. Without fully realising
why, it is she whom he wants to convince.
NEWT
It's an Obscurus-
(off her look)
But, it's not what you think. I
managed to separate it from the
Sudanese girl as I tried to save
her I wanted to take it home, to
study it-
(off TINA'S shock)
But it cannot survive outside that
box, it could not hurt anyone,
Tina!
GRAVES
So it's useless without the host?
NEWT
'Useless? Useless?' That is a
parasitical magical force that
killed a child. What on earth would
you use it for?
NEWT, anger finally boiling within him, stares at GRAVES.
TINA, reacting to the atmosphere, also looks to GRAVES
concern and trepidation written across her face.
GRAVES stands, brushing off the questions, turning the blame
back onto NEWT.
(CONTINUED)
76.
65 CONTINUED: (3) 65
GRAVES
You fool nobody, Mr Scamander. You
brought this Obscurus into the city
of New York in the hope of causing
mass disruption, breaking the
Statute of Secrecy and revealing
the magical world--
NEWT
You know that can't hurt GRAVES (CONT'D)
anyone, you know that! --you are therefore guilty of
a treasonous betrayal of your
fellow wizards and are
sentenced to death. Miss
Goldstein, who has aided and
abetted you-
NEWT (CONT'D)
No, she's done nothing of the GRAVES (CONT'D)
kind-- --she receives the same
sentence.
The two EXECUTIONERS step forward. They calmly, intrusively,
press the tips of their wands into NEWT and TINA'S necks.
TINA is so overcome with shock and fear that she can barely
speak.
GRAVES (CONT'D)
(to the EXECUTIONERS)
Just do it immediately. I will
inform President Picquery myself.
NEWT
Tina.
GRAVES again places a finger to his lips.
GRAVES
Shhhh.
(waving to the
EXECUTIONERS)
Please.
66 INT. SHABBY BASEMENT MEETING ROOM - DAY 66
QUEENIE is carrying a tray of coffee and mugs towards a
meeting room.
Suddenly she freezes, her eyes widen, a look of terror across
her face. She drops the tray cups smashing on the floor.
(CONTINUED)
77.
66 CONTINUED: 66
An assortment of low-level MACUSA functionaries turn to stare
at her. QUEENIE stares back, stunned, before running away
down the corridor.
67 INT. CORRIDOR LEADING TO DEATH CELL - DAY 67
A long black metallic corridor leads into a pure white cell,
which consists of a chair suspended magically over a square
pool of rippling potion.
NEWT and TINA are forced into this room by the EXECUTIONERS.
A guard stands at the door.
TINA
(to EXECUTIONER 1)
Don't do this Bernadette please-
EXECUTIONER 1
It don't hurt.
TINA is led to the edge of the pool. She begins panicking,
her breathing heavy and erratic.
The smiling EXECUTIONER 1 raises a wand and carefully
extracts TINA'S happy memories from her head. TINA instantly
calms her expression now vacant, other-worldly.
EXECUTIONER 1 casts the memories into the potion, which
ripples, coming alive with scenes from TINA'S life.
A young TINA smiles up as her mother calls.
TINA'S MOTHER (V.O.)
Tina... Tina... come on, pumpkin
time for bed. Are you ready?
TINA
Momma...
TINA'S MOTHER appears in the pool, her expression loving and
warm.
The real TINA watches, smiling down.
EXECUTIONER 1
Don't that look good. You wanna get
in? Huh?
TINA nods vacantly.
78.
68 INT. MACUSA LOBBY - DAY 68
QUEENIE stands in the crowded lobby. The elevator doors
sound.
ANGLE ON: the elevator doors, which open revealing JACOB,
escorted by SAM, the OBLIVIATOR.
QUEENIE hurries towards them, determined.
QUEENIE
Hey, Sam!
SAM
Hey, Queenie.
QUEENIE
They need you downstairs. I'll
Obliviate this guy.
SAM
You ain't qualified.
Grim-faced, QUEENIE reads his mind.
QUEENIE
Hey, Sam does Cecily know you
been seeing Ruby?
ANGLE ON: RUBY, a MACUSA witch, standing ahead of them. She
smiles at SAM.
ANGLE ON: QUEENIE and SAM SAM looks nervous.
SAM
(appalled)
How'd you--?
QUEENIE
Let me Obliviate this guy and
she'll never hear about it from me.
Stunned, SAM backs away.
QUEENIE seizes JACOB'S arm and marches him off across the
cavernous lobby.
JACOB
What are you doin'?
QUEENIE
Shhhh! Teen's in trouble, I'm
trying to listen-
(MORE)
(CONTINUED)
79.
68 CONTINUED: 68
QUEENIE (CONT'D)
(she reads TINA'S mind)
Jacob, where's Newt's case?
JACOB
I think that guy Graves took it-
QUEENIE
Okay, come on-
JACOB
What? You're not gonna Obliviate
me?
QUEENIE
Of course not you're one of us
now!
QUEENIE hurries him towards the main staircase.
69 INT. DEATH CELL - DAY 69
TINA sits in the execution chair.
SHE GAZES DOWN: beneath her, swirl happy images of her
family, her parents, a young QUEENIE.
MEMORY:
WE MOVE into the pool and follow one of TINA'S memories:
TINA walks inside the Second Salem Church and up the stairs.
She finds MARY LOU, standing over CREDENCE, belt in hand
CREDENCE looks terrified. In anger, TINA casts a spell,
striking MARY LOU.
TINA moves forward to comfort CREDENCE.
TINA
It's okay.
ANGLE: BACK ON REAL TINA, still gazing into the pool, smiling
wistfully.
ANGLE ON: NEWT, who glances quickly down his own arm
PICKETT is clambering, quiet and agile, towards the shackles
holding NEWT'S hands.
70 INT. CORRIDOR LEADING TO GRAVES'S OFFICE - DAY 70
ANGLE ON: the door to GRAVES'S office.
(CONTINUED)
80.
70 CONTINUED: 70
QUEENIE (O.S.)
Alohomora.
We see QUEENIE and JACOB standing awkwardly outside GRAVES'S
office, QUEENIE trying desperately to open the door.
QUEENIE (CONT'D)
Aberto...
The door remains locked.
QUEENIE (CONT'D)
(frustrated)
Ugh. He would know a fancy spell to
lock his office.
71 INT. DEATH CELL - DAY 71
Back to PICKETT as he finishes unlocking the shackles holding
NEWT'S wrists, and quickly climbs onto EXECUTIONER 2'S coat.
EXECUTIONER 2
(to NEWT)
Okay, let's get the good stuff out
of you-
EXECUTIONER 2 raises her wand to NEWT'S forehead. NEWT seizes
his opportunity he jumps backwards out of the way before
revealing:
the SWOOPING EVIL, which he throws forwards towards the pool.
He then swiftly turns and punches the guard, knocking him out
cold.
The SWOOPING EVIL has now expanded into a gigantic, spooky
but weirdly beautiful butterfly-esque reptile with skeletal
wings. It continues to circle round and round the pool.
PICKETT clambers onto EXECUTIONER 2'S arm and bites,
startling and distracting her, giving NEWT time to grab her
arms and take aim with her wand.
A spell fires, hitting EXECUTIONER 1, who drops to the floor,
her wand falling into the pool. As it falls, the liquid rises
up in viscous black bubbles, instantly engulfing the wand.
In reaction, TINA'S memories turn from good to bad:
WE SEE MARY LOU, pointing aggressively at TINA.
MARY LOU
Witch!
(CONTINUED)
81.
71 CONTINUED: 71
TINA, still enraptured by the pool, looks increasingly
terrified. Her chair is lowering closer and closer to the
liquid.
The SWOOPING EVIL glides across the room, knocking
EXECUTIONER 2 to the ground.
72 INT. CORRIDOR LEADING TO GRAVES'S OFFICE - DAY 72
After a quick glance around, JACOB gives the door a hefty
kick. It breaks open. JACOB stands guard as QUEENIE runs in
and grabs NEWT'S case and TINA'S wand.
73 INT. DEATH CELL - DAY 73
TINA snaps out of her reverie and screams.
TINA
MR SCAMANDER!
The liquid has now turned into a black bubbling death potion.
It rises up, surrounding TINA on her chair. TINA stands up to
get away, almost falling off in her haste. She tries
desperately to regain her balance.
NEWT
DON'T PANIC!
TINA
WHAT DO YOU SUGGEST I DO INSTEAD?
NEWT makes a strange tutting sound, commanding the SWOOPING
EVIL to circle the pool once more.
NEWT
Jump...
TINA looks at the SWOOPING EVIL fearful, disbelieving.
TINA
ARE YOU CRAZY?
NEWT
Jump on him.
NEWT stands on the edge of the pool watching the SWOOPING
EVIL as it circles round and round TINA.
NEWT (CONT'D)
Tina, listen to me. I'll catch you.
Tina!
(CONTINUED)
82.
73 CONTINUED: 73
The two make intense eye contact, NEWT trying to reassure...
The liquid has now risen up in waves to TINA'S full height
she's losing sight of NEWT.
NEWT (CONT'D)
(insistent, very calm)
I'll catch you. I've got you,
Tina...
Suddenly NEWT cries out.
NEWT (CONT'D)
Go!
TINA jumps in between two of the waves, just as the SWOOPING
EVIL passes. She lands on its back, only inches away from the
swirling liquid, then hops quickly forwards, straight into
NEWT'S open arms.
For a split second NEWT and TINA gaze at each other, before
NEWT raises his hand, recalling the SWOOPING EVIL, which
folds into a cocoon once more.
NEWT grabs TINA'S hand and heads for the exit.
NEWT (CONT'D)
Come on!
74 INT. DEATH CELL CORRIDOR - DAY 74
QUEENIE and JACOB march along the corridor with purpose.
An alarm goes off in the distance other wizards hurry past
them in the opposite direction.
75 INT. MACUSA LOBBY - MINUTES LATER - DAY 75
The alarm blares out across the lobby.
Confusion reigns among the crowd people gather in groups,
nervously chattering, others scurry about, urgent, anxious.
A team of Aurors hurtles across the lobby, headed directly
for the stairs leading down to the basement.
76 INT. DEATH CELL CORRIDOR/BASEMENT CORRIDOR - DAY 76
NEWT and TINA, hand in hand, charge through the basement
corridors.
(CONTINUED)
83.
76 CONTINUED: 76
Suddenly accosted by the group of Aurors, they turn, darting
behind pillars, just missing the fired curses and spells.
NEWT again sends out the SWOOPING EVIL, which swirls
overhead, flying in and out of pillars, blocking curses and
knocking Aurors to the ground.
ANGLE ON: the SWOOPING EVIL using its proboscis to probe in
one of the Auror's ears.
NEWT
(making a clicking sound)
LEAVE HIS BRAINS. Come on! Come on!
TINA and NEWT run onwards, the SWOOPING EVIL flying after,
blocking curses as it goes.
TINA
What is that thing?
NEWT
Swooping Evil.
TINA
Well, I love it!
ANGLE ON: QUEENIE and JACOB, walking briskly through the
basement. NEWT and TINA sprint round the corner and almost
collide with them. The four stare at one another, panic on
all their faces.
Finally QUEENIE gestures to the case.
QUEENIE
Get in!
77 INT. STAIRS LEADING TO CELLS - MOMENTS LATER - DAY 77
GRAVES moves down the stairs with urgency. For the first
time, a look of panic on his face.
78 INT. MACUSA LOBBY - MINUTES LATER - DAY 78
QUEENIE moves quickly across the lobby floor, trying
desperately not to be conspicuous in her haste, but acutely
aware of the need to leave.
A flustered ABERNATHY emerges from a crowd of wizards.
ABERNATHY
Queenie!
(CONTINUED)
84.
78 CONTINUED: 78
QUEENIE, poised at the top of the stairs, turns and composes
herself. ABERNATHY moves towards her, straightening his tie,
trying to appear calm and authoritative QUEENIE obviously
makes him nervous.
ABERNATHY (CONT'D)
(a large smile)
Where you going?
QUEENIE puts on an alluringly innocent expression and holds
the case behind her back.
QUEENIE
I'm... I'm sick, Mr Abernathy.
She coughs a little, widening her eyes.
ABERNATHY
Again? Well what've you got
there?
A beat.
QUEENIE thinks fast, her face quickly breaking into a
breathtaking smile.
QUEENIE
Ladies' things.
QUEENIE produces the case and innocently trots up the steps
towards ABERNATHY.
QUEENIE (CONT'D)
You wanna take a look? I don't
mind.
ABERNATHY is overcome with embarrassment.
ABERNATHY
(swallowing hard)
Oh! Good gravy, no! I you get
well now!
QUEENIE
(smiling sweetly and
arranging his tie)
Thanks!
QUEENIE immediately turns and hurries down the stairs leaving
ABERNATHY heart racing staring after her.
85.
79 EXT. STREETS OF NEW YORK - LATE AFTERNOON 79
HIGH WIDE: above New York.
WE ZOOM over rooftops before DIVING DOWN through streets and
alleyways, past speeding cars and cackling children.
WE COME TO REST in an alleyway at the Second Salem Church,
where CREDENCE is pasting up posters advertising MARY LOU'S
next meeting.
GRAVES Apparates in the alleyway.
CREDENCE, startled, backs away, but GRAVES makes straight for
him, his tone and manner urgent, forceful.
GRAVES
Credence. Have you found the child?
CREDENCE
I can't.
GRAVES, impatient but feigning calm, holds out his hand
suddenly seeming caring, affectionate.
GRAVES
Show me.
CREDENCE whimpers and cowers, almost backing further away.
GRAVES gently takes CREDENCE'S hand in his own and examines
it the hand is covered in deep red cuts, sore and bleeding.
GRAVES (CONT'D)
Shhhh. My boy, the sooner we find
this child, the sooner you can put
that pain in the past where it
belongs.
GRAVES gently, almost seductively, moves his thumb across the
cuts, healing them instantly. CREDENCE stares.
GRAVES seems to make a decision. He puts on an earnest,
trustworthy expression as, from his pocket, he produces a
chain bearing the symbol of the Deathly Hallows.
GRAVES (CONT'D)
I want you to have this, Credence.
I would trust very few with it-
GRAVES moves close, placing the chain around CREDENCE'S neck
as he whispers.
(CONTINUED)
86.
79 CONTINUED: 79
GRAVES (CONT'D)
Very few.
GRAVES places his hands on either side of CREDENCE'S neck,
drawing him in, his speech quiet, intimate.
GRAVES (CONT'D)
... but you you're different.
CREDENCE is unsure, both nervous of and attracted by GRAVES'S
behaviour.
GRAVES rests his hand on CREDENCE'S heart, covering the
pendant.
GRAVES (CONT'D)
Now, when you find the child, touch
this symbol and I will know, and I
will come to you.
GRAVES moves even closer to CREDENCE, his face inches from
the boy's neck the effect is both alluring and threatening
as he whispers.
GRAVES (CONT'D)
Do this and you will be honoured
among wizards. For ever.
GRAVES pulls CREDENCE into a hug which, with his hand on
CREDENCE'S neck, seems more controlling than affectionate.
CREDENCE, overwhelmed by the seeming affection, closes his
eyes and relaxes slightly.
GRAVES slowly backs away, stroking CREDENCE'S neck. CREDENCE
keeps his eyes closed, longing for the human contact to
continue.
GRAVES (CONT'D)
(whispers)
The child is dying, Credence. Time
is running out.
Abruptly, GRAVES strides back down the alleyway and
Disapparates.
80 EXT. ROOFTOP WITH PIGEON COOP - DUSK 80
A rooftop overlooking the whole city.
In the middle sits a small wooden shed, which houses a pigeon
coop.
(CONTINUED)
87.
80 CONTINUED: 80
NEWT steps up onto a ledge and stands looking over the
immense city. PICKETT sits on his shoulder, clicking.
JACOB is inside the shed, looking at the pigeon coop as
QUEENIE enters.
QUEENIE
Your grandfather kept pigeons? Mine
bred owls. I used to love feeding
'em.
ANGLE ON: NEWT and TINA TINA has joined NEWT in standing on
the ledge.
TINA
Graves always insisted the
disturbances were caused by a
beast. We need to catch all your
creatures, so he can't keep using
them as a scapegoat.
NEWT
There's only one still missing.
Dougal, my Demiguise.
TINA
Dougal?
NEWT
Slight problem is that... um, he's
invisible.
TINA
(this is so ridiculous
that she can't help but
smile)
Invisible?
NEWT
Yes most of the time... he
does... um...
TINA
How do you catch something that--
NEWT
(beginning to smile)
With immense difficulty.
TINA
Oh...
(CONTINUED)
88.
80 CONTINUED: (2) 80
They smile at each other there's a new warmth between them,
NEWT still awkward but somehow unable to stop staring at TINA
as she smiles.
TINA moves slowly towards NEWT.
A beat.
TINA (CONT'D)
Gnarlak!
NEWT
(taken aback)
Excuse me?
TINA
(conspiratorial, excited)
Gnarlak - he was an informant of
mine when I was an Auror! He used
to trade in magical creatures on
the side-
NEWT
He wouldn't happen to have an
interest in paw prints, would he?
TINA
He's interested in anything he can
sell.
81 EXT. THE BLIND PIG - NIGHT 81
TINA leads the group down an insalubrious back alley covered
in bins, crates and discarded objects. She locates a set of
steps leading to a basement apartment and motions them down.
The steps appear to lead to a dead end: THE DOORWAY HAS BEEN
BRICKED UP. Instead, a poster of a simpering debutante in
evening dress, gazing at herself in a mirror, covers the end
of the walkway.
TINA and QUEENIE stand in front of this poster. They turn to
each other and, in unison, raise their wands. As they do so,
their work clothes transform into stunning flapper party
dresses. TINA looks up at NEWT, somewhat embarrassed by her
new attire. QUEENIE gazes at JACOB, a cheeky smile on her
face.
TINA steps towards the poster and slowly raises her hand. As
she does so, the eyes of the debutante move upwards,
following her every move. TINA knocks slowly on the door FOUR
TIMES.
(CONTINUED)
89.
81 CONTINUED: 81
NEWT, sensing the need for a change, hastily magics himself a
small bow tie. JACOB looks on, jealously.
A HATCH OPENS: the painted eyes of the debutante whip back to
reveal the gaze of a suspicious guard.
82 INT. THE BLIND PIG - NIGHT 82
A seedy, low-ceilinged speakeasy for the down and out of New
York's magical community. Every witch and wizard criminal in
New York is here, their wanted posters hanging proudly on the
walls. A glimpse of 'GELLERT GRINDELWALD: WANTED FOR NO-MAJ
SLAYINGS IN EUROPE'.
A glamorous goblin JAZZ SINGER croons on a stage full of
goblin musicians, smoky images wafting from her wand to
illustrate her lyrics. All is dingy and shabby, an atmosphere
of menacing fun.
JAZZ SINGER
(crooning)
The phoenix cried fat tears of
pearl,
When the dragon snapped up his best
girl,
And the Billywig forgot to twirl,
When his sweetheart left him cold,
And the unicorn done lost his horn,
And the Hippogriff feels all
forlorn,
'Cause their lady loves have upped
and gawn,
Or that's what I've been told-
JACOB stands at the seemingly unmanned bar, waiting to be
served.
JACOB
How do I get a drink in this joint?
Out of nowhere, a thin bottle of brown liquid zooms towards
him. He catches it, stunned.
The head of a HOUSE-ELF peers up at him from behind the bar.
HOUSE-ELF
What? Ain't you ever seen a house-
elf before?
JACOB
Oh, no, yeah, no, yeah of course I
have... I love house-elves.
(CONTINUED)
90.
82 CONTINUED: 82
JACOB tries to act nonchalant he removes the cork from the
bottle.
JACOB (CONT'D)
My uncle's a house-elf.
The HOUSE-ELF not fooled raises himself up, leaning on
the bar to stare at JACOB.
QUEENIE approaches. She looks downcast as she orders.
QUEENIE
Six shots of gigglewater and a lobe
blaster, please.
The HOUSE-ELF reluctantly shuffles off to fulfil her request.
JACOB and QUEENIE look at each other. JACOB reaches out and
takes one of the gigglewater shots.
QUEENIE (CONT'D)
Are all No-Majs like you?
JACOB
(trying to be serious,
almost seductive)
No, I'm the only one like me.
Maintaining strong eye contact with QUEENIE, JACOB knocks
back the shot. Suddenly he emits a raucous, high-pitched
giggle. QUEENIE laughs sweetly at his look of surprise.
ANGLE ON: a HOUSE-ELF serving a drink to a giant, whose hand
dwarfs the mug he is handed.
ANGLE ON: NEWT and TINA sitting at a table alone. There's an
awkward silence. NEWT studies the characters in the room:
Hooded and heavily scarred witches and wizards gamble magical
artefacts in a game with runic dice.
TINA
(looking around)
I've arrested half of the people in
here.
NEWT
You can tell me to mind my own
business... but I saw something in
that death potion back there. I saw
you hugging that Second Salem
boy.
(CONTINUED)
91.
82 CONTINUED: (2) 82
TINA
His name's Credence. His mother
beats him. She beats all those kids
she adopted, but she seems to hate
him the most.
NEWT
(realising)
And she was the No-Maj you
attacked?
TINA
That's how I lost my job. I went
for her in front of a meeting of
her crazy followers they all had
to be Obliviated. It was a big
scandal.
QUEENIE signals from across the room.
QUEENIE
(whispers)
It's him.
GNARLAK has emerged from the depths of the speakeasy. Smoking
a cigar and smartly dressed, for a goblin, he has a sly,
smooth demeanour like a mafia boss. He eyes the newcomers as
he walks.
JAZZ SINGER (O.S.)
(crooning)
Yes, love has set the beasts astir,
The dang'rous and the meek concur,
It's ruffled feathers, fleece and
fur,
'Cause love drives all of us wild.
GNARLAK sits himself at the end of their table, an air of
confidence and dangerous control. A HOUSE-ELF hastily brings
him a drink.
GNARLAK
So you're the guy with the case
full of monsters, huh?
NEWT
News travels fast. I was hoping
you'd be able to tell me if there
have been any sightings. Tracks.
That sort of thing.
GNARLAK downs his drink. Another HOUSE-ELF brings him a
document to sign.
(CONTINUED)
92.
82 CONTINUED: (3) 82
GNARLAK
You've got a big price on your
head, Mr Scamander. Why should I
help you instead of turnin' you in?
NEWT
I take it I'll have to make it
worth your while?
The HOUSE-ELF scurries off holding the signed document.
GNARLAK
Hmm let's consider it a cover
charge.
NEWT pulls out a couple of Galleons and slides them across
the table towards GNARLAK, who barely looks up.
GNARLAK (CONT'D)
(not impressed)
Huh MACUSA's offerin' more'n
that.
A beat.
NEWT pulls out a beautiful metal instrument and places it on
the table.
GNARLAK (CONT'D)
Lunascope? I got five.
NEWT rummages in his coat pocket and pulls out a glowing,
frozen ruby egg instead.
NEWT
Frozen Ashwinder egg!
GNARLAK
(finally interested)
You see now we're--
GNARLAK suddenly spots PICKETT, who is peeking out of NEWT'S
pocket.
GNARLAK (CONT'D)
--wait a minute that's a
Bowtruckle, right?
PICKETT quickly retreats and NEWT puts a hand protectively
over his pocket.
NEWT
No.
(CONTINUED)
93.
82 CONTINUED: (4) 82
GNARLAK
Ah, come on, that's a Bowtruckle
they pick locks am I right?
NEWT
You're not having him.
GNARLAK
Well, good luck gettin' back alive,
Mr Scamander, what with the whole
of MACUSA on your back.
GNARLAK gets up and walks away.
NEWT
(in agony)
All right.
GNARLAK, turned away from NEWT, smiles viciously.
NEWT extracts PICKETT from his pocket. PICKETT clings to
NEWT'S hands, madly clicking and whining.
NEWT (CONT'D)
Pickett...
NEWT slowly hands PICKETT over to GNARLAK. PICKETT reaches
his little arms forward, imploring NEWT to take him back.
NEWT cannot look at him.
GNARLAK
Ah, yeah...
(to NEWT)
Somethin' invisible's been wreakin'
havoc around Fifth Avenue. You may
wanna check out Macy's department
store. Might help what you're
looking for.
NEWT
(sotto voce)
Dougal...
(to GNARLAK)
Right, one last thing. There's a Mr
Graves who works at MACUSA I was
wondering what you knew of his
background.
GNARLAK stares. A sense that there is much that he could say
and that he'd rather die than say it.
(CONTINUED)
94.
82 CONTINUED: (5) 82
GNARLAK
You ask too many questions, Mr
Scamander. That can get you killed.
ANGLE ON: a HOUSE-ELF carrying a crate of bottles.
HOUSE-ELF
MACUSA ARE COMING!
The HOUSE-ELF Disapparates. Other customers throughout the
bar hurriedly do the same.
TINA
(getting to her feet)
You tipped them off!
GNARLAK stares at them, chuckling menacingly.
Behind QUEENIE, the wanted posters on the wall update to show
NEWT and TINA'S faces.
Aurors begin Apparating into the speakeasy.
JACOB, seemingly innocent, saunters up to GNARLAK.
JACOB
Sorry, Mr Gnarlak--
JACOB punches GNARLAK straight in the face, knocking him
backwards. QUEENIE looks delighted.
JACOB (CONT'D)
--reminds me of my foreman!
Throughout the bar, various customers are being apprehended
by the Aurors.
NEWT scrambles about on the floor looking for PICKETT. Around
him people are running, diving away from Aurors, trying to
escape the bar.
NEWT finally finds PICKETT on a table leg, grabs him and runs
towards his group.
JACOB grabs another shot of gigglewater and knocks it back.
He giggles uproariously as NEWT grabs his elbow and the group
Disapparates.
83 INT. SECOND SALEM CHURCH - NIGHT 83
The long room is dimly lit by one set of lights.
(CONTINUED)
95.
83 CONTINUED: 83
There's barely any noise. CHASTITY sits primly at the long
table in the middle of the church. She formulaically arranges
leaflets and places them in little bags. MODESTY sits
opposite in a nightdress, reading a book. In the deep
background, MARY LOU busies herself in her bedroom.
MODESTY is the only one to register a small clunk from
upstairs.
84 INT. MODESTY'S BEDROOM - NIGHT 84
A bleak room. A single bed, an oil-lamp, a sampler on the
wall: AN ALPHABET OF SIN.
MODESTY'S dolls lined up on a shelf. One with a little noose
around its neck, another tied to a stake.
CREDENCE scrabbles to get underneath MODESTY'S bed. He looks
among the boxes and objects hidden there, then suddenly
stops, staring...
85 INT. SECOND SALEM CHURCH - NIGHT 85
MODESTY stands at the bottom of the stairs, looking up. She
slowly ascends.
86 INT. MODESTY'S BEDROOM - NIGHT 86
ANGLE ON: CREDENCE'S face under the bed CREDENCE has found
a toy wand. He stares, unable to draw his eyes from it.
Behind him, MODESTY enters.
MODESTY
Whatchoo doin', Credence?
CREDENCE bangs his head on the bed in his haste to get out.
He emerges, dusty and scared. He is relieved to see that it
is only MODESTY but she, on seeing the wand, is terrified.
CREDENCE
Where'd you get this?
MODESTY
(frightened whisper)
Give it back, Credence. It's just a
toy!
The door bangs open.
(CONTINUED)
96.
86 CONTINUED: 86
MARY LOU enters. Her gaze travels from MODESTY to CREDENCE
and the toy wand she is angrier than we have ever seen her.
MARY LOU
(to CREDENCE)
What is this?
87 INT. SECOND SALEM CHURCH - NIGHT 87
HOLD ON: CHASTITY, still filling bags with leaflets.
MARY LOU (O.S.)
Take it off!
CHASTITY glances up towards the landing.
88 INT. SECOND SALEM CHURCH, UPSTAIRS LANDING - NIGHT 88
MARY LOU stands on the landing overlooking the main church
below. Seen from below her figure is powerful, almost
deified.
MARY LOU turns back towards CREDENCE and slowly, her face
full of loathing, snaps the wand in two.
As MODESTY cowers, CREDENCE begins to remove his belt. MARY
LOU holds out her hand and takes it.
CREDENCE
(pleading)
Ma...
MARY LOU
I am not your ma! Your mother was a
wicked, unnatural woman!
MODESTY forces her way between them.
MODESTY
It was mine.
MARY LOU
Modesty-
Suddenly the belt is whipped out of MARY LOU'S hands by
supernatural means and falls like a dead snake in a far
corner. MARY LOU looks at her hand it is cut and bleeding
from the force of the movement.
MARY LOU is stunned she glances between MODESTY and
CREDENCE.
(CONTINUED)
97.
88 CONTINUED: 88
MARY LOU (CONT'D)
(frightened but covering
it)
What is this?
MODESTY stares defiantly directly back at her.
In the background WE SEE CREDENCE crouched down, hugging his
knees and shaking.
Trying to remain composed, MARY LOU moves slowly to retrieve
the belt. Before she can touch it, the belt slithers away
across the floor.
MARY LOU backs away, tears of fear welling in her eyes. She
turns slowly back towards the children.
As she moves, an almighty force explodes into her: a bestial,
screeching, dark mass that consumes her. Her scream is blood-
curdling as the force throws her backwards, striking a wooden
beam, flinging her over the balcony.
MARY LOU smashes down onto the floor of the main church, her
body lifeless, her face bearing the same scars seen on the
face of SENATOR SHAW.
The Dark force flies through the church, upending the table
and destroying everything in sight.
89 EXT. DEPARTMENT STORE - NIGHT 89
WIDE SHOT: a department store, its windows full of
glamorously dressed mannequins.
JACOB approaches the shop windows staring at a handbag which,
seemingly of its own accord, is sliding down the arm of a
mannequin. NEWT, TINA and QUEENIE hurry up behind him and
watch as the bag hovers in mid-air and floats off into the
store.
90 INT. DEPARTMENT STORE - NIGHT 90
A well-presented department store decorated for Christmas,
with aisles full of expensive jewellery, shoes, hats and
perfume. The place is shut down for the night, all the lights
are off, no noises can be heard.
We see the handbag float down the central aisle, accompanied
by small grunting noises.
(CONTINUED)
98.
90 CONTINUED: 90
NEWT and the group quickly tiptoe through the store, coming
to hide behind a large plastic Christmas display. They eye up
the floating handbag.
NEWT
(whispers)
So Demiguises are fundamentally
peaceful, but they can give a nasty
nip if provoked.
The Demiguise itself appears a silvery-haired, orangutan-
like creature, with a curious, wizened face clambering over
a display to reach a box of sweets.
NEWT (CONT'D)
(to JACOB and QUEENIE)
You two... head that way.
They start moving.
NEWT (CONT'D)
And try very hard not to be
predictable.
JACOB and QUEENIE exchange perplexed glances before heading
off.
A small roar can be heard in the distance.
ANGLE ON: the Demiguise which, on hearing the sound, looks up
towards the ceiling, before continuing to gather sweets, now
shovelling them into its handbag.
TINA (O.S.)
Was that the Demiguise?
NEWT
No, I think it might be the reason
that the Demiguise is here.
ANGLE ON: NEWT and TINA, moving swiftly down an aisle towards
the Demiguise, which is now moving away through the store.
Realising it's been spotted, the Demiguise turns and looks at
NEWT quizzically, before moving up a set of side stairs. NEWT
smiles and moves to follow.
91 INT. DEPARTMENT STORE, ATTIC STOREROOM - NIGHT 91
A huge, dark attic-space, filled floor to ceiling with
shelves packed with boxes of china: dinner services, teacups
and general kitchenware.
(CONTINUED)
99.
91 CONTINUED: 91
The Demiguise walks along the attic in a patch of moonlight.
It glances around before stopping and emptying its handbag
full of confectionery.
NEWT (O.S.)
Its sight operates on probability,
so it can foresee the most likely
immediate future.
NEWT comes into view, creeping up behind the Demiguise.
TINA (O.S.)
So what's it doing now?
NEWT
It's babysitting.
The Demiguise holds up one of the sweets, seeming to offer it
up to someone or something.
TINA
What did you just say-?
NEWT
(calm and whispering)
This is my fault. I thought I had
them all but I must have
miscounted.
JACOB and QUEENIE enter quietly. NEWT moves calmly forwards
and kneels beside the Demiguise, which makes space for him in
front of the sweets. NEWT carefully places his case down.
ANGLE ON: TINA, a shift of light reveals the scales of a
large creature hiding in the rafters of the attic. TINA looks
up in horror.
TINA
It was babysitting that?
ANGLE ON: the ceiling as the face of an Occamy comes into
view just like the small blue snake-like birds seen in the
case, this Occamy is huge, coiled round and round itself to
fill the entire attic roof-space.
The Occamy moves slowly down towards NEWT and the Demiguise
who, again, offers up a sweet. NEWT remains very still.
NEWT
Occamies are choranaptyxic. So they
grow to fill available
space.
(CONTINUED)
100.
91 CONTINUED: (2) 91
The Occamy spots NEWT, and cranes its head towards him. NEWT
holds up a hand, gently.
NEWT (CONT'D)
Mummy's here.
ANGLE ON: the Demiguise, whose eyes flash a brilliant blue
a sign that it's having a premonition.
FLASHCUTS:
A Christmas bauble rolls across the floor; the Occamy is
panicking, NEWT clasping its back, being flung about the
room; the Demiguise is suddenly on JACOB'S back.
BACK TO:
The Demiguise as its eyes turn back to brown.
QUEENIE moves slowly forward, staring at the Occamy. As she
does so she accidentally kicks a tiny glass bauble on the
floor, which jingles as it rolls. At the sound, the Occamy
rears up, screeching. NEWT tries to calm the large creature.
NEWT (CONT'D)
Woah! Woah!
JACOB and QUEENIE stagger backwards to find cover. The
Demiguise runs away and jumps into JACOB'S arms.
The Occamy swoops, scooping NEWT up onto its back as it
violently thrashes about the attic, sending shelves flying.
NEWT shouts out.
NEWT (CONT'D)
Right, we need an insect, any kind
of insect and a teapot! Find a
teapot!
TINA army-crawls through the chaos, dodging falling items,
trying to find what NEWT has asked for.
The wings of the Occamy crash down to the floor, narrowly
missing JACOB as he stumbles around, encumbered by the
Demiguise now clinging to his back.
NEWT finds it harder and harder to hold on as the Occamy
becomes more and more distressed, its wings now thrashing
upwards, destroying the roof of the building.
JACOB turns, he and the Demiguise spotting a stray cockroach
on a crate.
(CONTINUED)
101.
91 CONTINUED: (3) 91
JACOB reaches his hand up to grab it, when part of the Occamy
crashes down, destroying the crate and his chance.
ANGLE ON: TINA, crawling across the floor with great
determination, in hot pursuit of a cockroach.
ANGLE ON: QUEENIE, who screams as she's knocked to the floor
by the force of the Occamy.
JACOB runs up behind her and dives forwards, flat onto the
floor, finally laying claim to a cockroach. TINA stands,
clutching a teapot and screaming.
TINA
Teapot!
AT THIS NOISE, the Occamy rears its head once more, causing
its tail to writhe, squashing and pinning JACOB with the
Demiguise against one of the rafters.
JACOB and TINA are now at opposite ends of the room, neither
daring to move, swathes of Occamy scales between them.
ANGLE ON: JACOB and the Demiguise the Demiguise looks
shiftily up to the side and promptly vanishes. JACOB slowly
turns to follow the Demiguise's gaze the Occamy's face is
inches away from his own, staring with full intensity at the
cockroach in his hand. JACOB barely dares to breathe.
NEWT peers round from behind the Occamy's head and whispers.
NEWT
Roach in teapot...
JACOB gulps, trying not to make eye contact with the huge
creature next to him.
JACOB
(trying to soothe the
Occamy)
Shhhh!
JACOB widens his eyes at TINA, warning her of his intent.
IN SLOW MOTION: JACOB throws the roach. We watch it soar
through the air as the Occamy's body begins to move once
more, uncurling and swirling round the room.
NEWT jumps from the Occamy's back, landing safely on the
floor, while QUEENIE takes cover, placing a colander over her
head.
(CONTINUED)
102.
91 CONTINUED: (4) 91
TINA runs, teapot outstretched, hurdling over the Occamy's
coils as she goes a heroic sight. She lands on her knees in
the centre of the room, the cockroach falling perfectly into
the teapot.
The Occamy rears up, shrinking rapidly as it rises, before
diving down head first. TINA lowers her head, bracing herself
for a hit. The Occamy races down towards the teapot, and
glides seamlessly inside.
NEWT races forwards and jams a lid on top of the teapot. He
and TINA breathe heavily: relief.
NEWT
Choranaptyxic. They also shrink to
fit the available space.
ANGLE: INSIDE THE TEAPOT: the now tiny Occamy gobbling down
its cockroach.
TINA
Tell me the truth was that
everything that came out of the
case?
NEWT
That's everything and that's the
truth.
92 INT. NEWT'S CASE - SHORTLY AFTERWARDS - NIGHT 92
JACOB holds the Demiguise's hand, leading it through its
enclosure.
NEWT (O.S.)
Here she comes.
JACOB lifts the Demiguise up and into its nest.
JACOB
(to the Demiguise)
Happy to be home? Bet you're
exhausted, buddy. Come on there
you go that's right.
TINA is tentatively holding the baby Occamy. Supervised by
NEWT, she places it gently into its nest.
HOLD ON: TINA as she looks around at the Erumpent, now
stamping through her enclosure. TINA'S face is full of wonder
and admiration. JACOB chuckles at her expression.
(CONTINUED)
103.
92 CONTINUED: 92
PICKETT gives NEWT a sharp pinch from inside his pocket.
NEWT
Ouch!
NEWT fishes PICKETT out, holding him up on his hand as he
walks through the various enclosures.
WE SEE the Niffler sitting in a small enclave, surrounded by
its various treasures.
NEWT (CONT'D)
Right... I think we need to talk.
See, I wouldn't have let him keep
you, Pickett.
Pick, I would rather chop off my hand than get rid of you...
after everything you have done for me now come on.
NEWT has reached FRANK'S area.
NEWT (CONT'D)
Pick we've talked about sulking
before, haven't we? Pickett come
on, give me a smile. Pickett, give
me a...
PICKETT sticks out his tiny tongue and blows a raspberry at
NEWT.
NEWT (CONT'D)
All right now, that is beneath
you.
NEWT places PICKETT on his shoulder and starts busying
himself with various buckets of feed.
ANGLE ON: a photograph inside NEWT'S shed, which shows a
beautiful girl the girl smiles suggestively. QUEENIE stares
at the photo.
QUEENIE
Hey, Newt. Who is she?
NEWT
Ah... that's no one.
QUEENIE
(reading his mind)
Leta Lestrange? I've heard of that
family. Aren't they kinda you
know?
(CONTINUED)
104.
92 CONTINUED: (2) 92
NEWT
Please don't read my mind.
A beat as QUEENIE drinks the whole story out of NEWT'S head.
She looks both intrigued and saddened. NEWT continues to
work, trying hard to pretend QUEENIE isn't reading his mind.
QUEENIE steps forwards, closer to NEWT.
NEWT (CONT'D)
(angry, embarrassed)
Sorry, I asked you not to.
QUEENIE
I know, I'm sorry, I can't help it.
People are easiest to read when
they're hurting.
NEWT
I'm not hurting. Anyway, it was a
long time ago.
QUEENIE
That was a real close friendship
you had at school.
NEWT
(attempting to be QUEENIE (CONT'D)
dismissive) --became real close. For
Yes, well, neither of us years.
really fitted in at school,
so we--
In the background we see TINA, who has noticed that NEWT and
QUEENIE are talking.
QUEENIE (CONT'D)
(concerned)
She was a taker. You need a giver.
TINA walks towards them.
TINA
What are you two talking about?
NEWT
Ah nothing.
QUEENIE
School.
NEWT
School.
(CONTINUED)
105.
92 CONTINUED: (3) 92
JACOB
(putting on his jacket)
Did you say school? Is there a
school? A wizardry school here? In
America?
QUEENIE
Of course Ilvermorny! It's only
the best wizard school in the whole
world!
NEWT
I think you'll find the best
wizarding school in the world is
Hogwarts!
QUEENIE
HOGWASH.
A gigantic crack of thunder. The Thunderbird, FRANK, rises
into the air screeching, flapping his wings vigorously, his
body turning black and gold, his eyes flashing lightning.
NEWT stands, examining the bird, concerned.
NEWT
Danger. He senses danger.
93 EXT. SECOND SALEM CHURCH - NIGHT 93
GRAVES Apparates in the shadows. Wand drawn, he slowly
approaches the church, examining the scene of decimation.
Rather than nervous, he seems intrigued, almost excited.
94 INT. SECOND SALEM CHURCH - NIGHT 94
The place is destroyed moonlight filters through gaps in
the roof, and CHASTITY lies dead amid debris from the attack.
GRAVES slowly enters the church, wand still drawn. Eerie
sobbing can be heard from somewhere in the building.
MARY LOU'S body lies on the floor in front of him the marks
on her face visible in the moonlight. GRAVES considers the
corpse: a realisation dawning on his face no horror, merely
wariness and intense interest.
FOCUS ON: CREDENCE, cowering at the back of the church,
whimpering and clutching his pendant of the Deathly Hallows.
(CONTINUED)
106.
94 CONTINUED: 94
GRAVES steps quickly towards him, bends down, cradling
CREDENCE'S head. However, there's little tenderness to his
voice as he speaks.
GRAVES
The Obscurial was here? Where did
she go?
CREDENCE looks up into GRAVES'S face he is utterly
traumatised and unable to explain his face a plea for
affection.
CREDENCE
Help me. Help me.
GRAVES
Didn't you tell me you had another
sister?
CREDENCE begins to weep again. GRAVES places a hand on his
neck, his face contorting with stress as he tries to remain
calm.
CREDENCE
Please help me.
GRAVES
Where's your other sister,
Credence? The little one? Where did
she go?
CREDENCE trembles and mumbles.
CREDENCE
Please help me.
Suddenly vicious, GRAVES slaps CREDENCE hard across the face.
CREDENCE, stunned, stares at GRAVES.
GRAVES
Your sister's in grave danger. We
need to find her.
CREDENCE is aghast, unable to comprehend that his hero has
hit him.
GRAVES grabs him and pulls him up onto his feet, as they
Disapparate.
107.
95 EXT. TENEMENT IN THE BRONX - NIGHT 95
A deserted street. GRAVES, led by CREDENCE, approaches a
tenement building.
96 INT. TENEMENT IN THE BRONX, HALLWAY - NIGHT 96
Inside, the building is miserable, dilapidated.
CREDENCE and GRAVES climb the stairwell.
GRAVES (O.S.)
What is this place?
CREDENCE
Ma adopted Modesty out of here.
From a family of twelve. She still
misses her brothers and sisters.
She still talks about them.
GRAVES, wand in hand, looks around the landing there are
numerous darkened doorways stretching out in several
directions.
CREDENCE, still shell-shocked, has stopped in the stairwell.
GRAVES
Where is she?
CREDENCE looks down at a loss.
CREDENCE
I don't know.
GRAVES becomes increasingly impatient he's so close to his
goal. He marches forward into one of the rooms.
GRAVES
(contemptuous)
You're a Squib, Credence. I could
smell it off you the minute I met
you.
CREDENCE'S face falls.
CREDENCE
What?
GRAVES marches back along the corridor to try another room.
His pretence of care for CREDENCE all but forgotten.
(CONTINUED)
108.
96 CONTINUED: 96
GRAVES
You have magical ancestry, but no
power.
CREDENCE
But you said you could teach me--
GRAVES
You're unteachable. Your mother's
dead. That's your reward.
GRAVES points to another landing.
GRAVES (CONT'D)
I'm done with you.
CREDENCE doesn't move. He stares after GRAVES, his breathing
becoming shallow and quick, as though he's trying to contain
something.
GRAVES moves through the dark rooms. A tiny movement
somewhere close.
GRAVES (CONT'D)
Modesty?
GRAVES advances cautiously into a derelict schoolroom at the
end of a corridor.
97 INT. TENEMENT IN THE BRONX, DERELICT ROOM - NIGHT 97
ANGLE ON: MODESTY cowering in a corner, wide-eyed with fear
and shaking as GRAVES approaches.
GRAVES
(whispering)
Modesty.
GRAVES bends down and puts his wand away once again playing
the soothing parent.
GRAVES (CONT'D)
(gentle)
There's no need to be afraid. I'm
here with your brother, Credence.
MODESTY whimpers with terror at the mention of CREDENCE.
GRAVES (CONT'D)
Out you come now...
GRAVES extends his hand.
(CONTINUED)
109.
97 CONTINUED: 97
A faint jingle sounds.
ANGLE ON: the ceiling as cracks begin to appear, spreading
like a spider's web. Dust begins to fall as the walls shake
uncontrollably, the room beginning to disintegrate around
them.
GRAVES stands. He looks down at MODESTY, but she is clearly
terrified and not the source of this magic.
GRAVES turns and slowly draws his wand, the wall in front of
him collapsing as though turned to sand, revealing another
wall ahead. MODESTY is nothing to him now.
As each wall collapses in front of him he is transfixed,
elated, yet also aware that he has made a colossal error...
The final wall collapses. He is facing CREDENCE, who stares
at him, unable to control his fury, his sense of betrayal,
his bitterness.
GRAVES (CONT'D)
Credence... I owe you an apology...
CREDENCE
I trusted you. I thought you were
my friend. That you were different.
CREDENCE'S face begins to contort, his rage tearing him from
within.
GRAVES
You can control it, Credence.
CREDENCE
(whispers, making eye
contact finally)
But I don't think I want to, Mr
Graves.
The Obscurus moves horribly beneath CREDENCE'S skin. An awful
inhuman growl comes out of his mouth, from which something
dark begins to bloom.
This force finally takes over CREDENCE, his whole body
exploding into a dark mass which hurtles forwards out of the
window, narrowly missing GRAVES.
GRAVES stands, watching as the Obscurus zooms out and over
the city.
110.
98 EXT. TENEMENT IN THE BRONX - NIGHT 98
WE FOLLOW the Obscurus as it churns and twists through the
city, wreaking havoc: cars are sent flying, pavements explode
and buildings are demolished the Obscurus leaves only
destruction in its wake.
99 EXT. SQUIRE'S ROOFTOP - NIGHT 99
NEWT, TINA, JACOB and QUEENIE stand on the rooftop underneath
a large 'SQUIRE'S' sign. From the edge they have a clear view
of the chaos going on below.
JACOB
(overstimulated)
Jeez... is that the Obscuria-thing?
Sirens sound. NEWT is staring, registering the scale of the
destruction.
NEWT
That's more powerful than any
Obscurial I have ever heard of...
A particularly loud explosion in the distance. The city
beneath them is starting to burn. NEWT thrusts his case into
TINA'S hands and takes a journal from his pocket.
NEWT (CONT'D)
If I don't come back, look after my
creatures. Everything that you need
to know is in there.
He hands her the journal, barely able to make eye contact.
TINA
What?
NEWT
(looking back to the
Obscurus)
They're not killing it.
Their eyes meet a moment full of what they might have said
to each other before NEWT jumps from the roof and
Disapparates.
TINA
(distraught)
NEWT!
TINA slams the case into QUEENIE'S arms.
(CONTINUED)
111.
99 CONTINUED: 99
TINA (CONT'D)
You heard him look after them!
TINA also Disapparates. QUEENIE shoves the case at JACOB.
QUEENIE
Keep holda that, honey.
She moves to Disapparate, but JACOB hangs on to her and she
falters.
JACOB
No, no, no!
QUEENIE
I can't take you. Please let go of
me, Jacob!
JACOB
Hey, hey! You're the one that said
I was one of youse... right?
QUEENIE
It's too dangerous.
A further massive explosion in the distance. JACOB tightens
his grip on QUEENIE. She reads his mind and her expression
changes to one of wonderment and tenderness as she sees what
he went through in the war. QUEENIE is moved and appalled.
Very slowly, she raises a hand and touches his cheek.
100 EXT. TIMES SQUARE - NIGHT 100
The scene is one of total chaos.
Buildings are on fire, people scream and run in all
directions, cars lie destroyed in the road.
GRAVES prowls through the Square, oblivious to the distress
around him, his focus concentrated on only one thing.
The Obscurus writhes at one end of the Square, its energy
angrier now moving through layers of hurt and anguish, the
products of isolation and torment flecks of red light
roaring from within. CREDENCE'S face is just discernible
within the mass, distorted, pained. GRAVES stands before it,
triumphant.
NEWT Apparates from further down the street and watches.
(CONTINUED)
112.
100 CONTINUED: 100
GRAVES
(shouting to reach
CREDENCE over the
almighty noise)
To survive so long, with this
inside you, Credence, is a miracle.
You are a miracle. Come with me
think of what we could achieve
together.
The Obscurus moves closer to GRAVES we hear a scream from
within the mass as its Dark energy bursts out once more,
knocking GRAVES to the ground. The force sends a shockwave
round the Square NEWT dives behind a fallen car for cover.
TINA Apparates into the Square and takes cover by another
burning vehicle close to NEWT. They look at each other.
TINA
Newt!
NEWT
It's the Second Salem boy. He's the
Obscurial.
TINA
He's not a child.
NEWT
I know but I saw him his power
must be so strong he's somehow
managed to survive. It's
incredible.
As the Obscurus screams once more, TINA makes a decision.
TINA
Newt! Save him.
TINA dashes out towards GRAVES. NEWT, understanding,
Disapparates.
101 EXT. TIMES SQUARE - NIGHT 101
GRAVES is moving nearer and nearer to the Obscurus, which
continues to scream and wail at his presence. He takes out
his wand, poised...
TINA runs INTO VIEW behind GRAVES. She fires at him, but he
turns just in time his reactions marvellous, astounding.
(CONTINUED)
113.
101 CONTINUED: 101
The Obscurus now vanishes. GRAVES, thoroughly irritated,
advances on TINA, deflecting her spells with perfect ease.
GRAVES
Tina. You're always turning up
where you are least wanted.
GRAVES summons an abandoned car, which whooshes through the
air, forcing TINA to dive out of the way, just in time.
By the time TINA has gathered herself up from the ground,
GRAVES has Disapparated.
102 INT. MAJOR INVESTIGATION DEPARTMENT, MACUSA - NIGHT 102
A metallic map of New York City lights up to show areas of
intense magical activity.
MADAM PICQUERY, surrounded by top Aurors, looks on, aghast.
MADAM PICQUERY
Contain this, or we are exposed and
it will mean war.
The Aurors immediately Disapparate.
103 EXT. ROOFTOPS OF NEW YORK - NIGHT 103
NEWT raceApparates as fast as he can across the tops of
buildings in pursuit of the Obscurus.
NEWT
Credence! Credence! I can help you.
The Obscurus dives towards NEWT, who Disapparates just in
time, before continuing to chase it across the rooftops.
As he runs, spells explode around him, disintegrating the
rooftops. A dozen Aurors have appeared, attacking the
Obscurus from ahead, and almost taking out NEWT, who leaps
for cover, trying desperately to keep up.
The Obscurus veers to avoid the spells, leaving black snow-
like particles that drift across the rooftops as it retreats
screaming, and turns down another block.
In a particularly vigorous display, the Obscurus now rises
dramatically up into the air, as spells in electric blue and
white hit it from all angles.
(CONTINUED)
114.
103 CONTINUED: 103
Finally it crashes to the ground and races along a wide,
empty street a black tsunami destroying anything in its
path.
104 EXT. OUTSIDE A SUBWAY STATION - NIGHT 104
A line of policemen stand with their guns aimed at the
terrifying supernatural force powering towards them.
Their faces turn from confused alarm to total panic as they
see the mass swarming ahead, making straight for them. They
fire their guns their efforts futile in the face of such a
seemingly unstoppable kinetic mass.
Finally they disband, fleeing down the street, just as the
Obscurus reaches them.
105 EXT. ROOFTOPS/STREETS OF NEW YORK - NIGHT 105
ANGLE ON: NEWT, standing on top of a skyscraper looking out
as the Obscurus rises up over the surrounding buildings and
slams spectacularly into the ground just outside the City
Hall subway entrance.
Sudden quiet. A pulsing, heaving, screechy breathing emanates
from the Obscurus where it rests at the entrance.
Finally, as NEWT watches, we see the black mass shrink to
nothing, and the small figure of CREDENCE descends the steps
into the subway.
106 INT. SUBWAY - NIGHT 106
NEWT Apparates into the City Hall subway, a long, mosaicked
Art Deco station tunnel, which bears the signs of having been
crossed by the Obscurus: the chandelier creaks, a few tiles
have fallen.
We can hear its deep breathing, cornered, like a frightened
panther.
NEWT creeps along the platform, trying to find the epicentre
of the sound, as the Obscurus slides down the ceiling.
107 EXT. SUBWAY ENTRANCE - NIGHT 107
Aurors surround the entrance to the subway. Pointing their
wands at the pavement and into the sky, they draw an
invisible energy field around the entrance.
(CONTINUED)
115.
107 CONTINUED: 107
We hear more Aurors arrive, among them GRAVES scanning,
calculating and immediately taking charge.
GRAVES
Bar the area. I don't want anyone
else down there!
As the magical field is almost complete, a figure rolls
underneath it and dashes unseen into the subway TINA.
108 INT. SUBWAY - NIGHT 108
NEWT has reached the Obscurus in the shadows of a tunnel. Now
much calmer, it gently swirls in the air above the train
tracks. NEWT hides behind a pillar as he talks.
NEWT
Credence... it's Credence, isn't
it? I'm here to help you, Credence.
I'm not here to hurt you.
In the distance we hear footsteps, the pacing controlled,
deliberate.
NEWT moves out from behind the pillar, and steps onto the
train tracks. Within the mass of the Obscurus we can see a
shadow of CREDENCE, curled up, scared.
NEWT (CONT'D)
I've met someone just like you,
Credence. A girl a young girl
who'd been imprisoned, she had been
locked away and she'd been punished
for her magic.
CREDENCE is listening he never dreamed there was another.
Slowly the Obscurus melts away, leaving only CREDENCE,
huddled on the train tracks a frightened child.
NEWT crouches on the floor. CREDENCE looks to him, the
tiniest trace of hope dawning in his expression: might there
be a way back?
NEWT (CONT'D)
Credence, can I come over to you?
Can I come over?
NEWT slowly moves forwards, but as he does so a sharp burst
of light blazes out from the darkness and a spell strikes,
throwing him backwards.
GRAVES marches down the tunnel with intense purpose.
(CONTINUED)
116.
108 CONTINUED: 108
CREDENCE begins to run as GRAVES fires further spells at
NEWT, who rolls out of the way towards the tunnel's central
pillars.
From here NEWT tries to fire back, but his efforts are easily
deflected.
CREDENCE continues to lumber down the tracks but stops a
rabbit caught in the headlights as a train approaches, its
lights glaring from the darkness.
It is up to GRAVES to save CREDENCE magically casting him
out of the train's path.
109 EXT. SUBWAY ENTRANCE - NIGHT 109
MADAM PICQUERY surveys the situation from under the magical
force field.
ANGLE FROM THE CROWD AND POLICE'S POV:
People begin to swarm around the subway, their cries and
chatter becoming louder as they stare at the magical bubble
surrounding the subway. Reporters have appeared,
photographing the scene with an increased frenzy. SHAW SR and
BARKER push their way through the crowd.
SHAW SR
That thing killed my son I want
justice!
CLOSE ON: MADAM PICQUERY as she looks out to the crowd.
SHAW SR (O.S.) (CONT'D)
I'll expose you for who you are and
what you've done.
110 INT. SUBWAY - NIGHT 110
GRAVES stands on the platform, continuing to duel with NEWT,
who stands on the train tracks.
CREDENCE cowers behind NEWT.
Finally, almost bored by NEWT'S efforts, GRAVES casts a spell
that ripples along the train tracks and down the tunnel,
finally blasting into NEWT, throwing him high into the air.
NEWT lands on his back and GRAVES immediately sets upon him,
casting spells in a whip-like motion with increasing vigour.
(CONTINUED)
117.
110 CONTINUED: 110
GRAVES'S immense power is evident, as NEWT writhes on the
ground, unable to stop him.
111 EXT. SUBWAY ENTRANCE - NIGHT 111
WIDE SHOT: the luminous wall of vibrating energy now flashing
with the power of the magic it contains.
LANGDON, drunk, stares, enthralled and amazed by the
spectacle.
SHAW SR
(to the photographers
around him)
Look! Take photos!
112 INT. SUBWAY - NIGHT 112
GRAVES continues to whip NEWT, a manic, crazed look in his
eyes.
CLOSE ON: CREDENCE, further down the tunnel, sobbing. He
begins to shake, his face slowly turning black as he tries to
stop the kinetic mass from rising up within him.
As NEWT cries out in pain, CREDENCE succumbs to the blackness
his body enveloped and overcome the Obscurus rising up
and blasting down the tunnel towards GRAVES.
GRAVES is mesmerised he falls to his knees beneath the vast
black mass pleading in wonder.
GRAVES
Credence.
The Obscurus lets out an unearthly scream and dives towards
GRAVES, who Disapparates just in time.
The Obscurus continues to blast around the tunnel.
GRAVES and NEWT Disapparate and Apparate around the subway
trying to avoid the Obscurus's path. This causes the station
to disintegrate even faster.
Suddenly, the force accelerates, becoming a giant wave that
consumes the entire space before flying out through the roof.
118.
113 EXT. SUBWAY ENTRANCE - NIGHT 113
The Obscurus crashes up through the pavement, watched by
wizards and No-Majs alike. It storms up a half-built
skyscraper, windows shattering at every level, electric
wiring exploding, until it reaches the skeletal framework of
scaffolding above, which buckles perilously.
Below it, the crowd outside the magical cordon runs for
cover, terrified.
The Obscurus forms a wide disc shape before plunging back
down into the subway.
114 INT. SUBWAY - NIGHT 114
The Obscurus screams and dives, bursting through the subway
roof for a split second, both NEWT and GRAVES seem on the
point of death as they lie on the tracks, cowering beneath
this Dark force.
TINA (O.S.)
CREDENCE, NO!
TINA runs onto the tracks.
Inches from GRAVES'S face, the Obscurus freezes. Slowly, very
slowly, it rises back up, swirling more gently, staring at
TINA, who looks straight back into its weird eyes.
TINA (CONT'D)
Don't do this please.
NEWT
Keep talking, Tina. Keep talking to
him he'll listen to you. He's
listening.
Inside the Obscurus, CREDENCE reaches out to TINA, the only
person who has ever done him an uncomplicated kindness. He
looks at her, desperate and afraid. He has dreamed of her
ever since she saved him from a beating.
TINA
I know what that woman did to
you... I know that you've
suffered... you need to stop this
now... Newt and I will protect
you...
GRAVES is on his feet.
(CONTINUED)
119.
114 CONTINUED: 114
TINA (CONT'D)
(pointing to GRAVES)
This man he is using you.
GRAVES
Don't listen to her, Credence. I
want you to be free. It's all
right.
TINA
(to CREDENCE, calming
him)
That's it...
The Obscurus is beginning to shrink. Its dreadful face is
becoming more human, more like CREDENCE'S own.
Suddenly Aurors begin pouring down the steps of the subway
and into the tunnel.
More Aurors advance from behind TINA, their wands raised
aggressively.
TINA (CONT'D)
Shhhh! Don't, you'll frighten him.
The Obscurus lets out a terrible moan and begins to swell
again. The station is crumbling.
NEWT and TINA wheel around, arms akimbo, both trying to
protect CREDENCE.
GRAVES spins to face the Aurors, wand at the ready.
GRAVES
Wands down! Anyone harms him
they'll answer to me-
(turning back to
CREDENCE)
Credence!
TINA
Credence...
The Aurors begin pelting the Obscurus with spells.
GRAVES
NO!
WE SEE CREDENCE from within the black mass, his face
contorted, screaming. The tirade of spells continues and
CREDENCE howls in pain.
120.
115 EXT. SUBWAY ENTRANCE - NIGHT 115
The magical force field surrounding the subway breaks down as
people continue to flee the scene. Only SHAW SR and LANGDON
stand steadfast.
116 INT. SUBWAY - NIGHT 116
Aurors continue to aim spells at the Obscurus, their efforts
unrelenting and brutal.
Under this pressure, the Obscurus finally seems to implode
a white ball of magical light taking over from the black
mass.
The force of the change sends TINA, NEWT and the Aurors
stumbling backwards.
All power subsides. Only small tatters of black matter are
left floating through the air like feathers.
NEWT gets to his feet, his face racked with deep-felt grief.
TINA remains on the floor, crying.
GRAVES, however, climbs up, back onto the platform, as close
as possible to the remnants of the black mass.
The Aurors advance towards GRAVES.
GRAVES
You fools. Do you realise what
you've done?
GRAVES seethes as the others watch him with interest. MADAM
PICQUERY emerges from behind the Aurors, her tone steely,
questioning.
MADAM PICQUERY
The Obscurial was killed on my
orders, Mr Graves.
GRAVES
Yes. And history will surely note
that, Madam President.
GRAVES moves towards her along the platform, his tone
threatening.
GRAVES (CONT'D)
What was done here tonight was not
right!
(CONTINUED)
121.
116 CONTINUED: 116
MADAM PICQUERY
He was responsible for the death of
a No-Maj. He risked the exposure of
our community. He has broken one of
our most sacred laws.
GRAVES
(laughing bitterly)
A law that has us scuttling like
rats in the gutter! A law that
demands that we conceal our true
nature! A law that directs those
under its dominion to cower in fear
lest we risk discovery! I ask you
Madam President--
(eyes flashing to all
present)
--I ask all of you. Who does this
law protect? Us?
(gesturing vaguely to the
No-Majs above)
Or them?
(smiling bitterly)
I refuse to bow down any longer.
GRAVES walks away from the Aurors.
MADAM PICQUERY
(to the Aurors flanking
her)
Aurors, I'd like you to relieve Mr
Graves of his wand and escort him
back to--
As GRAVES moves down the platform a wall of white light
suddenly appears in front of him, blocking his path.
GRAVES thinks for a moment a sneer of derision and
irritation crossing his face. He turns.
GRAVES strides confidently back along the platform, firing
spells at both groups of Aurors facing him. Spells fly back
at him from all angles, but GRAVES parries them all. Several
Aurors are sent flying GRAVES appears to be winning...
In a split-second NEWT pulls the cocoon from his pocket and
releases it at GRAVES. The SWOOPING EVIL soars around him,
shielding NEWT and the Aurors from GRAVES'S spells, and
giving NEWT time to raise his wand.
(CONTINUED)
122.
116 CONTINUED: (2) 116
With a sense that he's been holding this one back, he slashes
it through the air: OUT FLIES A CRACKLING ROPE OF
SUPERNATURAL LIGHT that wraps itself around GRAVES like a
whip.
GRAVES tries to hold it off as it tightens but staggers,
struggles and falls to his knees, dropping his wand.
TINA
Accio.
GRAVES'S wand flies into TINA'S hand. GRAVES looks around at
them, a deep hatred in his eyes.
NEWT and TINA slowly advance, NEWT raising his wand.
NEWT
Revelio.
GRAVES transforms. He is no longer dark, but blond and blue-
eyed. He is the man on the posters. A murmur spreads through
the crowd: GRINDELWALD.
MADAM PICQUERY moves towards him.
GRINDELWALD
(with contempt)
Do you think you can hold me?
MADAM PICQUERY
We'll do our best, Mr Grindelwald.
GRINDELWALD stares intently at MADAM PICQUERY, his expression
of disgust turning into a small, derisory smile. He is forced
to his feet by two Aurors, who move him towards the entrance.
As GRINDELWALD reaches NEWT, he pauses both smiling and
sneering.
GRINDELWALD
Will we die, just a little?
He is led away up and out of the subway. NEWT watches,
bemused.
TIME CUT:
QUEENIE and JACOB push their way through to the front of the
Aurors. JACOB holds NEWT'S case.
QUEENIE hugs TINA. NEWT stares at JACOB.
(CONTINUED)
123.
116 CONTINUED: (3) 116
JACOB
Hey... I figured somebody oughta
keep an eye on this thing.
He hands NEWT his case.
NEWT
(humble, completely
grateful)
Thank you.
MADAM PICQUERY addresses the group as she stares through the
broken roof of the subway station, into the world outside.
MADAM PICQUERY
We owe you an apology, Mr
Scamander. But the magical
community is exposed! We cannot
Obliviate an entire city.
A beat as this sinks in.
As NEWT follows MADAM PICQUERY'S gaze, he sees a tendril of
black matter, a small part of the Obscurus, floating down
through the roof. Unnoticed by anyone else, it eventually
floats up and away, trying to reconnect with its host.
A pause. NEWT'S attention snaps back to the problem at hand.
NEWT
Actually, I think we can.
TIME CUT:
NEWT has placed his case wide open underneath the huge hole
in the subway roof.
PUSH IN CLOSE ON: NEWT'S open case.
Suddenly FRANK bursts forth in a flurry of feathers and
gushes of wind the crowd of Aurors backs away. The creature
is beautiful, mesmerising but scary as he flaps his powerful
wings and hovers above them.
NEWT moves forward he examines FRANK, a look of real
tenderness and pride on his face.
NEWT (CONT'D)
I was intending to wait until we
got to Arizona, but it seems like
now you are our only hope, Frank.
(CONTINUED)
124.
116 CONTINUED: (4) 116
A look between them an understanding. NEWT reaches out his
arm and FRANK presses his beak lovingly into the embrace
they nuzzle each other affectionately.
The assembled group watches in awe.
NEWT (CONT'D)
I'll miss you, too.
NEWT steps back, taking the flask of SWOOPING EVIL venom from
his pocket.
NEWT (CONT'D)
(to FRANK)
You know what you've got to do.
NEWT throws the vial high up into the air FRANK lets out a
sharp cry, catching it in his beak and immediately soaring
out of the subway.
117 EXT. NEW YORK - SKY - DAWN 117
No-Majs and Aurors alike shriek and recoil as FRANK bursts
forth from the subway, gliding into the dawn-lit sky.
WE FOLLOW FRANK as he rises higher and higher into the air.
As his wings flap harder, faster, storm clouds congregate.
Lightning flashes.
WE SPIRAL UPWARDS as FRANK twists and turns, leaving New York
lying far below.
CLOSE ON: FRANK'S beak, the vial clutched tightly and finally
crushed. The powerful venom spreads through the thick rain,
enchanting it, thickening it. The darkening sky flashes a
brilliant blue and rain begins to fall.
118 EXT. SUBWAY ENTRANCE - DAWN 118
HIGH ANGLE: PUSHING DOWN towards the crowd as they look up to
the sky. As the rain falls and hits them, people move on,
docile their bad memories washed away. Each person goes
about their daily business as though nothing unusual has
happened.
Aurors move through the streets, performing repairing charms
to rebuild the city: buildings and cars are reconstructed and
streets are returned to normal.
ANGLE ON: LANGDON, standing in the rain, his expression
softening, growing blank as the water runs over his face.
(CONTINUED)
125.
118 CONTINUED: 118
ANGLE ON: police looking at their guns, confused why do
they have them drawn? They slowly gather themselves, putting
their weapons away.
INSIDE A SMALL FAMILY HOME: a young mother looks on fondly at
her family. As she takes a sip of water, her expression
becomes blank.
Groups of Aurors continue to repair the streets, swiftly
reassembling broken tram tracks, all traces of destruction
finally disappearing.
One Auror, passing a newsstand, enchants the papers, removing
NEWT and TINA'S mugshots and replacing them with banal
headlines about the weather.
MR BINGLEY, the bank manager, stands in his bathroom taking a
shower. As the water trickles over him, he too is Obliviated.
We see BINGLEY'S wife, brushing her teeth, her expression
vacant, carefree.
FRANK continues to soar through the streets of New York,
churning up more and more rain as he goes, his feathers
shimmering a brilliant gold. Finally he glides into the
breaking New York dawn, a magnificent sight.
119 INT. SUBWAY PLATFORM - DAWN 119
As MADAM PICQUERY looks on, the roof of the subway is swiftly
repaired.
NEWT addresses the group.
NEWT
They won't remember anything. That
venom has incredibly powerful
Obliviative properties.
MADAM PICQUERY
(impressed)
We owe you a great debt, Mr
Scamander. Now get that case out
of New York.
NEWT
Yes, Madam President.
MADAM PICQUERY begins to walk away, her pack of Aurors moving
with her. Suddenly she turns back.
QUEENIE, having read her mind, stands protectively in front
of JACOB, trying to hide him.
(CONTINUED)
126.
119 CONTINUED: 119
MADAM PICQUERY
Is that No-Maj still here?
(on seeing JACOB)
Obliviate him. There can be no
exceptions.
MADAM PICQUERY reads the anguish in their faces.
MADAM PICQUERY (CONT'D)
I'm sorry but even one witness...
you know the law.
A pause. She is uncomfortable at their distress.
MADAM PICQUERY (CONT'D)
I'll let you say goodbye.
She leaves.
120 EXT. SUBWAY - DAWN 120
JACOB leads the others up the steps of the subway, QUEENIE
following close behind him.
Rain is still falling heavily, the streets now almost empty
but for a few hard- working Aurors.
JACOB has reached the top of the steps and stands, gazing
into the rain. QUEENIE reaches out and grabs his coat,
willing him not to move out into the street. JACOB turns to
her.
JACOB
Hey. Hey, this is for the best.
(off their looks)
Yeah I was I was never even
supposed to be here.
JACOB fights back tears. QUEENIE gazes up at him, her
beautiful face full of distress.
TINA and NEWT, too, look incredibly sad.
JACOB (CONT'D)
I was never supposed to know any of
this. Everybody knows Newt only
kept me around because hey
Newt, why did you keep me around?
NEWT has to be explicit. It doesn't come easily.
(CONTINUED)
127.
120 CONTINUED: 120
NEWT
Because I like you. Because you're
my friend and I'll never forget how
you helped me, Jacob.
A beat.
JACOB is overcome with emotion at NEWT'S answer.
JACOB
Oh!
QUEENIE moves forwards up the stairs towards JACOB they
stand close.
QUEENIE
(trying to cheer him up)
I'll come with you. We'll go
somewhere we'll go anywhere see
I ain't never gonna find anyone
like--
JACOB
(bravely)
There's loads like me.
QUEENIE
No... no... there's only one like
you.
The pain is almost unbearable.
JACOB
(a beat)
I gotta go.
JACOB turns to face the rain, and wipes his eyes.
NEWT
(starting after him)
JACOB!
JACOB
(trying to smile)
It's okay... it's okay... it's
okay. It's just like waking up,
right?
The group smiles back at him, encouraging, trying to soothe
the situation.
(CONTINUED)
128.
120 CONTINUED: (2) 120
Looking at their faces as he moves, JACOB walks backwards
into the rain. Turning his face to the sky, arms out, he
allows the water to wash over him completely.
QUEENIE creates a magical umbrella with her wand and steps
out towards JACOB. She moves in closely, tenderly stroking
JACOB'S face before closing her eyes and bending in to gently
kiss him.
Finally she pulls slowly away, her gaze not leaving JACOB'S
face even for a second. Then, suddenly, she's gone, leaving
JACOB standing, arms out, longingly embracing no one.
CLOSE ON: JACOB'S face as he fully 'WAKES UP', blank-faced
and confused by his location and the torrential downpour he's
standing in. He finally moves off through the streets a
lonely figure.
121 EXT. JACOB'S CANNING FACTORY - A WEEK LATER - EARLY EVENING
121
An exhausted JACOB, surrounded by a crowd of similarly
overalled production- line workers, is leaving after a hard
day's shift. He carries a battered leather case.
A man walks towards him -- NEWT. They collide and JACOB'S
case is knocked to the ground.
NEWT
So sorry - sorry!
NEWT has moved swiftly and purposefully onwards.
JACOB
(no recognition)
Hey!
JACOB bends to pick up his case and looks down, puzzled. His
old case is suddenly very heavy. One of the catches flicks
open of its own accord. JACOB smiles a little, and bends down
to open the case.
Inside, the case is filled with solid silver Occamy
eggshells, a note attached. As JACOB reads, we hear:
NEWT (V.O.)
'Dear Mr Kowalski, You are wasted
in a canning factory. Please take
these Occamy eggshells as
collateral for your bakery. A well-
wisher.'
129.
122 EXT. NEW YORK HARBOUR - NEXT DAY 122
CLOSE ON: NEWT'S feet as he walks through the crowd.
NEWT is preparing to leave New York, overcoat on, Hufflepuff
scarf around his neck, case tied up tightly with string.
TINA walks alongside him. They stop before the boarding gate.
TINA looks anxious.
NEWT
(smiling)
Well it's been...
TINA
Hasn't it!
Pause. NEWT looks up, TINA'S expression is expectant.
TINA (CONT'D)
Listen, Newt, I wanted to thank
you.
NEWT
What on earth for?
TINA
Well, you know, if you hadn't said
all those nice things to Madam
Picquery about me I wouldn't be
back on the investigative team now.
NEWT
Well I can't think of anyone that
I'd rather have investigating me.
Not precisely what he was aiming for, but too late now...
NEWT becomes slightly awkward, TINA shyly appreciative.
TINA
Well try not to need investigating
for a bit.
NEWT
I will. Quiet life for me from now
on... back to the Ministry...
deliver my manuscript...
TINA
I'll look out for it. Fantastic
Beasts and Where to Find Them.
Weak smiles. A pause. TINA plucks up courage.
(CONTINUED)
130.
122 CONTINUED: 122
TINA (CONT'D)
Does Leta Lestrange like to read?
NEWT
Who?
TINA
The girl whose picture you carry-
NEWT
I don't really know what Leta likes
these days because people change.
TINA
Yes.
NEWT
(a dawning realisation)
I've changed. I think. Maybe a
little.
TINA is delighted, but doesn't know how to express it.
Instead, she's trying not to cry.
The ship's siren sounds most of the other passengers have
now boarded.
NEWT (CONT'D)
I'll send you a copy of my book, if
I may.
TINA
I'd like that.
NEWT gazes at TINA awkwardly affectionate. He gently
reaches forward and touches her hair. Lingering for a moment,
they stare into each other's eyes.
A last look and NEWT suddenly moves away, leaving TINA
standing, raising a hand to touch where NEWT stroked her
hair.
But then he's back.
NEWT
I'm so sorry how would you feel
if I gave you your copy in person?
A radiant smile breaks across TINA'S face.
TINA
I'd like that very much.
(CONTINUED)
131.
122 CONTINUED: (2) 122
NEWT can't help but grin back at her before turning and
walking away.
He pauses on the gangplank, perhaps unsure of how to act, but
eventually moves on without looking back.
TINA stands alone in the empty harbour. As she walks away,
there's a playful skip to her step.
123 EXT. JACOB'S BAKERY, LOWER EAST SIDE - THREE MONTHS LATER 123
-
DAY
WIDE SHOT: a bustling New York street market stalls line
the street, which heaves with busy people, horses and
carriages.
ANGLE ON: a small, inviting bakery. Crowds throng outside the
pretty little shop, painted with the name 'KOWALSKI'.
People peer with interest into the shop's windows, and happy
customers leave, their arms laden with baked goods.
124 INT. JACOB'S BAKERY, LOWER EAST SIDE - DAY 124
CLOSE ON: the doorbell as it rings to signal the entrance of
a new customer.
CLOSE ON: the pastries and breads on the counter, all moulded
into fanciful little shapes we recognise the Demiguise,
Niffler and Erumpent among them.
JACOB, serving, is very happy, his shop full to bursting with
customers.
FEMALE CUSTOMER
(examining the little
pastries)
Where do you get your ideas from,
Mr Kowalski?
JACOB
I don't know, I don't know they
just come!
He hands the lady her pastries.
JACOB (CONT'D)
Here you go don't forget this
enjoy.
(CONTINUED)
132.
124 CONTINUED: 124
JACOB turns and calls over one of his bakery assistants,
handing him a pair of keys.
JACOB (CONT'D)
Hey, Henry storage, all right?
Thanks, pal.
The bell tinkles again.
JACOB looks up and is thunderstruck all over again: it's
QUEENIE.
They stare at each other QUEENIE beams, radiant. JACOB,
quizzical and totally enchanted, touches his neck a flicker
of memory. He smiles back.
| Fantastic Beasts and Where to Find Them
Writers : J.K. Rowling
Genres : Fantasy Family Adventure
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