第2章 Fantastic Beasts: The Crimes of Grindelwald(1)
SCENE 1
EXT. NEW YORK, AMERICAN MINISTRY OF MAGIC-1927-NIGHT
AERIAL SHOT of New York and MACUSA building.
SCENE 2
INT. MACUSA BASEMENT, BARE BLACKWALLED ROOM-NIGHT
The long-haired, bearded GRINDELWALD sits motionless, magically fixed to a chair. The air shimmers, charged with spells.
ABERNATHY peers in at GRINDELWALD from the corridor.
A baby Chupacabra-part lizard, part homunculus, a blood-sucking creature of the Americas-is chained to GRINDELWALD'S chair.
SCENE 3
INT. MACUSA, CORRIDOR BETWEEN CELLS-SHORTLY AFTER-NIGHT
PRESIDENT SERAPHINA PICQUERY and RUDOLPH SPIELMAN walk at pace towards an ominous-looking door, past endless pairs of guards.
SPIELMAN
(Germanic)
…you'll be glad to be rid of him, I expect.
PICQUERY
We'd be more than happy to keep him here in custody.
SPIELMAN
Six months are enough. It's time for him to answer for his crimes in Europe.
As they reach the door, ABERNATHY turns and acknowledges them.
ABERNATHY
President Picquery, Mr Spielman, sir. Prisoner is secured and ready to travel.
SPIELMAN and PICQUERY peer into the cell at GRINDELWALD.
SPIELMAN
You've thrown everything at him, I see.
PICQUERY
It was necessary. He's extremely powerful. We've had to change his guard three times-he's very…persuasive. So we removed his tongue.
SCENE 4
INT. MACUSA CELLS-NIGHT
Cells resembling cages rise in tiers. Prisoners chant and bang against the bars as the bound GRINDELWALD is transported upstairs, suspended magically in mid-air.
PRISONERS
Grindelwald! Grindelwald!
SCENE 5
EXT. MACUSA ROOFTOP-MINUTES LATER-NIGHT
A hearse-like black carriage, drawn by eight Thestrals, waits. AURORS 1 & 2 climb into the driver's seat, the rest force GRINDELWALD inside.
SPIELMAN
The wizarding community worldwide owes you a great debt, Madam President.
PICQUERY
Do not underestimate him.
ABERNATHY approaches them.
ABERNATHY
Mr Spielman, we found his wand hidden away.
He hands over a black rectangular box.
PICQUERY
Abernathy?
ABERNATHY
And we found this.
He holds a vial of some glowing gold substance in the palm of his hand. SPIELMAN reaches for the vial, which hangs on a chain, and-after a moment of hesitation-ABERNATHY releases it.
Inside the carriage, GRINDELWALD raises his eyes to the roof as the vial is passed to SPIELMAN.
SPIELMAN climbs into the carriage. AUROR 1 driving, AUROR 2 beside him. The door closes. A series of padlocks emerges from the carriage doors. An ominous drumroll of clicks as padlocks fasten themselves in place.
AUROR 1
Yah!
The Thestrals take off.
The carriage plummets then soars away through torrential rain. More AURORS follow on broomsticks.
A beat.
ABERNATHY steps forward, holding the Elder Wand. He looks up at the carriage, growing ever smaller. He Disapparates.
CUT TO:
SCENE 6
EXT. THESTRAL-DRAWN CARRIAGE-NIGHT
The underside of the carriage. ABERNATHY Apparates, clinging to the wheel shaft.
SCENE 7
INT. THESTRAL-DRAWN CARRIAGE-NIGHT
SPIELMAN and GRINDELWALD sit, eyes locked, flanked by AURORS, all pointing their wands at GRINDELWALD. GRINDELWALD'S wand box lies on SPIELMAN'S lap.
SPIELMAN holds up the vial, dangling from its chain.
SPIELMAN
No more silver tongue, eh?
But GRINDELWALD is transforming…
SCENE 8
EXT. THESTRAL-DRAWN CARRIAGE-NIGHT
ABERNATHY adjusts his grip underneath the carriage. His face too is changing. His hair is turning blond and lengthening…he is GRINDELWALD. He raises the Elder Wand.
SCENE 9
INT. THESTRAL-DRAWN CARRIAGE-NIGHT
GRINDELWALD'S rapid transformation into a tongueless ABERNATHY is almost complete.
SPIELMAN
(shocked)
Oh!
SCENE 10
EXT. THESTRAL-DRAWN CARRIAGE-NIGHT
Now fully transformed, GRINDELWALD Disapparates from the underside of the carriage…
…and Apparates next to the driver's seat, where he is spotted by AURORS 1 & 2. GRINDELWALD points his wand at the carriage reins, turning the black ropes into living snakes that ensnare AUROR 1 so he falls from the carriage, back through the night sky, past the broomstick riders.
GRINDELWALD casts another spell so the black ropes of the reins bind AUROR 2 like a chrysalis, launching him forward in the air, then slingshotting him back to knock AURORS 3 & 4 from the rear of the Thestral-drawn carriage. They fall away into darkness.
SCENE 11
INT. THESTRAL-DRAWN CARRIAGE-NIGHT
All wands reverse their direction to jab dangerously at the necks of SPIELMAN and the two remaining AURORS. SPIELMAN watches as his wand melts into dust.
The carriage rocks dangerously, both doors open. As GRINDELWALD'S head appears at the window, the panicking SPIELMAN opens the wand box on his lap. The Chupacabra leaps out and sinks its fangs deep into SPIELMAN'S neck. He wrestles it. The vial falls to the floor.
SCENE 12
EXT. THESTRAL-DRAWN CARRIAGE-NIGHT
GRINDELWALD drives the carriage down onto the Hudson River, chased by the AURORS on broomsticks. The carriage wheels graze the surface of the water. The broomstick riders are catching up.
GRINDELWALD touches the Elder Wand to the river and at once the inside of the carriage begins to fill with water.
He lifts the carriage back up into the air.
SCENE 13
INT. THESTRAL-DRAWN CARRIAGE-NIGHT
Submerged in the water, the two AURORS, SPIELMAN and ABERNATHY hold their breath.
SPIELMAN attempts to grab the vial, which is floating loose in the water, but the Chupacabra blocks his path. ABERNATHY, with hands still bound, manages to capture the vial in his mouth.
SCENE 14
EXT. THESTRAL-DRAWN CARRIAGE-NIGHT
Still driving the carriage, GRINDELWALD swirls his wand in the air towards the surrounding storm clouds. One by one, forks of lightning strike the broomstick riders, knocking each in turn from the sky.
SCENE 15
INT. THESTRAL-DRAWN CARRIAGE-NIGHT
GRINDELWALD appears at the door and nods to ABERNATHY. He throws the door open so the water pours out-along with the two remaining AURORS. GRINDELWALD clambers inside and retrieves the vial from ABERNATHY'S mouth by the chain, casting a spell that grants ABERNATHY a new forked tongue.
GRINDELWALD
You have joined a noble cause, my friend.
GRINDELWALD rips the little Chupacabra off SPIELMAN. It rubs its bloody face affectionately against his hand.
GRINDELWALD
I know. Okay. I know, Antonio.
He looks at it with distaste.
GRINDELWALD
So needy.
He then flings it through the door.
He blasts SPIELMAN magically through the open door, then tosses a wand after him.
SCENE 16
EXT. SKY OVER ATLANTIC OCEAN-NIGHT
As SPIELMAN falls, he manages to seize the wand and conjures an invisible Slowing Charm. Sinking slowly towards the sea, SPIELMAN watches his carriage streaking away in the direction of Europe.
SCENE 17
EXT. OVERCAST LONDON, WHITEHALL-THREE MONTHS LATER-AFTERNOON
A gloomy silence. Establishing shot.
An owl flutters down into the Ministry.
SCENE 18
INT. MINISTRY OF MAGIC-AFTERNOON
NEWT SCAMANDER sits alone in a dingy waiting area, staring abstractedly into space. After a moment, he feels something tugging on his wrist. He looks down. Pickett, a Bowtruckle, is swinging on a loose thread in his cuff.
The thread snaps. Pickett falls. NEWT'S button rolls away down a corridor. NEWT and Pickett watch it go.
A beat.
Then both chase after it. NEWT just gets there first. As he bends to pick it up, he finds himself confronted by a pair of female feet.
LETA (O.S.)
They're ready for you, Newt.
He stands up. Face to face with LETA LESTRANGE, who is beautiful and smiling, NEWT stuffs the button and Pickett into his pocket.
NEWT
Leta…what are you doing here?
LETA
Theseus thought it would be good if I became part of the Ministry family.
NEWT
Did he actually say the words 'Ministry family'?
She gives a little laugh. They head off along the corridor. Tension. A lot of history.
NEWT
That sounds like my brother.
LETA
Theseus was disappointed you couldn't come to dinner. Any of the nights we asked you.
NEWT
Well, I've been busy.
LETA
He's your brother, Newt, he likes spending time with you. And so do I.
NEWT spots Pickett climbing onto his lapel, and holds out the breast pocket of his coat.
NEWT
(to Pickett)
Oi, you! Hop in, Pick.
Pickett snuggles down.
LETA
(smiling)
Why do strange creatures love you so much?
NEWT
Well, there are no strange creatures-
NEWT/LETA
'-only blinkered people'.
She is smiling again. NEWT-just-reciprocates.
LETA
How long did you get in detention for saying that to Prendergast?
NEWT
You know, I think it was a month that time.
LETA
And I set off a Dungbomb under his desk so I could join you, do you remember?
They have come within sight of scary, official doors leading to the meeting room. THESEUS SCAMANDER emerges.
NEWT
No, I actually don't remember that.
Rebuffed, she comes to a halt. NEWT walks away towards THESEUS, who is very like NEWT, but more outgoing, easier in manner. THESEUS winks at LETA before turning to NEWT.
THESEUS
Hello.
LETA
Theseus. We were just talking about Newt coming for dinner.
THESEUS
Really? Well…Look, before we go in there I-
NEWT
-it's my fifth attempt, Theseus. I know the form.
THESEUS
This isn't going to be like the other times. This is…Just try and keep an open mind, will you? And maybe a little less-
A wordless gesture indicates Pickett, NEWT'S blue coat and his messy hair.
NEWT
-like me?
THESEUS
(not without affection)
Well, it can't hurt. Come on, let's go.
SCENE 19
INT. MINISTRY OF MAGIC, HEARING ROOM-AFTERNOON
NEWT and THESEUS enter the room, where TORQUIL TRAVERS (harsh, mean-spirited), ARNOLD GUZMAN (American) and RUDOLPH SPIELMAN (who is still bruised from GRINDELWALD'S escape, the bloody bite visible on his neck) are already sitting.
Two empty chairs, which NEWT and THESEUS take. The corners of the room are in darkness.
TRAVERS
Hearing commences.
The quill begins to write. TRAVERS opens a file in front of him, which contains pictures of NEWT'S Wanted pictures and of the post-Obscurial devastation in New York.
TRAVERS
You want an end to the ban on your travelling internationally. Why?
NEWT
Because I like to travel internationally.
SPIELMAN
(reading from his own file)
'Subject uncooperative and evasive on reasons for last international trip.'
All look at NEWT, waiting.
NEWT
It was a field trip. I was collecting material for my book on magical beasts-
TRAVERS
You destroyed half of New York.
NEWT
No, that's actually factually incorrect on two counts-
THESEUS
(quiet but stern)
Newt!
NEWT stops, frowns.
GUZMAN
Mr Scamander, it's clear you're frustrated and, frankly, so are we. In the spirit of compromise, we'd like to make a proposition.
NEWT glances at THESEUS warily. THESEUS nods: Listen.
NEWT
What kind of proposition?
TRAVERS
The committee will agree to lift your travel ban under one condition.
NEWT waits. SPIELMAN leans forward.
SPIELMAN
You join the Ministry. Specifically, your brother's department.
NEWT digests this, then:
NEWT
No, I-that isn't my kind of-Theseus is the Auror. I think my talents lie elsewhere-
GUZMAN
Mr Scamander. The wizarding and non-wizarding worlds have been at peace for over a century. Grindelwald wants to see that peace destroyed and for certain members of our community his message is very seductive. Many purebloods believe it is their birthright to rule not only our world but the non-magic world as well. They see Grindelwald as their hero, and Grindelwald sees this boy as a means to make this all come true.
Hearing this, NEWT frowns, watching as CREDENCE'S face emerges in the surface of the table.
NEWT
I'm sorry. You're talking about Credence as if he were still here.
THESEUS
He survived, Newt.
NEWT stops cold, his eyes fixed on THESEUS. THESEUS nods.
THESEUS
He's still alive. He left New York months ago. He's somewhere in Europe. Where exactly, we don't know, but-
NEWT
And you want me to hunt Credence down? To kill him?
Out of the shadows in the corner comes deep, nasty laughter.
GRIMMSON
Same old Scamander.
NEWT reacts to the sound of the voice. GRIMMSON moves into the light. Scarred, brutal, he is a beast hunter for hire.
NEWT
(furious)
What's he doing here?
GRIMMSON
Taking on the job you're too soft to do.
GRIMMSON walks towards them while the ghostly image of CREDENCE shimmers on the enchanted surface of the table.
GRIMMSON
(of CREDENCE)
Is that it?
NEWT rises furiously, storms towards the door.
TRAVERS
(calling after him)
Travel documentation denied!
THESEUS stares at the door as it closes. The committee looks unsurprised, turns their gazes to the smirking GRIMMSON.
SCENE 20
INT. MINISTRY OF MAGIC, CORRIDOR-AFTERNOON
THESEUS chases after NEWT.
THESEUS
Newt!
NEWT stops. Turns.
THESEUS
(testy)
You think I like the idea of Grimmson any more than you do?
NEWT
Listen, I don't want to hear how the ends justify the means, Theseus.
THESEUS
I think you're gonna have to pull your head out of the sand!
NEWT
(exasperated)
Okay, right, here we go. What a selfish…irresponsible…
THESEUS
You know, the time is coming when everyone's going to have to pick a side. Even you.
NEWT
I don't do sides.
THESEUS
Newt…
NEWT turns to go, but THESEUS runs after him, grabs his arm to hold him back.
THESEUS
(pulling him in for a hug)
C'mere.
NEWT doesn't reciprocate, but doesn't fight him off either.
THESEUS
(in NEWT'S ear)
They're watching you.
SCENE 21
INT. MINISTRY OF MAGIC, HEARING ROOM-AFTERNOON
GRIMMSON is sitting in what was NEWT'S seat, facing the committee.
GRIMMSON
Well, gentlemen. I assume this means I have the job.
SCENE 22
EXT. SKYLINE OF UPMARKET QUARTER OF PARIS-AFTERNOON
Establishing shot.
SCENE 23
EXT. ELEGANT STREET OF 19TH-CENTURY PARISIAN HOUSES-AFTERNOON
GRINDELWALD and ACOLYTES stand in the street. GRINDELWALD points his cane at a particularly fine house.
A clatter announces the arrival of a horse-drawn hearse.
NAGEL, KRALL, CARROW, ABERNATHY, KRAFFT, ROSIER (female) and MACDUFF approach the front door. KRALL opens it with his wand. The ACOLYTES enter.
PARISIAN MAN (O.S.)
Chérie?
PARISIAN WOMAN (O.S.)
(worried)
Qui est là?
GRINDELWALD looks around the street, calm, waiting, tapping on the pavement with his cane.
We see a green flash-the Killing Curse. The door reopens. Two black coffins exit. GRINDELWALD watches as NAGEL and KRAFFT load the coffins onto the carriage.
SCENE 24
INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM-AFTERNOON
GRINDELWALD surveys the elegant clutter left by the haut bourgeois family he has just murdered.
GRINDELWALD
Yes. This will be suitable after a thorough cleanse.
(to NAGEL)
I want you to go to the circus now. Give my note to Credence, begin his journey.
NAGEL nods and leaves.
ROSIER
When we've won, they'll flee cities in the millions. They've had their time.
GRINDELWALD
We don't say such things out loud. We want only freedom. Freedom to be ourselves.
ROSIER
To annihilate non-wizards.
GRINDELWALD
Not all of them. Not all. We're not merciless. The beast of burden will always be necessary.
We hear the sound of a child close at hand.
SCENE 25
INT. GRINDELWALD'S HIDEOUT, NURSERY-AFTERNOON
GRINDELWALD enters. A small child looks up, puzzled. GRINDELWALD contemplates him for a moment, then nods at CARROW and turns to leave.
We see another green flash as GRINDELWALD closes the door.
SCENE 26
EXT. LONDON BACK STREET-EVENING
NEWT Apparates and walks on briskly beneath an increasingly stormy sky. Seconds later, STEBBINS, an Auror, Apparates some yards behind him. They have been playing this game for an hour. NEWT turns a corner into a darker alleyway, peers back around the corner, and points his wand back at STEBBINS.
NEWT
(sotto voce)
Ventus.
STEBBINS is immediately caught in a hurricane for one. To the confusion and amusement of passing Muggles, his hat flies away, he is almost knocked off his feet and cannot proceed.
Smiling slightly, NEWT withdraws his head, still leaning against the wall of the dark alleyway, to find a single black glove hanging in the air in front of him. He looks at it, expressionless. It gives a little wave, then points into the far distance. NEWT looks to where it is pointing. High on the dome of St Paul's Cathedral, a tiny human figure raises its arm.
NEWT looks back at the glove, which makes as though to shake hands. NEWT takes it and he and the glove Disapparate-
SCENE 27
EXT. DOME OF ST PAUL'S-EVENING
-Apparating beside a dandyesque forty-five-year-old wizard with greying auburn hair and beard. NEWT hands back his glove.
NEWT
Dumbledore.
(amused)
Were the less conspicuous rooftops full, then?
DUMBLEDORE
(looking out over city)
I do enjoy a view. Nebulus.
A swirling fog descends over London.
They Disapparate.
SCENE 28
EXT. TRAFALGAR SQUARE-EVENING
DUMBLEDORE and NEWT Apparate and walk on past the great stone Landseer lions. The darkening sky is becoming increasingly ominous. A flock of pigeons rises into the air at their approach.
DUMBLEDORE
How was it?
NEWT
They're still convinced that you sent me to New York.
DUMBLEDORE
You told them I didn't?
NEWT
Yes. Even though you did.
A beat. DUMBLEDORE inscrutable; NEWT wanting answers.
NEWT
You told me where to find that trafficked Thunderbird, Dumbledore. You knew that I would take him home and you knew I'd have to take him through a Muggle port.
DUMBLEDORE
Well, I've always felt an affinity with the great magical birds. There's a story in my family that a phoenix will come to any Dumbledore who is in desperate need. They say my great-great-grandfather had one, but that it took flight when he died, never to return.
NEWT
With all due respect, I don't believe for a minute that's why you told me about the Thunderbird.
A noise behind them. The silhouette of a man appears out of the shadows. They Disapparate-
SCENE 29
EXT. VICTORIA BUS STATION-EVENING
Footsteps nearby. Both ready their wands, but the footsteps die away. They walk on.
DUMBLEDORE
Credence is in Paris, Newt. He's trying to trace his real family. I take it you've heard the rumours about who he really is?
NEWT
No.
DUMBLEDORE and NEWT board a stationary bus.
DUMBLEDORE
The purebloods think he's the last of an important French line, a baby whom everyone thought lost…
A look between them. NEWT is astonished.
NEWT
Not Leta's brother?
DUMBLEDORE
That's what they're whispering. Pureblood or not, I know this: an Obscurus grows in the absence of love as a dark twin, an only friend. If Credence has a real brother or sister out there who can take its place, he might yet be saved.
(a beat)
Wherever Credence is in Paris, he's either in danger or a danger to others. We may not know who he is yet, but he needs to be found. And I rather hoped you might be the one to find him.
DUMBLEDORE conjures NICOLAS FLAMEL'S card from thin air and offers it to NEWT, who eyes it with suspicion.
NEWT
What's that?
DUMBLEDORE
It's an address of a very old acquaintance of mine. A safe house in Paris, reinforced with enchantments.
NEWT
Safe house? Why would I need a safe house in Paris?
DUMBLEDORE
One hopes you won't, but should things at some point go terribly wrong, it's good to have a place to go. You know, for a cup of tea.
NEWT
No, no, no-absolutely not.
SCENE 30
EXT. LAMBETH BRIDGE-NIGHT
They Apparate onto a bridge.
NEWT
I'm banned from international travel, Dumbledore. If I leave the country, they will put me in Azkaban and throw away the key.
DUMBLEDORE stops.
DUMBLEDORE
Do you know why I admire you, Newt? More, perhaps, than any man I know?
(off NEWT'S surprise)
You don't seek power or popularity. You simply ask, is the thing right in itself? If it is, then I must do it, no matter the cost.
He walks on.
NEWT
That's all very well, Dumbledore, but, forgive me for asking, why can't you go?
They stop.
DUMBLEDORE
I can't move against Grindelwald. It has to be you.
(a beat)
Well, I don't blame you-in your shoes I'd probably refuse too. It's late. Good evening, Newt.
DUMBLEDORE Disapparates.
NEWT
Oh c'mon!
DUMBLEDORE'S empty glove reappears and tucks the business card bearing the address of the safe house into NEWT'S top pocket.
NEWT
(exasperated)
Dumbledore.
SCENE 31
EXT. NEWT'S STREET-NIGHT
Establishing shot: a street of ordinary yellow brick Victorian houses. First specks of rain. NEWT walks swiftly up the front steps, but pauses just outside the front door. The light in his sitting room is flashing on and off.
SCENE 32
INT. NEWT'S HOUSE-NIGHT
NEWT opens the front door cautiously. Inside, a baby Niffler is swinging from the brass cord of a table lamp, causing the light to flicker on and off. The baby Niffler succeeds in stealing the brass cord before spotting NEWT. It scampers away, knocking all manner of objects to the floor.
NEWT spots a second baby Niffler sitting on a set of weighing scales, pinned down by gold-coloured weights it is clearly attempting to steal.
As the first baby makes it to the dining table, NEWT lightly drops a saucepan on top of it, which continues moving across the table. NEWT tosses an apple into the opposite weighing scale, sending the baby Niffler flying into the air. NEWT catches both baby Nifflers as they fall, then tucks them into his pockets.
Satisfied, NEWT heads towards the door to his basement, but turns at the last moment to see a third escaped baby Niffler climbing onto a bottle of champagne on the counter. With a sense of inevitability, the champagne bottle pops and the baby Niffler zooms towards NEWT on top of the cork, soaring past him and down the stairs to the basement.
SCENE 33
INT. NEWT'S BASEMENT MENAGERIE-MOMENTS LATER-NIGHT
A gigantic hospital for magical creatures.
NEWT
Bunty! Bunty! Bunty, the baby Nifflers are loose again!
(to the Nifflers)
Oi! Oh.
BUNTY, NEWT'S assistant, hurries into view. She is a plain girl, crazy about creatures, hopelessly in love with NEWT. She peels off the Nifflers with freshly bandaged fingers.
She tempts the last baby Niffler-the champagne cork rider-with a gold necklace, then tucks all three into a nest full of sparkling objects.
NEWT
Well done.
BUNTY
I'm so sorry, Newt, they must have picked the lock while I was cleaning out the Augureys-
NEWT
Not to worry.
NEWT and BUNTY walk together among the enclosures.
BUNTY
Hmm…I've fed nearly everyone, Pinky's had his nose drops and-
NEWT
-and Elsie?
BUNTY
Elsie's droppings are nearly normal again.
NEWT
Wonderful. You can clock off now-
(seeing her fingers)
I told you to leave the Kelpie to me.
BUNTY
That wound needs more ointment-
NEWT
I don't want you losing fingers over it.
NEWT marches towards a patch of black water, BUNTY trotting in his wake, awash with emotion at his concern for her.
NEWT
Seriously, you go home now, Bunty. You must be exhausted.
BUNTY
You know the Kelpie's easier with two.
They approach the water. NEWT unhooks a bridle hanging beside the pond.
BUNTY
(hopeful)
Perhaps you should take off your shirt?
NEWT
(oblivious)
Don't worry, I'll dry off quickly enough.
NEWT smiles and jumps backwards into the water. The Kelpie erupts: a gigantic, semi-spectral horse intent on drowning NEWT, who grabs it around the neck and manages to scramble onto its back as it thrashes.
The Kelpie dives, taking NEWT with it. BUNTY waits, frightened.
WHOOSH-NEWT bursts back out of the water and the Kelpie is bridled. Now docile, it shakes its mane. BUNTY is transfixed by the sight of NEWT in his wet shirt.
NEWT
Someone needed to let off some steam. Ointment, Bunty?
She hands it over. Still mounted, NEWT applies ointment to a wound on the Kelpie's neck.
NEWT
Bite Bunty again and there'll be trouble, mister.
As he dismounts, there is a crash from overhead. Both he and BUNTY look up.
BUNTY
(scared)
What was that?
NEWT
I don't know. But I want you to go home now, Bunty.
BUNTY
Shall I call the Ministry?
NEWT
No, I want you to go home. Please.
SCENE 34
INT. NEWT'S STAIRCASE-A MINUTE LATER-NIGHT
NEWT climbs the stairs to his living quarters, wand drawn, curious and expecting the worst. He pushes open the door.
SCENE 35
INT. NEWT'S SITTING ROOM-NIGHT
A spartan bachelor residence. NEWT'S real life is in the basement.
JACOB KOWALSKI and QUEENIE GOLDSTEIN stand in the middle of the room, suitcases beside them, QUEENIE nervous and excited, JACOB unfocused and over-merry, possibly drunk. He is holding the remaining pieces of NEWT'S vase, which he has just broken.
QUEENIE
If you could just give it to me…Just give it to me, sweetie. Just give it to me.
(whispering)
If you could just give this to me, sweetheart. Oh!
JACOB
(looking at NEWT)
He doesn't care. Hold it.
NEWT
St-
JACOB
(bellows)
HEY! NEWT! Get over here, you maniac.
He flings his arms around a delighted but awkward NEWT.
QUEENIE
We hope you don't mind, Newt? We let ourselves in-it's raining out there-cats and dogs! London's cold!
NEWT
(to JACOB)
But you were supposed to have been Obliviated!
JACOB
I know!
NEWT
So…But…
JACOB
It didn't work, pal. I mean, you said it, the potion only erases bad memories. I didn't have any. I mean, don't get me wrong, I had some weird ones. But this angel…this angel over here, she filled me in on all the bad parts, and here we are, I guess, huh?
NEWT
(overjoyed)
This is wonderful!
He looks around, sure that TINA is here too.
NEWT
Is…Tina? Tina?
QUEENIE
Oh, it's just us, honey. Me and Jacob.
NEWT
Oh.
QUEENIE
(uncomfortable)
Why don't I make us some dinner, huh?
JACOB
Yes!
SCENE 36
INT. NEWT'S SITTING ROOM-FIVE MINUTES LATER-NIGHT
The threesome sit at a table bearing NEWT'S mismatched crockery, the atmosphere tainted by TINA'S absence. QUEENIE'S case lies open on the sofa.
QUEENIE
Tina and I aren't talking.
NEWT
Why?
JACOB'S POV-pink and hazy, as though happily drunk.
QUEENIE
Oh well, you know, she found out about Jacob and I seeing each other and she didn't like it, 'cause of the 'law'.
(miming quotation marks)
Not allowed to date No-Majs, not allowed to marry them. Blah blah blah. Well, she was all in a tizzy anyway, 'cause of you.
NEWT
Me?
QUEENIE
Yeah, you, Newt. It was in Spellbound. Here-I brought it for you.
She points her wand at her suitcase. A celebrity magazine zooms to her: Spellbound: Celebrity Secrets and Spell Tips of the Stars! On the cover, an idealised NEWT and an improbably beaming Niffler. BEAST TAMER NEWT TO WED!
QUEENIE opens the magazine. THESEUS, LETA, NEWT and BUNTY stand side by side at his book launch.
QUEENIE
(showing him)
'Newt Scamander with fiancée, Leta Lestrange; brother, Theseus; and unknown woman.'
NEWT
No. Theseus is marrying Leta, not me.
QUEENIE
Oh! Oh dear…well, see, Teen read that, and she started dating someone else. He's an Auror. His name's Achilles Tolliver.
A silence. Then NEWT starts to notice JACOB'S state: eating sloppily, he hums to himself, then tries to drink the salt. QUEENIE takes it and puts his glass in his hand, trying to cover.
QUEENIE
Anyway…We're real excited to be here, Newt. This is a-well, it's a special trip for us. You see, Jacob and I, we're getting married.
She shows him her engagement ring. JACOB tries to toast the moment and pours beer all over his ear.
JACOB
I'm marrying Jacob!
Now sure he knows what's going on, NEWT glares at QUEENIE.
NEWT (V.O.)
(speaking telepathically)
You've enchanted him, haven't you?
QUEENIE
(reading his mind)
What? I have not.
NEWT
Will you stop reading my mind?
(speaking telepathically)
Queenie, you've brought him here against his will.
QUEENIE
Oh, that is an outrageous accusation. Look at him. He's just happy. He's so happy!
NEWT
(drawing his wand)
Then you won't mind if I-
QUEENIE jumps up and tries to shield JACOB from him.
QUEENIE
Please don't!
NEWT
Queenie, you've got nothing to fear if he wants to get married. We can just lift the enchantment and he can tell us himself.
Several painful moments pass. At last she moves aside.
JACOB
What you got there? Whatchu gonna do? Whatchu gonna do with that, Mr Scamander?
NEWT
Surgito.
JACOB reacts as though to a bucket of cold water. He comes back to himself, and takes in his surroundings. He looks at NEWT.
NEWT
Congratulations on your engagement, Jacob.
JACOB
Wait, what?
NEWT looks at QUEENIE.
JACOB
Oh no.
He realises he has been taken against his will. Slowly, he gets to his feet to face QUEENIE.
She reads his mind. With a sob, she runs to close her case (several small objects, including a lipstick and a fragment of torn postcard, fall out) and flees the apartment.
JACOB
Queenie!
(turning to Newt)
It's very nice to see you. Where the hell am I right now?
NEWT
Uh, uh, London.
JACOB
(frustrated)
Oh! I always wanted to go here!
(angry)
Queenie!
He runs after her.
SCENE 37
EXT. NEWT'S STREET-A MINUTE LATER-NIGHT
QUEENIE dashes out of NEWT'S house and off up the street, crying. JACOB runs after her, livid.
JACOB
Queen, honey. Well, I'm just curious, when were you going to wake me up? After we'd had five kids?
QUEENIE turns to confront JACOB.
QUEENIE
Why is it wrong to want to marry you?
JACOB
Okay-
QUEENIE
To wanna have a family? I just want what everyone else has, that's all.
JACOB
Okay, wait. We talked about this, like, a million times. If we get married and they find out, they're gonna throw you in jail, sweetheart. I can't have that. They don't like people like me marrying people like you. I ain't a wizard. I'm just me.
QUEENIE
They're really progressive here, and they'll let us get married properly.
QUEENIE gestures to the street.
JACOB
Sweetheart, you don't need to enchant me. I'm already enchanted! I love you so much.
QUEENIE
Yeah?
JACOB
Yeah. But I can't have you risking everything like this, you know? You're not giving us a choice, sweetheart.
QUEENIE
You're not givin' me a choice. One of us had to be brave, and you were being a coward!
JACOB
I was being a coward? If I'm a coward, you're a-
She reads his mind.
QUEENIE
-crazy!
She reacts. He knows she 'heard' him.