Fantastic Beasts: The Crimes of Grindelwald
script used with courtesy of IMSDb
FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD
Written by J.K. Rowling
EXT. NEW YORK, AMERICAN MINISTRY OF MAGIC 1927 (NIGHT)
AERIAL SHOT: New York and MACUSA building.
INT. MACUSA BASEMENT, BARE, BLACK-WALLED 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.
INT. MACUSA, CORRIDOR BETWEEN CELLS – SHORTLY AFTER (NIGHT) 3
PRESIDENT SERAPHINA PICQUERY and RUDOLPH SPIELMAN walk at pace toward 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.
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 midair.
PRISONERS Grindelwald! Grindelwald!
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.
EXT. THESTRAL-DRAWN CARRIAGE (NIGHT)
The underside of the carriage.
ABERNATHY Apparates, clinging to the wheel shaft.
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…
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.
INT. THESTRAL-DRAWN CARRIAGE (NIGHT)
GRINDELWALD’S rapid transformation into a tongueless ABERNATHY is almost complete.
SPIELMAN (shocked) Oh!
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.
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.
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.
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.
EXT. THESTRAL-DRAWN CARRIAGE (NIGHT)
Still driving the carriage, GRINDELWALD swirls his wand in the air toward the surrounding storm clouds.
One by one, forks of lightning strike the broomstick riders, knocking each in turn from the sky.
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 (CONT’D) I know. Okay. I know, Antonio.
He looks at it with distaste.
GRINDELWALD (CONT’D) So needy.
He then flings it through the door.
He blasts SPIELMAN magically through the open door, then tosses a wand after him.
EXT. SKY OVER ATLANTIC OCEAN (NIGHT)
As SPIELMAN falls, he manages to seize the wand and conjures an invisible Slowing Charm.
Sinking slowly toward the sea, SPIELMAN watches his carriage streaking away in the direction of Europe.
EXT. OVERCAST LONDON, WHITEHALL – THREE MONTHS LATER –
A gloomy silence.
An owl flutters down into the Ministry.
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 (CONT’D) 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 —
LETA — only blinkered people. — only blinkered people. She is smiling again. NEWT reciprocates.
LETA (CONT’D) 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 toward 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 NEWT
Really? Well… Look, before — It’s my fifth attempt, we go in there I — Theseus. I know the form.
THESEUS (CONT’D) 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.
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 (CONT’D) You want an end to the ban on your traveling 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.
GUZMAN (CONT’D) 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 (CONT’D) 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 toward them while the ghostly image of CREDENCE shimmers on the enchanted surface of the table.
GRIMMSON (CONT’D) (re: CREDENCE) Is that it?
NEWT rises furiously, storms toward 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.
INT. MINISTRY OF MAGIC, CORRIDOR – AFTERNOON
THESEUS chases after NEWT.
THESEUS Newt!
NEWT stops. Turns.
THESEUS (CONT’D) (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…
He turns to go, but THESEUS runs after him, grabs his arm to hold him back.
THESEUS (CONT’D) (pulling him in for a hug) C’mere.
NEWT doesn’t reciprocate but doesn’t fight him off either.
THESEUS (CONT’D) (in NEWT’S ear) They’re watching you.
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.
EXT. SKYLINE OF UPMARKET QUARTER OF PARIS – AFTERNOON
EXT. ELEGANT STREET OF 19TH – CENTURY PARISIAN HOUSES –
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.) (in French) Chrie?
PARISIAN WOMAN (O.S.) (worried, in French) Qui est l?
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.
INT. GRINDELWALD’S HIDEOUT, DRAWING ROOM – AFTERNOON
GRINDELWALD surveys the elegant clutter left by the haute 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.
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.
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 —
EXT. DOME OF ST. PAUL’S – EVENING
— Apparating beside a dandyesque forty-five-year-old wizard with graying 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.
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 (CONT’D) 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 shadows. They Disapparate —
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 rumors 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. (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.
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.
DUMBLEDORE (CONT’D) (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 (CONT’D) (exasperated) Dumbledore.
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.
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-colored 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 toward 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 toward NEWT on top of the cork, soaring past him and down the stairs to the basement.
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 (CONT’D) 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 NEWT (CONT’D) everyone, Pinky’s had his — And Elsie? nose drops, and —
BUNTY (CONT’D) Elsie’s droppings are nearly normal again.
NEWT Wonderful. You can clock off now — (seeing her fingers)
NEWT (CONT’D) 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 toward a patch of black water, BUNTY trotting in his wake, awash with emotion at his concern for her.
NEWT (CONT’D) 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 (CONT’D) (hopeful) Perhaps you should take off your shirt?
NEWT (oblivious) Don’t worry, I’ll dry off quickly enough.
NEWT smiles and jumps backward 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 transfixed by the sight of NEWT in his wet shirt.
NEWT (CONT’D) 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 (CONT’D) 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.
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.
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 (CONT’D) (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 (CONT’D) 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!
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 idealized 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 (CONT’D) (showing him) “Newt Scamander with fiance, 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 (CONT’D) 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
NEWT.
NEWT (CONT’D) Congratulations on your engagement, Jacob.
JACOB Wait, what?
NEWT looks at QUEENIE.
JACOB (CONT’D) Oh no.
He realizes 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 (CONT’D) 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.
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.
JACOB I didn’t say it…
QUEENIE You didn’t have to.
JACOB No, I didn’t mean it, sweetheart.
QUEENIE Yeah, you did.
JACOB No.
QUEENIE I’m gonna go see my sister.
JACOB Fine. See your sister.
QUEENIE Fine.
QUEENIE Disapparates.
JACOB No, wait! No! Queenie! I didn’t mean it. I didn’t say nothing.
But he is alone in the street.
