Fantastic Beasts: The Crimes of Grindelwald
INT. NEWT’S HOUSE – SHORTLY AFTER (NIGHT)
NEWT’S miserable gaze falls on the piece of postcard.
He crosses to pick it up, then points his wand at it.
NEWT Papyrus Reparo.
It reconstitutes into a whole.
We see a picture of Paris. Postcard text becomes visible onscreen.
TINA (V.O.) My dear Queenie, What a beautiful city. I’m thinking of you, Tina X
INT. NEWT’S BASEMENT MENAGERIE (NIGHT)
CLOSE ON: JACOB as he enters, pushes open the door, stares around. Soaked through, he has been searching the streets for an hour.
NEWT is nowhere to be seen.
JACOB Hey, Newt?
NEWT (O.S.) Down here, Jacob. I’ll be with you in a second.
JACOB starts peering into the enclosure. By the patch of dark water where the Kelpie lives, NEWT has placed a sign for
BUNTY:
BUNTY, DON’T TOUCH UNTIL I GET BACK.
He walks on.
An Augurey caws mournfully at JACOB as he walks past.
JACOB I got my own problems.
NEWT (O.S.) No, no, no. Back in, please. Right, wait, wait, wait, wait.
A sign on the Augurey cage reads:
BUNTY – DON’T FORGET TO GIVE PATRICK PELLETS.
JACOB hears movement and changes direction, passing a snoozing griffin with a bandaged beak:
BUNTY: CHANGE DRESSING DAILY.
NEWT’S case sits beside the Niffler enclosure. On the inside of the lid is a large moving picture of TINA he has torn out of a newspaper.
NEWT comes round the corner wearing his coat.
NEWT (CONT’D) Queenie left a postcard. Tina’s in Paris looking for Credence.
JACOB Genius. Queenie’s gonna go straight for Tina. (elated) Okay, we’re going to France, pal! Hold on. I’ll get my jacket.
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NEWT I’ve got it.
NEWT has already pointed his wand at the ceiling.
JACOB’S coat, hat, and case drop onto the floor in front of him.
JACOB is blasted with warm magical air, which dries his rain- soaked clothes.
JACOB (impressed) Oh. Beautiful.
They leave. We close in on the note that has appeared:
BUNTY, GONE TO PARIS. HAVE TAKEN NIFFLERS WITH ME. NEWT.
EXT. PARIS, PLACE CACHE (NIGHT)
A clear, starry night.
TINA GOLDSTEIN, reinstated Auror on a mission of her own, more elegant and confident than in New York but carrying private sadness, walks toward the bronzed statue of a robed woman set on a tall stone base, where witches and wizards dressed as Muggles are vanishing.
EXT. PLACE CACHE, CIRCUS ARCANUS (NIGHT)
Music, laughter, and conversation erupt around her.
The circus is now in full swing. A banner declares:
CIRCUS ARCANUS: FREAKS AND ODDITIES!
Several tents, a big top in the middle.
TINA walks past the street performers working in the open, scrutinizing them.
A HALF-TROLL performs feats of strength.
A few misshapen and particularly downtrodden humanoids — UNDERBEINGS without powers but of magical ancestry — shuffle around, taking money from the crowd.
Horns hidden beneath hats, unusual eyes beneath hoods; HALF- ELVES and HALF-GOBLINS juggle and tumble.
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A magnificent Chinese Zouwu, a giant catlike creature with a long, plumed tail, is imprisoned in a cage. Fireworks burst overhead.
INT. CIRCUS ARCANUS, FREAKS’ TENT – EVENING
NAGINI is kneeling at a trunk, stroking her circus dress. She must perform shortly.
CREDENCE hurries to her.
CREDENCE (whispers) Nagini!
She turns.
NAGINI Credence.
He hands her the note. She scans it, frowns.
CREDENCE (whispers) I think I know where she is.
NAGINI looks up, meets his eyes.
CREDENCE (CONT’D) We escape tonight.
SKENDER comes into NAGINI’S tent.
SKENDER Hey, I’ve told you to stay away from her, boy — did I say you could take a break? Clean out the Kappa.
SKENDER closes the curtain between CREDENCE and NAGINI.
SKENDER (CONT’D) (to NAGINI) And you, get ready!
CREDENCE turns and looks up to a cage full of Firedrakes.
INT. CIRCUS ARCANUS, BIG TOP (NIGHT)
SKENDER is standing beside the circular platform/cage in the middle of a crowd, many of whom are drunk.
SKENDER Next in our little show of freaks and oddities, I present to you — a Maledictus!
He whips open the curtains. There stands NAGINI in a snakeskin dress.
Men in the crowd whistle and jeer.
SKENDER (CONT’D) Once trapped in the jungles of Indonesia, she is the carrier of a blood curse. Such Underbeings are destined, through the course of their lives, to turn permanently into beasts.
TINA makes her way around the back of the crowd, looking for
CREDENCE.
Elsewhere in the tent, an elegant, suited French African, YUSUF KAMA, is scanning the crowd rather than watching SKENDER. There is a black feather in the band of his fedora.
SKENDER (CONT’D) But look at her. So beautiful, yes? So desirable… but soon she will be trapped forever in a very different body. Every night, when she sleeps… mesdames et messieurs… she is forced to become —
Nothing happens. The crowd jeers at SKENDER.
NAGINI looks at SKENDER, a look of hatred.
SKENDER (CONT’D) She is forced to become… CREDENCE’S and NAGINI’S eyes meet across the big top.
ANGLE ON: TINA, who has spotted CREDENCE. She starts to edge toward him, trying not to attract attention.
ANGLE ON: KAMA, who does the same.
SKENDER (CONT’D) She is forced to become . . .
SKENDER whips the bars.
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NAGINI closes her eyes. Slowly, she melts into coils.
SKENDER (CONT’D) Over time, she will not be able to transform back. She will be forever trapped in the body of a snake.
NAGINI suddenly strikes at SKENDER through the bars and utters a cry in Parseltongue. SKENDER crumples, bleeding.
At the back of the tent, CREDENCE smashes open the Firedrakes’ cage and they soar to freedom like fireworks.
The big top catches fire — screams, panic, the crowd falls over one another to reach the exit —
EXT. CIRCUS ARCANUS, BIG TOP (NIGHT)
The big top is on fire.
Firedrakes weave patterns in the sky above it, trailing showers of sparks. The fire has terrified and enraged the creatures. A hippogriff is rearing and plunging while its handlers try to control it.
Everywhere performers are packing up, fast, elves shutting themselves into boxes, which fold smaller and smaller.
TINA Apparates and, with a flick of her wand, puts out the fire.
The Zouwu crate is on fire and shaking perilously. The creature within roars and howls.
The Zouwu explodes out of it: a monstrous cat the size of an elephant, five-colored, with a tail as long as a python. It has been horrendously abused: Scars across its face, it is malnourished, limping, and now driven to a frenzy of terror.
TINA spots CREDENCE in the distance.
TINA Credence!
The Zouwu hobbles as fast as it can, away into the darkness.
SKENDER knows there is no catching it now. He runs to galvanize his workers.
SKENDER Pack it up! Paris is done for us now.
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SKENDER points his wand at the tent, shrinks it to the size of a handkerchief, and pockets it.
TINA (approaching SKENDER) The boy with the Maledictus, what do you know about him?
SKENDER (contemptuous) He’s looking for his mother. All my freaks think they can go home. Okay, let’s go.
He leaps up onto a carriage and, as the crates and boxes are all magically reduced to a few cases, clatters away into the night.
TINA is left on her own in what seems for a moment to be a deserted square.
Then she realizes that KAMA is standing behind her.
EXT. PARISIAN CAF (NIGHT)
TINA and KAMA sit together at an outside table. TINA is suspicious of KAMA.
TINA I think we were both at the circus for the same reason, monsieur… ?
KAMA Kama. Yusuf Kama. And you think right.
TINA What do you want with Credence?
KAMA The same as you.
TINA Which is?
KAMA To prove who the boy really is. If the rumors of his identity are correct, he and I are – distantly – related.
KAMA (CONT’D) I am the last male of my pure- blooded line… and so, if the rumors are correct, is he.
KAMA takes The Predictions of Tycho Dodonus out of his pocket and holds it tantalizingly before her.
KAMA (CONT’D) You have read The Predictions of Tycho Dodonus?
TINA Yes. But that’s poetry, not proof.
KAMA If I could show you something better — more concrete — something that proves who he is – would the Ministries of Europe and America let him live?
A beat.
TINA They might.
KAMA (he nods) Then come.
He gets up and TINA follows.
INT. GRINDELWALD’S HIDEOUT, DRAWING ROOM (NIGHT)
GRINDELWALD exhales vapor from a glowing skull-shaped hookah.
His ACOLYTES watch as the smoke forms a vision of the Obscurus, a swirl of black and flashing red, then resolves into an image of CREDENCE. All look excited, except KRALL, who is sulky.
GRINDELWALD So… Credence Barebone. Nearly destroyed by the woman who raised him. Yet now he seeks the mother who bore him. He’s desperate for family. He’s desperate for love. He’s the key to our victory.
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KRALL Well, we know where the boy is, don’t we? Why don’t we grab him and leave!
GRINDELWALD (to KRALL) He must come to me freely — and he will.
GRINDELWALD returns his gaze to the vision of CREDENCE suspended in the center of the drawing room.
GRINDELWALD (CONT’D) The path has been laid, and he is following it. The trail that will lead him to me, and the strange and glorious truth of who he is.
KRALL Why is he so important?
GRINDELWALD walks to face KRALL.
GRINDELWALD Who represents the greatest threat to our cause?
KRALL Albus Dumbledore.
GRINDELWALD If I asked you now to go to the school where he is hiding and kill him for me, would you do it for me, Krall? (smiles) Credence is the only entity alive… who can kill him.
KRALL You really think that he can kill the great — can kill Albus Dumbledore?
GRINDELWALD (whispers) I know he can. But will you be with us when that happens, Krall? Will you?
EXT. WHITE CLIFFS OF DOVER–DAWN
NEWT and JACOB are walking with cases toward Beachy Head.
Pickett pokes his head out of NEWT’S breast pocket and yawns.
NEWT Jacob, that man Tina’s been JACOB seeing — Don’t worry! She’s gonna see you and she’ll see the four of us together, it’ll be just like New York all over again. Don’t worry about it.
NEWT (CONT’D) Yes, but he’s an Auror, Queenie said?
JACOB Yeah, he’s an Auror. So what? Don’t worry about him.
A beat.
They walk.
NEWT What d’you think I should say to her, if I see her?
JACOB Oh, well, it’s best not to plan these things. You know, you just say whatever comes to you in the moment.
A beat.
They walk.
NEWT (reminiscently) She has eyes just like a salamander.
JACOB Don’t say that.
A beat.
JACOB decides NEWT needs help.
JACOB (CONT’D) Nah, look, you just tell her that you missed her. Right, and then you came all the way to Paris to find her. She’ll love that. And then, tell her you’re losing sleep at night for thinking of her. Just don’t say anything about no salamanders, all right?
NEWT Right. Okay.
JACOB Hey, hey, hey. It’s gonna be all right. We’re in this together, pal. Okay, I’m gonna help you out. I’m gonna help you find Tina, find Queenie, and we’ll all be happy again. Just like old times.
He spots a slightly sinister figure on the edge of the cliff: all black, tattered robes.
JACOB (CONT’D) Who is this guy?
NEWT He’s the only way I can leave the country without documentation. Now, you don’t suffer from motion sickness, do you?
JACOB I don’t do well on boats, Newt.
A beat.
NEWT You’ll be fine.
PORTKEY TOUT Stir your stumps — it leaves in one minute!
Confused, JACOB looks around for the conveyance, ignoring the rusty bucket on the ground.
PORTKEY TOUT (CONT’D) Fifty Galleons.
NEWT No, we said thirty.
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PORTKEY TOUT Thirty to go to France, twenty not to tell anyone I seen Newt Scamander leaving the country illegally.
Angry, NEWT pays up.
PORTKEY TOUT (CONT’D) Price of fame, pal. (checks watch) Ten seconds.
NEWT picks up the bucket and holds out his hand to JACOB.
NEWT (to JACOB) Jacob.
They are pulled away into thin air.
EXT. PLACE CACHE – DAY
NEWT and JACOB peer around the corner.
A French POLICEMAN is standing in front of the statue of the robed woman.
JACOB is pale, sweaty, and still clutching the bucket, which has come in handy.
JACOB I didn’t like that Portkey, Newt.
NEWT (absently) So you keep saying. Follow me.
NEWT points his wand at the POLICEMAN.
NEWT (CONT’D) Confundus.
The POLICEMAN lurches as though drunk, blinks, shakes his head, then giggles and ambles off, raising his hat at disconcerted passersby.
NEWT (CONT’D) Come on. That’ll wear off in a few minutes.
NEWT leads JACOB through the statue and into Magical Paris. He puts his case down and points his wand at the street.
NEWT (CONT’D) Appare vestigium.
The tracking spell materializes as a swirl of gold, which illuminates traces of recent magical activity in the square.
NEWT (CONT’D) Accio Niffler! The case bursts open and a Niffler jumps out.
NEWT (CONT’D) Get looking.
NEWT climbs onto the case and inspects impressions of creatures revealed in the air, while the now-trained adult Niffler sniffs out clues.
NEWT (CONT’D) That’s a Kappa. That’s a Japanese water demon —
The Niffler sniffs around some shimmering footsteps. The Niffler has found the place where TINA stood in front of the Zouwu.
NEWT sees a vision of TINA.
NEWT (CONT’D) Tina? Tina! (to Niffler) What have you found?
He bends down to lick the pavement.
JACOB (glancing around) And we’re licking the dirt now.
NEWT puts his wand to his ear and listens to a terrifying roar. He points his wand to the street.
NEWT Revelio.
JACOB sees what NEWT is looking at: gigantic paw marks overlaying everything else.
JACOB (intensely worried) Newt… what made those?
NEWT That is a Zouwu. It’s a Chinese creature. They are incredibly fast and incredibly powerful. They can travel a thousand miles in a day… and this one could take you from one part of Paris to the next in a single leap.
The Niffler sniffs around more shimmering footsteps — another place where TINA stood.
NEWT (CONT’D) Oh, good boy. (intensely worried) Jacob, she was here. Tina stood here. She has incredibly narrow feet, have you noticed?
JACOB Can’t say that I have.
NEWT sees a vision of KAMA.
NEWT Then someone came towards her.
NEWT points to a feather from KAMA’S hat, sniffs it, and looks troubled.
NEWT (CONT’D) Avenseguim.
The feather turns like the needle of a compass, pointing the way.
NEWT (CONT’D) Follow that feather.
JACOB What?
NEWT Jacob, follow the feather.
JACOB Follow the feather.
NEWT (re: the Niffler) Where is he? Ah, Accio Niffler.
The Niffler is carried by the spell back into the case.
NEWT takes the case and dashes off.
JACOB gestures toward the bucket in his hand.
NEWT (CONT’D) Let go of the bucket! JACOB drops the bucket and chases after NEWT.
EXT. PARIS – DAY
EXT. PLACE DE FURSTEMBERG – MORNING
QUEENIE approaches the trees in the middle of the square. She coughs. The roots of the trees rise up and form a birdcage elevator around her, which descends into the earth.
INT. MINISTRE DES AFFAIRES MAGIQUES, MAIN LEVEL – MORNING 51
QUEENIE descends into the beautiful Art Nouveau French Ministry of Magic, its domed ceiling patterned with constellations.
QUEENIE approaches reception.
RECEPTIONIST (in French) Bienvenue au Ministre des Affaires Magiques.
QUEENIE I’m sorry, I don’t know what you just said at all —
RECEPTIONIST (in English) Welcome to the French Ministry of Magic. What is your business, please?
QUEENIE (loudly and slowly) I need to speak to Tina Goldstein, she’s an American Auror working on a case here —
The RECEPTIONIST flicks through a few pages.
RECEPTIONIST We have no Tina Goldstein here.
QUEENIE No, it’s… I’m sorry there must be some sort of mistake. See, I know she’s in Paris, she sent me a postcard. I brought it, I can show it to you. Maybe you can help me find her here?
QUEENIE reaches for her suitcase, which falls open.
QUEENIE (CONT’D) It’s just in here. Oh rabbits! If you can just wait one moment! I know it’s in here somewhere. I definitely packed it. Where is it?
As the RECEPTIONIST gives a Gallic shrug —
— a genteel ELDERLY LADY crosses INTO THE SHOT BEHIND
QUEENIE.
She has a distinctive bag in her hands —
WE FOLLOW her into the elevator —
Where ROSIER stands waiting.
As the doors close, the ELDERLY LADY transforms into ABERNATHY and he pulls out an elaborate box…
EXT. PARIS BACK STREET – DAY
QUEENIE stands sadly on the street, holding an umbrella.
Then, a double take: did she just see NEWT and JACOB hurrying from one side street into another?
JACOB Could we at least stop for a coffee, or like a —
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NEWT Not now, Jacob.
JACOB I don’t know.
NEWT This way. Come on.
JACOB Pain au chocolat? Half a croissant, or like, a bonbon?
NEWT This way.
QUEENIE sets off down the street, trotting in her haste to catch up with NEWT and JACOB.
WE FOLLOW her drawing ever closer, as she chooses from a bewildering number of side alleys. So absorbed is she in trying to follow NEWT and JACOB —
— she can now “hear” JACOB’S thoughts.
QUEENIE (calls aloud, joyful) Jacob! Jacob?
But he has gone.
Exhausted and lonely, QUEENIE drops down to the curb in the rain, deafened by the clamor of the thoughts of those in the crowd around her.
A hand falls onto QUEENIE’S shoulder. She turns, beaming. Her expression turns to puzzlement.
ROSIER (in French) Madame? Tout va bien, Madame?
EXT. BIRD MARKET – LATER THAT DAY
CREDENCE and NAGINI WALK INTO SHOT, looking around.
CREDENCE steals birdseed as he passes a stall.
GRIMMSON watches them, unnoticed.
EXT. RUE PHILIPPE LORAND – SHORTLY AFTERWARD – DAY
CREDENCE and NAGINI peer around the corner at the distant Number Eighteen.
A light shines in the attic. A shadow moves in front of it.
CREDENCE (scared) She’s home.
Now he is here, he is rooted to the spot. He dare not proceed. NAGINI prizes his hand from behind his back.
She leads him across the road.
EXT. REAR OF 18 RUE PHILIPPE LORAND – MINUTES LATER – DAY 55
A door stands open into the yard. They slide through it into a servants’ passageway.
NAGINI’S nostrils flare. Her eyes dart around. There is something wrong.
They proceed toward the stairs.
INT. 18 RUE PHILIPPE LORAND, LANDING OUTSIDE MAID’S ROOM – 56
DAY
CREDENCE and NAGINI reach the landing. A door stands ajar.
A shadow cast by lamplight: what seems to be a woman, sewing. The shadow pauses in its work.
NAGINI is edgy, nervous, looking around.
IRMA (O.S.) (in French) Qui est l?
CREDENCE can neither move nor speak. NAGINI realizes this.
NAGINI (in French) C’est votre fils, madame.
She takes CREDENCE’S hand and pulls him gently into the room.
Mended and freshly washed clothing hang from racks on the ceiling. They can see the shadow of a woman.
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NAGINI’S senses are hyperalert. She can smell danger. The shadow stands.
IRMA (in French) Qui tes-vous?
CREDENCE (whispers, terrified) Are you Irma? Are you… ? Are you Irma Dugard?
No response.
They move through the hanging fabric toward her.
CREDENCE (CONT’D) I’m sorry. Your name is on my adoption paper. Does this make sense? You gave me to Mrs. Barebone in New York.
A beat.
A tiny hand pushes the last piece of fabric aside.
There stands IRMA: half-elf, half-human.
CREDENCE’S face reveals confusion, awful disappointment.
IRMA (to CREDENCE) I am not your mother. I was only a servant. (smiling) You were such a beautiful baby. And you are a beautiful man. I have missed you.
ANGLE ON: GRIMMSON watching them from a doorway.
CREDENCE Why didn’t they want me? But why is your name on my adoption paper?
IRMA I took you to Mrs. Barebone because she was supposed to look after you.
NAGINI’S fear is increasing.
ANGLE ON: THE DARK WALL BEHIND SWATHES OF FABRIC.
The perfectly camouflaged GRIMMSON emerges from the wall, raises his wand, aims for the silhouetted figures, and dispatches a Killing Curse that sears through the sheets and clothing, leaving smoldering holes.
We hear a body fall. NAGINI screams.
CREDENCE’S shadow has vanished.
Grinning, certain of triumph, GRIMMSON slashes away the smoking fabric until he stands facing —
IRMA, dead on the floor, and NAGINI, who backs away from him. Slowly, his grin fading, GRIMMSON looks up at the ceiling. The Obscurus is swirling there like thick black smoke.
In a flash, GRIMMSON conjures a domed Shield Charm around himself and IRMA’S body.
And the Obscurus dives, pelting the Shield Charm like a million bullets, rising and re-forming and diving again, but though the magical barrier trembles, it is not broken.
Now the Obscurus expands in fury, smashing apart the attic like a tornado.
GRIMMSON smiles up at the Obscurus: We’ll meet again.
He Disapparates. Mingling with the debris of the destroyed attic, the Obscurus slams inward and CREDENCE re-forms.
He stands looking down at the tiny body.
EXT. ALLEYWAY – AFTERNOON
Fresh from IRMA’S murder, GRIMMSON stands in a covered alleyway beneath a bridge over the Seine.
GRINDELWALD appears.
GRIMMSON She’s dead.
GRINDELWALD walks toward him and halts when they are face-to- face.
GRINDELWALD How did the boy take it?
GRIMMSON (shrugging) He’s sensitive.
GRIMMSON (CONT’D) The Ministry won’t be happy when I tell them I’ve missed. They know my reputation.
GRINDELWALD Listen to me. The disapproval of cowards is praise to the brave. Your name will be written in glory when wizards rule the world. And the clock is ticking faster. You watch over Credence. Keep him safe. For the greater good.
GRIMMSON For the greater good.
EXT. PARISIAN CAF – EVENING
A pair of lovers sit over coffee.
NEWT is scanning every man who leaves the caf, checking the reaction of the feather trapped beneath the glass.
JACOB stares at the lovers.
JACOB You know what I miss about Queenie? Everything. I even miss the stuff that drove me nuts. Like the mind reading… (he notices NEWT’S inattention) …I was lucky to have someone like her even interested in anything I thought. You know what I mean?
A beat.
NEWT Sorry?
JACOB I was saying, you’re sure the guy is here that we’re looking for?
NEWT Definitely. The feather says so.
INT. PARISIAN CAF, BATHROOM – EVENING
A cramped and dirty bathroom.
KAMA stares into the mirror, his featherless fedora perched on the tap. Suddenly his face twitches. He raises his bandaged hand to his eye and rubs it, shaking his head. He removes his hand and stares at his reflection.
WE CLOSE IN: A tiny tentacle is visible at the corner of his eye. He whimpers in distress and gropes in his suit pocket for a small bottle of bright green liquid, which he drops into his eye with a dropper.
Another whimper of pain as the tentacle withdraws. He looks at his reflection. It seems normal. He puts his hat back on and leaves.
INT. PARISIAN CAF – EVENING
KAMA leaves the caf.
The feather points at him. NEWT lets it out and it flies to KAMA’S hat.
JACOB Is that the guy we’re looking for?
NEWT Yes.
NEWT and JACOB jump up to confront him.
NEWT (CONT’D) (to KAMA, in French) Er — bonjour. Bonjour, monsieur.
KAMA makes to carry on walking, ignoring NEWT.
NEWT (CONT’D) (in English) Oh wait, no, sorry. We were… we were actually just wondering if you’d come across a friend of ours?
JACOB Tina Goldstein.
KAMA Monsieur, Paris is a large city.
NEWT She’s an Auror. When Aurors go missing, the Ministry tend to come looking, so…
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NEWT (CONT’D) No, now I suppose it would probably be better if we just report her absence —
KAMA (deciding) She is tall? Dark? Rather —
JACOB — intense?
NEWT — beautiful —
JACOB (hasty, off NEWT’S look) — Yeah, what I meant to say – she’s very — very pretty —
NEWT She’s intense too.
KAMA I think I saw someone like this last night. Perhaps if I showed you where?
NEWT If you wouldn’t mind. That would be lovely.
KAMA Sure.
INT. KAMA’S HIDEOUT – EVENING
The interior of KAMA’S hideout is pitch black. The sound of
WATER DRIPPING.
A brief shaft of sunlight reveals TINA, sleeping lightly on the floor in her coat.
NEWT Tina?
She wakes.
A MOMENT as NEWT and TINA stare at each other. Each has thought of the other daily for a year.
With no sign of KAMA, it seems she has been rescued.
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TINA (joyful, disbelieving) Newt!
TINA notices KAMA entering in the background and raising his wand. Her expression changes.
KAMA Expelliarmus!
NEWT’S wand flies out of his hand into KAMA’S.
Bars form across the door, imprisoning them.
KAMA (CONT’D) (through the door) My apologies, Mr. Scamander! I shall return and release you when Credence is dead!
TINA Kama, wait!
KAMA You see, either he dies… or I do.
He claps a hand to his eye.
KAMA (CONT’D) No, no, no, no. Oh no. No, no, no.
He jerks convulsively and slides to the floor, unconscious.
NEWT Well, that’s not the best start to a rescue attempt.
TINA This was a rescue attempt? You’ve just lost me my only lead. JACOB launches for the door, trying to break it down.
NEWT (innocent) Well, how was the interrogation going before we turned up?
TINA throws him a dark look. She strides to the back of the cave.
Pickett, who, unnoticed, has hopped out of NEWT’S pocket, successfully picks the lock, and the bars swing open.
JACOB Newt!
NEWT Well done, Pick. (to TINA) You need this man, you say?
TINA Yeah. I think this man knows where Credence is, Mr. Scamander.
As they bend over the unconscious KAMA, they hear an earth- shattering roar from somewhere above them. They look at each other.
NEWT Well, that’ll be the Zouwu.
NEWT grabs his wand and Disapparates.
EXT. PARISIAN BRIDGE (NIGHT)
In the middle of the bridge is the Zouwu, terrified and lethal. It is too badly hurt to keep running, but it is swiping at PASSERSBY, who are screaming and running out of the way.
Cars screech to a halt.
NEWT Apparates in the middle of the bridge, fifty yards from the Zouwu, holding his case.
A second later, TINA Apparates too, holding JACOB’S arm.
JACOB is sagging under the weight of the unconscious KAMA.
JACOB (calls) Newt, get out of there!
NEWT stoops down slowly and opens his case. The Zouwu snarls, crouches, and begins to advance on NEWT.
Very slowly, so as not to alarm the Zouwu, NEWT lowers his arm into the case, feeling for something. It takes him longer than he expected. Frowning, he reaches deeper inside. The Zouwu advances. It bares its teeth.
NEWT has found what he was looking for. He raises his arm. He is holding a fluffy toy bird on a stick and rope.
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A beat.
The Zouwu’s eyes start to follow the bird.
The Zouwu’s tail twitches. It crouches lower than ever. Then, with a sudden bound, it soars through the air toward NEWT. Screams from the onlookers — NEWT will surely be crushed —
But at the last moment he lets the bird fall into the case and the Zouwu sails after it in a flash of rainbow color, python tail flailing and — WHAM — NEWT slams the lid shut.
Uproar from the crowd, sirens approaching, police cars converging on the bridge.
FLAMEL’S card flies up out of NEWT’S pocket.
TINA and JACOB, still carrying KAMA, run toward NEWT, and all four Disapparate.
EXT. HOGWARTS – DAY
An ominous procession of AURORS marches up the drive toward the castle, among them, THESEUS and LETA.
CLOSE ON: AN UPPER WINDOW. STUDENTS staring down at the strangers, nudging one another.
The AURORS enter the school.
INT. DEFENSE AGAINST THE DARK ARTS CLASSROOM – DAY
DUMBLEDORE is teaching. A space in the middle of the room, all students enjoying the spectacle.
A large boy – MCCLAGGAN – is braced for attack, his robes covered in dust, his tie knotted around his ear. He and DUMBLEDORE circle each other.
DUMBLEDORE What were the three biggest mistakes that you made last time?
MCCLAGGAN Caught by surprise, sir.
DUMBLEDORE What else?
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MCCLAGGAN Didn’t parry before counter-curse, sir.
DUMBLEDORE Very good. And the last one… the most important one?
MCCLAGGAN looks away, thinking. DUMBLEDORE hits him unawares. MCCLAGGAN flies into the air, DUMBLEDORE conjures a sofa, MCCLAGGAN hits it and slides to the floor.
DUMBLEDORE (CONT’D) Not learning from the first two.
The class laughs. The door opens. TRAVERS, THESEUS, and four other AURORS enter, YOUNG MINERVA MCGONAGALL behind them.
MCGONAGALL This is a school, you’ve no right —
TRAVERS I’m the Head of Magical Law Enforcement and I have the right to go wherever I please. (to the students) Out of here.
They don’t move.
DUMBLEDORE (to the students) Go with Professor McGonagall, please.
They file out, curious or alarmed. The last out is MCCLAGGAN.
MCCLAGGAN (to TRAVERS) He’s the best teacher we’ve got.
DUMBLEDORE (quiet) Thanks, McClaggan.
TRAVERS Get out!
MCGONAGALL Come, McClaggan.
The door closes.
TRAVERS Newt Scamander is in Paris.
DUMBLEDORE Really?
TRAVERS Cut the pretense. I know he’s there on your orders.
DUMBLEDORE If you’d ever had the pleasure to teach him, you’d know Newt is not a great follower of orders.
TRAVERS tosses a small book to DUMBLEDORE, who catches it in one hand.
TRAVERS (indicating the book) You’ve read The Predictions of Tycho Dodonus?
DUMBLEDORE Many years ago.
TRAVERS (reads) “A son cruelly banished Despair of the daughter Return –“
DUMBLEDORE Yes, I know it.
TRAVERS There’s a rumor this DUMBLEDORE (CONT’D) — a highborn henchman. I’ve prediction refers to the heard the rumor. Obscurial. They say that Grindelwald wants —
TRAVERS (CONT’D) And yet Scamander appears wherever the Obscurial goes, to protect him. Meanwhile you have built up quite a little network of international contacts —
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DUMBLEDORE (quiet, steely) However long you keep me and my friends under surveillance, you’re not going to discover plots against you, Travers, because we want the same thing: the defeat of Grindelwald. But I warn you, your policies of suppression and violence are pushing supporters into his arms —
TRAVERS I’m not interested in your warnings! (controlling himself) Now, it pains me to say it, because — well, I don’t like you.
TRAVERS and DUMBLEDORE both chuckle.
TRAVERS (CONT’D) But… you are the only wizard who is his equal. I need you to fight him.
A pause. The AURORS watch.
DUMBLEDORE I cannot.
TRAVERS Because of this?
He casts a spell to show moving pictures of TEENAGE DUMBLEDORE and TEENAGE GRINDELWALD. The AURORS are shocked.
The TEENAGE DUMBLEDORE and TEENAGE GRINDELWALD stare intently into each other’s eyes.
TRAVERS (CONT’D) You and Grindelwald were as close as brothers.
DUMBLEDORE We were closer than brothers.
DUMBLEDORE is looking at the pictures. These memories are agony. He is full of remorse but, almost worse: nostalgia for the only time in his life he felt fully understood.
TRAVERS Will you fight him?
DUMBLEDORE (pained) I can’t.
TRAVERS Then you have chosen your side.
He flicks his wand once more.
Thick metal cuffs — Admonitors — appear on DUMBLEDORE’S wrists.
TRAVERS (CONT’D) From now on, I shall know every spell you cast. I’m doubling the watch on you, and you will no longer teach Defense Against the Dark Arts. (to THESEUS) Where’s Leta? We need to go to Paris!
He storms out. The AURORS follow.
THESEUS is last to the door.
DUMBLEDORE (quietly) Theseus.
THESEUS looks back.
DUMBLEDORE (CONT’D) Theseus, if Grindelwald calls a rally, don’t try and break it up. Don’t let Travers send you in there. If you ever trusted me —
THESUS! THESUS leaves.
