ThedigitalheartoftheWizardingWorld

www.pottermore.com

TothememoryofGordonMurray,real-lifecreature-healerandhero

FantasticBeastsandWheretoFindThem:TheOriginalScreenplay

Acknowledgements

GlossaryofFilmTerms

CastandCrew

AbouttheAuthor

AbouttheBookDesign

SCENE1EXT.SOMEWHEREINEUROPE—1926—NIGHT

A large, isolated, derelict chateau emerges from the darkness.We focus on acobbledsquareoutsidethebuildingshroudedinmist,eerie,silent.

FiveAurors stand,wands aloft, tentative as they edge towards the chateau.Asuddenexplosionofpurewhitelightsendsthemflying.

Wewhiproundtofindtheirbodiesscattered,lyingmotionlessattheentrancetoa large parkland. A figure (GRINDELWALD) enters the frame, his back to thecamera; ignoring the bodies, he stares out into the night sky, as we pan uptowardsthemoon.

MONTAGE:weseevariousmagicalnewspaperheadlinesfrom1926relatingtoGRINDELWALD’Sattacksallovertheworld–‘GRINDELWALDSTRIKESAGAININEUROPE’, ‘HOGWARTS SCHOOL INCREASES SECURITY’, ‘WHERE ISGRINDELWALD?’. He’s a serious threat to the magical community and he’svanished. Moving photos detail destroyed buildings, fires, screaming victims.The articles come thick and fast – the worldwide hunt for GRINDELWALDcontinues.WepushinonafinalarticledisplayingtheStatueofLiberty.

TRANSITIONTO:

SCENE2EXT.SHIPGLIDINGINTONEWYORK—NEXTMORNING

Abright,clearNewYorkday.Seagullsswoopoverhead.

A largepassenger shipglidespast theStatueofLiberty.Passengers leanovertherails,lookingexcitedlytowardstheoncomingland.

PUSH IN towards a figure sitting on a bench with his back to us – NEWTSCAMANDER, weatherbeaten, wiry, wearing an old blue overcoat. Beside him

restsabatteredbrownleathercase.Acatchon thecase flicksopenof itsownaccord.NEWTswiftlybendsdowntocloseit.

Placingthecaseonhislap,NEWTleansin,whispering.

NEWTDougal–yousettledownnow,please.Itwon’tbelong.

SCENE3EXT.NEWYORK—DAY

AERIALSHOTofNewYork.

SCENE4EXT.SHIP/INT.CUSTOMS—SHORTLYAFTERWARDS—DAY

Amongbustlingcrowds,NEWTwalksdownthegangplankoftheship,aswepushintowardshiscase.

CUSTOMSOFFICIAL(O.S.)Next.

NEWTstandsat theCustoms–a longrowofdesksby theshipyard,mannedbyserious-looking American officials. ACUSTOMS OFFICIAL examinesNEWT’S verytatteredBritishpassport.

CUSTOMSOFFICIALBritish,huh?

NEWTYes.

CUSTOMSOFFICIAL

FirsttriptoNewYork?

NEWTYes.

CUSTOMSOFFICIAL(gesturingtoNEWT’Scase)

Anythingedibleinthere?

NEWT(placingahandoverhisbreastpocket)

No.

CUSTOMSOFFICIALLivestock?

ThecatchonNEWT’Scaseflicksopenagain.NEWTlooksdownandhastilyclosesit.

NEWTMustgetthatfixed–ah,no.

CUSTOMSOFFICIAL(suspicious)

Letmetakealook.

NEWTplacesthecaseonthedeskbetweenthemanddiscreetlyflicksabrassdialto‘Muggleworthy’.

TheCUSTOMSOFFICIALspins thecase towardshimandpops thecatches, liftingthelidtorevealpyjamas,variousmaps,ajournal,analarmclock,amagnifyingglassandaHufflepuffscarf.Finallysatisfied,heclosesthecase.

CUSTOMSOFFICIALWelcometoNewYork.

NEWTThankyou.

NEWTgathershispassportandcase.

CUSTOMSOFFICIALNext!

NEWTexitsthroughCustoms.

SCENE5EXT.STREETNEARCITYHALLSUBWAY—DUSK

Alongstreetofidenticalbrownstonehouses,oneofwhichhasbeenreducedtorubble.Agaggleofreportersandphotographersmillsaroundinthevaguehopeof something happening, but without much enthusiasm. One REPORTER isinterviewinganexcitablemiddle-agedmanastheymovethroughtherubble.

WITNESS—anditwaslikea–likeawindorlikea–likeaghost–butdark–andIsawitseyes–shinin’whiteeyes—

REPORTER(expressionless–notebookinhishand)

—adarkwind–witheyes...

WITNESS—like a darkmass, and it dove down there, down underground – I swear toGod...intotheearthrightinfrontofme.

CLOSEONPERCIVALGRAVESashewalkstowardsthedestroyedbuilding.

GRAVES:smartclothing,veryhandsome,earlymiddle-age,hisdemeanourdiffersfrom those around him. He is watchful, tightly coiled, an air of intense

confidence.

PHOTOGRAPHER(sottovoce)

Hey–didyougetanything?

REPORTER(sottovoce)

Darkwind,blahblah.

PHOTOGRAPHERIt’ssomeatmospherichooey.Orelectrical.

GRAVES moves up the steps of the now-ruined building. He examines thedestruction,curious,alert.

REPORTERHey–youthirsty?

PHOTOGRAPHERNah,I’monthewagon.PromisedMarthaI’dlayoff.

The wind begins to pick up, swirling around the building, accompanied by ahigh-pitchedscreeching.GRAVESalonelooksinterested.

A sudden series of bangs at street level.All turn to look for the source of thesound:awallcracks, therubbleon the floorbegins toshakebeforeexplodinglikeanearthquake,rippingoutofthebuildinganddownthroughthemiddleofthestreet.Themovementisviolent,rushed–peopleandcarsgoflying.

Themysteriousforcethenfliesupintotheair,swirlingthroughthecity,divinginandoutofalleyways,beforecrashingdownintoasubwaystation.

CLOSEONGRAVES,asheexaminesthedestructionofthestreet.

Amingledroarandhowlemanatesfromthebowelsoftheearth.

SCENE6EXT.NEWYORKSTREET—DAY

WatchingNEWTwalk,wesee inhimanunselfconsciousKeatonesquequality,asense of a different rhythm to those around him. In his hand he clutchesdirections on a small piece of paper, but he still shows a scientist’s curiosityaboutthisalienenvironment.

SCENE7EXT.ANOTHERSTREET,STEPSOFTHECITYBANK—DAY

NEWT, intriguedbythenoiseofshouting,approachesarallyof theNewSalemPhilanthropicSociety.

MARY LOU BAREBONE, a handsome mid-western woman in a 1920s version ofPuritandress,charismaticandearnest, standsonasmall stageat thesteps totheCityBank.Behindherstandsamanparadingabanneremblazonedwiththeorganisation’s symbol: hands proudly grasping a broken wand amid brightyellowandredflames.

MARYLOU(totheassembledcrowd)

...thisgreatcitysparkleswiththejewelsofman’sinvention!Movietheatres,automobiles,thewireless,electriclights–alldazzleandbewitchus!

NEWTslowsdownandwatchesMARYLOUashewouldobserveaforeignspecies:no judgement, simply interest. Nearby stands TINA GOLDSTEIN, hat low on herhead,upturnedcollar.She is eatingahotdog,mustard smearedonherupperlip.NEWTaccidentlybumpsintoherashemakeshiswaytothefrontoftherally.

NEWTOh...sosorry.

MARYLOUButwherethereislightthereisshadow,friend.Somethingisstalkingourcity,wreakingdestructionandthendisappearingwithoutatrace...

JACOBKOWALSKImovesnervouslydownthestreettowardsthecrowd,wearinganill-fittingsuitandcarryingabatteredbrownleathercase.

MARYLOU(O.S.)Wehavetofight–joinus,theSecondSalemers,inourfight!

JACOBmakeshiswaythroughthegatheredcrowd,alsopushingpastTINA.

JACOBExcusemedoll,justtryingtogettothebank–excuseme–justtrying...

JACOBtripsoverNEWT’Scase,disappearingmomentarily.NEWThaulshimup.

NEWTI’msosorry–mycase—

JACOBNoharmdone—

JACOBstruggleson,headingpastMARYLOUandupthestepsofthebank.

JACOBExcuseme!

ThekerfufflearoundNEWTdrawsMARYLOU’Sattention.

MARYLOU(charming,toNEWT)

You,friend!Whatdrewyoutoourmeetingtoday?

NEWTisstartledtofindhimselfthecentreofattention.

NEWTOh...Iwasjust...passing...

MARYLOUAreyouaseeker?Aseekeraftertruth?

Abeat.

NEWTI’mmoreofachaser,really.

ANGLEONpeoplemovinginandoutofthebank.

Asmartlydressedmanflipsadimetowardsabeggarsittingonthesteps.

CLOSEONthedime,fallinginslowmotion.

MARYLOU(O.S.)Hearmywordsandheedmywarning...

ANGLEONsomelittlepaws,whichhaveappearedinthenarrowcrackbetweenthelidandthebodyofNEWT’Scase.

ANGLEONthedimehittingthestepswithamusicalclang.

ANGLEONthepaws,nowtryinghardtopriseopenthecase.

MARYLOU...andlaughifyoudare:witchesliveamongus!

MARY LOU’S three adopted children, adults CREDENCE and CHASTITY, andMODESTY(aneight-year-oldgirl),handout leaflets.CREDENCEappearsnervousandtroubled.

MARYLOU(O.S.)We have to fight together for the sake of our children – for the sake oftomorrow!

(toNEWT)Whatdoyousaytothat,friend?

AsNEWTlooksuptowardsMARYLOU,somethingseenfromthecornerofhiseyecatcheshisattention.TheNiffler,asmallfurryblackcrossbetweenamoleandaduck-billed platypus, is sitting on the steps of the bank, hastily pulling thebeggar’shatfullofmoneyoutofsightbehindapillar.

NEWT,startled,looksdownathiscase.

ANGLEON theNiffler, busy shovelling the beggar’s coins into a pouch in itsbelly.TheNifflerlooksup,noticesNEWT’Sgaze,andhurriedlygatherstherestofthecoinsbeforetumblingawayandintothebank.

NEWTjoltsforwards.

NEWTExcuseme.

ANGLEONMARY LOU– she looks confused atNEWT’S lack of interest in hercause.

MARYLOU(O.S.)Witchesliveamongus.

ANGLEONTINA,movingthroughthecrowd,eyeingNEWTsuspiciously.

SCENE8INT.LOBBYOFBANK—MOMENTSLATER—DAY

Alarge,impressive-lookingbankatrium.Inthecentre,behindagoldencounter,clerksarebusyatworkservingcustomers.

NEWT skids to a halt in the entrance of the space and looks around for hiscreature.His dress and demeanourmake him out of place among the smartlydressedNewYorkers.

BANKEMPLOYEE(suspicious)

CanIhelpyou,sir?

NEWTNo,Iwasjust...just...waiting...

NEWTmotionstowardsabenchandbacksaway,takingaseatnexttoJACOB.

TINApeersatNEWTfrombehindapillar.

JACOB(nervous)

Hi.Whatbringsyouhere?

NEWTisdesperatelytryingtospothisNiffler.

NEWTSameasyou...

JACOBYou’reheretogetaloantoopenupabakery?

NEWT(lookingaround–preoccupied)

Yes.

JACOBWhataretheoddsofthat?Well,maythebestmanwin,Iguess.

NEWTspotstheNiffler,whichisnowstealingcoinsfromsomeone’sbag.

JACOBholdsouthishand,butNEWTisoff.

NEWTExcuseme.

NEWTdartsaway.Inhisplaceonthebenchliesalargesilveregg.

JACOBHey,mister...hey,mister!

NEWTdoesn’thear;heistooengagedinhuntingtheNiffler.

JACOBpicksup theegg justas thedoor into theBANKMANAGER’Sofficeopens,andaSECRETARYlooksout.

JACOBHey,fella!

SECRETARYMrKowalski,MrBingleywillseeyounow.

Pocketingtheegg,JACOBheadstowardstheoffice,steelinghimself.

JACOB(sottovoce)

Okay...okay.

ANGLEONNEWT, surreptitiouslypursuing theNiffler as itmoves through the

bank.Hefinallyspotsitremovingaglitteringbucklefromalady’sshoebeforescurryingonwards,eagerformoreshinyobjects.

AsNEWTwatches,helpless,theNifflerjumpslithelybetweencasesandintobags,snatchingandpilfering.

SCENE9INT.BINGLEY’SOFFICE—MOMENTSLATER—DAY

JACOB is facing the imposing and impeccably suitedMR BINGLEY. BINGLEY isexaminingJACOB’Sbusinessproposalforabakery.

Anuncomfortablesilence.ThesoundofatickingclockandBINGLEYmurmuring.

JACOBlooksdownathispocket–theegghasstartedtovibrate.

BINGLEYYouarecurrentlyworking...inacanningfactory?

JACOBThat’sthebestIcando–Ionlygotbackin’24.

BINGLEYGotback?

JACOBFromEurope,sir.Yeah–IwaspartoftheExpeditionaryForcesthere—

JACOBisclearlynervous,mimingadiggingaction to thewords‘ExpeditionaryForces’,inthevainhopethatajokemighthelphiscause.

SCENE10INT.BACKROOMOFTHEBANK—MOMENTSLATER—DAY

WecutbacktoNEWTinthebank–inseekingtheNifflerhehasendedupwaitinginlineforabankteller.Hecraneshisneck,peeringtowardsthebagofaladyatthefrontoftheline.TINAwatcheshimfrombehindapillar.

ANGLEONcoinsspillingfromunderneathabench.

ANGLEON NEWT, who hears the coins and turns to see small paws hastilygatheringthemup.

ANGLEON theNiffler sitting under the bench looking fat and smug. Not yetsatisfied, itsattention iscaughtby theshiny taghangingaround theneckofasmalldog.TheNifflermovesslowly,cheekily,forwards–littlepawoutstretchedtograbthetag.Thedogsnarlsandbarks.

NEWTstartsforwardsanddivesunderthebench–theNifflerruns,scuttlingoverthebankcounterscreensandoutofNEWT’Sreach.

SCENE11INT.BINGLEY’SOFFICE—MOMENTSLATER—DAY

JACOBopens his case with great pride. Inside is displayed a selection of hishome-madepastries.

JACOB(O.S.)Allright.

BINGLEYMrKowalski—

JACOB—yougottatrythepaczki,okay,it’smygrandmother’srecipe,theorangezest–just—

JACOBholdsoutapaczki...BINGLEYisnotdistracted.

BINGLEYMrKowalski,whatdoyouproposetoofferthebankascollateral?

JACOBCollateral?

BINGLEYCollateral.

JACOBgestureshopefullytowardshispastries.

BINGLEYTherearemachinesnowthatcanproducehundredsofdoughnutsanhour—

JACOBIknow,Iknow,butthey’renothinglikewhatIcando—

BINGLEYThebankmustbeprotected,MrKowalski.Gooddaytoyou.

BINGLEYdismissivelyringsabellonhisdesk.

SCENE12INT.BEHINDTHEBANKCOUNTERS—MOMENTSLATER—DAY

TheNifflersitsonatrolleycoveredinmoneybags,whichitgreedilyemptiesintoitspouch.AsNEWTwatches through the security bars, aghast,aguardpushesthetrolleyawaydownacorridor.

SCENE13INT.BANK,HALL—MOMENTSLATER—DAY

JACOB, downcast, exitsBINGLEY’Soffice.His bulging pocket vibrates.Alarmed,hepullsouttheeggandlooksaround.

ANGLEONtheNiffler,stillsittingonthetrolley,whichisnowbeingpushedinto

anelevator.

ANGLEONJACOB,whoseesNEWTinthedistance.

JACOBHey,MrEnglishguy!Ithinkyoureggishatching.

NEWT looks hurriedly between JACOB and the shutting elevator doors beforemakingadecision:hepointshiswandat JACOB. JACOBand theeggarepulledmagically across the bank atrium towards NEWT. In a split second, theyDisapparate.

TINAstares,incredulous,frombehindapillar.

SCENE14INT.BACKROOMOFTHEBANK/STAIRCASE—DAY

NEWTandJACOBApparate intoanarrowstairwell leading to thebank’svaults,suddenlypastthetellersandsecurityguards.

NEWTgentlytakestheeggbackfromJACOBasithatches,revealingasmallblue,snake-likebird–anOccamy.NEWT, his face full ofwonder, looks to JACOB asthoughexpectingasimilarreactionfromhim.

Slowly,NEWTcarriesthebabycreaturedownthestairs.

JACOBExcuseme...

JACOB,veryconfused,looksbackupthestairstowardsthemainbankatrium.OnseeingBINGLEYapproaching,heducksdownthestairs,outofsight.

JACOB(tohimself)

Iwas–overthere.Iwas–overthere?

SCENE15INT.BASEMENTCORRIDOROFBANKLEADINGTOVAULT—DAY

JACOB’SPOV:NEWTiscroucheddown,openinghiscase.HecarefullyplacesthehatchedOccamyinside,whisperingtenderly:

NEWTInyouhop...

JACOB(O.S.)Hello?

NEWTNo.Everyonesettledown–stay.Dougal,don’tmakemecomeinthere...

JACOBmovesalongthecorridor,staringatNEWT.

Weseeastrangegreencreature,partstickinsect,partplant,pokeitsheadoutofNEWT’Sbreastpocket,intrigued.ThisisPICKETT,aBowtruckle.

NEWTDon’tmakemecomedownthere.

NEWTlooksuptoseetheNifflersqueezingitself throughlockeddoors, into thecentralvault.

NEWTAbsolutelynot!

NEWTtakesouthiswandandpointsitatthevault.

NEWTAlohomora.

Wewatchthelocksandcogsofthevaultdoorturn.

BINGLEYcomesroundthecorner,justasthevaultdoorstartstoopen.

BINGLEY

(toJACOB)Oh,soyou’regonnaSTEALthemoney,huh?

BINGLEYhitsabuttononthewall.Analarmsounds.NEWTaimshiswand...

NEWTPetrificusTotalus.

BINGLEYsuddenlystiffensandfallsbackflatontheground.JACOBcannotbelievehiseyes.

JACOBMrBingley!

Thevaultdooropenswide.

MRBINGLEY(inhisparalysedstate)

...Kowalski!

NEWThurriesintothevault.InsidehefindstheNifflerlyingamonghundredsofopeneddepositboxes,andseatedonagreatpileofcash.TheNifflerstaresatNEWTdefiantlyasitforcesanothergoldbarintoitsalreadyoverflowingpouch.

NEWTReally?!

NEWTgrasps theNiffler tightlyandturns itupsidedown,shaking itby itshindlegs.Anextraordinary,andseeminglyendless,numberofpreciousitemsfallout.

NEWT(totheNiffler)

No...

JACOBlooksaroundhimindisbelief,analmostqueasyfear.

Despite theiraltercation,NEWT is fondof theNiffler.Hegrinsashe tickles itsstomach,causingmoretreasuretopourout.

Footsteps on the stairs as several armed guards run down and into the vaultcorridor.

JACOB

(panicking)Ohno...no...don’tshoot.Don’tshoot!

NEWT quickly seizes JACOB and the two of them, plus the Niffler and case,Disapparate.

SCENE16EXT.DESERTEDSIDESTREETNEXTTOTHEBANK—DAY

NEWTand JACOBApparate intoasidestreet.Securityalarmsringout fromthebankand,attheendofthesidestreet,weseecrowdsgathering,policearriving.

TINArunsoutof thebankand looksdown.SheseesNEWTwrestling theNifflerbackintothecase,JACOBcoweringbyawall.

JACOBAhhh!

NEWTForthelasttime,youpilferingpest–pawsoffwhatdoesn’tbelongtoyou!

NEWTshutshiscase,thenlooksaroundatJACOB.

NEWTI’mawfullysorryaboutallthat—

JACOBWhatthehellwasthat?

NEWTNothingthatneedconcernyou.Nowunfortunatelyyouhaveseenfartoomuch,soifyouwouldn’tmind–ifyoujuststandthere–thiswillbeoverinajiffy.

NEWT, trying to find his wand, turns his back on JACOB. JACOB takes theopportunity,seizeshiscase,andswingsitviolentlyatNEWT,whoisknockedtotheground.

JACOB

Sorry—

JACOBrunsforhislife.

NEWTholdshisheadforamomentandlooksafterJACOB,whohashurrieddownthealleywayandintothecrowd.

NEWTBugger!

TINAcomeswalking down the side street with purpose.NEWT gathers himself,picksupthecaseand,tryingtobenonchalant,walkstowardsher.Ashepassesher,TINAgrabsNEWT’SelbowandtheyDisapparate.

SCENE17EXT.NARROWALLEYWAYOPPOSITEBANK—DAY

NEWTandTINAApparateintoacramped,bricked-upalleyway.Wecanstillhearpolicesirenssoundinginthebackground.

TINA,incredulousandoutofbreath,roundsonNEWT.

TINAWhoareyou?

NEWTI’msorry?

TINAWhoareyou?

NEWTNewtScamander.Andyouare?

TINAWhat’sthatthinginyourcase?

NEWT

That’smyNiffler.(pointingathotdogmustardstillonTINA’Slip)

Er,you’vegotsomethingonyour—

TINAWhyinthenameofDeliveranceDanedidyouletthatthingloose?

NEWTI didn’tmean to – he’s incorrigible, you see, anything shiny, he’s all over theplace—

TINAYoudidn’tmeanto?

NEWTNo.

TINAYoucouldnothavechosenaworsetimetoletthatcreatureloose!We’reinthemiddleofasituationhere!I’mtakingyouin.

NEWTYou’retakingmewhere?

SheproducesherofficialIDcard.ItbearshermovingpictureandanimpressivesymbolofanAmericaneagle:MACUSA.

TINAMagicalCongressoftheUnitedStatesofAmerica.

NEWT(nervous)

So,youworkforMACUSA?Whatareyou,somekindofinvestigator?

TINA(hesitates)

Uhhuh.

Shestuffsheridentificationcardbackintohercoat.

TINACanyoupleasetellmeyoutookcareoftheNo-Maj?

NEWT

Thewhat?

TINA(becomingirritated)

TheNo-Maj!No-magic–thenon-wizard!

NEWTOhsorry,wecallthemMuggles.

TINA(gettingreallyworried)

Youwipedhismemory,right?TheNo-Majwiththecase?

NEWTUm...

TINA(appalled)

That’saSection3A,MrScamander.I’mtakingyouin.

ShetakesNEWTbythearmandtheyDisapparateagain.

SCENE18EXT.BROADWAY—DAY

Anornatelycarved,incrediblytallskyscraperonthecornerofabustlingstreet–theWoolworthBuilding.

NEWT and TINA hurry along Broadway towards this building, TINA almostdraggingNEWTbyhiscoatsleeve.

TINAComeon.

NEWTEr–sorrybutIdohavethingstodo,actually.

TINAWell,you’llhavetorearrangethem!

TINAforcefullyguidesNEWTthroughthebusytraffic.

TINAWhatareyoudoinginNewYorkanyway?

NEWTIcametobuyabirthdaypresent.

TINACouldn’tyouhavedonethatinLondon?

TheyhavearrivedoutsidetheWoolworthBuilding.Workersmoveinandoutofalargerevolvingdoor.

NEWTNo,there’sonlyonebreederofAppaloosaPuffskeinsintheworldandhelivesinNewYork,sono...

TINAmovesNEWTtowardsasidedoor,guardedbyamaninacloakeduniform.

TINA(totheguard)

IgotaSection3A.

Theguardimmediatelyopensthedoor.

SCENE19INT.WOOLWORTHBUILDINGRECEPTION—DAY

Anormal1920sofficeatrium,peoplemillingaroundandchatting.

TINA(O.S.)Hey. By the way, we closed that guy down a year ago. We don’t allow thebreedingofmagicalcreaturesinNewYork.

PANAROUNDtowatchTINAcome through thedoorwithNEWT.As theyenter,thewhole entrance magically transforms from the Woolworth Building to theMagicalCongressoftheUnitedStatesofAmerica(MACUSA).

SCENE20INT.MACUSALOBBY—DAY

NEWT’SPOV,astheymoveupawidestaircaseandenterthemainlobby–avast,impressivespacewithimpossiblyhighvaultedceilings.

Highup,agiganticdialwithmanycogsandfacesemblazonedwiththelegend:MAGICAL EXPOSURE THREAT LEVEL. The hand on the dial points toSEVERE:UNEXPLAINEDACTIVITY.Behindhangsan imposingportraitofamajestic-lookingwitch:SERAPHINAPICQUERY,MACUSA’sPresident.

Owlscirculate,witchesandwizardsin1920sdressarehardatwork.TINAguidesanimpressed-lookingNEWTthroughthebustle.Theypassseveralwizardssittingin a line, waiting to have their wands shined by a house-elf who operates acomplexcontraptionoffeathers.

NEWT and TINA reach an elevator. The doors open to reveal RED, a goblinbellboy.

REDHey,Goldstein.

TINAHey,Red.

TINApushesNEWTinside.

SCENE21INT.ELEVATOR—DAY

TINA(toRED)

MajorInvestigationDepartment.

REDIthoughtyouwas—

TINAMajorInvestigationDepartment!IgotaSection3A!

REDusesa long clawed stick to reachan elevatorbuttonabovehis head.Theelevatordescends.

SCENE22INT.MAJORINVESTIGATIONDEPARTMENT—DAY

CLOSEONanewspaper–TheNewYorkGhost–withtheheadline‘MAGICALDISTURBANCESRISKWIZARDINGEXPOSURE’.

Agroupofthehighest-levelAurorsintheorganisationaregatheredtogetherinseriousdiscussion.AmongthemareGRAVES,examiningthenewspaper,hisfacecutandbruisedfromlastnight’sencounterwiththestrangeentity,andMADAMPICQUERYherself.

MADAMPICQUERYTheInternationalConfederationisthreateningtosendadelegation.TheythinkthisisrelatedtoGrindelwald’sattacksinEurope.

GRAVESIwas there.This isabeast.Nohumancoulddowhat this thing iscapableof,MadamPresident.

MADAMPICQUERY(O.S.)Whatever it is,onething’sclear– itmustbestopped.It’s terrorisingNo-Majs,andwhenNo-Majsareafraid, theyattack.Thiscouldmeanexposure. It couldmeanwar.

On hearing footsteps, the group looks round to see TINA, who approachescautiously,leadingNEWT.

MADAMPICQUERY(angrybutcontained)

Imadeyourpositionherequiteclear,MissGoldstein.

TINA(frightened)

Yes,MadamPresident,butI—

MADAMPICQUERYYouarenolongeranAuror.

TINANo,MadamPresident,but—

MADAMPICQUERYGoldstein.

TINAThere’sbeenaminorincident—

MADAMPICQUERYWell,thisofficeiscurrentlyconcernedwithverymajorincidents.Getout.

TINA(humiliated)

Yes,ma’am.

TINApushesabemused-lookingNEWTback towards the elevator.GRAVES looksafterthem,theonlyonetoappearsympathetic.

SCENE23INT.BASEMENT—DAY

Theelevatordescendsrapidlythroughthelongshaft.

Thedoorsopenontoacramped,airless,windowlessbasementroom.Apainfulcontrasttothefloorabove.Clearlytheplacewhereutterno-hoperswork.

TINA leadsNEWTpast a hundred typewriters clacking away unmanned, with atangleofglasspipeshangingdownfromtheceilingabovethem.

Aseachmemoorformiscompletedbyatypewriter,itfoldsitselfintoanorigamirat,whichscurriesuptheappropriatetubetotheofficesabove.Tworatscollideandfight,tearingeachotherapart.

TINA walks towards a dingy corner of the room. A sign: WAND PERMIT

OFFICE.

NEWTducksunderit.

SCENE24INT.WANDPERMITOFFICE—DAY

TheWandPermitOfficeisonlyslightlylargerthanacupboard.Therearepilesofunopenedwandapplications.

TINAstopsbehindadesk,removinghercoatandhat.ShetriestoregainherloststatusinfrontofNEWTbyappearingofficial,busyingherselfwithpapers.

TINASo,yougotyourwandpermit?AllforeignershavetohavetheminNewYork.

NEWT(lying)

Imadeapostalapplicationweeksago.

TINA(nowsittingonthedesk,scribblesonaclipboard)

Scamander...(findinghimveryfishy)

AndyouwerejustinEquatorialGuinea?

NEWTI’ve just completed a year in the field. I’m writing a book about magicalcreatures.

TINALike–anexterminationguide?

NEWTNo. A guide to help people understand why we should be protecting thesecreaturesinsteadofkillingthem.

ABERNATHY(O.S.)

GOLDSTEIN!Whereisshe?Whereisshe?GOLDSTEIN!

TINAducksbehindherdesk,whichamusesNEWT.

ABERNATHY,apompousjobsworth,enters.HeimmediatelyrealiseswhereTINAishidden.

ABERNATHYGoldstein!

TINA,lookingguilty,slowlyemergesfrombehindthedesk.

ABERNATHYDidyoujustbuttinontheInvestigativeTeamagain?

TINAisabouttodefendherself,butABERNATHYcontinues.

ABERNATHYWhere’veyoubeen?

TINA(awkward)

What...?

ABERNATHY(toNEWT)

Where’dshepickyouup?

NEWTMe?

NEWT quickly looks at TINA, who shakes her head, her expression one ofdesperation.NEWTstalls–asilentpactbetweenhimandTINA.

ABERNATHY(agitatedbythelackofinformation)

HaveyoubeentrackingthemSecondSalemersagain?

TINAOfcoursenot,sir.

GRAVEScomesroundthecorner.ABERNATHYisimmediatelycowed.

ABERNATHY

Afternoon,MrGraves,sir!

GRAVESAfternoon,ah–Abernathy.

TINAstepsforwardstoformallyaddressGRAVES.

TINA(speakingquickly,eagertohavehercaseheard)

MrGraves,sir,thisisMrScamander–hehasacrazycreatureinthatcaseanditgotoutandcausedmayheminabank,sir.

GRAVESLet’sseethelittleguy.

TINAbreathesasighofrelief: finallysomeoneis listening toher.NEWT tries tospeakup–helooksmorepanickythanmightseemwarrantedbyaNiffler–butGRAVESdismisseshim.

TINAtheatricallyplacesthecaseontoatableandthrowsopenthelid.Shelooksaghastatthecontents.

ANGLEONthecasecontents–itisfullofpastries.NEWTapproaches,nervous.On seeing the contents he looks horrified.GRAVES looks confused, but smirksslightly–anotheroneofTINA’Smistakes.

GRAVESTina...

GRAVESwalksaway.NEWTandTINAstareateachother.

SCENE25EXT.STREETONTHELOWEREASTSIDE—DAY

JACOBmarchesalong theovercast street, case inhand,past pushcarts, shabbylittleshopsandtenementbuildings.Hecontinuallythrowsnervousglancesoverhisshoulder.

SCENE26INT.JACOB’SROOM—DAY

Atiny,dirtyroom,thefurnishingssparseandshabby.

CLOSEON the case as JACOB throws it down onto his bed.He looks up at aportraitofhisgrandmother,whichhangsonthewall.

JACOBI’msorry,Grandma.

JACOB sits down at his desk, hanging his head in his hands, downcast, tired.Behindhim,oneofthecatchesonthecasefliesopen.JACOBturns...

He sits down on the bed and examines the case. The second catch now flicksopen of its own accord, and the case begins to shake, emitting aggressiveanimalisticsounds.JACOBslowlybacksaway.

Tentatively, he leans forward . . . suddenly the lid flies open and out bursts aMurtlap–arat-likecreaturewithananemone-stylegrowthon itsback. JACOBgrappleswithit,holdingittightlyinbothhandsasitstruggles.

We whip back to the case, which flies open once again as an invisible beingshootsout,crashingintotheceilingbeforesmashingthroughthewindow.

TheMurtlap lunges forwards, biting JACOBon the neck, sending him crashingthroughfurnitureandtumblingtotheground.

Theroomshakesheavily,and thewallholding thepictureof JACOB’Sgrandmabeginstocrackbeforeexploding,asmorecreaturesescapeoff-screen.

SCENE27INT.SECONDSALEMCHURCH,MAINHALL—DAY—MONTAGE

Adingywoodenchurchwithdarkenedwindowsandahighmezzaninebalcony.MODESTY isplayinga solitaryvariationofhopscotch, skipping inandoutofachalkedgrid.

MODESTYMymomma,yourmomma,gonnacatchawitch

Mymomma,yourmomma,flyingonaswitch

Mymomma,yourmomma,witchesnevercry

Mymomma,yourmomma,witchesgonnadie!

As she sings we see the church is full of group paraphernalia – leafletsadvertising MARY LOU’S campaign, and a large version of the group’s anti-witchcraftbanner.

SCENE28INT.SECONDSALEMCHURCH,MAINHALL—DAY

A pigeon coos from a high-up window. CREDENCE steps forwards, staring uptowardsitbeforemechanicallyclappinghishands.Thepigeonfliesaway.

WefollowCHASTITYasshemovesthroughthechurchandopensthelargedoubledoorsontothestreet.

SCENE29EXT.SECONDSALEMCHURCH,BACKYARD—DAY

CHASTITYemergesfromthechurchandringsalargedinnerbell.

SCENE30INT.SECONDSALEMCHURCH,MAINHALL—DAY

MODESTYcontinuesplayinghopscotch.CREDENCEpauses, looking past her andouttowardsthedoor.

MODESTYWitchnumberthree,gonnawatchherburn,

Witchnumberfour,floggingtakeaturn.

Youngchildrenstreamintothechurch.

TIMECUT:

Brownsoupisbeingladledouttothechildren,whojostleeachothertogetnearthe frontof the line.MARYLOU,wearinganapronand lookingonapprovingly,squeezesthroughthelittlecrowd.

MARYLOUCollectyourleafletsbeforeyougetfood,children.

Several of the children turn towardsCHASTITY, whowaits primly, handing outcampaignleaflets.

TIMECUT:

MARYLOUandCREDENCE ladle out soup,CREDENCE looking intently into everyface.

ABOYwithabirthmarkonhisfacereachesthefrontoftheline.CREDENCEstopshisworkandstaresathim.MARYLOUreachesouttotouchtheBOY’Sface.

BOYIsitawitch’smark,ma’am?

MARYLOUNo.He’sokay.

TheBOYtakeshissoupandleaves.CREDENCEstaresafterhim,astheycontinuetoserve.

SCENE31EXT.MAINSTREETONTHELOWEREASTSIDE—AFTERNOON

CLOSEONaBillywig–asmallbluecreaturewithhelicopter-likewingsonitshead–flyinghighabovethestreet.

TINAandNEWTwalkalongthestreet,TINAcarryingthecase.

TINA(onthevergeoftears)

Ican’tbelieveyoudidn’tObliviatethatman!Ifthere’saninquiryI’mfinished!

NEWTSowhywouldyoubefinished?I’mtheonethat’s—

TINAI’mnotsupposedtogoneartheSecondSalemers!

TheBillywigzoomsovertheirheads.NEWTspins,horrified,watchingit.

TINAWhatwasthat?

NEWTEr–moth,Ithink.Bigmoth.

TINA finds this explanation dubious. They round a corner to find a crowdgathered in front of a crumbling building. People are shouting, others arehurriedlyevacuatingthebuilding.APOLICEMANisstandingat thecentreof thecrowd,beingharassedbydisgruntledtenement-dwellers.

JUMPCUT:

NEWTandTINAmovearoundtheoutskirtsofthecrowd.Attheback,atipsyHOBOistryingtoattractthePOLICEMAN’Sattention.

POLICEMANHey...hey–quietdown–I’mtryingtogetastatement...

HOUSEWIFE...I’mtellingyouit’sagasexplosionagain,Iain’ttakingthekidsbackupthereuntilit’ssafe.

POLICEMANSorry,ma’am–thereain’tnosmellofgas.

HOBO(drunk)

Itwarn’tgas–hey,officer,Iseenit!–itwuzza–agigantic–ahugehippopotto—

TINAislookingupattheruinedbuilding,andmissesNEWTslidinghiswandfromhissleeveandpointingitattheHOBO.

HOBO—gas.Itwasgas.

Theothersinthecrowdaroundhimagree.

CROWDGas...itwasgas!

TINAagain catches sight of theBillywig. Taking advantage of this distraction,NEWTrunsupthemetalstepsandinsidetheruinedtenementbuilding.

SCENE32INT.JACOB’SROOM—AFTERNOON

NEWTentersJACOB’Sroomandstops,staring:theroomiscompletelydestroyed.Footprints,brokenfurniture,shatteredglass.Evenworse:amassiveholeintheopposite wall – something huge has blasted its way out. We can hear JACOBgroaningfromthecorner.

SCENE33EXT.TENEMENTSTREET—AFTERNOON

CUT BACK TO TINA as she looks around and realises that NEWT hasdisappearedfromthecrowd.

SCENE34INT.JACOB’SROOM

NEWTcrouchesbeside JACOB, who lies on his back, eyes closed andmoaning.NEWT tries to examine a small red bite on JACOB’S neck, but JACOB keepsunconsciouslybattinghimaway.

TINA(O.S.)MrScamander!

CUTTOTINA,runningwithpurposeupthestaircaseofJACOB’Sbuilding.

CUTBACKTONEWT,whodesperatelyperformsarepairingcharm.Theroomisrighted,thewallrepaired,justintimebeforeTINAenterstheroom.

SCENE35INT.JACOB’SROOM—AFTERNOON

TINAhurriesinsidetofindNEWT, trying to look innocentandcomposed,sittingonthebed.Hecalmlysealsthelatchesonhiscase.

TINAItwasopen?

NEWTJustasmidge...

TINAThatcrazyNifflerthing’sonthelooseagain?

NEWTEr–itmightbe—

TINA

Thenlookforit!Look!

JACOBmoans.

TINAdropsJACOB’ScaseandmakesstraightfortheinjuredJACOB.

TINA(worriedaboutJACOB)

Hisneck’sbleeding,he’shurt!Wakeup,MrNo-Maj...

WithTINA’Sback turned,NEWTmakes towards thedoor.Suddenly,TINAemitsaguttural screamas theMurtlap comes scuttling out from under a cabinet andlatchesontoherarm.NEWTspins,catchingthecreaturebythetailandgrapplingitintothecase.

TINAMercyLewis,whatisthat?

NEWTNothingtoworryabout.ThatisaMurtlap.

Unnoticedbyeither,JACOBopenshiseyes.

TINAWhatelsehaveyougotinthere?

JACOB(recognisingNEWT)

You!

NEWTHello.

TINAEasy,Mr—

JACOBKowalski...Jacob...

TINAtakesJACOB’Shandtoshakeit.

NEWT raises his wand. JACOB recoils in fear, clutching at TINA, who movesprotectivelyinfrontofhim.

TINAYoucan’tObliviatehim!Weneedhimasawitness.

NEWTI’msorry–you’vejustyelledatmethelengthofNewYorkfornotdoingitinthefirstplace...

TINAHe’shurt!Helooksill!

NEWTHe’llbefine.Murtlapbitesaren’tserious.

NEWTputs his wand away. JACOB retches into the corner, while TINA looks atNEWTindisbelief.

NEWTIadmitthatisaslightlymoreseverereactionthanI’veseen,butifitwasreallyserious–he’dhave...

TINAWhat?

NEWTWell,thefirstsymptomwouldbeflamesoutofhisanus—

Terrified,JACOBfeelstheseatofhispants.

TINAThisisballedup!

NEWTIt’lllastforty-eighthoursatmost!Icankeephimifyouwantmeto—

TINAOh, keep him? We don’t keep them! Mr Scamander, do you know anythingaboutthewizardingcommunityinAmerica?

NEWTIdoknowafewthings,actually.Iknowyouhaveratherbackwardslawsaboutrelationswithnon-magicpeople.Thatyou’renotmeant tobefriend them, thatyoucan’tmarrythem,whichseemsmildlyabsurdtome.

JACOBisfollowingthisconversation,open-mouthed.

TINAWho’sgoingtomarryhim?You’rebothcomingwithme—

NEWTIdon’tseewhyIneedtocomewithyou—

TINAtriestoliftthepartiallyconsciousJACOBfromthefloor.

TINAHelpme!

NEWTfeelsobligedtohelp.

JACOBI’m...I’mdreaming,right?Yeah...I’mtired,Ineverwenttothebank.Thisisalljustsomebignightmare,right?

TINAForthebothofus,MrKowalski.

TINAandNEWTDisapparatewithJACOB.

We focus on the photo of JACOB’Sgrandma, once again hanging on the wall.Eventually thephotogivesa little shakebefore fallingandrevealingahole inthewall,inhabitedbytheNiffler.

SCENE36EXT.UPPEREASTSIDE—AFTERNOON

Ayoungboy,clutchingahugelollipop,isleddownthebusystreetbyhisfather.As theypassa fruitbarrow,anapplesuddenly levitates,bobbingalongbesidehim.Theboygazesinwonderastheappleiseatenbysomethinginvisible,thenthesmilefadesashislollipopissnatchedbythesameunseenhands.

Atanewsstand,theeyesofaladyonanadvertisementblinkopen.Theoutlineofacreaturebecomesvisible,camouflage-like,beforeitpeelsawayfromtheposter.Itmovesalongthestreet,invisibleagain,onlylocatablebythelollipopitholds–seemingly suspended inmid-air.Adogbarks in its direction, and the creaturescuttleson,knockingovernewspaperstands,causingbikesandcarstoswerve.

ANGLEONtheroofofadepartmentstore–weseeathinbluetailslitherinsideasmallatticwindow.Suddenlythebuildingshakesandtilesbreakaway,asthecreature’ssizeexpandstofillthewholeroom.

SCENE37INT.SHAWTOWERNEWSROOM—DUSK

TheglitteringArtDecoheadquartersofamediaempire.Many journalistsarehardatworkinanouteroffice.

An elevator opens and LANGDON SHAW bustles excitedly through the room,leadingtheSecondSalemers.Hecarriesmaps,severaloldbooksandahandfulofphotographs.

MARY LOU is composed,CHASTITY looks shy andMODESTY is excited, curious.CREDENCElooksnervous–hedoesn’tlikecrowds.

LANGDON...andsothisisthenewsroom.

LANGDON spins around excitedly, eager to show the Second Salemers that heholdsauthorityhere.

LANGDONLet’sgo!

LANGDONmovesaroundtheofficeandspeakstosomeoftheworkers.

LANGDONHey,howareyou?MakewayfortheBarebones!Now,they’rejustputtingthepaperstobed,astheysay.

Looks of veiled amusement from journalists as LANGDON leads his group todouble doors at the end of the open-plan area. HENRY SHAW SR’S assistant –BARKER–standsup,anxious.

BARKERMrShaw,sir,he’swiththesenator—

LANGDONNevermindthat,Barker,Iwannaseemyfather!

LANGDONpushespast.

SCENE38INT.SHAWSR’SPENTHOUSEOFFICE—DUSK

Alarge,impressiveofficewithspectacularviewsacrossthecity.Thenewspapermagnate–HENRYSHAWSR–istalkingtohiselderson,SENATORSHAW.

SENATORSHAW...wecouldjustbuytheboats...

The doors burst open to reveal a harassed-lookingBARKER and an excitableLANGDON.

BARKERI’msosorry,MrShaw,butyoursoninsisted—

LANGDONFather,you’regoingtowanttohearthis.

LANGDON moves towards his father’s desk and begins spreading outphotographs.We recognise someof the images: the destroyed streets from thestartofthefilm.

LANGDONI’vegotsomethinghuge!

SHAWSRYourbrotherandIarebusyhere,Langdon.Workingonhiscampaign.Wedon’thavetimeforthis.

MARY LOU, CREDENCE, CHASTITY and MODESTY enter the office. SHAW SR andSENATOR SHAW stare. CREDENCE stands with his head bowed, embarrassed,nervous.

LANGDONThis is Mary Lou Barebone from the New Salem Philanthropic Society, andshe’sgotabigstoryforyou!

SHAWSROhshehas–hasshe?

LANGDONThere’sstrangethingsgoingonalloverthecity.Thepeoplebehindthis–theyarenotlikeyouandme.Thisiswitchcraft,don’tyousee?

SHAWSRandtheSENATORlookdubious–alltoousedtoLANGDON’Sharebrainedlittleprojectsandinterests.

SHAWSRLangdon.

LANGDONShedoesn’twantanymoney.

SHAWSRTheneitherherstory isworthless,orshe’s lyingabout thecost.Nobodygivesawayanythingvaluableforfree.

MARYLOU(confident,persuasive)

Youareright,MrShaw.Whatwedesireisinfinitelymorevaluablethanmoney:it’syourinfluence.Millionsofpeoplereadyournewspapersandtheyneedtobemadeawareaboutthisdanger.

LANGDONThecrazydisturbancesinthesubway–justlookatthepictures!

SHAWSRI’dlikeyouandyourfriendstoleave.

LANGDONNo,you’remissingatrickhere.Justlookattheevidence—

SHAWSRReally.

SENATORSHAW(joininghisfatherandbrother)

Langdon.JustlistentoFatherandgo.

Hiseyesshift,focusonCREDENCE.

SENATORSHAWAndtakethefreakswithyou.

CREDENCEperceptibly twitches, disturbedbyanger inhis vicinity.MARY LOU iscalm,butsteely.

LANGDONThis is Father’s office, not yours, and I’m sick of this every time I walk inhere...

SHAWSRsilenceshissonandmotionsfortheBAREBONEStoleave.

SHAWSRThat’sit–thankyou.

MARYLOU(calm,dignified)

Wehopeyou’llreconsider,MrShaw.We’renotdifficulttofind.Untilthen,wethankyouforyourtime.

SHAWSRandSENATORSHAWwatchMARYLOUasshe turns, leadingherchildrenout.Thenewsroomhasfallenquiet,everyonecraningtoheartherow.

As he departs,CREDENCE drops a leaflet. SENATOR SHAWmoves forwards andbendstopickitup.Heglancesatthewitchesonthefront.

SENATORSHAW(toCREDENCE)

Hey,boy.Youdroppedsomething.

TheSENATORcrumplesuptheleafletbeforeputtingitinCREDENCE’Shand.

SENATORSHAWHereyougo,freak–whydon’tyouputthatinthetrashwhereyouallbelong.

Behind CREDENCE, MODESTY’S eyes burn. She clutches CREDENCE’S handprotectively.

SCENE39EXT.BROWNSTONESTREET—SHORTLYAFTERWARDS—DUSK

TINAandNEWTstandoneithersideofanailingJACOB,tryingtokeephimsteady.

TINATakearighthere...

JACOBmakesvariousretchingsounds,thebiteonhisneckclearlyaffectinghimmoreandmore.

As thegrouproundsacorner,TINAhurries them tohidebehinda large repairtruck.Fromhereshepeersatahouseacrossthestreet.

TINAOkay–beforewegoin–I’mnotsupposedtohavemenonthepremises.

NEWTInthatcase,MrKowalskiandIcaneasilyseekotheraccommodation—

TINAOhno,youdon’t!

TINAquicklygrabs JACOB’Sarm and pulls him across the road,NEWT dutifullyfollowing.

TINAWatchyourstep.

SCENE40INT.GOLDSTEINRESIDENCE,STAIRWELL—DUSK

NEWT, TINA and JACOB tiptoe up the stairs. They have just reached the firstlandingwhenMRSESPOSITO,thelandlady,callsout.Thegroupfreezes.

MRSESPOSITO(O.S.)Thatyou,Tina?

TINAYes,MrsEsposito!

MRSESPOSITO(O.S.)Areyoualone?

TINAI’malwaysalone,MrsEsposito!

Abeat.

SCENE41INT.GOLDSTEINRESIDENCE,SITTINGROOM—DUSK

ThegroupenterstheGoldsteinapartment.

Althoughimpoverished,theapartmentisenlivenedbyworkadaymagic.Anironisworkingawayonitsowninacorner,andaclotheshorserevolvesclumsilyonits wooden legs in front of the fire, drying an assortment of underwear.Magazines are scattered around: The Witch’s Friend, Witch Chat andTransfigurationToday.

BlondeQUEENIE,themostbeautifulgirlevertodonwitches’robes,isstandinginasilkslip,supervisingthemendingofadressonadressmaker’sdummy.JACOBisthunderstruck.

NEWTbarelynotices.Impatienttoleaveassoonaspossible,hestartspeekingoutofthewindows.

QUEENIETeenie–youbroughtmenhome?

TINAGentlemen,thisismysister.Youwanttoputsomethingon,Queenie?

QUEENIE(unconcerned)

Oh,sure—

She runs her wand up the dummy and the dress runsmagically up her body.

JACOBwatchesthedisplay,dumbfounded.

TINA,frustrated,startstidyingtheapartment.

QUEENIESo,whoarethey?

TINAThat’s Mr Scamander. He’s committed a serious infraction of the NationalStatuteofSecrecy—

QUEENIE(impressed)

He’sacriminal?

TINA—uhhuh,andthisisMrKowalski,he’saNo-Maj—

QUEENIE(suddenlyworried)

ANo-Maj?Teen–whatareyouupto?

TINAHe’ssick– it’sa longstory–MrScamanderhas lostsomething, I’mgoing tohelphimfindit.

JACOBsuddenlystaggers,verysweatyandunwell.QUEENIEruns tohimasTINAhovers,alsoworried.

QUEENIE(asJACOBfallsbackontoasofa)

Youneedtositdown,honey.Hey—

(readinghismind)—hehasn’teatenallday.And—

(readinghismind)—aww,that’srough,

(readinghismind)—hedidn’tgetthemoneyhewantedforhisbakery.Youbake,honey?Ilovetocook.

NEWT iswatchingQUEENIE fromhis spotby thewindow,his scientificattention

nowaroused.

NEWTYou’reaLegilimens?

QUEENIEUhhuh,yeah.ButIalwayshavetroublewithyourkind.Brits.It’stheaccent.

JACOB(cottoningon,appalled)

Youknowhowtoreadminds?

QUEENIEAww,don’tworry,honey.Mostguysthinkwhatyouwasthinking,firsttimetheyseeme.

QUEENIEplayfullygesturestowardsJACOBwithherwand.

QUEENIENow,youneedfood.

NEWTlooksoutthewindowandseesaBillywigflypast–he’snervous,impatienttogetoutandfindhiscreatures.

TINAandQUEENIEbusythemselves in thekitchen.IngredientscomefloatingoutofcupboardsasQUEENIEenchantsthemintothecomponentsofameal–carrotsandappleschopthemselves,pastryrollsitselfandpansstir.

QUEENIE(toTINA)

Hotdog...again?

TINADon’treadmymind!

QUEENIENotaverywholesomelunch.

TINA points her wand at the cupboards. Dishes, assorted cutlery and glassescomeflyingout,settingthemselvesonthetablewithalittleproddingfromTINA’Swand.JACOB,half-fascinated,half-terrified,staggerstowardsthetable.

ANGLEONNEWT,hishandonthedoorknob.

QUEENIE(artless)

Hey,MrScamander,youpreferpieorstrudel?

AlllookatNEWTwho,embarrassed,removeshishandfromthedoorknob.

NEWTIreallydon’thaveapreference.

TINAstaresatNEWT:confrontational,butalsodisappointedandhurt.

JACOBisalreadyseatedatthetable,tuckinghisnapkinintohisshirt.

QUEENIE(readingJACOB’Smind)

Youpreferstrudel,huh,honey?Strudelitis.

JACOBnodswithexcitedenthusiasm.QUEENIEgrinsback,delighted.

Withaflickofherwand,QUEENIEsendsraisins,applesandpastryflyingintotheair.Theconcoctionneatlywraps itselfup intoacylindricalpie,bakingon thespot,completewithornatedecorationandadustingofsugar.JACOBtakesadeepbreathin:heaven.

TINAlightscandlesonthetable–themealisready.

FOCUSONNEWT’S pocket, a small squeak, and PICKETT pokes his head out,curious.

TINAWell,sitdown,MrScamander,we’renotgoingtopoisonyou.

NEWT, still hovering near the door, looks somewhat charmed by the situation.JACOBglaresathimsubtly,willinghimtositdown.

SCENE42EXT.BROADWAY—NIGHT

CREDENCE is walking alone through a worldly crowd of late-night diners andtheatre-goers.Trafficroarspast.Heistryingtogiveoutleafletsbutismetwithonlyincredulityandfaintderision.

TheWoolworthBuildingloomsahead.CREDENCEglancestowardsitwithahintoflonging.GRAVESstandsoutside,watchingCREDENCE intently.CREDENCEspotshim,hopeflickeringacrosshisface.Utterlyenthralled,CREDENCEmovesacrossthestreettowardsGRAVES,barely lookingwherehe’sgoing–everythingelse isforgotten.

SCENE43EXT.ALLEYWAY—NIGHT

CREDENCEstands,headbowed,at theendofadimly litalleyway.GRAVES joinshim,movinginveryclosetowhisper,conspiratorial:

GRAVESYou’re upset. It’s your mother again. Somebody’s said something – what didtheysay?Tellme.

CREDENCEDoyouthinkI’mafreak?

GRAVESNo–Ithinkyou’reaveryspecialyoungmanorIwouldn’thaveaskedyoutohelpme,nowwouldI?

Apause.GRAVESrestsahandonCREDENCE’Sarm.Thehumancontactseems tobothstartleandcaptivateCREDENCE.

GRAVESHaveyouanynews?

CREDENCEI’mstilllooking.MrGraves,ifIknewwhetheritwasagirlorboy—

GRAVESMyvisionshowedonly thechild’s immensepower.Heorshe isnoolder thanten,andIsawthischildincloseproximitytoyourmother–sheIsawsoplainly.

CREDENCEThatcouldbeanyoneofhundreds.

GRAVES’Stonesoftens–he’sbeguiling,comforting.

GRAVESThereissomethingelse.SomethingIhaven’ttoldyou.IsawyoubesidemeinNewYork.You’retheonethatgainsthischild’strust.Youarethekey–Isawthis.Youwanttojointhewizardingworld.Iwantthosethingstoo,Credence.Iwantthemforyou.Sofindthechild.Findthechildandwe’llallbefree.

SCENE44INT. GOLDSTEIN RESIDENCE, SITTING ROOM—HALF AN HOURLATER—NIGHT

ThecatchonNEWT’Scasepopsopen.NEWTreachesdownandpushesitshut.

JACOB looks a little better for having eaten. He and QUEENIE are getting onfamously.

QUEENIEThe job ain’t that glamorous. I mean, I spend most days making coffee,unjinxingthejohn...Tina’sthecareergirl.

(shereadshismind)Nah. We’re orphans. Ma and Pa died of dragon pox when we were kids.Aww...

(readinghismind)You’resweet.Butwegoteachother!

JACOBCouldyoustopreadingmymindforasecond?Don’tgetmewrong–Iloveit.

QUEENIEgiggles,delighted,captivatedbyJACOB.

JACOBThismeal–it’sinsanelygood!ThisiswhatIdo–I’macookandthisis,like,thegreatestmealIhaveeverhadinmylife.

QUEENIE(laughing)

Ohyouslayme!Iain’tneverreallytalkedtoaNo-Majbefore.

JACOBReally?

QUEENIEandJACOBgazeintoeachother’seyes.NEWTandTINAsitoppositeeachother,uncomfortablysilentinthepresenceofsuchaffectionatebehaviour.

QUEENIE(toTINA)

Iamnotflirting!

TINA(embarrassed)

I’mjustsaying–don’tgogettingattached,he’sgoingtohavetobeObliviated!(toJACOB)

It’snothingpersonal.

JACOBissuddenlyverypaleandsweatyagain,althoughstilltryingtolookgoodforQUEENIE.

QUEENIE(toJACOB)

Oh,hey,youokay,honey?

NEWTbrisklygetsupfromthetableandawkwardlystandsbehindhischair.

NEWTMissGoldstein,IthinkMrKowalskicoulddowithanearlynight.Andbesides,youandIwillneedtobeupearlytomorrowmorningtofindmyNiffler,so—

QUEENIE(toTINA)

What’saNiffler?

TINAlooksputout.

TINADon’task.

(movingtowardsabackroom)Okay,youguyscanbunkinhere.

SCENE45INT.GOLDSTEINRESIDENCE,BEDROOM—NIGHT

Theboysaretuckedupinneatlymadetwinbeds.NEWTisresolutelyturnedawayonhisside,whileJACOBissittingupinbed,tryingtomakesenseofawizardingbook.

TINA,wearingpatternedbluepyjamas,tentativelyknocksonthedoor,andenterscarryingatrayofcocoa.Themugsarestirringthemselves–JACOBiscaptivatedagain.

TINAIthoughtyoumightlikeahotdrink?

TINAcarefullyhandsJACOBhismug.NEWTremainsturnedaway,feigningsleep,soTINA,withsomefrustration,pointedlyplaceshiscuponthebedsidetable.

JACOBHey,MrScamander—

(toNEWT,tryingtomakehimfriendlier)Look,cocoa!

NEWTdoesnotmove.

TINA(irritated)

Thetoilet’sdownthehalltotheright.

JACOBThanks...

AsTINAshutsthedoor,JACOBgetsaquickglimpseofQUEENIEintheotherroom,wearingamuchlessdemuredressinggown.

JACOBVerymuch...

The moment the door closesNEWT jumps up, still wearing his overcoat, andplaceshiscaseonthefloor.ToJACOB’Sutterastonishment,NEWTopensthecaseandwalksdowninsideit,nowcompletelyoutofsight.

JACOBletsoutasmallscreamofalarm.

NEWT’Shand appears from the case, beckoning him imperiously. JACOB stares,breathingheavily,tryingtoprocessthesituation.

NEWT’Shand,impatient,appearsagain.

NEWT(O.S.)Comeon.

JACOBrallieshimself,getsoutofbedandstepsdownintoNEWT’Scase.However,hegetsstuckathiswaistlineandtrieshardtosqueezehimselfthrough,thecase

bouncingupanddownwithhisefforts.

JACOBFortheloveof...

Withafinalfrustratedjump,JACOBsuddenlydisappearsthroughthecase,whichsnapsshutafterhim.

SCENE46INT.NEWT’SCASE—AMOMENTLATER—NIGHT

JACOB crashes down the steps of the case, colliding with various objects,instrumentsandbottlesashegoes.

He finds himself inside a smallwooden shed containing a camp bed, tropicalgearandvarious toolshungupon thewalls.Woodencupboardscontainrope,nets and collecting jars. A very old typewriter, a pile of manuscripts and amedieval bestiary sit on a desk. Potted plants line a shelf. Rows of pills andtablets,syringesandvialsformamedicinechest,andtackeduponthewallsarenotes, maps, drawings and a few moving photographs of extraordinarycreatures.Adriedcarcasshangsfromahook.Severalsacksoffeedarerestingagainstthewall.

NEWT(glancesatJACOB)

Willyousitdown.

JACOBdropsontoacratehand-labelledMOONCALFPELLETS.

JACOBThat’sgood.

NEWTmovesforwardtoexaminethebiteonJACOB’Sneck–onequickglance.

NEWTAh, that’s definitely the Murtlap. You must be particularly susceptible. See,you’reaMuggle.Soourphysiologiesaresubtlydifferent.

NEWTbusieshimselfathisworkstation,usingplantsandthecontentsofvariousbottlestocreateapoultice,whichherapidlyappliestoJACOB’Sneck.

JACOBOww...

NEWTNowstaystill.Nowthatshouldstopthesweating.

(handinghimsomepills)Andoneofthoseshouldsortthetwitch.

JACOBlookssuspiciouslyatthepillsinhishand.Finally,decidinghehasnothingtolose,heswallowsthem.

ANGLEONNEWT,whohasnowremovedhiswaistcoat,undonehisbowtieandloweredhisbraces.Hepicksupameatcleaverandhackschunksofmeatoffalargecarcass,beforetossingthemintoabucket.

NEWT(handinghimthebucket)

Takethat.

JACOBlooksdisgusted.NEWTdoesn’tnotice,hisattentionnowfocusedonaspinycocoon,whichhe slowlybegins to squeeze.Ashedoes so, thecocoonemitsaluminousvenom,whichNEWTcollectsintoaglassvial.

NEWT(tothecocoon)

Comeon...

JACOBWhatyougotthere?

NEWTWell this – the locals call ‘SwoopingEvil’ – not the friendliest of names. It’squiteanagilefellow.

Asiftodemonstrate,NEWTflicksthecocoon,whichunravels,danglingelegantlyfromhisfinger.

NEWTI’vebeenstudyinghim.AndIamprettysurehisvenomcouldbequiteusefulifproperlydiluted.Justtoremovebadmemories,youknow.

Quite suddenly NEWT throws the Swooping Evil towards JACOB. The creatureburstsout from its cocoon– a bat-like, spikey and colourful creature –whichhowlsinJACOB’SfacebeforeNEWTrecallsit.JACOBrecoilsdramatically,butthiswasevidentlyNEWT’Sideaofalittlejoke...

NEWT(smilingtohimself)

Probablyshouldn’tlethimlooseinhere,though.

NEWTopensthedoorofhisshedandwalksthrough.

NEWTComeon.

JACOB,nowthoroughlystartled,followshimout.

SCENE47INT.NEWT’SCASE,ANIMALAREA—DAY

Theperimeterof the leathercase isdimlyvisible,but theplacehasswollen tothesizeofasmallaircrafthangar.Itcontainswhatappearstobeasafariparkinminiature.EachofNEWT’Screatureshas itsownperfect,magicallyrealised,habitat.

JACOBstepsintothisworld,totallyamazed.

NEWT is standing in the nearest habitat – a slice of Arizona desert. This areacontainsFRANK,amagnificentThunderbird–acreature likea largealbatross,hisgloriouswingsshimmeringwithcloud-andsun-likepatterns.Oneofhislegsisrubbedrawandbloody–hehasobviouslypreviouslybeenchained.AsFRANK

flaps his wings, his habitat fills with a torrential downpour, thunder andlightning.NEWTuseshiswandtocreateamagicalumbrella,shieldinghimfromtherain.

NEWT(eyesonFRANKuphigh)

Comeon...comeon...downyoucome...comeon.

SlowlyFRANKcalmshimself,loweringdowntostandonalargerockinfrontofNEWT.Ashedoes,theraindiesdownandisreplacedbyabrilliant,hotsunshine.

NEWTputs his wand away and produces a handful of grubs from his pocket.FRANKwatchesintently.

NEWTstrokesFRANKwithhisfreehand,calminghim,affectionate.

NEWTOh, thank Paracelsus. If you’d have got out that could have been quitecatastrophic.

(toJACOB)Yousee,he’stherealreasonIcametoAmerica.TobringFrankhome.

JACOB, still staring,stepsslowly forwards. Inreaction,FRANKstarts to flaphiswings,agitated.

NEWT(toJACOB)

No,sorry–staythere–he’saweebitsensitivetostrangers.(toFRANK,calming)

Hereyouare–hereyouare.(toJACOB)

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 backwhereyoubelong,aren’tI,Frank.TothewildsofArizona.

NEWT,hisfacefullofhopeandexpectation,hugsFRANK’Shead.Then,grinning,hecaststhehandfulofgrubshighintotheair.FRANKsoarsmajesticallyupwardsafterthem,sunlightburstingfromhiswings.

NEWTwatcheshimflywithloveandpride.Thenheturns,putshishandstohismouth,androarsbeast-liketowardsanotherareaofthecase.

NEWTmovespastJACOB,grabbingthebucketofmeat.JACOBstumblesafterhimasseveralDoxysbuzzaroundhishead.JACOB,dazed,swatsthemoutoftheway.Behindhimalargedungbeetlerollsagiantballofdung.

WehearNEWTroarloudlyagain.JACOBhurriestowardsthesound,findingNEWTinasandy,moonlitterritory.

NEWT(underhisbreath)

Ah–heretheycome.

JACOBHerewhocomes?

NEWTTheGraphorns.

A large creature comes charging into sight: a Graphorn – built like a sabre-toothed tigerbutwith slimy tentaclesat itsmouth. JACOBscreams and tries tobackoff,butNEWTgrabsholdofhisarm,stoppinghim.

NEWTYou’reallright.You’reallright.

TheGraphornmovesclosertoNEWT.

NEWT(strokingtheGraphorn)

Hello,hello!

The Graphorn’s strange slimy tentacles rest on NEWT’S shoulder, seeming toembracehim.

NEWTSo they’re the last breeding pair in existence. If I hadn’t managed to rescuethem,thatcouldhavebeentheendofGraphorns–forever.

A younger Graphorn trots straight up to JACOB and begins licking his hand,circlinghimcuriously.Hestaresdownatit,thengentlyreachesoutandstrokesitshead.NEWTwatchesJACOB,pleased.

NEWTAllright.

NEWT throws a piece of meat into the enclosure, which is hastily chased andconsumedbytheyoungGraphorn.

JACOBSowhat–you,yourescuethesecreatures?

NEWTYes, that’s right. Rescue, nurture and protect them, and I’m gently trying toeducatemyfellowwizardsaboutthem.

Atinybrightpinkbird,theFwooper,fliespastandcomestorestonalittleperch,suspendedfrommid-air.

NEWTheadsupasmallrampofstairs.

NEWT(toJACOB)

Comeon.

They enter a bamboowood, ducking and diving through the trees.NEWT callsout.

NEWTTitus?Finn?Poppy,Marlow,Tom?

Theyemerge intoa sunlit glade,NEWTproducingPICKETT from his pocket andholdinghimperchedonhishand.

NEWT(toJACOB)

Hehadacold.Heneededsomebodywarmth.

JACOBAww.

Theymovetowardsasmalltreebathedinsunlight.Attheirapproach,aclanofBowtruckleschattersandrushesoutoftheleaves.

NEWTextendshisarmtowardsthetree,tryingtopersuadePICKETTtorejointheothers.TheBowtrucklesclacknoisilywhentheyseePICKETT.

NEWTRight,onyouhop.

PICKETTsteadfastlyrefusestoleaveNEWT’Sarm.

NEWT(toJACOB)

See,hehassomeattachmentissues.(toPICKETT)

Nowcomeon,Pickett.Pickett.No,they’renotgoingtobullyyou...now,comeon.Pickett!

PICKETTclingsbyhis spindlyhands tooneofNEWT’S fingers, desperate not toreturntothetree.NEWTfinallyresignshimself.

NEWTAllright.Butthatisexactlywhytheyaccusemeoffavouritism...

NEWTputsPICKETTontohisshoulderandturns.Onseeingalarge,round,emptynest,helooksconcerned.

NEWTIwonderwhereDougal’sgone.

Fromwithinanearbynest,wehearchirpingsounds.

NEWTAllright,I’mcoming...I’mcoming,Mum’shere–Mum’shere.

NEWTreachesintothenestandscoopsupababyOccamy.

NEWTAh–helloyou–letmetakealookatyou.

JACOBIknowtheseguys.

NEWTNewOccamy.

(toJACOB)YourOccamy.

JACOBWhatdoyoumean?MyOccamy?

NEWT

Yes–doyouwantto...

NEWTprofferstheOccamytoJACOB.

JACOBOhwow...yeah,sure.Okay...ahha.

JACOBholdsthenewborncreaturegentlyinhishandsandstares.Ashemovestostrokeitshead,theOccamymovestoniphim.JACOBstartsbackwards.

NEWTAh,no,sorry–don’tpetthem.Theylearntodefendthemselvesearly.See,theirshellsaremadeofsilversothey’reincrediblyvaluable.

NEWTfeedstheotherbabiesinthenest.

JACOBOkay...

NEWTTheirneststendtogetransackedbyhunters.

NEWT, delighted by JACOB’S interest in his creatures, takes back the babyOccamy,placingitinthenest.

JACOBThankyou.

(croaky)MrScamander?

NEWTCallmeNewt.

JACOBNewt...Idon’tthinkI’mdreaming.

NEWT(vaguelyamused)

Whatgaveitaway?

JACOBIain’tgotthebrainstomakethisup.

NEWTlooksatJACOB,bothintriguedandflattered.

NEWTActually, would you mind throwing some of those pellets in with theMooncalvesoverthere?

JACOBYeah,sure.

JACOBbendsdownandpicksupthebucketofpellets.

NEWTJustoverthere...

NEWTgrabsanearbywheelbarrowandsetsofffurtherintothecase.

NEWT(annoyed)

Bugger–theNiffler’sgone.Ofcoursehehas, littlebugger.Anychancetogethishandsonsomethingshiny.

As JACOBwalks through the case, we see what appear to be golden ‘leaves’fallingfromatinytree,whichmovetogetherenmassetowardsthecamera.Theyswarmupwards,minglingwithDoxys,GlowBugsandGrindylowswhich floatthroughtheair.

THECAMERAPANSUP to reveal anothermagnificent creature, theNundu–lookingalmostexactlylikealion,ithasalargemanewhichburstsforthwhenitroars.Itstandsproudlyonalargerock,roaringatthemoon.NEWTscattersfoodatitsfeetandpurposefullymoveson.

ADiricawl–a small, plumpbird–waddles in the foreground followedby itsconstantlyApparatingchicks,asJACOBclimbsupasteepgrassybank.

JACOB(tohimself)

Whatdidyoudotoday,Jacob?Iwasinsideasuitcase.

Atthetop,JACOBfindsalargemoonlitrockfacepopulatedbylittleMooncalves–shy,withhugeeyesfillingtheirwholefaces.

JACOB

Hey!Oh,hellofellas–allright–allright.

TheMooncalvesjumpandhopdowntherockstowardsJACOB,whofindshimselfsuddenlysurroundedbytheirfriendly,hopefulfaces.

JACOBTakeiteasy–takeiteasy.

Ashe throws pellets, theMooncalves bob eagerly up and down. JACOB visiblyseemstobefeelingbetter–hereallylikesthis...

ANGLEONNEWT,nowcradlingaluminescentcreaturewithsproutingalien-liketendrils.Hefeedsthecreaturewithabottle,whilecarefullywatchinghowJACOBhandlestheMooncalves–herecognisesakindredspirit.

JACOB(stillfeedingtheMooncalves)

Thereyougo,cutie.Ah,thereitis.

Akindoficycryechoesfromnearby.

JACOB(towardsNEWT)

Didyouhearthat?

ButNEWTisgone.JACOBturnstoseeacurtainbillowingopen,behindwhichisrevealedasnowscape.

Wepushinwards,towardsasmalloleaginousblackmasssuspendedinmid-air–anObscurus. JACOB, intrigued,moves into thesnowscape to get a closer look.Themasscontinuestoswirl,emittingadisturbed,restlessenergy.JACOBreachesouttotouchit.

NEWT(O.S.)(sharp)

Stepback.

JACOBjumps.

JACOBJeez...

NEWTStepback...

JACOBWhat’sthematterwiththis?

NEWTIsaidstepaway.

JACOBWhatthehellisthisthing?

NEWTIt’sanObscurus.

JACOB looks at NEWT, who is momentarily lost in a bad reverie. NEWT turnsabruptlyawayandheadsbacktowardsthehut,histonecolder,moreefficient,nolongerhappytoplayaboutinthecase.

NEWTIneedtogetgoing,findeveryonewho’sescapedbeforetheygethurt.

Thepairentersanotherforest,NEWTploughingahead,onamission.

JACOBBeforetheycouldgethurt?

NEWTYes,MrKowalski.See,they’recurrentlyinalienterrain,surroundedbymillionsofthemostviciouscreaturesontheplanet.

(abeat)Humans.

NEWTstopsoncemore,staringintoalargesavannahenclosure,whichisemptyofanybeasts.

NEWTSowhere would you say that amedium-sized creature that likes broad, openplains–trees–waterholes–thatkindofthing–wheremightshego?

JACOBInNewYorkCity?

NEWTYes.

JACOBPlains?

JACOBshrugsashetriestothinkofsomewhere.

JACOBAh–CentralPark?

NEWTAndwhereisthatexactly?

JACOBWhereisCentralPark?

Abeat.

JACOBWelllook,Iwouldcomeandshowyou,but,don’tyouthinkit’skindofadoublecross?Thegirlstakeusin–theymakeushotcocoa...

NEWTYoudorealisethatwhentheyseeyou’vestoppedsweating,they’llObliviateyouinaheartbeat.

JACOBWhatdoes‘Bliviate’mean?

NEWTIt’llbelikeyouwakeupandallmemoryofmagicisgone.

JACOBIwon’trememberanyofthis?

Helooksaround.Thisworldisextraordinary.

NEWTNo.

JACOBAllright,yeah–okay–I’llhelpyou.

NEWT(pickingupabucket)

Comeon,then.

SCENE48EXT./INT.STREETOUTSIDESECONDSALEMCHURCH—NIGHT

CREDENCEwalks home towards the church. He looks happier than before: hismeetingwithGRAVEShascomfortedhim.

CREDENCEslowlyentersthechurch,shuttingthedoubledoorsquietly.

CHASTITYisinthekitchenarea,dryingcrockery.

MARYLOUsits insemi-darknessonthestairs.CREDENCEsensesherandpauses,hisfaceoneoftrepidation.

MARYLOUCredence–wherehaveyoubeen?

CREDENCEIwas...lookingforaplacefortomorrow’smeeting.There’sacorneronThirty-secondthatcould—

CREDENCEmoves round to the bottom of the stairs, falling silent at the severeexpressiononMARYLOU’Sface.

CREDENCEI’msorry,Ma.Ididn’trealiseitwassolate.

Asifonautopilot,CREDENCEremoveshisbelt.MARYLOUstandsandextendsherhand, taking the belt. In silence, she turns andwalks up the stairs,CREDENCEobedientlyfollowing.

MODESTYmovestothebottomofthestairs,watchingthemgo,alookoffearandupsetonherface.

SCENE49EXT.CENTRALPARK—NIGHT

A large frozen pond in themiddle of Central Park. Children ice-skate. A boytakesatumble.Agirlcomestohelphimup,theylinkhands.

As theyareabout to stand,a lightbecomesvisibleunderneath the ice.Adeeprumblingsoundechoes.Thechildrenstareasaglowingbeastglidesundertheicebeneaththem,andoffintothedistance.

SCENE50EXT.DIAMONDDISTRICT—NIGHT

NEWTandJACOBwalkalonganotherdesertedstreetonthewaytoCentralPark.The shops around them are full of expensive jewellery, diamonds, preciousstones.NEWT,carryinghiscase,scanstheshadowsforsmallmovements.

NEWTIwaswatchingyouatdinner.

JACOBYeah.

NEWTPeoplelikeyou,don’tthey,MrKowalski.

JACOB(startled)

Oh–well,I’m–I’msurepeoplelikeyou,too–huh?

NEWT(notveryconcerned)

No,notreally.Iannoypeople.

JACOB(notsurehowtoanswer)

Ah.

NEWTseemsthoroughlyintriguedbyJACOB.

NEWTWhydidyoudecidetobeabaker?

JACOBAh,well,um–becauseI’mdying–inthatcanningfactory.

(offNEWT’Slook)Everyonethere’sdying.Itjustcrushesthelifeouttayou.Youlikecannedfood?

NEWTNo.

JACOBMe neither. That’s why I want to make pastries, you know. It makes peoplehappy.We’regoingthisway.

JACOBheadsofftohisright.NEWTfollows.

NEWTSodidyougetyourloan?

JACOBEr, no – I ain’t got no collateral. Stayed in the army too long, apparently – Idon’tknow.

NEWTWhat,youfoughtinthewar?

JACOB

OfcourseIfoughtinthewar,everyonefoughtinthewar–youdidn’tfightinthewar?

NEWTIworkedmostlywithdragons,UkrainianIronbellies–EasternFront.

NEWTsuddenlystops.Hehasnoticedasmallshinyearringlyingontopofacarbonnet.Hiseyesmovedownwards:diamondsarescatteredacrossthepavement,leadingtowardsthewindowofoneparticulardiamondshop.

NEWTstealthilyfollowsthetrail,creepingpastshopwindows.Somethingcatcheshiseyeandsuddenlyhepauses.Veryslowly,hetiptoesbackwards.

The Niffler is standing in a shop window. In order to hide, it is emulating ajewellerystand,littlearmsoutstretched,coveredindiamonds.

NEWTstaresat theNiffler indisbelief. SensingNEWT’Sstare, theNiffler slowlyturns.Thetwoofthemmakeeyecontact.

Abeat.

SuddenlytheNifflerisoff:scurryingfurtherintotheshopandawayfromNEWT.NEWTwhipsouthiswand.

NEWTFinestra.

The window glass shatters and NEWT leaps inside, seizing at drawers andcupboards, desperate to find the creature. JACOB stares down the street,incredulousashewatchesNEWTwho,fromanoutsider’sperspective,appearstobelootingthediamondshop.

TheNifflerappears,scurryingoverNEWT’Sshouldersinanattempttogethigherandawayfromhisclutches.NEWTjumpsontoadeskafterhim,buttheNifflerisnowbalancingonacrystalchandelier.

NEWT reaches out and trips, both he and the Niffler now hanging from thechandelierasitswingswildlyroundandround.

JACOB looks around the street nervously, checking if anyone else can hear thechaoscomingfromwithintheshop.

Finallythechandeliercrashestothefloor,smashing.StraightawaytheNifflerisbackup,clamberingacrosscasesfullofjewellery,NEWTinhotpursuit.

A catch opens onNEWT’S case and a roar comes fromwithin. JACOB fearfullylookstowardsthecase.

TheNifflerandNEWTcontinuetheirchase,finallyclimbingontoajewellerycasethatcan’ttaketheirweight.Thecase,withthembothontop,fallstorestagainstoneoftheshopwindows.BothNEWTandtheNifflerbecomeverystill...

JACOBbreathesdeeplyandslowlymovesforwardtoclosethelatchonthecase.

Suddenly a crackappears on thewindow.NEWTwatches as the crack spreadsacross the pane of glass and the window bursts open, shattering across thepavement–NEWTandtheNifflercrashingtotheground.

TheNiffler isstillonly foramomentbeforerunningoffdownthestreet.NEWTquicklygathershimself,drawinghiswand.

NEWTACCIO!

INSLOWMOTION theNiffler sailsbackwards through theair towardsNEWT.Asheflies,helookssidewaysatthemostgloriouswindowdisplayyet.Hiseyeswiden.JewelleryfallsfromhispouchashefliestowardsNEWTand JACOB,whoduckanddiveastheyrunforwardstowardsthecreature.

Passingalamp-post,theNifflerstretchesoutanarm,spinningaroundthepoleand flying onwards, out of the trajectoryNEWThad him on, and towards thegloriouswindow.NEWTcastsaspelltowardsthewindow,turningitintoastickyjelly,whichfinallytrapstheNiffler.

NEWT(totheNiffler)

Allright?Happy?

NEWT,nowcoveredinjewellery,pullstheNifflerfromthewindow.

Wehearpolicesirensinthebackground.

NEWT

Onedown,twotogo.

Policecarscomeracingthroughthestreets.

NEWTonceagainsetsaboutshakingallthediamondsfromtheNiffler’spouch.

Thepolicecarspullup,andPOLICEMENrunout,gunsaimedatNEWTandJACOB.JACOB,alsocoveredinjewels,holdsuphishandsinsurrender.

JACOBTheywentthatway,officer...

POLICEOFFICER1Handsup!

TheNiffler,stuffedintoNEWT’Sovercoat,pokesoutitslittlenoseandsqueaks.

POLICEOFFICER2WhatthehellisTHAT?

JACOBsuddenlylookstotheleft,hisfaceoneofterror.

JACOB(barelyabletospeak)

Lion...

Abeatandthen,inunison,thepoliceturnboththeireyesandtheirgunstowardstheotherendofthestreet.

Perplexed,NEWTlookstoo...alionisstalkingtowardsthem.

NEWT(calm)

Youknow,NewYorkisconsiderablymoreinterestingthanI’dexpected.

Beforethepolicecanlookback,NEWTgrabsJACOBandtheyDisapparate.

SCENE51

EXT.CENTRALPARK—NIGHT

NEWTandJACOBhurrythroughthefrost-coveredpark.

Astheycrossabridge, theyarealmostbowledoverbyanostrich,whichtearspastthem,runningforitslife.

Aloudrumblecanbeheardinthedistance.

NEWTtugsprotectiveheadgearoutofhispocket,andhandsittoJACOB.

NEWTPutthison.

JACOBWhy–whywouldIhavetowearsomethinglikethis?

NEWTBecauseyourskullissusceptibletobreakageunderimmenseforce.

NEWTrunson.Utterlyterrified,JACOBputsonthehatandchasesafterNEWT.

SCENE52EXT.GOLDSTEINRESIDENCE—NIGHT

TINA and QUEENIE lean out of their bedroom window, craning into the dark.Another bellowing roar reverberates through thewinter night.Otherwindowsopen,neighboursstaresleepilyoverthecity.

SCENE53INT.GOLDSTEINRESIDENCE—NIGHT

TINAandQUEENIEburstintothebedroomwhereJACOBandNEWTaremeanttobe

asleep.Everytraceofthetwomenhasgone.Furious,TINAstormsofftodress.QUEENIElooksupset.

QUEENIEButwemade’emcocoa...

SCENE54EXT.CENTRALPARKZOO—NIGHT

NEWTandJACOBrunuptothenowhalf-emptyzoo,theouterwallsofwhichhavebeendemolishedinplaces.Alargepileofrubbleliesattheentrance.

Anotherbellowingroarechoesaroundthebrickbuilding.NEWTproducesabodyprotector.

NEWTOkay,ifyoujust,uh,popthison.

NEWTstandsbehindJACOB,fasteningthebreastplateoverhim.

JACOBOkay.

NEWTNowthere’sabsolutelynothingforyoutoworryabout.

JACOBTellme–hasanyoneeverbelievedyouwhenyoutoldthemnottoworry?

NEWTMyphilosophyisthatworryingmeansyousuffertwice.

JACOBdigestsNEWT’S‘wisdom’.

NEWT picks up his case and JACOB follows him, stumbling over rubble anddebris.

Theystandattheentrancetothezoo.Aloudsnortcomesfromwithin.

NEWTShe’sinseason.Sheneedstomate.

ANGLEONtheErumpent–alarge,rotund,rhino-likecreaturewithamassivehornprotrudingfromherforehead.Fivetimeshissize,sheisnuzzlingupagainsttheenclosureofaterrifiedhippo.

NEWTtakesoutatinyvialofliquid–hepullsthestopperoutwithhisteethandspits it to the side before dabbing a spot of the liquid onto eachwrist. JACOBlooksathim–thesmellispungent.

NEWTErumpentmusk–sheismadforit.

NEWTpassesJACOBtheopenbottleandheadsintothezoo.

TIMECUT:

NEWT places his case down on the ground near the Erumpent and slowly,seductively,opensit.

Hebegins toperforma ‘mating ritual’–a seriesofgrunts,wiggles, rollsandgroans–togaintheErumpent’sattention.

Finally the Erumpent turns away from the hippo – she is interested inNEWT.They face each other, circle round, undulating weirdly. The Erumpent’sdemeanourispuppy-like,herhornglowingorange.

NEWTrollsalongthefloor–theErumpentcopies,movingnearerandnearertotheopencase.

NEWT

Goodgirl–comeon–intothecase...

JACOBtakesasniffoftheErumpentmusk.Ashedoesso,afishfliesthroughtheairandjoltshim,spillingthemusk.

Thewindchanges.Treesrustle.TheErumpenttakesadeepbreathin–shecansmellthenew,morepowerfularomacomingfromJACOB.

JACOB looks around. A seal sits behind him looking guilty, before cheekilyrunningaway.

WhenJACOBturnsback,heseestheErumpentisnowonherfeet,staringathim.

ANGLEONNEWTandJACOB,realisingwhatisabouttohappen.

BACKTOSCENE:

TheErumpentchargestowardsthesourceofthesmell,bellowingmadly.JACOBwails, runningas fastashecan in theoppositedirection.TheErumpent giveschase – they crash through rubble and ice-ponds, before charging across thesnow-coveredpark.

NEWTdrawshiswand—

NEWTRepar—

Beforehecan finish,hiswand iswhippedoutofhishandbyababoon,whichrunsoff,clutchingitsprize.

NEWTMerlin’sbeard!

ANGLEONJACOB,tankingalong,theErumpentclosebehindhim.

ANGLEONNEWT, face to face with the curious baboon, which examines hiswand.

NEWTbreaksabitoftwigfromabranchandholdsitout,tryingtopersuadethebaboontotradewithhim.

NEWTThey’reexactlythesame...samething.

BACKTOJACOB:

Intryingtoclimbatree,JACOBhasendeduphangingprecariouslyupsidedownfromabranch.

JACOB(bellowing,terrified)

Newt!

WeseetheErumpentbelowhim.Sheliesonherback,wigglingherlegsintheairinvitingly.

ANGLEBACKONNEWT–thebaboonshakesNEWT’Swand.

NEWTNo,no,no,don’t!

NEWT looks worried – BANG – the wand ‘goes off’, the spell knocking thebaboonbackwards.ThewandfliesbacktoNEWT.

NEWTI’msosorry—

ANGLEONJACOB–theErumpentisnowonherfeet.Shechargestowardsthetree,diggingherhorndeepintothetrunk.Thetreebubbleswithglowingliquidbeforeexplodingandcrashingtotheground.

JACOB is thrownoff, rollingdowna steep, snowyhill andonto the frozen lakebelow.

TheErumpentchargesafterhim,hits the iceandskids.NEWTcomescareeringdownthehill,alsohittingtheice.Heperformsanathleticslide,hiscaseopen–theErumpentismerefeetfromJACOBwhenthecaseswallowsher.

NEWTGoodshow,MrKowalski!

JACOBholdsouthishandtoshake.

JACOBCallmeJacob.

Theyshakehands.

THIRDPERSONPOV:someonewatchesasNEWThaulsJACOBupandtheyslipandslideacrossthefrozenlakeasfastastheycan.

NEWTWell,twodown,onetogo.

HOLDONTINAasshehidesonthebridgeabovethem,peekingdown.

NEWT(O.S.)(toJACOB)

Inyouhop.

Weseethecasesittingalonebelowthebridge.

TINA quickly appears around the corner and hurriedly sits on the case. Sheclosesthecatches,lookingshockedbutdetermined.

ANNOUNCER(V.O.)Ladiesandgentlemen...

SCENE55INT.CITYHALL—NIGHT

A large, ornately decorated hall, covered in patriotic emblems. Hundreds ofglamorouslydressedpeople sitat round tables, looking towardsa stageat thefar end.Over this stage hangs a large poster of SENATOR SHAWwith a sloganreading‘America’sFuture’.

AnANNOUNCERstandsbehindthemicrophone.

ANNOUNCER. . . now tonight’s keynote speaker needs no introduction fromme.He’s been

mentioned as a future President – and if you don’t believe me, just read hisdaddy’snewspapers—

Indulgent laughter from the crowd.We seeSHAWSR and LANGDON seated at atable,surroundedbythecrèmedelacrèmeofNewYorksociety.

ANNOUNCER—ladiesandgentlemen,IgiveyoutheSenatorforNewYork,HenryShaw!

Tumultuous applause. SENATOR SHAW bounds forwards, acknowledging thecheers,pointingandwinkingatintimatesinthecrowd,andmountsthesteps.

SCENE56EXT.DARKSTREET—NIGHT

Something is streaking through the streets, too large and fast for a human.Strange,labouredbreathingandsnarling–itisinhuman,beast-like.

SCENE57EXT.STREETNEARCITYHALL—NIGHT

TINA ishurryingalong,clutching thecase.Street lightsstartgoingoutaroundher.Shestops,feelssomethingpassinthedarkness–turns,staring,scared.

SCENE58INT.CITYHALL—NIGHT

SENATORSHAW

. . . and it’s true we have made some progress, but there is no reward foridleness.Sojustastheodioussaloonshavebeenbanished...

Astrange,hauntingnoisecomesfromtheorganpipesat thebackof theroom.Everyoneturnstolook,theSENATORpauses.

SENATORSHAW...sonowthepoolhalls,andtheseprivateparlours...

Thestrangenoisegetslouder.

Gueststurntolookagain.TheSENATORseemsanxious.Peoplemutter.

Suddenlysomethingexplodesforthfromunderneaththeorgan.Somethinghugeandbestial,althoughinvisible,issoaringdownthehall–tablesfly,peoplearethrown,lightssmashandpeoplescreamasitcarvesalinetowardsthestage.

SENATORSHAWis thrownbackwardsagainsthisownposter,raiseduphighandsuspended for amoment inmid-air before being brought downwith a violentcrash–dead.

The‘beast’ripsathisposter–afrenziedslashingwithharsh,noisybreathing–beforeswarmingbackoutfromwhereitcame.

Sounds of anguish and panic from the crowd as SHAW SR fights through thedebristowardshisson’stornandbleedingbody.

ANGLE ON SENATOR SHAW’S body, his face brutally scarred. SHAW SR looksdevastatedashecrouchesbesidehisson.

ANGLEONLANGDON,nowonhisfeet,slightlydrunk.

Determined,perhapstriumphant.

LANGDONWITCHES!

SCENE59INT.MACUSALOBBY—NIGHT

Focus on the gigantic dial showing the MAGICAL EXPOSURE THREATLEVEL.ThehandmovesfromSEVEREtoEMERGENCY.

TINA,caseinhand,runsupthelobbysteps,pastwitchesandwizardshuddledingroups,whisperingnervously.

HEINRICHEBERSTADT(V.O.)OurAmericanfriendshavepermittedabreachoftheStatuteofSecrecy...

SCENE60INT.PENTAGRAMOFFICE—NIGHT

An impressive hall arranged like an old parliament debating chamber. Everyseat is occupied by wizards from all parts of the world.MADAM PICQUERY ispresiding,GRAVESatherside.

TheSwissdelegateisspeaking.

HEINRICHEBERSTADT...thatthreatenstoexposeusall.

MADAMPICQUERYIwillnotbe lecturedby themanwho letGellertGrindelwaldslip throughhisfingers—

AhologramimageofSENATORSHAW’Sdeadand twistedbody floatshighabovetheroom,emittingaglowinglight.

AllheadsturnasTINAhurriesintothechamber.

TINAMadamPresident,I’msosorrytointerrupt,butthisiscritical—

Echoingsilence.TINAslides to a halt in themiddle of themarble floor beforerealisingexactlywhatshe’swalkedinto.Thedelegatesstareather.

MADAMPICQUERYYou’dbetterhaveanexcellentexcuseforthisintrusion,MissGoldstein.

TINAYes–Ido.

(steppingforwardstoaddressher)Ma’am.YesterdayawizardenteredNewYorkwithacase.Thiscaseofmagicalcreatures,and–unfortunately–somehaveescaped.

MADAMPICQUERYHe arrived yesterday? You have known for twenty-four hours that anunregisteredwizardsetmagicalbeastslooseinNewYorkandyouseefittotellusonlywhenamanhasbeenkilled?

TINAWhohasbeenkilled?

MADAMPICQUERYWhereisthisman?

TINAsetsthecaseflatonthefloorandthumpsthelid.Afterasecondortwo,itcreaksopen.FirstNEWT,thenJACOBemerge,lookingsheepishandnervous.

BRITISHENVOYScamander?

NEWT(closingthecase)

Oh–er–hello,Minister.

MOMOLUWOTORSONTheseusScamander?Thewarhero?

BRITISHENVOYNo, this ishis littlebrother.Andwhat in thenameofMerlinareyoudoing inNewYork?

NEWTIcametobuyanAppaloosaPuffskein,sir.

BRITISHENVOY(suspicious)

Right.Whatareyoureallydoinghere?

MADAMPICQUERY(toTINA,aboutJACOB)

Goldstein–andwhoisthis?

TINAThisisJacobKowalski,MadamPresident,he’saNo-MajwhogotbittenbyoneofMrScamander’screatures.

FuriousreactionfromtheMACUSAemployeesanddignitariesallaround.

MINISTERS(whispers)

No-Maj?Obliviated?

NEWT is absorbed in the image of SENATOR SHAW’S body floating around theroom.

NEWTMerlin’sbeard!

MADAMYAZHOUYouknowwhichofyourcreatureswasresponsible,MrScamander?

NEWTNocreaturedidthis...don’tpretend!Youmustknowwhatthatwas,lookatthemarks...

ANGLEONSENATORSHAW’Sface.

ANGLEONNEWT.

NEWTThatwasanObscurus.

Massconsternation,muttering,exclamations.GRAVESlooksalert.

MADAMPICQUERYYougotoofar,MrScamander.ThereisnoObscurialinAmerica.Impoundthatcase,Graves!

GRAVESsummonsthecase;itlandsnexttohim.NEWTdrawshiswand.

NEWT(toGRAVES)

No...givethatb—!

MADAMPICQUERYArrestthem!

AdazzlingeruptionofspellshitNEWT,TINAandJACOB,allofwhomareslammedtotheirknees.NEWT’Swandfliesoutofhishand,caughtbyGRAVES.

GRAVESstandsandpicksupthecase.

NEWT(magicallyrestrained)

No–no–don’thurtthosecreatures–please,youdon’tunderstand–nothinginthereisdangerous,nothing!

MADAMPICQUERYWe’llbethejudgesofthat!

(totheAurorsnowstandingbehindthem)Takethemtothecells!

ANGLEONGRAVESwatchingTINAasshe,NEWTandJACOBaredraggedaway.

NEWT(screaming,desperate)

Don’thurt thosecreatures– there isnothing in there that isdangerous.Pleasedon’t hurt my creatures – they are not dangerous . . . please, they are notdangerous!

SCENE61INT.MACUSACELL—DAY

NEWT, TINA and JACOB sitting,NEWTwith his head in his hands, still in utterdespair about his creatures. Finally TINA, on the verge of tears, breaks thesilence.

TINAIamsosorryaboutyourcreatures,MrScamander.Itrulyam.

NEWTremainssilent.

JACOB(sottovoce,toTINA)

CansomeonepleasetellmewhatthisObscurialObscuriusthingis?Please?

TINA(alsosottovoce)

Therehasn’tbeenoneforcenturies—

NEWTImetoneinSudanthreemonthsago.Thereusedtobemoreof thembut theystillexist.Beforewizardswentunderground,whenwewerestillbeinghuntedbyMuggles,youngwizardsandwitchessometimestriedtosuppresstheirmagictoavoidpersecution.Insteadoflearningtoharnessortocontroltheirpowers,theydevelopedwhatwascalledanObscurus.

TINA(offJACOB’Sconfusion)

It’sanunstable,uncontrollabledark force thatbustsoutand–andattacks . . .

andthenvanishes...

Asshetalks,weseethepennydropping.AnObscurusfitseverythingsheknowsabouttheperpetratoroftheNewYorkattacks.

TINA(toNEWT)

Obscurialscan’tsurvivelong,canthey?

NEWTThere’snodocumentedcaseofanyObscurialsurvivingpasttheageoften.TheoneImetinAfricawaseightwhenshe–shewaseightwhenshedied.

JACOBWhatareyoutellingmehere–thatSenatorShawwaskilledbya–byakid?

NEWT’Slooksays‘yes’.

SCENE62INT.SECONDSALEMCHURCH,MAINHALL—DAY—MONTAGE

MODESTYapproachesthelongtableatwhichmanyorphanchildrensithungrilyeating.

MODESTY(continuingherchant)

...mymomma,yourmomma,flyingonaswitch,

Mymomma,yourmomma,witchesnevercry,

Mymomma,yourmomma,witchesgonnadie!

MODESTYgathersseveralofthechildren’sleafletsfromthetable.

MODESTYWitchnumberone,drowninariver!

Witchnumbertwo,gottanoosetogiveher!

Witchnumberthree...

TIMECUT:

Thechildren,having finishedtheirmeal, leave the tablewith their leafletsandheadforthedoor.

CHASTITY(callingafterthem)

Handoutyourleaflets!I’llknowifyoudump’em.Tellmeifyouseeanythingsuspicious.

CLOSEONCREDENCE–he’swashingdishes,butwatchingthechildrenintently.

MODESTYfollowsthelastofthechildrenoutofthechurch.

SCENE63EXT.STREETOUTSIDESECONDSALEMCHURCH—DAY

MODESTYstandsinthemiddleofthebusystreet.Shethrowsherleafletshighintotheair,watchingwithgleeastheyfallaroundher.

SCENE64INT.MACUSACELL/CORRIDOR—DAY

TwoEXECUTIONERSinwhitecoatsleadashackledNEWTandTINAdowntoadarkbasement,awayfromthecell.

NEWTturnstolookback.

NEWT(overhisshoulder)

Itwasgoodtomakeyouracquaintance,Jacob,andIhopeyougetyourbakery.

ANGLEON JACOB, scared, left behind, clutching at the bars of the cell. HewavesforlornlyafterNEWT.

SCENE65INT.INTERROGATIONROOM—DAY

Asmall,bareroom,black-walledandwindowless.

GRAVESsitsoppositeNEWTatan interrogationdesk,a fileopenin frontofhim.NEWTsquintsforward,abrightlightshiningintohiseyes.

TINAstandsbehind,flankedbythetwoEXECUTIONERS.

GRAVESYou’reaninterestingman,MrScamander.

TINA(steppingforwards)

MrGraves—

GRAVESholdsafingertohislips,signallingforTINAtobesilent.Thegestureispatronising,butauthoritative.TINA lookskowtowed–sheobeys,steppingbackintotheshadows.

GRAVESexaminesthefileonhisdesk.

GRAVESYouwerethrownoutofHogwartsforendangeringhumanlife—

NEWTThatwasanaccident!

GRAVES—withabeast.Yetoneofyourteachersarguedstronglyagainstyourexpulsion.Now,whatmakesAlbusDumbledoresofondofyou?

NEWTIreallycouldn’tsay.

GRAVESSosettingapackofdangerouscreatureslooseherewasjustanotheraccident,isthatright?

NEWTWhywouldIdoitdeliberately?

GRAVESTo exposewizardkind. To provokewar between themagical and non-magicalworlds.

NEWTMassslaughterforthegreatergood,youmean?

GRAVESYes.Quite.

NEWTI’mnotoneofGrindelwald’sfanatics,MrGraves.

AtinychangeofexpressiontellsusthatNEWThasscoredahit.GRAVESislookingmoremenacing.

GRAVESIwonderwhatyoucantellmeaboutthis,MrScamander?

Withaslowmoveofhishand,GRAVESraisesuptheObscurusfromNEWT’Scase.Hebringsitontothedesk–itispulsing,swirlingandhissing.

CLOSEONTINAasshestares,disbelieving.

GRAVESreaches a hand towards theObscurus – he’s utterly fascinated. At hissudden close proximity, the Obscurus swirls faster, bubbling and shrinkingbackwards.

NEWTturns instinctively toTINA.Without fullyrealisingwhy, it isshewhomhewantstoconvince.

NEWTIt’sanObscurus—

(offherlook)But,it’snotwhatyouthink.ImanagedtoseparateitfromtheSudanesegirlasItriedtosaveher–Iwantedtotakeithome,tostudyit—

(offTINA’Sshock)Butitcannotsurviveoutsidethatbox,itcouldnothurtanyone,Tina!

GRAVESSoit’suselesswithoutthehost?

NEWT‘Useless?Useless?’Thatisaparasiticalmagicalforcethatkilledachild.Whatonearthwouldyouuseitfor?

NEWT, anger finallyboilingwithinhim, staresatGRAVES.TINA, reacting to theatmosphere,alsolookstoGRAVES–concernand trepidationwrittenacrossherface.

GRAVESstands,brushingoffthequestions,turningtheblamebackontoNEWT.

GRAVESYoufoolnobody,MrScamander.YoubroughtthisObscurusintothecityofNewYorkinthehopeofcausingmassdisruption,breakingtheStatuteofSecrecyandrevealingthemagicalworld—

NEWTYouknowthatcan’thurtanyone,youknowthat!

GRAVES—youare thereforeguiltyofa treasonousbetrayalofyour fellowwizardsandaresentencedtodeath.MissGoldstein,whohasaidedandabettedyou—

NEWTNo,she’sdonenothingofthekind—

GRAVES—shereceivesthesamesentence.

ThetwoEXECUTIONERSstep forwards.Theycalmly, intrusively,press the tipsoftheirwandsintoNEWTandTINA’Snecks.

TINAissoovercomewithshockandfearthatshecanbarelyspeak.

GRAVES(totheEXECUTIONERS)

Justdoitimmediately.IwillinformPresidentPicquerymyself.

NEWTTina.

GRAVESagainplacesafingertohislips.

GRAVESShhhh.

(wavingtotheEXECUTIONERS)Please.

SCENE66INT.SHABBYBASEMENTMEETINGROOM—DAY

QUEENIEiscarryingatrayofcoffeeandmugstowardsameetingroom.

Suddenlyshefreezes,hereyeswiden,alookofterroracrossherface.Shedropsthetray–cupssmashingonthefloor.

Anassortmentoflow-levelMACUSAfunctionariesturntostareather.QUEENIEstaresback,stunned,beforerunningawaydownthecorridor.

SCENE67INT.CORRIDORLEADINGTODEATHCELL—DAY

Alongblackmetalliccorridorleadsintoapurewhitecell,whichconsistsofachairsuspendedmagicallyoverasquarepoolofripplingpotion.

NEWTandTINAareforcedintothisroombytheEXECUTIONERS.Aguardstandsatthedoor.

TINA(toEXECUTIONER1)

Don’tdothis–Bernadette–please—

EXECUTIONER1Itdon’thurt.

TINA is led to the edgeof thepool. Shebeginspanicking,herbreathingheavyanderratic.

The smiling EXECUTIONER 1 raises a wand and carefully extracts TINA’Shappymemories from her head. TINA instantly calms – her expression now vacant,other-worldly.

EXECUTIONER1casts thememories into thepotion,whichripples, comingalivewithscenesfromTINA’Slife.

AyoungTINAsmilesupashermothercalls.

TINA’SMOTHER(V.O.)Tina...Tina...comeon,pumpkin–timeforbed.Areyouready?

TINAMomma...

TINA’SMOTHERappears in the pool, her expression loving andwarm. The realTINAwatches,smilingdown.

EXECUTIONER1Don’tthatlookgood.Youwannagetin?Huh?

TINAnodsvacantly.

SCENE68INT.MACUSALOBBY—DAY

QUEENIEstandsinthecrowdedlobby.Theelevatordoorssound.

ANGLEON theelevatordoors,whichopen revealing JACOB, escortedby SAM,theObliviator.

QUEENIEhurriestowardsthem,determined.

QUEENIEHey,Sam!

SAMHey,Queenie.

QUEENIETheyneedyoudownstairs.I’llObliviatethisguy.

SAMYouain’tqualified.

Grim-faced,QUEENIEreadshismind.

QUEENIEHey,Sam–doesCecilyknowyoubeenseeingRuby?

ANGLEONRUBY,aMACUSAwitch,standingaheadofthem.ShesmilesatSAM.

ANGLEONQUEENIEandSAM–SAMlooksnervous.

SAM(appalled)

How’dyou—?

QUEENIELetmeObliviatethisguyandshe’llneverhearaboutitfromme.

Stunned, SAM backs away. QUEENIE seizes JACOB’S arm and marches him offacrossthecavernouslobby.

JACOBWhatareyoudoin’?

QUEENIEShhhh!Teen’sintrouble,I’mtryingtolisten—

(shereadsTINA’Smind)Jacob,where’sNewt’scase?

JACOBIthinkthatguyGravestookit—

QUEENIEOkay,comeon—

JACOBWhat?You’renotgonnaObliviateme?

QUEENIEOfcoursenot–you’reoneofusnow!

QUEENIEhurrieshimtowardsthemainstaircase.

SCENE69INT.DEATHCELL—DAY

TINAsitsintheexecutionchair.Shegazesdown:beneathherswirlhappyimagesofherfamily,herparents,ayoungQUEENIE.

MEMORY:

WemoveintothepoolandfollowoneofTINA’Smemories:TINAwalksinsidetheSecond Salem Church and up the stairs. She findsMARY LOU, standing overCREDENCE,beltinhand–CREDENCElooksterrified.Inanger,TINAcastsaspell,strikingMARYLOU.TINAmovesforwardtocomfortCREDENCE.

TINAIt’sokay.

ANGLEBACKONrealTINA,stillgazingintothepool,smilingwistfully.

ANGLE ON NEWT, who glances quickly down his own arm – PICKETT isclambering,quietandagile,towardstheshacklesholdingNEWT’Shands.

SCENE70

INT.CORRIDORLEADINGTOGRAVES’SOFFICE—DAY

ANGLEONthedoortoGRAVES’Soffice.

QUEENIE(O.S.)Alohomora.

WeseeQUEENIEandJACOBstandingawkwardlyoutsideGRAVES’Soffice,QUEENIEtryingdesperatelytoopenthedoor.

QUEENIEAberto...

Thedoorremainslocked.

QUEENIE(frustrated)

Ugh.Hewouldknowafancyspelltolockhisoffice.

SCENE71INT.DEATHCELL—DAY

BacktoPICKETTashefinishesunlockingtheshacklesholdingNEWT’Swrists,andquicklyclimbsontoEXECUTIONER2’Scoat.

EXECUTIONER2(toNEWT)

Okay,let’sgetthegoodstuffoutofyou—

EXECUTIONER2raisesherwandtoNEWT’Sforehead.NEWTseizeshisopportunity–hejumpsbackwardsoutofthewaybeforerevealingtheSwoopingEvil,whichhe throws forwards towards the pool. He then swiftly turns and punches theguard,knockinghimoutcold.

The Swooping Evil has now expanded into a gigantic, spooky but weirdlybeautifulbutterfly-esquereptilewithskeletalwings.Itcontinuestocircleroundandroundthepool.

PICKETTclambersontoEXECUTIONER2’Sarmandbites,startlinganddistractingher,givingNEWTtimetograbherarmsandtakeaimwithherwand.Aspellfires,hittingEXECUTIONER1,whodropstothefloor,herwandfallingintothepool.Asitfalls,theliquidrisesupinviscousblackbubbles,instantlyengulfingthewand.

Inreaction,TINA’Smemoriesturnfromgoodtobad:weseeMARYLOU,pointingaggressivelyatTINA.

MARYLOUWitch!

TINA, still enraptured by the pool, looks increasingly terrified. Her chair isloweringcloserandclosertotheliquid.

The Swooping Evil glides across the room, knocking EXECUTIONER 2 to theground.

SCENE72INT.CORRIDORLEADINGTOGRAVES’SOFFICE—DAY

Afteraquickglancearound,JACOBgives thedooraheftykick. Itbreaksopen.JACOBstandsguardasQUEENIErunsinandgrabsNEWT’ScaseandTINA’Swand.

SCENE73INT.DEATHCELL—DAY

TINAsnapsoutofherreverieandscreams.

TINAMRSCAMANDER!

The liquid has now turned into a black bubbling death potion. It rises up,

surroundingTINAonherchair.TINAstandsuptogetaway,almostfallingoffinherhaste.Shetriesdesperatelytoregainherbalance.

NEWTDON’TPANIC!

TINAWHATDOYOUSUGGESTIDOINSTEAD?

NEWTmakesa strange tutting sound, commanding theSwoopingEvil to circlethepooloncemore.

NEWTJump...

TINAlooksattheSwoopingEvil–fearful,disbelieving.

TINAAREYOUCRAZY?

NEWTJumponhim.

NEWTstands on the edge of the poolwatching the SwoopingEvil as it circlesroundandroundTINA.

NEWTTina,listentome.I’llcatchyou.Tina!

Thetwomakeintenseeyecontact,NEWTtryingtoreassure...

TheliquidhasnowrisenupinwavestoTINA’Sfullheight–she’slosingsightofNEWT.

NEWT(insistent,verycalm)

I’llcatchyou.I’vegotyou,Tina...

SuddenlyNEWTcriesout.

NEWTGo!

TINAjumpsinbetweentwoof thewaves, justastheSwoopingEvilpasses.Shelandsonitsback,onlyinchesawayfromtheswirlingliquid, thenhopsquicklyforwards,straightintoNEWT’Sopenarms.

For a split secondNEWT and TINAgaze at each other, beforeNEWT raises hishand,recallingtheSwoopingEvil,whichfoldsintoacocoononcemore.

NEWTgrabsTINA’Shandandheadsfortheexit.

NEWTComeon!

SCENE74INT.DEATHCELLCORRIDOR—DAY

QUEENIEandJACOBmarchalongthecorridorwithpurpose.

Analarmgoesoffinthedistance–otherwizardshurrypastthemintheoppositedirection.

SCENE75INT.MACUSALOBBY—MINUTESLATER—DAY

Thealarmblaresoutacrossthelobby.

Confusion reigns among the crowd – people gather in groups, nervouslychattering,othersscurryabout,urgent,anxious.

AteamofAurorshurtlesacrossthelobby,headeddirectlyforthestairsleadingdowntothebasement.

SCENE76INT.DEATHCELLCORRIDOR/BASEMENTCORRIDOR—DAY

NEWTandTINA,handinhand,chargethroughthebasementcorridors.SuddenlyaccostedbythegroupofAurors, theyturn,dartingbehindpillars, justmissingthefiredcursesandspells.

NEWTagainsendsout theSwoopingEvil,whichswirlsoverhead, flying inandoutofpillars,blockingcursesandknockingAurorstotheground.

ANGLEONtheSwoopingEvilusingitsproboscistoprobeinoneoftheAuror’sears.

NEWT(makingaclickingsound)

LEAVEHISBRAINS.Comeon!Comeon!

TINAandNEWTrunonwards,theSwoopingEvilflyingafter,blockingcursesasitgoes.

TINAWhatisthatthing?

NEWTSwoopingEvil.

TINAWell,Iloveit!

ANGLEONQUEENIEand JACOB, walking briskly through the basement. NEWTandTINAsprintroundthecornerandalmostcollidewiththem.Thefourstareatoneanother,paniconalltheirfaces.

FinallyQUEENIEgesturestothecase.

QUEENIEGetin!

SCENE77INT.STAIRSLEADINGTOCELLS—MOMENTSLATER—DAY

GRAVESmovesdownthestairswithurgency.Forthefirsttime,alookofpaniconhisface.

SCENE78INT.MACUSALOBBY—MINUTESLATER—DAY

QUEENIE moves quickly across the lobby floor, trying desperately not to beconspicuous in her haste, but acutely aware of the need to leave. A flusteredABERNATHYemergesfromacrowdofwizards.

ABERNATHYQueenie!

QUEENIE,poisedatthetopofthestairs,turnsandcomposesherself.ABERNATHYmovestowardsher,straighteninghistie,tryingtoappearcalmandauthoritative–QUEENIEobviouslymakeshimnervous.

ABERNATHY(alargesmile)

Whereyougoing?

QUEENIEputsonanalluringlyinnocentexpressionandholdsthecasebehindherback.

QUEENIEI’m...I’msick,MrAbernathy.

Shecoughsalittle,wideninghereyes.

ABERNATHYAgain?Well–what’veyougotthere?

Abeat.

QUEENIEthinksfast,herfacequicklybreakingintoabreathtakingsmile.

QUEENIELadies’things.

QUEENIEproducesthecaseandinnocentlytrotsupthestepstowardsABERNATHY.

QUEENIEYouwannatakealook?Idon’tmind.

ABERNATHYisovercomewithembarrassment.

ABERNATHY(swallowinghard)

Oh!Goodgravy,no!I–yougetwellnow!

QUEENIE(smilingsweetlyandarranginghistie)

Thanks!

QUEENIE immediately turns and hurries down the stairs leavingABERNATHY –heartracing–staringafterher.

SCENE79EXT.STREETSOFNEWYORK—LATEAFTERNOON

HIGH WIDE above New York. We zoom over rooftops before diving downthroughstreetsandalleyways,pastspeedingcarsandcacklingchildren.

WecometorestinanalleywayattheSecondSalemChurch,whereCREDENCEispastinguppostersadvertisingMARYLOU’Snextmeeting.

GRAVESApparates in thealleyway.CREDENCE, startled,backsaway,butGRAVESmakesstraightforhim,histoneandmannerurgent,forceful.

GRAVESCredence.Haveyoufoundthechild?

CREDENCEIcan’t.

GRAVES, impatient but feigning calm, holds out his hand – suddenly seemingcaring,affectionate.

GRAVES

Showme.

CREDENCEwhimpers and cowers, almost backing further away.GRAVES gentlytakesCREDENCE’Shandinhisownandexaminesit–thehandiscoveredindeepredcuts,soreandbleeding.

GRAVESShhhh.Myboy,thesoonerwefindthischild,thesooneryoucanputthatpaininthepastwhereitbelongs.

GRAVESgently,almostseductively,moveshisthumbacrossthecuts,healingtheminstantly.CREDENCEstares.

GRAVESseemstomakeadecision.Heputsonanearnest,trustworthyexpressionas, from his pocket, he produces a chain bearing the symbol of the DeathlyHallows.

GRAVESIwantyoutohavethis,Credence.Iwouldtrustveryfewwithit—

GRAVESmovesclose,placingthechainaroundCREDENCE’Sneckashewhispers.

GRAVESVeryfew.

GRAVESplaceshishandsoneithersideofCREDENCE’Sneck,drawinghimin,hisspeechquiet,intimate.

GRAVES...butyou–you’redifferent.

CREDENCEisunsure,bothnervousofandattractedbyGRAVES’Sbehaviour.

GRAVESrestshishandonCREDENCE’Sheart,coveringthependant.

GRAVESNow,when you find the child, touch this symbol and Iwill know, and Iwillcometoyou.

GRAVESmovesevenclosertoCREDENCE,hisfaceinchesfromtheboy’sneck–theeffectisbothalluringandthreatening–ashewhispers.

GRAVESDothisandyouwillbehonouredamongwizards.Forever.

GRAVESpullsCREDENCE into a hug which, with his hand onCREDENCE’S neck,seems more controlling than affectionate. CREDENCE, overwhelmed by theseemingaffection,closeshiseyesandrelaxesslightly.

GRAVESslowlybacksaway,strokingCREDENCE’Sneck.CREDENCEkeepshiseyesclosed,longingforthehumancontacttocontinue.

GRAVES(whispers)

Thechildisdying,Credence.Timeisrunningout.

Abruptly,GRAVESstridesbackdownthealleywayandDisapparates.

SCENE80EXT.ROOFTOPWITHPIGEONCOOP—DUSK

A rooftop overlooking thewhole city. In themiddle sits a smallwooden shed,whichhousesapigeoncoop.

NEWTstepsupontoa ledgeandstands lookingover the immensecity.PICKETTsitsonhisshoulder,clicking.

JACOBisinsidetheshed,lookingatthepigeoncoopasQUEENIEenters.

QUEENIEYourgrandfatherkeptpigeons?Minebredowls.Iusedtolovefeeding’em.

ANGLEONNEWTandTINA–TINAhasjoinedNEWTinstandingontheledge.

TINAGraves always insisted the disturbances were caused by a beast. We need tocatchallyourcreatures,sohecan’tkeepusingthemasascapegoat.

NEWTThere’sonlyonestillmissing.Dougal,myDemiguise.

TINADougal?

NEWTSlightproblemisthat...um,he’sinvisible.

TINA(thisissoridiculousthatshecan’thelpbutsmile)

Invisible?

NEWTYes–mostofthetime...hedoes...um...

TINAHowdoyoucatchsomethingthat—

NEWT(beginningtosmile)

Withimmensedifficulty.

TINAOh...

They smile at each other – there’s a new warmth between them, NEWT stillawkwardbutsomehowunabletostopstaringatTINAasshesmiles.

TINAmovesslowlytowardsNEWT.

Abeat.

TINAGnarlak!

NEWT(takenaback)

Excuseme?

TINA(conspiratorial,excited)

Gnarlak–hewasaninformantofminewhenIwasanAuror!Heusedtotradeinmagicalcreaturesontheside—

NEWTHewouldn’thappentohaveaninterestinpawprints,wouldhe?

TINAHe’sinterestedinanythinghecansell.

SCENE81EXT.THEBLINDPIG—NIGHT

TINAleadsthegroupdownaninsalubriousbackalleycoveredinbins,cratesanddiscarded objects. She locates a set of steps leading to a basement apartmentandmotionsthemdown.

The steps appear to lead to a dead end: the doorway has been bricked up.Instead,aposterofasimperingdebutanteineveningdress,gazingatherselfinamirror,coverstheendofthewalkway.

TINAandQUEENIEstand in frontof thisposter.They turn toeachotherand, inunison, raise their wands. As they do so, their work clothes transform intostunning flapperpartydresses.TINA looks upatNEWT, somewhat embarrassedbyhernewattire.QUEENIEgazesatJACOB,acheekysmileonherface.

TINAsteps towards the poster and slowly raises her hand.As she does so, theeyes of the debutante move upwards, following her every move. TINA knocksslowlyonthedoorfourtimes.

NEWT, sensing the need for a change, hastilymagics himself a small bow tie.JACOBlookson,jealously.

Ahatchopens:thepaintedeyesofthedebutantewhipbacktorevealthegazeofasuspiciousguard.

SCENE82INT.THEBLINDPIG—NIGHT

A seedy, low-ceilinged speakeasy for thedownandout ofNewYork’smagicalcommunity.EverywitchandwizardcriminalinNewYorkishere, theirwantedpostershangingproudlyonthewalls.Aglimpseof‘GELLERTGRINDELWALD:WANTEDFORNO-MAJSLAYINGSINEUROPE’.

A glamorous goblin JAZZ SINGER croons on a stage full of goblin musicians,smoky imageswafting fromherwand to illustrate her lyrics. All is dingy andshabby,anatmosphereofmenacingfun.

JAZZSINGERThephoenixcriedfattearsofpearl,Whenthedragonsnappeduphisbestgirl,AndtheBillywigforgottotwirl,Whenhissweetheartlefthimcold,Andtheunicorndonelosthishorn,AndtheHippogrifffeelsallforlorn,’Causetheirladyloveshaveuppedandgawn,Orthat’swhatI’vebeentold—

JACOBstandsattheseeminglyunmannedbar,waitingtobeserved.

JACOBHowdoIgetadrinkinthisjoint?

Outofnowhere,athinbottleofbrownliquidzoomstowardshim.Hecatchesit,stunned.

TheheadofaHOUSE-ELFpeersupathimfrombehindthebar.

HOUSE-ELFWhat?Ain’tyoueverseenahouse-elfbefore?

JACOBOh,no,yeah,no,yeahofcourseIhave...Ilovehouse-elves.

JACOBtriestoactnonchalant–heremovesthecorkfromthebottle.

JACOBMyuncle’sahouse-elf.

TheHOUSE-ELF–not fooled– raiseshimselfup, leaningon thebar to stareatJACOB.

QUEENIEapproaches.Shelooksdowncastassheorders.

QUEENIESixshotsofgigglewaterandalobeblaster,please.

TheHOUSE-ELFreluctantly shuffles off to fulfil her request. JACOB andQUEENIElookateachother.JACOBreachesoutandtakesoneofthegigglewatershots.

QUEENIEAreallNo-Majslikeyou?

JACOB(tryingtobeserious,almostseductive)

No,I’mtheonlyonelikeme.

Maintaining strong eye contact with QUEENIE, JACOB knocks back the shot.Suddenlyheemitsaraucous,high-pitchedgiggle.QUEENIElaughssweetlyathislookofsurprise.

ANGLEONaHOUSE-ELFservingadrinktoagiant,whosehanddwarfsthemugheishanded.

ANGLEONNEWTandTINAsittingatatablealone.There’sanawkwardsilence.NEWTstudies the characters in the room: hooded and heavily scarredwitchesandwizardsgamblemagicalartefactsinagamewithrunicdice.

TINA

(lookingaround)I’vearrestedhalfofthepeopleinhere.

NEWTYoucantellmetomindmyownbusiness...butIsawsomethinginthatdeathpotionbackthere.Isawyou–hugging–thatSecondSalemboy.

TINAHis name’s Credence. His mother beats him. She beats all those kids sheadopted,butsheseemstohatehimthemost.

NEWT(realising)

AndshewastheNo-Majyouattacked?

TINAThat’s how I lost my job. I went for her in front of a meeting of her crazyfollowers–theyallhadtobeObliviated.Itwasabigscandal.

QUEENIEsignalsfromacrosstheroom.

QUEENIE(whispers)

It’shim.

GNARLAKhas emerged from the depths of the speakeasy. Smoking a cigar andsmartlydressed,foragoblin,hehasasly,smoothdemeanourlikeamafiaboss.Heeyesthenewcomersashewalks.

JAZZSINGER(O.S.)Yes,lovehassetthebeastsastir,Thedang’rousandthemeekconcur,It’sruffledfeathers,fleeceandfur,’Causelovedrivesallofuswild.

GNARLAK sits himself at the end of their table, an air of confidence anddangerouscontrol.AHOUSE-ELFhastilybringshimadrink.

GNARLAKSo–you’retheguywiththecasefullofmonsters,huh?

NEWTNewstravelsfast.Iwashopingyou’dbeabletotellmeiftherehavebeenany

sightings.Tracks.Thatsortofthing.

GNARLAKdownshisdrink.AnotherHOUSE-ELFbringshimadocumenttosign.

GNARLAKYou’ve got a big price on your head,Mr Scamander.Why should I help youinsteadofturnin’youin?

NEWTItakeitI’llhavetomakeitworthyourwhile?

TheHOUSE-ELFscurriesoffholdingthesigneddocument.

GNARLAKHmm–let’sconsideritacovercharge.

NEWTpulls out a couple ofGalleonsand slides themacross the table towardsGNARLAK,whobarelylooksup.

GNARLAK(notimpressed)

Huh–MACUSA’sofferin’more’nthat.

Abeat.

NEWTpullsoutabeautifulmetalinstrumentandplacesitonthetable.

GNARLAKLunascope?Igotfive.

NEWT rummages in his coat pocket and pulls out a glowing, frozen ruby egginstead.

NEWTFrozenAshwinderegg!

GNARLAK(finallyinterested)

Yousee–nowwe’re—

GNARLAKsuddenlyspotsPICKETT,whoispeekingoutofNEWT’Spocket.

GNARLAK

—waitaminute–that’saBowtruckle,right?

PICKETTquicklyretreatsandNEWTputsahandprotectivelyoverhispocket.

NEWTNo.

GNARLAKAh,comeon,that’saBowtruckle–theypicklocks–amIright?

NEWTYou’renothavinghim.

GNARLAKWell, good luck gettin’ back alive, Mr Scamander, what with the whole ofMACUSAonyourback.

GNARLAKgetsupandwalksaway.

NEWT(inagony)

Allright.

GNARLAK,turnedawayfromNEWT,smilesviciously.

NEWTextractsPICKETT fromhis pocket.PICKETTclings toNEWT’Shands,madlyclickingandwhining.

NEWTPickett...

NEWT slowly hands PICKETTover toGNARLAK. PICKETT reaches his little armsforward,imploringNEWTtotakehimback.NEWTcannotlookathim.

GNARLAKAh,yeah...

(toNEWT)Somethin’invisible’sbeenwreakin’havocaroundFifthAvenue.YoumaywannacheckoutMacy’sdepartmentstore.Mighthelpwhatyou’relookingfor.

NEWT(sottovoce)

Dougal...

(toGNARLAK)Right, one last thing. There’s aMr Graves who works atMACUSA – I waswonderingwhatyouknewofhisbackground.

GNARLAKstares.A sense that there ismuch that he could say – and that he’dratherdiethansayit.

GNARLAKYouasktoomanyquestions,MrScamander.Thatcangetyoukilled.

ANGLEONaHOUSE-ELFcarryingacrateofbottles.

HOUSE-ELFMACUSAARECOMING!

TheHOUSE-ELFDisapparates.Othercustomers throughout thebarhurriedlydothesame.

TINA(gettingtoherfeet)

Youtippedthemoff!

GNARLAKstaresatthem,chucklingmenacingly.

BehindQUEENIE,thewantedpostersonthewallupdatetoshowNEWTandTINA’Sfaces.

AurorsbeginApparatingintothespeakeasy.

JACOB,seeminglyinnocent,sauntersuptoGNARLAK.

JACOBSorry,MrGnarlak—

JACOBpunchesGNARLAKstraightintheface,knockinghimbackwards.QUEENIElooksdelighted.

JACOB–remindsmeofmyforeman!

Throughoutthebar,variouscustomersarebeingapprehendedbytheAurors.

NEWTscramblesaboutonthefloorlookingforPICKETT.Aroundhimpeoplearerunning,divingaway fromAurors, trying toescape thebar.NEWT finally findsPICKETTonatableleg,grabshimandrunstowardshisgroup.

JACOB grabs another shot of gigglewater and knocks it back. He gigglesuproariouslyasNEWTgrabshiselbowandthegroupDisapparates.

SCENE83INT.SECONDSALEMCHURCH—NIGHT

Thelongroomisdimlylitbyonesetoflights.There’sbarelyanynoise.

CHASTITY sits primly at the long table in the middle of the church. Sheformulaicallyarrangesleafletsandplacestheminlittlebags.

MODESTYsitsoppositeinanightdress,readingabook.Inthedeepbackground,MARYLOUbusiesherselfinherbedroom.

MODESTYistheonlyonetoregisterasmallclunkfromupstairs.

SCENE84INT.MODESTY’SBEDROOM—NIGHT

Ableakroom.Asinglebed,anoil-lamp,asampleronthewall:AnAlphabetofSin.MODESTY’Sdollslineduponashelf.Onewithalittlenoosearounditsneck,anothertiedtoastake.

CREDENCE scrabbles to get underneath MODESTY’S bed. He looks among theboxesandobjectshiddenthere,thensuddenlystops,staring...

SCENE85INT.SECONDSALEMCHURCH—NIGHT

MODESTYstandsatthebottomofthestairs,lookingup.Sheslowlyascends.

SCENE86INT.MODESTY’SBEDROOM—NIGHT

ANGLEONCREDENCE’Sfaceunder thebed–CREDENCEhas founda toywand.Hestares,unabletodrawhiseyesfromit.

Behindhim,MODESTYenters.

MODESTYWhatchoodoin’,Credence?

CREDENCEbangshisheadonthebedinhishastetogetout.Heemerges,dustyandscared.HeisrelievedtoseethatitisonlyMODESTYbutshe,onseeingthewand,isterrified.

CREDENCEWhere’dyougetthis?

MODESTY(frightenedwhisper)

Giveitback,Credence.It’sjustatoy!

The door bangs open.MARY LOU enters. Her gaze travels from MODESTY toCREDENCEandthetoywand–sheisangrierthanwehaveeverseenher.

MARYLOU(toCREDENCE)

Whatisthis?

SCENE87INT.SECONDSALEMCHURCH—NIGHT

HOLDONCHASTITY,stillfillingbagswithleaflets.

MARYLOU(O.S.)Takeitoff!

CHASTITYglancesuptowardsthelanding.

SCENE88INT.SECONDSALEMCHURCH,UPSTAIRSLANDING—NIGHT

MARYLOUstandsonthelandingoverlookingthemainchurchbelow.Seenfrombelowherfigureispowerful,almostdeified.

MARY LOU turns back towardsCREDENCE and slowly, her face full of loathing,snapsthewandintwo.

AsMODESTYcowers,CREDENCEbegins to remove his belt.MARY LOU holds outherhandandtakesit.

CREDENCE(pleading)

Ma...

MARYLOUIamnotyourma!Yourmotherwasawicked,unnaturalwoman!

MODESTYforcesherwaybetweenthem.

MODESTYItwasmine.

MARYLOUModesty—

Suddenly the belt iswhipped out ofMARYLOU’Shands by supernaturalmeansandfallslikeadeadsnakeinafarcorner.MARYLOUlooksatherhand–itiscutandbleedingfromtheforceofthemovement.

MARYLOUisstunned–sheglancesbetweenMODESTYandCREDENCE.

MARYLOU(frightenedbutcoveringit)

Whatisthis?

MODESTY stares defiantly directly back at her. In the background we seeCREDENCEcroucheddown,hugginghiskneesandshaking.

Tryingtoremaincomposed,MARYLOUmovesslowlytoretrievethebelt.Beforeshecantouchit,thebeltslithersawayacrossthefloor.

MARYLOUbacksaway, tearsof fearwelling inhereyes.She turnsslowlybacktowardsthechildren.

As shemoves,analmighty forceexplodes intoher:abestial, screeching,darkmass that consumesher.Her scream isblood-curdlingas the force throwsherbackwards,strikingawoodenbeam,flingingheroverthebalcony.

MARYLOUsmashesdownontothefloorofthemainchurch,herbodylifeless,herfacebearingthesamescarsseenonthefaceofSENATORSHAW.

The Dark force flies through the church, upending the table and destroyingeverythinginsight.

SCENE89EXT.DEPARTMENTSTORE—NIGHT

WIDE SHOT of a department store, its windows full of glamorously dressedmannequins.

JACOBapproaches theshopwindowsstaringatahandbagwhich,seeminglyofitsownaccord,isslidingdownthearmofamannequin.NEWT,TINAandQUEENIEhurryupbehindhimandwatchasthebaghoversinmid-airandfloatsoffintothestore.

SCENE90INT.DEPARTMENTSTORE—NIGHT

Awell-presented department store decorated forChristmas,with aisles full ofexpensive jewellery, shoes, hats and perfume. The place is shut down for thenight,allthelightsareoff,nonoisescanbeheard.

Weseethehandbagfloatdownthecentralaisle,accompaniedbysmallgruntingnoises.

NEWTand thegroupquickly tiptoe through the store, coming to hidebehindalargeplasticChristmasdisplay.Theyeyeupthefloatinghandbag.

NEWT(whispers)

So Demiguises are fundamentally peaceful, but they can give a nasty nip ifprovoked.

TheDemiguiseitselfappears–asilvery-haired,orangutan-likecreature,withacurious,wizenedface–clamberingoveradisplaytoreachaboxofsweets.

NEWT(toJACOBandQUEENIE)

Youtwo...headthatway.

Theystartmoving.

NEWTAndtryveryhardnottobepredictable.

JACOBandQUEENIEexchangeperplexedglancesbeforeheadingoff.

Asmallroarcanbeheardinthedistance.

ANGLEON theDemiguisewhich,onhearing the sound, looksup towards theceiling, before continuing to gather sweets, now shovelling them into itshandbag.

TINA(O.S.)WasthattheDemiguise?

NEWTNo,IthinkitmightbethereasonthattheDemiguiseishere.

ANGLE ON NEWT and TINA, moving swiftly down an aisle towards theDemiguise,whichisnowmovingawaythroughthestore.

Realising it’sbeenspotted, theDemiguise turnsand looksatNEWTquizzically,beforemovingupasetofsidestairs.NEWTsmilesandmovestofollow.

SCENE91INT.DEPARTMENTSTORE,ATTICSTOREROOM—NIGHT

Ahuge,darkattic-space,filledfloortoceilingwithshelvespackedwithboxesofchina:dinnerservices,teacupsandgeneralkitchenware.

TheDemiguisewalksalongtheatticinapatchofmoonlight.Itglancesaroundbeforestoppingandemptyingitshandbagfullofconfectionery.

NEWT(O.S.)Its sight operates on probability, so it can foresee the most likely immediatefuture.

NEWTcomesintoview,creepingupbehindtheDemiguise.

TINA(O.S.)Sowhat’sitdoingnow?

NEWTIt’sbabysitting.

TheDemiguiseholdsuponeofthesweets,seemingtoofferituptosomeoneorsomething.

TINAWhatdidyoujustsay—?

NEWT(calmandwhispering)

Thisismyfault.IthoughtIhadthemall–butImusthavemiscounted.

JACOBandQUEENIEenterquietly.NEWTmovescalmlyforwardsandkneelsbesidetheDemiguise,whichmakesspaceforhiminfrontofthesweets.NEWTcarefullyplaceshiscasedown.

ANGLEONTINA,ashiftoflightrevealsthescalesofalargecreaturehidingintheraftersoftheattic.TINAlooksupinhorror.

TINAItwasbabysittingthat?

ANGLEONtheceilingasthefaceofanOccamycomesintoview–justlikethesmallbluesnake-likebirdsseeninthecase,thisOccamyishuge,coiledroundandrounditselftofilltheentireatticroof-space.

TheOccamymovesslowlydowntowardsNEWTand theDemiguisewho,again,offersupasweet.NEWTremainsverystill.

NEWTOccamiesarechoranaptyxic.Sothey–grow–tofill–available–space.

TheOccamy spotsNEWT, and cranes its head towards him.NEWT holds up ahand,gently.

NEWTMummy’shere.

ANGLEON theDemiguise,whose eyes flashabrilliantblue–a sign that it’shavingapremonition.

FLASHCUTS:

A Christmas bauble rolls across the floor; the Occamy is panicking, NEWTclasping its back, being flung about the room; the Demiguise is suddenly onJACOB’Sback.

BACKTOtheDemiguiseasitseyesturnbacktobrown.

QUEENIE moves slowly forward, staring at the Occamy. As she does so sheaccidentallykicksatinyglassbaubleonthefloor,whichjinglesasitrolls.Atthesound,theOccamyrearsup,screeching.NEWTtriestocalmthelargecreature.

NEWTWoah!Woah!

JACOBandQUEENIEstaggerbackwards to findcover.TheDemiguiserunsawayandjumpsintoJACOB’Sarms.

TheOccamy swoops, scoopingNEWT up onto its back as it violently thrashes

abouttheattic,sendingshelvesflying.NEWTshoutsout.

NEWTRight,weneedaninsect,anykindofinsect–andateapot!Findateapot!

TINAarmy-crawls through thechaos,dodging falling items, trying to findwhatNEWThasaskedfor.

ThewingsoftheOccamycrashdowntothefloor,narrowlymissingJACOBashestumblesaround,encumberedbytheDemiguisenowclingingtohisback.

NEWT finds itharderandharder toholdonas theOccamybecomesmoreandmore distressed, its wings now thrashing upwards, destroying the roof of thebuilding.

JACOBturns,heandtheDemiguisespottingastraycockroachonacrate.JACOBreaches his hand up to grab it, when part of the Occamy crashes down,destroyingthecrateandhischance.

ANGLEON TINA, crawling across the floor with great determination, in hotpursuitofacockroach.

ANGLEONQUEENIE,whoscreamsasshe’sknockedtothefloorbytheforceoftheOccamy. JACOBrunsupbehindher anddives forwards, flat onto the floor,finally laying claim to a cockroach. TINA stands, clutching a teapot andscreaming.

TINATeapot!

At thisnoise, theOccamy rears its headoncemore, causing its tail towrithe,squashingandpinningJACOB–withtheDemiguise–againstoneoftherafters.

JACOBandTINAarenowatoppositeendsof theroom,neitherdaring tomove,swathesofOccamyscalesbetweenthem.

ANGLEON JACOBand theDemiguise– theDemiguise looks shiftilyup to thesideandpromptlyvanishes.JACOBslowlyturnstofollowtheDemiguise’sgaze–theOccamy’sfaceisinchesawayfromhisown,staringwithfullintensityatthecockroachinhishand.JACOBbarelydarestobreathe.

NEWTpeersroundfrombehindtheOccamy’sheadandwhispers.

NEWTRoachinteapot...

JACOBgulps,tryingnottomakeeyecontactwiththehugecreaturenexttohim.

JACOB(tryingtosoothetheOccamy)

Shhhh!

JACOBwidenshiseyesatTINA,warningherofhisintent.

INSLOWMOTION:

JACOBthrowstheroach.WewatchitsoarthroughtheairastheOccamy’sbodybeginstomoveoncemore,uncurlingandswirlingroundtheroom.

NEWTjumpsfromtheOccamy’sback,landingsafelyonthefloor,whileQUEENIEtakescover,placingacolanderoverherhead.

TINAruns,teapotoutstretched,hurdlingovertheOccamy’scoilsasshegoes–aheroic sight. She lands on her knees in the centre of the room, the cockroachfallingperfectlyintotheteapot.

The Occamy rears up, shrinking rapidly as it rises, before diving down headfirst.TINA lowersherhead,bracingherself forahit.TheOccamy races downtowardstheteapot,andglidesseamlesslyinside.

NEWTraces forwardsandjamsa lidon topof the teapot.HeandTINAbreatheheavily:relief.

NEWTChoranaptyxic.Theyalsoshrinktofittheavailablespace.

ANGLEINSIDEtheteapot–thenowtinyOccamygobblingdownitscockroach.

TINATellmethetruth–wasthateverythingthatcameoutofthecase?

NEWTThat’severything–andthat’sthetruth.

SCENE92INT.NEWT’SCASE—SHORTLYAFTERWARDS—NIGHT

JACOBholdstheDemiguise’shand,leadingitthroughitsenclosure.

NEWT(O.S.)Hereshecomes.

JACOBliftstheDemiguiseupandintoitsnest.

JACOB(totheDemiguise)

Happy to be home?Bet you’re exhausted, buddy. Come on – there you go –that’sright.

TINAistentativelyholdingthebabyOccamy.SupervisedbyNEWT, sheplaces itgentlyintoitsnest.

HOLDONTINAasshelooksaroundattheErumpent,nowstampingthroughherenclosure.TINA’S face is full ofwonderandadmiration. JACOBchuckles at herexpression.

PICKETTgivesNEWTasharppinchfrominsidehispocket.

NEWTOuch!

NEWT fishesPICKETTout, holding himup on his hand as hewalks through thevariousenclosures.

WeseetheNifflersittinginasmallenclave,surroundedbyitsvarioustreasures.

NEWTRight...Ithinkweneedtotalk.See,Iwouldn’thavelethimkeepyou,Pickett.Pick,Iwouldratherchopoffmyhandthangetridofyou. . .aftereverythingyouhavedoneforme–nowcomeon.

NEWThasreachedFRANK’Sarea.

NEWTPick–we’vetalkedaboutsulkingbefore,haven’twe?Pickett–comeon,givemeasmile.Pickett,givemea...

PICKETTsticksouthistinytongueandblowsaraspberryatNEWT.

NEWTAllright–now,thatisbeneathyou.

NEWTplaces PICKETT on his shoulder and starts busying himself with variousbucketsoffeed.

ANGLEONaphotographinsideNEWT’Sshed,whichshowsabeautifulgirl–thegirlsmilessuggestively.QUEENIEstaresatthephoto.

QUEENIEHey,Newt.Whoisshe?

NEWTAh...that’snoone.

QUEENIE(readinghismind)

LetaLestrange?I’veheardofthatfamily.Aren’ttheykinda–youknow?

NEWTPleasedon’treadmymind.

Abeat asQUEENIEdrinks thewhole story out ofNEWT’S head. She looks bothintriguedandsaddened.NEWTcontinuestowork,tryinghardtopretendQUEENIEisn’treadinghismind.

QUEENIEstepsforwards,closertoNEWT.

NEWT(angry,embarrassed)

Sorry,Iaskedyounotto.

QUEENIEIknow,I’msorry,Ican’thelpit.Peopleareeasiesttoreadwhenthey’rehurting.

NEWTI’mnothurting.Anyway,itwasalongtimeago.

QUEENIEThatwasarealclosefriendshipyouhadatschool.

NEWT(attemptingtobedismissive)

Yes,well,neitherofusreallyfittedinatschool,sowe—

QUEENIE—becamerealclose.Foryears.

In the background we see TINA, who has noticed thatNEWT and QUEENIE aretalking.

QUEENIE(concerned)

Shewasataker.Youneedagiver.

TINAwalkstowardsthem.

TINAWhatareyoutwotalkingabout?

NEWTAhnothing.

QUEENIESchool.

NEWTSchool.

JACOB(puttingonhisjacket)

Didyousayschool?Isthereaschool?Awizardryschoolhere?InAmerica?

QUEENIEOfcourse–Ilvermorny!It’sonlythebestwizardschoolinthewholeworld!

NEWTIthinkyou’llfindthebestwizardingschoolintheworldisHogwarts!

QUEENIEHOGWASH.

A gigantic crack of thunder. The Thunderbird, FRANK, rises into the airscreeching, flappinghiswingsvigorously,hisbodyturningblackandgold,hiseyesflashinglightning.

NEWTstands,examiningthebird,concerned.

NEWTDanger.Hesensesdanger.

SCENE93EXT.SECONDSALEMCHURCH—NIGHT

GRAVES Apparates in the shadows. Wand drawn, he slowly approaches thechurch, examining the scene of decimation. Rather than nervous, he seemsintrigued,almostexcited.

SCENE94INT.SECONDSALEMCHURCH—NIGHT

Theplaceisdestroyed–moonlightfiltersthroughgapsintheroof,andCHASTITYliesdeadamiddebrisfromtheattack.

GRAVESslowlyentersthechurch,wandstilldrawn.Eeriesobbingcanbeheardfromsomewhereinthebuilding.

MARYLOU’Sbodyliesonthefloorinfrontofhim–themarksonherfacevisibleinthemoonlight.GRAVESconsidersthecorpse:arealisationdawningonhisface–nohorror,merelywarinessandintenseinterest.

FOCUSONCREDENCE, cowering at the back of the church, whimpering andclutchinghispendantoftheDeathlyHallows.GRAVESstepsquicklytowardshim,bendsdown,cradlingCREDENCE’Shead.However,there’slittletendernesstohis

voiceashespeaks.

GRAVESTheObscurial–washere?Wheredidshego?

CREDENCElooksupintoGRAVES’Sface–heisutterlytraumatisedandunabletoexplain–hisfaceapleaforaffection.

CREDENCEHelpme.Helpme.

GRAVESDidn’tyoutellmeyouhadanothersister?

CREDENCEbegins to weep again.GRAVESplaces a hand on his neck, his facecontortingwithstressashetriestoremaincalm.

CREDENCEPleasehelpme.

GRAVESWhere’syourothersister,Credence?Thelittleone?Wheredidshego?

CREDENCEtremblesandmumbles.

CREDENCEPleasehelpme.

Suddenlyvicious,GRAVESslapsCREDENCEhardacrosstheface.

CREDENCE,stunned,staresatGRAVES.

GRAVESYoursister’singravedanger.Weneedtofindher.

CREDENCE is aghast, unable to comprehend that his hero has hit him.GRAVESgrabshimandpullshimupontohisfeet,astheyDisapparate.

SCENE95EXT.TENEMENTINTHEBRONX—NIGHT

Adesertedstreet.GRAVES,ledbyCREDENCE,approachesatenementbuilding.

SCENE96INT.TENEMENTINTHEBRONX,HALLWAY—NIGHT

Inside, thebuilding ismiserable, dilapidated.CREDENCEandGRAVES climb thestairwell.

GRAVES(O.S.)

Whatisthisplace?

CREDENCEMaadoptedModestyoutofhere.Fromafamilyoftwelve.Shestillmissesherbrothersandsisters.Shestilltalksaboutthem.

GRAVES,wandinhand,looksaroundthelanding–therearenumerousdarkeneddoorwaysstretchingoutinseveraldirections.

CREDENCE,stillshell-shocked,hasstoppedinthestairwell.

GRAVESWhereisshe?

CREDENCElooksdown–ataloss.

CREDENCEIdon’tknow.

GRAVESbecomesincreasinglyimpatient–he’ssoclosetohisgoal.Hemarchesforwardintooneoftherooms.

GRAVES(contemptuous)

You’reaSquib,Credence.IcouldsmellitoffyoutheminuteImetyou.

CREDENCE’Sfacefalls.

CREDENCEWhat?

GRAVESmarches back along the corridor to try another room.His pretence ofcareforCREDENCEallbutforgotten.

GRAVESYouhavemagicalancestry,butnopower.

CREDENCEButyousaidyoucouldteachme—

GRAVESYou’reunteachable.Yourmother’sdead.That’syourreward.

GRAVESpointstoanotherlanding.

GRAVESI’mdonewithyou.

CREDENCEdoesn’tmove.HestaresafterGRAVES,hisbreathingbecomingshallowandquick,asthoughhe’stryingtocontainsomething.

GRAVESmovesthroughthedarkrooms.Atinymovementsomewhereclose.

GRAVESModesty?

GRAVESadvancescautiouslyintoaderelictschoolroomattheendofacorridor.

SCENE97INT.TENEMENTINTHEBRONX,DERELICTROOM—NIGHT

ANGLEONMODESTYcoweringinacorner,wide-eyedwithfearandshakingasGRAVESapproaches.

GRAVES(whispering)

Modesty.

GRAVESbendsdownandputshiswandaway–onceagainplayingthesoothingparent.

GRAVES(gentle)

There’snoneedtobeafraid.I’mherewithyourbrother,Credence.

MODESTYwhimperswithterroratthementionofCREDENCE.

GRAVESOutyoucomenow...

GRAVESextendshishand.

Afaintjinglesounds.

ANGLEONtheceilingascracksbegintoappear,spreadinglikeaspider’sweb.Dust begins to fall as the walls shake uncontrollably, the room beginning todisintegratearoundthem.

GRAVESstands.He looksdownatMODESTY,butshe isclearly terrifiedandnotthesourceof thismagic.GRAVES turnsandslowlydrawshiswand, thewall infrontofhimcollapsingasthoughturnedtosand,revealinganotherwallahead.MODESTYisnothingtohimnow.

Aseachwallcollapsesinfrontofhimheistransfixed,elated,yetalsoawarethathehasmadeacolossalerror...

The finalwall collapses.He is facingCREDENCE,who stares at him, unable tocontrolhisfury,hissenseofbetrayal,hisbitterness.

GRAVESCredence...Ioweyouanapology...

CREDENCEItrustedyou.Ithoughtyouweremyfriend.Thatyouweredifferent.

CREDENCE’Sfacebeginstocontort,hisragetearinghimfromwithin.

GRAVESYoucancontrolit,Credence.

CREDENCE(whispers,makingeyecontactfinally)

ButIdon’tthinkIwantto,MrGraves.

TheObscurusmoveshorriblybeneathCREDENCE’Sskin.Anawfulinhumangrowlcomesoutofhismouth,fromwhichsomethingdarkbeginstobloom.

This force finally takes overCREDENCE, his whole body exploding into a darkmasswhichhurtlesforwardsoutofthewindow,narrowlymissingGRAVES.

GRAVESstands,watchingastheObscuruszoomsoutandoverthecity.

SCENE98EXT.TENEMENTINTHEBRONX—NIGHT

WefollowtheObscurusasitchurnsandtwiststhroughthecity,wreakinghavoc:cars are sent flying, pavements explode and buildings are demolished – theObscurusleavesonlydestructioninitswake.

SCENE99EXT.SQUIRE’SROOFTOP—NIGHT

NEWT, TINA, JACOB and QUEENIE stand on the rooftop underneath a large‘SQUIRE’S’sign.Fromtheedge theyhaveaclearviewof thechaosgoingonbelow.

JACOB(overstimulated)

Jeez...isthattheObscuria-thing?

Sirenssound.NEWTisstaring,registeringthescaleofthedestruction.

NEWTThat’smorepowerfulthananyObscurialIhaveeverheardof...

Aparticularlyloudexplosioninthedistance.Thecitybeneaththemisstartingtoburn. NEWT thrusts his case into TINA’S hands and takes a journal from hispocket.

NEWTIfIdon’tcomeback,lookaftermycreatures.Everythingthatyouneedtoknowisinthere.

Hehandsherthejournal,barelyabletomakeeyecontact.

TINA

What?

NEWT(lookingbacktotheObscurus)

They’renotkillingit.

Theireyesmeet–amoment fullofwhat theymighthavesaid toeachother–beforeNEWTjumpsfromtheroofandDisapparates.

TINA(distraught)

NEWT!

TINAslamsthecaseintoQUEENIE’Sarms.

TINAYouheardhim–lookafterthem!

TINAalsoDisapparates.QUEENIEshovesthecaseatJACOB.

QUEENIEKeepholdathat,honey.

ShemovestoDisapparate,butJACOBhangsontoherandshefalters.

JACOBNo,no,no!

QUEENIEIcan’ttakeyou.Pleaseletgoofme,Jacob!

JACOBHey,hey!You’retheonethatsaidIwasoneofyouse...right?

QUEENIEIt’stoodangerous.

Afurthermassiveexplosioninthedistance.JACOBtightenshisgriponQUEENIE.She reads his mind and her expression changes to one of wonderment andtendernessassheseeswhathewentthroughinthewar.QUEENIE ismovedandappalled.Veryslowly,sheraisesahandandtoucheshischeek.

SCENE100EXT.TIMESSQUARE—NIGHT

Thesceneisoneoftotalchaos.Buildingsareonfire,peoplescreamandruninalldirections,carsliedestroyedintheroad.

GRAVES prowls through the Square, oblivious to the distress around him, hisfocusconcentratedononlyonething.

TheObscuruswrithesatoneendoftheSquare,itsenergyangriernow–movingthrough layers of hurt and anguish, the products of isolation and torment –flecksofredlightroaringfromwithin.CREDENCE’Sfaceisjustdiscerniblewithinthemass,distorted,pained.GRAVESstandsbeforeit,triumphant.

NEWTApparatesfromfurtherdownthestreetandwatches.

GRAVES(shoutingtoreachCREDENCEoverthealmightynoise)

To survive so long, with this inside you, Credence, is a miracle. You are amiracle.Comewithme–thinkofwhatwecouldachievetogether.

TheObscurusmovesclosertoGRAVES–wehearascreamfromwithinthemassas itsDark energybursts out oncemore, knockingGRAVES to the ground. TheforcesendsashockwaveroundtheSquare–NEWTdivesbehindafallencarforcover.

TINAApparatesintotheSquareandtakescoverbyanotherburningvehicleclosetoNEWT.Theylookateachother.

TINANewt!

NEWTIt’stheSecondSalemboy.He’stheObscurial.

TINAHe’snotachild.

NEWTIknow–butIsawhim–hispowermustbesostrong–he’ssomehowmanagedtosurvive.It’sincredible.

AstheObscurusscreamsoncemore,TINAmakesadecision.

TINANewt!Savehim.

TINAdashesouttowardsGRAVES.NEWT,understanding,Disapparates.

SCENE101EXT.TIMESSQUARE—NIGHT

GRAVESismovingnearerandnearertotheObscurus,whichcontinuestoscreamandwailathispresence.Hetakesouthiswand,poised...

TINArunsintoviewbehindGRAVES.Shefiresathim,butheturnsjustintime–hisreactionsmarvellous,astounding.

The Obscurus now vanishes.GRAVES, thoroughly irritated, advances on TINA,deflectingherspellswithperfectease.

GRAVESTina.You’realwaysturningupwhereyouareleastwanted.

GRAVES summons an abandoned car, which whooshes through the air, forcingTINAtodiveoutoftheway,justintime.

By the time TINA has gathered herself up from the ground, GRAVES hasDisapparated.

SCENE102INT.MAJORINVESTIGATIONDEPARTMENT,MACUSA—NIGHT

Ametallic map of New York City lights up to show areas of intense magicalactivity.MADAMPICQUERY,surroundedbytopAurors,lookson,aghast.

MADAMPICQUERYContainthis,orweareexposedanditwillmeanwar.

TheAurorsimmediatelyDisapparate.

SCENE103EXT.ROOFTOPSOFNEWYORK—NIGHT

NEWTrace–ApparatesasfastashecanacrossthetopsofbuildingsinpursuitoftheObscurus.

NEWTCredence!Credence!Icanhelpyou.

The Obscurus dives towards NEWT, who Disapparates just in time, before

continuingtochaseitacrosstherooftops.

As he runs, spells explode around him, disintegrating the rooftops. A dozenAurors have appeared, attacking theObscurus fromahead, and almost takingoutNEWT,wholeapsforcover,tryingdesperatelytokeepup.

TheObscurus veers to avoid the spells, leaving black snow-like particles thatdriftacrosstherooftopsasitretreatsscreaming,andturnsdownanotherblock.

Inaparticularlyvigorousdisplay,theObscurusnowrisesdramaticallyupintothe air, as spells in electric blue and white hit it from all angles. Finally itcrashes to thegroundand racesalongawide, empty street–ablack tsunamidestroyinganythinginitspath.

SCENE104EXT.OUTSIDEASUBWAYSTATION—NIGHT

A lineof policemen standwith theirgunsaimedat the terrifying supernaturalforcepoweringtowardsthem.

Their faces turn from confused alarm to total panic as they see the massswarmingahead,making straight for them.They fire theirguns– their effortsfutile in the face of such a seemingly unstoppable kinetic mass. Finally theydisband,fleeingdownthestreet,justastheObscurusreachesthem.

SCENE105EXT.ROOFTOPS/STREETSOFNEWYORK—NIGHT

ANGLEONNEWT,standingontopofaskyscraperlookingoutastheObscurusrisesupoverthesurroundingbuildingsandslamsspectacularlyintothegroundjustoutsidetheCityHallsubwayentrance.

Sudden quiet. A pulsing, heaving, screechy breathing emanates from theObscuruswhereitrestsattheentrance.

Finally,asNEWTwatches,weseetheblackmassshrinktonothing,andthesmallfigureofCREDENCEdescendsthestepsintothesubway.

SCENE106INT.SUBWAY—NIGHT

NEWTApparatesintotheCityHallsubway,along,mosaickedArtDecostationtunnel, which bears the signs of having been crossed by the Obscurus: thechandelier creaks, a few tiles have fallen. We can hear its deep breathing,cornered,likeafrightenedpanther.

NEWTcreepsalongtheplatform,tryingtofindtheepicentreofthesound,astheObscurusslidesdowntheceiling.

SCENE107EXT.SUBWAYENTRANCE—NIGHT

Aurors surround the entrance to the subway. Pointing their wands at thepavement and into the sky, they draw an invisible energy field around theentrance.

WehearmoreAurorsarrive,among themGRAVES– scanning, calculating andimmediatelytakingcharge.

GRAVESBarthearea.Idon’twantanyoneelsedownthere!

Asthemagicalfieldisalmostcomplete,afigurerollsunderneathitanddashesunseenintothesubway–TINA.

SCENE108

INT.SUBWAY—NIGHT

NEWThasreachedtheObscurusintheshadowsofatunnel.Nowmuchcalmer,itgentlyswirlsintheairabovethetraintracks.NEWThidesbehindapillarashetalks.

NEWTCredence...it’sCredence,isn’tit?I’mheretohelpyou,Credence.I’mnotheretohurtyou.

Inthedistancewehearfootsteps,thepacingcontrolled,deliberate.

NEWTmovesout frombehind thepillar,andstepsonto the train tracks.WithinthemassoftheObscuruswecanseeashadowofCREDENCE,curledup,scared.

NEWTI’vemet someone just like you, Credence. A girl – a young girl who’d beenimprisoned,shehadbeenlockedawayandshe’dbeenpunishedforhermagic.

CREDENCE is listening – he never dreamed there was another. Slowly theObscurusmelts away, leavingonlyCREDENCE, huddled on the train tracks – afrightenedchild.

NEWT crouches on the floor.CREDENCE looks to him, the tiniest trace of hopedawninginhisexpression:mighttherebeawayback?

NEWTCredence,canIcomeovertoyou?CanIcomeover?

NEWTslowlymovesforwards,butashedoessoasharpburstoflightblazesoutfromthedarknessandaspellstrikes,throwinghimbackwards.

GRAVESmarchesdownthetunnelwithintensepurpose.

CREDENCEbeginstorunasGRAVESfiresfurtherspellsatNEWT,whorollsoutofthewaytowardsthetunnel’scentralpillars.FromhereNEWTtries to fireback,buthiseffortsareeasilydeflected.

CREDENCEcontinuestolumberdownthetracksbutstops–arabbitcaughtintheheadlights–asatrainapproaches,itslightsglaringfromthedarkness.

It isup toGRAVES tosaveCREDENCE–magicallycastinghimoutof the train’spath.

SCENE109EXT.SUBWAYENTRANCE—NIGHT

MADAMPICQUERYsurveysthesituationfromunderthemagicalforcefield.

ANGLEFROMthecrowdandpolice’sPOV:

People begin to swarm around the subway, their cries and chatter becominglouder as they stare at themagical bubble surrounding the subway.Reportershaveappeared,photographingthescenewithanincreasedfrenzy.

SHAWSRandBARKERpushtheirwaythroughthecrowd.

SHAWSRThatthingkilledmyson–Iwantjustice!

CLOSEONMADAMPICQUERYasshelooksouttothecrowd.

SHAWSR(O.S.)I’llexposeyouforwhoyouareandwhatyou’vedone.

SCENE110INT.SUBWAY—NIGHT

GRAVESstandsontheplatform,continuingtoduelwithNEWT,whostandsonthetraintracks.CREDENCEcowersbehindNEWT.

Finally,almostboredbyNEWT’Sefforts,GRAVEScastsaspell thatripplesalongthe train tracksanddown the tunnel, finallyblasting intoNEWT, throwinghim

highintotheair.

NEWTlandsonhisbackandGRAVESimmediatelysetsuponhim,castingspellsinawhip-likemotionwithincreasingvigour.GRAVES’S immensepower isevident,asNEWTwrithesontheground,unabletostophim.

SCENE111EXT.SUBWAYENTRANCE—NIGHT

WIDESHOT:

Weseetheluminouswallofvibratingenergynowflashingwiththepowerofthemagicitcontains.

LANGDON,drunk,stares,enthralledandamazedbythespectacle.

SHAWSR(tothephotographersaroundhim)

Look!Takephotos!

SCENE112INT.SUBWAY—NIGHT

GRAVEScontinuestowhipNEWT,amanic,crazedlookinhiseyes.

CLOSEONCREDENCE,furtherdownthetunnel,sobbing.Hebeginstoshake,hisface slowly turning black as he tries to stop the kinetic mass from rising upwithinhim.

As NEWT cries out in pain, CREDENCE succumbs to the blackness – his bodyenvelopedandovercome–theObscurusrisingupandblastingdownthetunneltowardsGRAVES.

GRAVES is mesmerised – he falls to his knees beneath the vast black mass –pleadinginwonder.

GRAVESCredence.

The Obscurus lets out an unearthly scream and dives towards GRAVES, whoDisapparatesjustintime.TheObscuruscontinuestoblastaroundthetunnel.

GRAVESandNEWTDisapparateandApparatearoundthesubwaytryingtoavoidtheObscurus’spath.Thiscausesthestationtodisintegrateevenfaster.Suddenly,the force accelerates, becoming a giant wave that consumes the entire spacebeforeflyingoutthroughtheroof.

SCENE113EXT.SUBWAYENTRANCE—NIGHT

TheObscurus crashes up through the pavement,watched bywizards andNo-Majs alike. It storms up a half-built skyscraper, windows shattering at everylevel, electric wiring exploding, until it reaches the skeletal framework ofscaffoldingabove,whichbucklesperilously.

Belowit,thecrowdoutsidethemagicalcordonrunsforcover,terrified.

The Obscurus forms a wide disc shape before plunging back down into thesubway.

SCENE114INT.SUBWAY—NIGHT

TheObscurusscreamsanddives,burstingthroughthesubwayroof–forasplitsecond, bothNEWT andGRAVES seem on the point of death as they lie on the

tracks,coweringbeneaththisDarkforce.

TINA(O.S.)CREDENCE,NO!

TINArunsontothetracks.

Inches fromGRAVES’S face, the Obscurus freezes. Slowly, very slowly, it risesbackup,swirlingmoregently,staringatTINA,who looksstraightback into itsweirdeyes.

TINADon’tdothis–please.

NEWTKeeptalking,Tina.Keeptalkingtohim–he’lllistentoyou.He’slistening.

Inside theObscurus,CREDENCE reaches out to TINA, the only person who haseverdonehimanuncomplicatedkindness.Helooksather,desperateandafraid.Hehasdreamedofhereversinceshesavedhimfromabeating.

TINAIknowwhatthatwomandidtoyou...Iknowthatyou’vesuffered...youneedtostopthisnow...NewtandIwillprotectyou...

GRAVESisonhisfeet.

TINA(pointingtoGRAVES)

Thisman–heisusingyou.

GRAVESDon’tlistentoher,Credence.Iwantyoutobefree.It’sallright.

TINA(toCREDENCE,calminghim)

That’sit...

TheObscurusisbeginningtoshrink.Itsdreadfulfaceisbecomingmorehuman,morelikeCREDENCE’Sown.

SuddenlyAurorsbeginpouringdownthestepsofthesubwayandintothetunnel.

MoreAurorsadvancefrombehindTINA,theirwandsraisedaggressively.

TINAShhhh!Don’t,you’llfrightenhim.

TheObscurusletsoutaterriblemoanandbeginstoswellagain.Thestationiscrumbling.NEWTand TINAwheel around, arms akimbo, both trying to protectCREDENCE.

GRAVESspinstofacetheAurors,wandattheready.

GRAVESWandsdown!Anyoneharmshim–they’llanswertome—

(turningbacktoCREDENCE)Credence!

TINACredence...

TheAurorsbeginpeltingtheObscuruswithspells.

GRAVESNO!

WeseeCREDENCEfromwithintheblackmass,hisfacecontorted,screaming.ThetiradeofspellscontinuesandCREDENCEhowlsinpain.

SCENE115EXT.SUBWAYENTRANCE—NIGHT

Themagicalforcefieldsurroundingthesubwaybreaksdownaspeoplecontinuetofleethescene.OnlySHAWSRandLANGDONstandsteadfast.

SCENE116INT.SUBWAY—NIGHT

Aurors continue to aim spells at the Obscurus, their efforts unrelenting andbrutal.

Under this pressure, the Obscurus finally seems to implode – a white ball ofmagicallighttakingoverfromtheblackmass.

TheforceofthechangesendsTINA,NEWTandtheAurorsstumblingbackwards.

Allpowersubsides.Onlysmalltattersofblackmatterareleft–floatingthroughtheairlikefeathers.

NEWTgets tohis feet,his facerackedwithdeep-feltgrief.TINAremainson thefloor,crying.

GRAVES,however,climbsup,backontotheplatform,ascloseaspossibletotheremnantsoftheblackmass.

TheAurorsadvancetowardsGRAVES.

GRAVESYoufools.Doyourealisewhatyou’vedone?

GRAVESseethesastheotherswatchhimwithinterest.MADAMPICQUERYemergesfrombehindtheAurors,hertonesteely,questioning.

MADAMPICQUERYTheObscurialwaskilledonmyorders,MrGraves.

GRAVESYes.Andhistorywillsurelynotethat,MadamPresident.

GRAVESmovestowardsheralongtheplatform,histonethreatening.

GRAVESWhatwasdoneheretonightwasnotright!

MADAMPICQUERYHewas responsible for the death of aNo-Maj.He risked the exposure of ourcommunity.Hehasbrokenoneofourmostsacredlaws.

GRAVES(laughingbitterly)

Alaw thathasus scuttling like rats in thegutter!A law thatdemands thatweconcealourtruenature!Alawthatdirectsthoseunderitsdominiontocowerinfearlestweriskdiscovery!IaskyouMadamPresident—

(eyesflashingtoallpresent)—Iaskallofyou.Whodoesthislawprotect?Us?

(gesturingvaguelytotheNo-Majsabove)Orthem?

(smilingbitterly)Irefusetobowdownanylonger.

GRAVESwalksawayfromtheAurors.

MADAMPICQUERY(totheAurorsflankingher)

Aurors,I’dlikeyoutorelieveMrGravesofhiswandandescorthimbackto—

AsGRAVESmovesdown theplatformawallofwhite light suddenlyappears infrontofhim,blockinghispath.

GRAVESthinksforamoment–asneerofderisionandirritationcrossinghisface.Heturns.

GRAVESstridesconfidentlybackalongtheplatform,firingspellsatbothgroupsofAurorsfacinghim.Spellsflybackathimfromallangles,butGRAVESparriesthemall.SeveralAurorsaresentflying–GRAVESappearstobewinning...

In a split-second NEWT pulls the cocoon from his pocket and releases it atGRAVES. TheSwoopingEvil soars around him, shieldingNEWT and the AurorsfromGRAVES’Sspells,andgivingNEWTtimetoraisehiswand.

Withasensethathe’sbeenholdingthisoneback,heslashesitthroughtheair:outfliesacracklingropeofsupernaturallightthatwrapsitselfaroundGRAVESlikeawhip.GRAVEStriestoholditoffasittightensbutstaggers,strugglesandfallstohisknees,droppinghiswand.

TINAAccio.

GRAVES’Swand flies into TINA’S hand. GRAVES looks around at them, a deephatredinhiseyes.

NEWTandTINAslowlyadvance,NEWTraisinghiswand.

NEWTRevelio.

GRAVEStransforms.Heisnolongerdark,butblondandblue-eyed.Heisthemanontheposters.Amurmurspreadsthroughthecrowd:GRINDELWALD.

MADAMPICQUERYmovestowardshim.

GRINDELWALD(withcontempt)

Doyouthinkyoucanholdme?

MADAMPICQUERYWe’lldoourbest,MrGrindelwald.

GRINDELWALD stares intently at MADAM PICQUERY, his expression of disgustturningintoasmall,derisorysmile.HeisforcedtohisfeetbytwoAurors,whomovehimtowardstheentrance.

AsGRINDELWALDreachesNEWT,hepauses–bothsmilingandsneering.

GRINDELWALDWillwedie,justalittle?

Heisledawayupandoutofthesubway.NEWTwatches,bemused.

TIMECUT:

QUEENIE and JACOBpush their way through to the front of the Aurors. JACOBholdsNEWT’Scase.

QUEENIEhugsTINA.NEWTstaresatJACOB.

JACOBHey...Ifiguredsomebodyoughtakeepaneyeonthisthing.

HehandsNEWThiscase.

NEWT(humble,completelygrateful)

Thankyou.

MADAMPICQUERYaddresses thegroupas shestares through thebrokenroofofthesubwaystation,intotheworldoutside.

MADAMPICQUERYWeoweyouanapology,MrScamander.Butthemagicalcommunityisexposed!WecannotObliviateanentirecity.

Abeatasthissinksin.

AsNEWT followsMADAM PICQUERY’S gaze, he sees a tendril of blackmatter, asmallpartoftheObscurus,floatingdownthroughtheroof.Unnoticedbyanyoneelse,iteventuallyfloatsupandaway,tryingtoreconnectwithitshost.

Apause.NEWT’Sattentionsnapsbacktotheproblemathand.

NEWTActually,Ithinkwecan.

TIMECUT:

NEWThas placed his casewide open underneath the huge hole in the subwayroof.

PUSHINCLOSEONNEWT’Sopencase.

Suddenly FRANKbursts forth in a flurry of feathers and gushes of wind – thecrowdofAurorsbacksaway.Thecreatureisbeautiful,mesmerisingbutscaryasheflapshispowerfulwingsandhoversabovethem.

NEWTmovesforward–heexaminesFRANK,alookofrealtendernessandprideonhisface.

NEWTIwasintendingtowaituntilwegottoArizona,butitseemslikenowyouareouronlyhope,Frank.

Alookbetweenthem–anunderstanding.NEWTreachesouthisarmandFRANKpresses his beak lovingly into the embrace – they nuzzle each otheraffectionately.

Theassembledgroupwatchesinawe.

NEWTI’llmissyou,too.

NEWTstepsback,takingtheflaskofSwoopingEvilvenomfromhispocket.

NEWT(toFRANK)

Youknowwhatyou’vegottodo.

NEWTthrowsthevialhighupintotheair–FRANKletsoutasharpcry,catchingitinhisbeakandimmediatelysoaringoutofthesubway.

SCENE117EXT.NEWYORK—SKY—DAWN

No-Majs and Aurors alike shriek and recoil as FRANK bursts forth from thesubway,glidingintothedawn-litsky.

We followFRANKas he rises higher and higher into the air. As hiswings flapharder,faster,stormcloudscongregate.Lightningflashes.WespiralupwardsasFRANKtwistsandturns,leavingNewYorklyingfarbelow.

CLOSE ON FRANK’S beak, the vial clutched tightly and finally crushed. Thepowerfulvenomspreadsthroughthethickrain,enchantingit,thickeningit.Thedarkeningskyflashesabrilliantblueandrainbeginstofall.

SCENE118EXT.SUBWAYENTRANCE—DAWN

HIGHANGLEpushingdowntowards thecrowdas they lookup to thesky.Astherainfallsandhitsthem,peoplemoveon,docile–theirbadmemorieswashedaway.Eachpersongoesabout their daily businessas thoughnothingunusual

hashappened.

Aurors move through the streets, performing repairing charms to rebuild thecity:buildingsandcarsarereconstructedandstreetsarereturnedtonormal.

ANGLEON LANGDON, standing in the rain, his expression softening, growingblankasthewaterrunsoverhisface.

ANGLEON police looking at their guns, confused – why do they have themdrawn?Theyslowlygatherthemselves,puttingtheirweaponsaway.

Insideasmallfamilyhome,ayoungmotherlooksonfondlyatherfamily.Asshetakesasipofwater,herexpressionbecomesblank.

GroupsofAurorscontinuetorepairthestreets,swiftlyreassemblingbrokentramtracks, all traces of destruction finally disappearing. One Auror, passing anewsstand, enchants the papers, removing NEWT and TINA’S mugshots andreplacingthemwithbanalheadlinesabouttheweather.

MRBINGLEY, thebankmanager,standsinhisbathroomtakingashower.As thewater tricklesoverhim,he too isObliviated.We seeBINGLEY’Swife, brushingherteeth,herexpressionvacant,carefree.

FRANKcontinuestosoarthroughthestreetsofNewYork,churningupmoreandmorerainashegoes,hisfeathersshimmeringabrilliantgold.FinallyheglidesintothebreakingNewYorkdawn,amagnificentsight.

SCENE119INT.SUBWAYPLATFORM—DAWN

AsMADAMPICQUERYlookson,theroofofthesubwayisswiftlyrepaired.

NEWTaddressesthegroup.

NEWTTheywon’trememberanything.ThatvenomhasincrediblypowerfulObliviative

properties.

MADAMPICQUERY(impressed)

Weoweyouagreatdebt,MrScamander.Now–getthatcaseoutofNewYork.

NEWTYes,MadamPresident.

MADAM PICQUERY begins to walk away, her pack of Aurors moving with her.Suddenlysheturnsback.QUEENIE,havingreadhermind,standsprotectively infrontofJACOB,tryingtohidehim.

MADAMPICQUERYIsthatNo-Majstillhere?

(onseeingJACOB)Obliviatehim.Therecanbenoexceptions.

MADAMPICQUERYreadstheanguishintheirfaces.

MADAMPICQUERYI’msorry–butevenonewitness...youknowthelaw.

Apause.Sheisuncomfortableattheirdistress.

MADAMPICQUERYI’llletyousaygoodbye.

Sheleaves.

SCENE120EXT.SUBWAY—DAWN

JACOB leads the others up the steps of the subway, QUEENIE following closebehindhim.

Rain is still falling heavily, the streets now almost empty but for a few hard-workingAurors.

JACOBhasreachedthetopofthestepsandstands,gazingintotherain.QUEENIEreachesoutandgrabshiscoat,willinghimnottomoveoutintothestreet.JACOBturnstoher.

JACOBHey.Hey,thisisforthebest.

(offtheirlooks)Yeah–Iwas–Iwasneverevensupposedtobehere.

JACOB fights back tears. QUEENIE gazes up at him, her beautiful face full ofdistress.TINAandNEWT,too,lookincrediblysad.

JACOBIwasneversupposedtoknowanyofthis.EverybodyknowsNewtonlykeptmearoundbecause–hey–Newt,whydidyoukeepmearound?

NEWThastobeexplicit.Itdoesn’tcomeeasily.

NEWTBecause I like you. Because you’re my friend and I’ll never forget how youhelpedme,Jacob.

Abeat.JACOBisovercomewithemotionatNEWT’Sanswer.

JACOBOh!

QUEENIEmovesforwardsupthestairstowardsJACOB–theystandclose.

QUEENIE(tryingtocheerhimup)

I’llcomewithyou.We’llgosomewhere–we’llgoanywhere–seeIain’tnevergonnafindanyonelike—

JACOB(bravely)

There’sloadslikeme.

QUEENIENo...no...there’sonlyonelikeyou.

Thepainisalmostunbearable.

JACOB(abeat)

Igottago.

JACOBturnstofacetherain,andwipeshiseyes.

NEWT(startingafterhim)

JACOB!

JACOB(tryingtosmile)

It’sokay...it’sokay...it’sokay.It’sjustlikewakingup,right?

Thegroupsmilesbackathim,encouraging,tryingtosoothethesituation.

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 himcompletely.

QUEENIEcreatesamagicalumbrellawithherwandandstepsouttowardsJACOB.Shemovesinclosely,tenderlystrokingJACOB’Sfacebeforeclosinghereyesandbendingintogentlykisshim.

Finally she pulls slowly away, her gaze not leaving JACOB’S face even for asecond.Then,suddenly,she’sgone,leavingJACOBstanding,armsout,longinglyembracingnoone.

CLOSEONJACOB’Sfaceashefully‘wakesup’,blank-facedandconfusedbyhislocation and the torrential downpour he’s standing in. He finally moves offthroughthestreets–alonelyfigure.

SCENE121EXT. JACOB’S CANNING FACTORY—A WEEK LATER—EARLYEVENING

Anexhausted JACOB, surroundedbyacrowdofsimilarlyoveralledproduction-lineworkers, is leaving after a hard day’s shift.He carries a battered leathercase.

Amanwalkstowardshim–NEWT.TheycollideandJACOB’Scase isknocked totheground.

NEWTSosorry–sorry!

NEWThasmovedswiftlyandpurposefullyonwards.

JACOB(norecognition)

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. JACOBsmilesalittle,andbendsdowntoopenthecase.

Inside,thecaseisfilledwithsolidsilverOccamyeggshells,anoteattached.AsJACOBreads,wehear:

NEWT(V.O.)‘Dear Mr Kowalski, You are wasted in a canning factory. Please take theseOccamyeggshellsascollateralforyourbakery.Awell-wisher.’

SCENE122EXT.NEWYORKHARBOUR—NEXTDAY

CLOSEONNEWT’Sfeetashewalksthroughthecrowd.

NEWT ispreparing to leaveNewYork,overcoaton,Hufflepuffscarfaroundhisneck,casetieduptightlywithstring.

TINA walks alongside him. They stop before the boarding gate. TINA looksanxious.

NEWT(smiling)

Wellit’sbeen...

TINAHasn’tit!

Pause.NEWTlooksup,TINA’Sexpressionisexpectant.

TINAListen,Newt,Iwantedtothankyou.

NEWTWhatonearthfor?

TINAWell, you know, if you hadn’t said all those nice things toMadam Picqueryaboutme–Iwouldn’tbebackontheinvestigativeteamnow.

NEWTWell–Ican’tthinkofanyonethatI’dratherhaveinvestigatingme.

Not precisely what he was aiming for, but too late now . . . NEWT becomesslightlyawkward,TINAshylyappreciative.

TINAWelltrynottoneedinvestigatingforabit.

NEWTIwill.Quiet lifeformefromnowon. . .backto theMinistry . . .delivermymanuscript...

TINAI’lllookoutforit.FantasticBeastsandWheretoFindThem.

Weaksmiles.Apause.TINAplucksupcourage.

TINADoesLetaLestrangeliketoread?

NEWTWho?

TINAThegirlwhosepictureyoucarry—

NEWTIdon’treallyknowwhatLetalikesthesedaysbecausepeoplechange.

TINAYes.

NEWT(adawningrealisation)

I’vechanged.Ithink.Maybealittle.

TINAisdelighted,butdoesn’tknowhowtoexpressit.Instead,she’stryingnottocry.Theship’ssirensounds–mostoftheotherpassengershavenowboarded.

NEWTI’llsendyouacopyofmybook,ifImay.

TINAI’dlikethat.

NEWTgazes at TINA– awkwardly affectionate.He gently reaches forward andtouchesherhair.Lingeringforamoment,theystareintoeachother’seyes.

A last look andNEWT suddenly moves away, leaving TINA standing, raising ahandtotouchwhereNEWTstrokedherhair.

Butthenhe’sback.

NEWTI’msosorry–howwouldyoufeelifIgaveyouyourcopyinperson?

AradiantsmilebreaksacrossTINA’Sface.

TINAI’dlikethat–verymuch.

NEWTcan’thelpbutgrinbackatherbeforeturningandwalkingaway.

Hepausesonthegangplank,perhapsunsureofhowtoact,buteventuallymovesonwithoutlookingback.

TINAstandsaloneintheemptyharbour.Asshewalksaway,there’saplayfulskiptoherstep.

SCENE123EXT. JACOB’S BAKERY, LOWER EAST SIDE—THREE MONTHSLATER—DAY

WIDESHOTofabustlingNewYorkstreet–marketstallslinethestreet,whichheaveswithbusypeople,horsesandcarriages.

ANGLE ON a small, inviting bakery. Crowds throng outside the pretty littleshop, painted with the name ‘KOWALSKI’. People peer with interest into theshop’swindows,andhappycustomersleave,theirarmsladenwithbakedgoods.

SCENE124INT.JACOB’SBAKERY,LOWEREASTSIDE—DAY

CLOSEONthedoorbellasitringstosignaltheentranceofanewcustomer.

CLOSEON the pastries and breads on the counter, all moulded into fancifullittleshapes–werecognisetheDemiguise,NifflerandErumpentamongthem.

JACOB,serving,isveryhappy,hisshopfulltoburstingwithcustomers.

FEMALECUSTOMER(examiningthelittlepastries)

Wheredoyougetyourideasfrom,MrKowalski?

JACOBIdon’tknow,Idon’tknow–theyjustcome!

Hehandstheladyherpastries.

JACOBHereyougo–don’tforgetthis–enjoy.

JACOB turnsandcallsoveroneofhisbakeryassistants,handinghimapairofkeys.

JACOBHey,Henry–storage,allright?Thanks,pal.

Thebelltinklesagain.

JACOBlooksupand is thunderstruckalloveragain: it’sQUEENIE.Theystareateach other –QUEENIE beams, radiant. JACOB, quizzical and totally enchanted,toucheshisneck–aflickerofmemory.Hesmilesback.

WithoutthepatienceandwisdomofSteveKlovesandDavidYates,therewouldbenoFantasticBeastsscreenplay.Theyhavemyboundlessgratitudeforeverynote, every piece of encouragement, every improvement they suggested.Learning,inSteve’simmortalwords,to‘fitthewomantothedress’hasbeenafascinating, challenging, exasperating, exhilarating, infuriating and ultimatelyrewardingexperiencethatIwouldn’thavemissedfortheworld.Icouldn’thavedoneitwithoutthem.DavidHeyman has beenwithme from the very first step ofHarry Potter’s

transitiontothebigscreen,andFantasticBeastswouldhavebeenimmeasurablypoorerwithouthim.It’sbeenaverylongjourneysincethatfirstqueasylunchinSoho, and he is currently bringing toNewt all the knowledge, dedication andexpertisethathebroughttoHarryPotter.There would never have been a Fantastic Beasts franchise without Kevin

Tsujihara. Even though I’ve been carrying the germ of the idea for FantasticBeasts since 2001,when Iwrote the initial book for charity, it tookKevin tomakeme commit to bringingNewt’s story to the big screen. His support hasbeen invaluable and he deserves the lion’s share of the credit formaking thishappen.Last, but never least, my family have been enormously supportive of this

project even though it has meant me working through a year’s worth ofvacations.Idon’tknowwhereI’dbewithoutyou,exceptthatitwouldbeadarkand lonely place where I wouldn’t feel like inventing anything. So, to Neil,Jessica,DavidandKenzie:thankyouforbeingcompletelywonderful,funnyandloving, and for still believing that I should pursue Fantastic Beasts, howevertrickyandtime-consumingtheymaysometimesbe.

Back to scene: After focusing on one character or actionwithin a scene, thecamerareturnstothelargerscene.

Closeon:Thecamerafilmsapersonorobjectfromcloserange.

Ext.:Exterior;anoutsidelocation.

Flashcut:Anextremelybrieftransitionshot,sometimesasshortasoneframe.

Highwide:Thecameraisplacedabove,‘lookingdown’onthesubjectorscenefromawideangle.

Holdon:Thecamerarestsonapersonorobject.

Int.:Interior;anindoorlocation.

Jumpcut:Cuttingfromoneimportantmomenttothenextfromthesameangle.Thistransitionisusuallyusedtoshowaverybrieftimelapse.

Montage: A series of shots in a sequence condensing space, time andinformation,oftenwithmusicaccompanyingit.

O.S.:Off-screen; action that takes place off-screen or dialogue that is spokenwithoutthecharacterbeingshownonscreen.

Pan/whippan:Cameramovementinvolvingthecameraturningonastationaryaxismovingslowlyfromonesubject toanother;whippan isaveryfastmovefromonesubjecttotheother.

POV: Point-of-view; the camera films from a particular character’s point ofview.

Sottovoce:Spokenatawhisperorunderone’sbreath.

Timecut:Cuttingtolaterinthesamescene.

V.O.:Voice-over; dialogue spoken by a character not present in the scene onscreen.

Wideshot:Thecamerashowstheentireobjectorhumanfigure,usuallytoplaceitinrelationtoitssurroundings.Itisoftenusedtosetthesceneinafilm.

WarnerBros.PicturesPresentsaHeydayFilmsProduction

aDavidYatesFilm

FANTASTICBEASTSANDWHERETOFINDTHEM

DirectedbyDavidYates

WrittenbyJ.K.Rowling

ProducedbyDavidHeymanp.g.a.,J.K.Rowlingp.g.a.,SteveKlovesp.g.a.,LionelWigram

p.g.a.

ExecutiveProducersTimLewis,NeilBlair,RickSenat

DirectorofPhotographyPhilippeRousselot,A.F.C./ASC

ProductionDesignerStuartCraig

EditorMarkDay

CostumeDesignerColleenAtwood

MusicJamesNewtonHoward

STARRING

NEWTSCAMANDEREddieRedmayne

TINAGOLDSTEINKatherineWaterston

JACOBKOWALSKIDanFogler

QUEENIEGOLDSTEINAlisonSudol

CREDENCEBAREBONEEzraMiller

MARYLOUBAREBONESamanthaMorton

HENRYSHAWSRJonVoight

SERAPHINAPICQUERYCarmenEjogo

and

PERCIVALGRAVESColinFarrell

J.K.RowlingistheauthorofthebestsellingHarryPotterseriesofsevenbooks,published between 1997 and 2007, which have sold over 450 million copiesworldwide, are distributed in more than 200 territories and translated into 79languages, andhavebeen turned into eight blockbuster filmsbyWarnerBros.She has written three companion volumes to the series in aid of charity:QuidditchThrough theAgesandFantasticBeastsandWhere toFindThem inaidofComicRelief;andTheTalesofBeedle theBard inaidofherchildren’scharity,Lumos.Herwebsiteande-publisherPottermoreisthedigitalhuboftheWizardingWorld. She collaboratedwithwriter JackThorne and director JohnTiffanyonthestageplayHarryPotterandtheCursedChildPartsOneandTwo,whichpremieredin2016inLondon’sWestEnd.J.K.Rowlingisalsotheauthorof a novel for adult readers,TheCasual Vacancy, and, under the pseudonymRobert Galbraith, of three crime novels featuring private detective CormoranStrike,whicharetobeadaptedforBBCtelevision.FantasticBeastsandWheretoFindThemisJ.K.Rowling’sfirstscreenplay.

ThisbookwasdesignedbyMinaLima,anaward-winningdesignstudiofoundedbyMiraphoraMinaandEduardoLima,whoweregraphicdesignersonFantasticBeastsandWheretoFindThemandontheeightHarryPotterfilms.Thecoverand illustrations in thisbookwerebasedoncreatures in thestory

andinspiredby1920sdecorativestyle.TheyweredrawnbyhandandfinisheddigitallyinAdobeIllustrator.

PottermoreDigitalEditions

eBooksandDigitalAudioBooks:

HarryPotterandthePhilosopher’sStoneHarryPotterandtheChamberofSecretsHarryPotterandthePrisonerofAzkaban

HarryPotterandtheGobletofFireHarryPotterandtheOrderofthePhoenixHarryPotterandtheHalf-BloodPrinceHarryPotterandtheDeathlyHallows

eBooks:

HarryPotterandtheCursedChildPartsOneandTwoBasedonanoriginalnewstorybyJ.K.Rowling,JohnTiffanyandJackThorne

AnewplaybyJackThorne

HogwartsLibrarybooks:

TheTalesofBeedletheBardQuidditchThroughtheAges

PottermoreisthedigitalheartofJ.K.Rowling’sWizardingWorld…

Wearethehomeofworldwidedigitalpublishing,entertainmentandnewsforfansofJ.K.Rowling’sWizardingWorld.Visitwww.pottermore.com,whereyourownSortingCeremony,exclusivenewwritingbyJ.K.RowlingandallthelatestnewsandfeaturesfromtheWizardingWorldawaits.RegisterwithPottermore

andjoinusinunlockingthepowerofimagination.

Allrightsreserved;nopartofthispublicationmaybereproducedinwholeorinpart,ortransmittedinanyformorbyanymeans,electronic,mechanical,photocopying,recordingorotherwise,withouttheprior

permissionofthepublisher

ThisdigitaleditionpublishedbyPottermoreLimitedin2016

FirstpublishedinprintinGreatBritainin2016byLittle,Brown

Text©J.K.Rowling2016

CoverartworkandinteriorillustrationsbyMinaLima©J.K.Rowling2016

HarryPotterandFantasticBeastsPublishingRights©J.K.Rowling

HarryPotterandFantasticBeastscharacters,namesandrelatedindiciaaretrademarksofand©WarnerBros.EntertainmentInc.Allrightsreserved.

J.K.ROWLING’SWIZARDINGWORLDisatrademarkofJ.K.RowlingandWarnerBros.EntertainmentInc.

Allcharactersandeventsinthispublication,otherthanthoseclearlyinthepublicdomain,arefictitiousandanyresemblancetorealpersons,livingordead,ispurelycoincidental.

ISBN978-1-78110-714-0