SCENE 36
EXT. UPPER EAST SIDE—AFTERNOON
A young boy, clutching a huge lollipop, is led down the busy street by his father. As they pass a fruit barrow, an apple suddenly levitates, bobbing along beside him. The boy gazes in wonder as the apple is eaten by something invisible, then the smile fades as his lollipop is snatched by the same unseen hands.
At a newsstand, the eyes of a lady on an advertisement blink open. The outline of a creature becomes visible, camouflage-like, before it peels away from the poster. It moves along the street, invisible again, only locatable by the lollipop it holds, seemingly suspended in midair. A dog barks in its direction, and the creature scuttles on, knocking over newspaper stands, causing bikes and cars to swerve.
ANGLE ON THE ROOF OF A DEPARTMENT STORE—we see a thin blue tail slither inside a small attic window. Suddenly the building shakes and tiles break away as the creature’s size expands to fill the whole room.
SCENE 37
INT. SHAW TOWER NEWSROOM—DUSK
The glittering Art Deco headquarters of a media empire. Many journalists are hard at work in an outer office.
An elevator opens and Langdon Shaw bustles excitedly through the room, leading the Second Salemers. He carries maps, several old books, and a handful of photographs.
Mary Lou is composed, Chastity looks shy, and Modesty is excited, curious. Credence looks nervous—he doesn’t like crowds.
LANGDON
. . . and so this is the newsroom.
Langdon spins around excitedly, eager to show the Second Salemers that he holds authority here.
LANGDON
Let’s go!
Langdon moves around the office and speaks to some of the workers.
LANGDON
Hey, how are you? Make way for the Barebones! Now, they’re just putting the papers to bed, as they say.
Looks of veiled amusement from journalists as Langdon leads his group to double doors at the end of the open-plan area. Henry Shaw Sr.’s assistant—Barker—stands up, anxious.
BARKER
Mr. Shaw, sir, he’s with the senator—
LANGDON
Never mind that, Barker, I wanna see my father!
Langdon pushes past.
SCENE 38
INT. SHAW SR.’S PENTHOUSE OFFICE—DUSK
A large, impressive office with spectacular views across the city. The newspaper magnate—Henry Shaw Sr.—is talking to his elder son, Senator Shaw.
SENATOR SHAW
. . . we could just buy the boats . . .
The doors burst open to reveal a harassed-looking Barker and an excitable Langdon.
BARKER
I’m so sorry, Mr. Shaw, but your son insisted—
LANGDON
Father, you’re going to want to hear this.
Langdon moves toward his father’s desk and begins spreading out photographs. We recognize some of the images: The destroyed streets from the start of the film.
LANGDON
I’ve got something huge!
SHAW SR.
Your brother and I are busy here, Langdon. Working on his campaign. We don’t have time for this.
Mary Lou, Credence, Chastity, and Modesty enter the office. Shaw Sr. and Senator Shaw stare. Credence stands with his head bowed, embarrassed, nervous.
LANGDON
This is Mary Lou Barebone from the New Salem Philanthropic Society, and she’s got a big story for you!
SHAW SR.
Oh, she has, has she?
LANGDON
There’s strange things going on all over the city. The people behind this—they are not like you and me. This is witchcraft, don’t you see.
Shaw Sr. and the senator look dubious—all too used to Langdon’s harebrained little projects and interests.
SHAW SR.
Langdon.
LANGDON
She doesn’t want any money.
SHAW SR.
Then either her story is worthless, or she’s lying about the cost. Nobody gives away anything valuable for free.
MARY LOU
(confident, persuasive)
You are right, Mr. Shaw. What we desire is infinitely more valuable than money: It’s your influence. Millions of people read your newspapers and they need to be made aware about this danger.
LANGDON
The crazy disturbances in the subway—just look at the pictures!
SHAW SR.
I’d like you and your friends to leave.
LANGDON
No, you’re missing a trick here. Just look at the evidence—
SHAW SR.
Really.
SENATOR SHAW
(joining his father and brother)
Langdon. Just listen to Father and go.
His eyes shift, focus on Credence.
SENATOR SHAW
And take the freaks with you.
Credence perceptibly twitches, disturbed by anger in his vicinity. Mary Lou is calm but steely.
LANGDON
This is Father’s office, not yours, and I’m sick of this every time I walk in here . . .
Shaw Sr. silences his son and motions for the Barebones to leave.
SHAW SR.
That’s it—thank you.
MARY LOU
(calm, dignified)
We hope you’ll reconsider, Mr. Shaw. We’re not difficult to find. Until then, we thank you for your time.
Shaw Sr. and Senator Shaw watch Mary Lou as she turns, leading her children out. The newsroom has fallen quiet, everyone craning to hear the row.
As he departs, Credence drops a leaflet. Senator Shaw moves forward and bends to pick it up. He glances at the witches on the front.
SENATOR SHAW
(to Credence)
Hey, boy. You dropped something.
The senator crumples up the leaflet before putting it in Credence’s hand.
SENATOR SHAW
Here you go, freak—why don’t you put that in the trash where you all belong.
Behind Credence, Modesty’s eyes burn. She clutches Credence’s hand protectively.
SCENE 39
EXT. BROWNSTONE STREET—SHORTLY AFTERWARD—DUSK
Tina and Newt stand on either side of an ailing Jacob, trying to keep him steady.
TINA
Take a right here . . .
Jacob makes various retching sounds, the bite on his neck clearly affecting him more and more.
As the group rounds a corner, Tina hurries them to hide behind a large repair truck. From here she peers at a house across the street.
TINA
Okay—before we go in—I’m not supposed to have men on the premises.
NEWT
In that case, Mr. Kowalski and I can easily seek other accommodation—
TINA
Oh no, you don’t!
Tina quickly grabs Jacob’s arm and pulls him across the road, Newt dutifully following.
TINA
Watch your step.
SCENE 40
INT. GOLDSTEIN RESIDENCE, STAIRWELL—DUSK
Newt, Tina, and Jacob tiptoe up the stairs. They have just reached the first landing when Mrs. Esposito, the landlady, calls out. The group freezes.
MRS. ESPOSITO (O.S.)
That you, Tina?
TINA
Yes, Mrs. Esposito!
MRS. ESPOSITO (O.S.)
Are you alone?
TINA
I’m always alone, Mrs. Esposito!
A beat.
SCENE 41
INT. GOLDSTEIN RESIDENCE, SITTING ROOM—DUSK
The group enters the Goldstein apartment.
Although impoverished, the apartment is enlivened by workaday magic. An iron is working away on its own in a corner, and a clotheshorse revolves clumsily on its wooden legs in front of the fire, drying an assortment of underwear. Magazines are scattered around: The Witch’s Friend, Witch Chat, and Transfiguration Today.
Blond Queenie, the most beautiful girl ever to don witches’ robes, is standing in a silk slip, supervising the mending of a dress on a dressmaker’s dummy. Jacob is thunderstruck.
Newt barely notices. Impatient to leave as soon as possible, he starts peeking out the windows.
QUEENIE
Teenie—you brought men home?
TINA
Gentlemen, this is my sister. You want to put something on, Queenie?
QUEENIE
(unconcerned)
Oh, sure—
She runs her wand up the dummy and the dress runs magically up her body. Jacob watches the display, dumbfounded.
Tina, frustrated, starts tidying the apartment.
QUEENIE
So, who are they?
TINA
That’s Mr. Scamander. He’s committed a serious infraction of the National Statute of Secrecy—
QUEENIE
(impressed)
He’s a criminal?
TINA
—uh-huh, and this is Mr. Kowalski, he’s a No-Maj—
QUEENIE
(suddenly worried)
A No-Maj? Teen—what are you up to?
TINA
He’s sick—it’s a long story—Mr. Scamander has lost something, I’m going to help him find it.
Jacob suddenly staggers, very sweaty and unwell. Queenie runs to him as Tina hovers, also worried.
QUEENIE
(as Jacob falls back onto a sofa)
You need to sit down, honey.
Hey—
(reading his mind)
—he hasn’t eaten all day.
And—
(reading his mind)
—aw, that’s rough,
(reading his mind)
—he didn’t get the money he wanted for his bakery. You bake, honey? I love to cook.
Newt is watching Queenie from his spot by the window, his scientific attention now aroused.
NEWT
You’re a Legilimens?
QUEENIE
Uh-huh, yeah. But I always have trouble with your kind. Brits. It’s the accent.
JACOB
(cottoning on, appalled)
You know how to read minds?
QUEENIE
Aw, don’t worry, honey. Most guys think what you was thinking, first time they see me.
Queenie playfully gestures toward Jacob with her wand.
QUEENIE
Now, you need food.
Newt looks out the window and sees a Billywig fly past—he’s nervous, impatient to get out and find his creatures.
Tina and Queenie busy themselves in the kitchen. Ingredients come floating out of cupboards as Queenie enchants them into the components of a meal—carrots and apples chop themselves, pastry rolls itself, and pans stir.
QUEENIE
(to Tina)
Hot dog . . . again?
TINA
Don’t read my mind!
QUEENIE
Not a very wholesome lunch.
Tina points her wand at the cupboards. Dishes, assorted cutlery, and glasses come flying out, setting themselves on the table with a little prodding from Tina’s wand. Jacob, half-fascinated, half-terrified, staggers toward the table.
ANGLE ON NEWT, his hand on the doorknob.
QUEENIE
(artless)
Hey, Mr. Scamander, you prefer pie or strudel?
All look at Newt, who, embarrassed, removes his hand from the doorknob.
NEWT
I really don’t have a preference.
Tina stares at Newt: Confrontational, but also disappointed and hurt.
Jacob is already seated at the table, tucking his napkin into his shirt.
QUEENIE
(reading Jacob’s mind)
You prefer strudel, huh, honey? Strudel it is.
Jacob nods with excited enthusiasm. Queenie grins back, delighted.
With a flick of her wand, Queenie sends raisins, apples, and pastry flying into the air. The concoction neatly wraps itself up into a cylindrical pie, baking on the spot, complete with ornate decoration and a dusting of sugar. Jacob takes a deep breath in: Heaven.
Tina lights candles on the table—the meal is ready.
FOCUS ON NEWT’S POCKET—a small squeak, and Pickett pokes his head out, curious.
TINA
Well, sit down, Mr. Scamander, we’re not going to poison you.
Newt, still hovering near the door, looks somewhat charmed by the situation. Jacob glares at him subtly, willing him to sit down.