SCENE 5
EXT. STREET NEAR CITY HALL SUBWAY—DUSK
A long street of identical brownstone houses, one of which has been reduced to rubble. A gaggle of reporters and photographers mills around in the vague hope of something happening, but without much enthusiasm. One reporter is interviewing an excitable middle-aged man as they move through the rubble.
WITNESS
—and it was like a—like a wind or like a—like a ghost—but dark—and I saw its eyes—shinin’ white eyes—
REPORTER
(expressionless—notebook in his hand)
—a dark wind—with eyes . . .
WITNESS
—like a dark mass, and it dove down there, down underground—I swear to God . . . into the earth right in front of me.
CLOSE ON PERCIVAL GRAVES as he walks toward the destroyed building.
Graves: Smart clothing, very handsome, early middle-age, his demeanor differs from those around him. He is watchful, tightly coiled, an air of intense confidence.
PHOTOGRAPHER
(sotto voce)
Hey—did you get anything?
REPORTER
(sotto voce)
Dark wind, blah blah.
PHOTOGRAPHER
It’s some atmospheric hooey. Or electrical.
Graves moves up the steps of the now ruined building. He examines the destruction, curious, alert.
REPORTER
Hey—you thirsty?
PHOTOGRAPHER
Nah, I’m on the wagon. Promised Martha I’d lay off.
Wind begins to pick up, swirling around the building, accompanied by a high-pitched screeching. Graves alone looks interested.
A sudden series of bangs at street level. All turn to look for the source of the sound: A wall cracks, the rubble on the floor begins to shake before exploding like an earthquake, ripping out of the building and down through the middle of the street. The movement is violent, rushed—people and cars go flying.
The mysterious force then flies up into the air, swirling through the city, diving in and out of alleyways, before crashing down into a subway station.
CLOSE ON GRAVES as he examines the destruction of the street.
A mingled roar and howl emanates from the bowels of the earth.
SCENE 6
EXT. NEW YORK STREET—DAY
Watching Newt walk, we see in him an unselfconscious Keatonesque quality, a sense of a different rhythm to those around him. In his hand he clutches directions on a small piece of paper, but still shows a scientist’s curiosity about this alien environment.
SCENE 7
EXT. ANOTHER STREET, STEPS OF THE CITY BANK—DAY
Newt, intrigued by the noise of shouting, approaches a rally of the New Salem Philanthropic Society.
Mary Lou Barebone, a handsome midwestern woman in a 1920s version of Puritan dress, charismatic and earnest, stands on a small stage at the steps to the City Bank.
Behind her stands a man parading a banner emblazoned with the organization’s symbol: Hands proudly grasping a broken wand amid bright yellow and red flames.
MARY LOU
(to the assembled crowd)
. . . this great city sparkles with the jewels of man’s invention! Movie theaters, automobiles, the wireless, electric lights—all dazzle and bewitch us!
Newt slows down and watches Mary Lou as he would observe a foreign species: No judgment, simply interest.
Nearby stands Tina Goldstein, hat low on her head, upturned collar. She is eating a hot dog, mustard smeared on her upper lip. Newt accidentally bumps into her as he makes his way to the front of the rally.
NEWT
Oh . . . so sorry.
MARY LOU
But where there is light there is shadow, friend. Something is stalking our city, wreaking destruction and then disappearing without a trace . . .
Jacob Kowalski moves nervously down the street toward the crowd, wearing an ill-fitting brown suit and carrying a battered brown leather case.
MARY LOU (O.S.)
We have to fight—join us, the Second Salemers, in our fight!
Jacob makes his way through the gathered crowds, also pushing past Tina.
JACOB
Excuse me, doll, just trying to get to the bank—excuse me—just trying . . .
Jacob trips over Newt’s case, disappearing momentarily. Newt hauls him up.
NEWT
I’m so sorry—my case—
JACOB
No harm done—
Jacob struggles on, heading past Mary Lou and up the steps of the bank.
JACOB
Excuse me!
The kerfuffle around Newt draws Mary Lou’s attention.
MARY LOU
(charming, to Newt)
You, friend! What drew you to our meeting today?
Newt is startled to find himself the center of attention.
NEWT
Oh . . . I was just—passing . . .
MARY LOU
Are you a seeker? A seeker after truth?
A beat.
NEWT
I’m more of a chaser, really.
ANGLE ON PEOPLE moving in and out of the bank.
A smartly dressed man flips a dime toward a beggar sitting on the steps.
CLOSE ON THE DIME, falling in slow motion.
MARY LOU (O.S.)
Hear my words and heed my warning . . .
ANGLE ON SOME LITTLE PAWS, which have appeared in the narrow crack between the lid and the body of Newt’s case.
ANGLE ON THE DIME hitting the steps with a musical clang.
ANGLE ON THE PAWS, now trying hard to prize open the case.
MARY LOU
. . . and laugh if you dare: Witches live among us!
Mary Lou’s three adopted children, adults Credence and Chastity, and Modesty (an eight-year-old girl), hand out leaflets. Credence appears nervous and troubled.
MARY LOU (O.S.)
We have to fight together for the sake of our children—for the sake of tomorrow!
(to Newt)
What do you say to that, friend?
As Newt looks up toward Mary Lou, something seen from the corner of his eye catches his attention. The Niffler, a small, furry black cross between a mole and a duck-billed platypus, is sitting on the steps of the bank, hastily pulling the beggar’s hat full of money out of sight behind a pillar.
Newt, startled, looks down at his case.
ANGLE ON THE NIFFLER, busy shoveling the beggar’s coins into a pouch in its belly. The Niffler looks up, notices Newt’s gaze, and hurriedly gathers the rest of the coins before tumbling away and into the bank.
Newt jolts forward.
NEWT
Excuse me.
ANGLE ON MARY LOU—she looks confused at Newt’s lack of interest in her cause.
MARY LOU (O.S.)
Witches live among us.
ANGLE ON TINA, moving through the crowds, eyeing Newt suspiciously.
SCENE 8
INT. LOBBY OF BANK—MOMENTS LATER—DAY
A large, impressive-looking bank atrium. In the center, behind a golden counter, clerks are busy at work serving customers.
Newt skids to a halt in the entrance of the space and looks around to find his creature. His dress and demeanor make him out of place among the smartly dressed New Yorkers.
BANK EMPLOYEE
(suspicious)
Can I help you, sir?
NEWT
No, I was just . . . just . . . waiting . . .
Newt motions toward a bench and backs away, taking a seat next to Jacob.
Tina peers at Newt from behind a pillar.
JACOB
(nervous)
Hi. What brings you here?
Newt is desperately trying to spot his Niffler.
NEWT
Same as you . . .
JACOB
You’re here to get a loan to open up a bakery?
NEWT
(looking around—preoccupied)
Yes.
JACOB
What are the odds of that? Well, may the best man win, I guess.
Newt spots the Niffler, which is now stealing coins from someone’s bag.
Jacob holds out his hand, but Newt is off.
NEWT
Excuse me.
Newt darts away. In his place on the bench lies a large silver egg.
JACOB
Hey, mister . . . Hey, mister!
Newt doesn’t hear; he is too engaged in hunting the Niffler.
Jacob picks up the egg just as the door into the bank manager’s office opens, and a secretary looks out.
JACOB
Hey, fella!
SECRETARY
Mr. Kowalski, Mr. Bingley will see you now.
Pocketing the egg, Jacob heads toward the office, steeling himself.
JACOB
(under his breath)
Okay . . . Okay.
ANGLE ON NEWT, surreptitiously pursuing the Niffler as it moves through the bank. He finally spots it removing a glittering buckle from a lady’s shoe before scurrying onward, eager for more shiny objects.
As Newt watches, helpless, the Niffler jumps lithely between cases and into bags, snatching and pilfering.
SCENE 9
INT. BINGLEY’S OFFICE—MOMENTS LATER—DAY
Jacob is facing the imposing and impeccably suited Mr. Bingley. Bingley is examining Jacob’s business proposal for a bakery.
An uncomfortable silence. The sound of a ticking clock and Bingley murmuring.
Jacob looks down at his pocket—the egg has started to vibrate.
BINGLEY
You are currently working . . . in a canning factory?
JACOB
That’s the best I can do—I only got back in ’24.
BINGLEY
Got back?
JACOB
From Europe, sir. Yeah—I was part of the Expeditionary Forces there—
Jacob is clearly nervous, miming a digging action to the words “Expeditionary Forces,” in the vain hope that a joke might help his cause.
SCENE 10
INT. BACK ROOM OF THE BANK—MOMENTS LATER—DAY
We cut back to Newt in the bank—in seeking the Niffler, he has ended up waiting in line for a bank teller. He cranes his neck, peering toward the bag of a lady at the front of the line. Tina watches him from behind a pillar.
ANGLE ON COINS spilling from underneath a bench.
ANGLE ON NEWT, who hears the coins and turns to see small paws hastily gathering them up.
ANGLE ON THE NIFFLER sitting under the bench, looking fat and smug. Not yet satisfied, its attention is caught by the shiny tag hanging around the neck of a small dog. The Niffler moves slowly, cheekily, forward—little paw outstretched to grab the tag. The dog snarls and barks.
Newt starts forward and dives under the bench—the Niffler runs, scuttling over the bank counter screens and out of Newt’s reach.
SCENE 11
INT. BINGLEY’S OFFICE—MOMENTS LATER—DAY
Jacob opens his case with great pride. Inside is displayed a selection of his homemade pastries.
JACOB (O.S.)
All right.
BINGLEY
Mr. Kowalski—
JACOB
—You gotta try the paczki, okay, it’s my grandmother’s recipe, the orange zest—just—
Jacob holds out a paczki . . . Bingley is not distracted.
BINGLEY
Mr. Kowalski, what do you propose to offer the bank as collateral?
JACOB
Collateral?
BINGLEY
Collateral.
Jacob gestures hopefully toward his pastries.
BINGLEY
There are machines now that can produce hundreds of doughnuts an hour—
JACOB
I know, I know, but they’re nothing like what I can do—
BINGLEY
The bank must be protected, Mr. Kowalski. Good day to you.
Bingley dismissively rings a bell on his desk.
SCENE 12
INT. BEHIND THE BANK COUNTERS—MOMENTS LATER—DAY
The Niffler sits on a trolley covered in money bags, which it greedily empties into its pouch. As Newt watches through the security bars, aghast, a guard pushes the trolley away down a corridor.
SCENE 13
INT. BINGLEY’S BANK, HALL—MOMENTS LATER—DAY
Jacob, downcast, exits Bingley’s office. His bulging pocket vibrates. Alarmed, he pulls out the egg and looks around.
ANGLE ON THE NIFFLER, still sitting on the trolley, which is now being pushed into an elevator.
ANGLE ON JACOB, who sees Newt in the distance.
JACOB
Hey, Mr. English guy! I think your egg is hatching.
Newt looks hurriedly between Jacob and the shutting elevator doors before making a decision: He points his wand at Jacob. Jacob and the egg are pulled magically across the bank atrium toward Newt. In a split second, they Disapparate.
Tina stares, incredulous, from behind a pillar.
SCENE 14
INT. BACK ROOM OF THE BANK/STAIRCASE—DAY
Newt and Jacob Apparate into a narrow stairwell leading to the bank’s vaults, suddenly past the tellers and security guards.
Newt gently takes the egg back from Jacob as it hatches, revealing a small, blue, snake-like bird—an Occamy. Newt, his face full of wonder, looks to Jacob as though expecting a similar reaction from him.
Slowly, Newt carries the baby creature down the stairs.
JACOB
Excuse me . . .
Jacob, very confused, looks back up the stairs toward the main bank atrium. On seeing Bingley approaching, he ducks down the stairs, out of sight.
JACOB
(to himself)
I was—over there. I was—over there?
SCENE 15
INT. BASEMENT CORRIDOR OF BANK, LEADING TO VAULT—DAY
JACOB’S POV—Newt is crouched down, opening his case. He carefully places the hatched Occamy inside, whispering tenderly:
NEWT
In you hop . . .
JACOB (O.S.)
Hello?
NEWT
No. Everyone settle down—stay. Dougal, don’t make me come in there . . .
Jacob moves along the corridor, staring at Newt.
We see a strange green creature, part stick insect, part plant, poke its head out of Newt’s breast pocket, intrigued. This is Pickett, a Bowtruckle.
NEWT
Don’t make me come down there.
Newt looks up to see the Niffler squeezing itself through locked doors, into the central vault.
NEWT
Absolutely not!
Newt takes out his wand and points it at the vault.
NEWT
Alohomora.
We watch the locks and cogs of the vault door turn.
Bingley comes around the corner, just as the vault door starts to open.
BINGLEY
(to Jacob)
Oh, so you’re gonna STEAL the money, huh?
Bingley hits a button on the wall. An alarm sounds. Newt aims his wand . . .
NEWT
Petrificus Totalus!
Bingley suddenly stiffens and falls back flat on the ground. Jacob cannot believe his eyes.
JACOB
Mr. Bingley!
The vault door opens wide.
MR. BINGLEY
(in his paralyzed state)
. . . Kowalski!
Newt hurries into the vault. Inside he finds the Niffler lying among hundreds of opened deposit boxes, and seated on a great pile of cash. The Niffler stares at Newt defiantly as it forces another gold bar into its already overflowing pouch.
NEWT
Really?!
Newt grasps the Niffler tightly and turns it upside down, shaking it by its hind legs. An extraordinary, and seemingly endless, number of precious items fall out.
NEWT
(to the Niffler)
No . . .
Jacob looks around him in disbelief, an almost queasy fear.
Despite their altercation, Newt is fond of the Niffler. He grins as he tickles its stomach, causing more treasure to pour out.
Footsteps on the stairs as several armed guards run down and into the vault corridor.
JACOB
(panicking)
Oh no . . . No . . . Don’t shoot. Don’t shoot!
Newt quickly seizes Jacob, and the two of them, plus the Niffler and case, Disapparate.
SCENE 16
EXT. DESERTED SIDE STREET NEXT TO THE BANK—DAY
Newt and Jacob Apparate onto a side street. Security alarms ring out from the bank and, at the end of the side street, we see crowds gathering, police arriving.
Tina runs out of the bank and looks down. She sees Newt wrestling the Niffler back into the case, Jacob cowering by a wall.
JACOB
Ahhh!
NEWT
For the last time, you pilfering pest—paws off what doesn’t belong to you!
Newt shuts his case, then looks around at Jacob.
NEWT
I’m awfully sorry about all that—
JACOB
What the hell was that?
NEWT
Nothing that need concern you. Now unfortunately you have seen far too much, so if you wouldn’t mind—if you just stand there—this will be over in a jiffy.
Newt, trying to find his wand, turns his back on Jacob. Jacob takes the opportunity, seizes his case, swinging it violently at Newt, who is knocked to the ground.
JACOB
Sorry—
Jacob runs for his life.
Newt holds his head for a moment and looks after Jacob, who has hurried down the alleyway and into the crowd.
NEWT
Bugger!
Tina comes walking down the side street with purpose. Newt gathers himself, picks up the case, and, trying to be nonchalant, walks toward her. As he passes her, Tina grabs Newt’s elbow and Disapparates.
SCENE 17
EXT. NARROW ALLEYWAY OPPOSITE BANK—DAY
Newt and Tina Apparate into a cramped, bricked-up alleyway. We can still hear police sirens sounding in the background.
Tina, incredulous and out of breath, rounds on Newt:
TINA
Who are you?
NEWT
I’m sorry?
TINA
Who are you?
NEWT
Newt Scamander. And you are?
TINA
What’s that thing in your case?
NEWT
That’s my Niffler.
(pointing at hot dog mustard still on Tina’s lip)
Er, you’ve got something on your—
TINA
Why in the name of Deliverance Dane did you let that thing loose?
NEWT
I didn’t mean to—he’s incorrigible, you see, anything shiny, he’s all over the place—
TINA
You didn’t mean to?
NEWT
No.
TINA
You could not have chosen a worse time to let that creature loose! We’re in the middle of a situation here! I’m taking you in.
NEWT
You’re taking me where?
She produces her official ID card. It bears her moving picture and an impressive symbol of an American eagle: MACUSA.
TINA
Magical Congress of the United States of America.
NEWT
(nervous)
So, you work for MACUSA? What are you, some kind of investigator?
TINA
(hesitates)
Uh-huh.
She stuffs her identification card back into her coat.
TINA
Can you please tell me you took care of the No-Maj?
NEWT
The what?
TINA
(becoming irritated)
The No-Maj! No-magic—the non-wizard!
NEWT
Oh, sorry, we call them Muggles.
TINA
(getting really worried)
You wiped his memory, right? The No-Maj with the case?
NEWT
Um . . .
TINA
(appalled)
That’s a Section 3A, Mr. Scamander. I’m taking you in.
She takes Newt by the arm and they Disapparate again.