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 towards his father’s desk and begins spreading out photographs. We recognise 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 forwards 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 AFTERWARDS—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 clothes horse 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.
Blonde 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 of 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)
—aww, 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
Aww, don’t worry, honey. Most guys think what you was thinking, first time they see me.
QUEENIE playfully gestures towards 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.