Free Fantastic Beasts: The Crimes of Grindelwald by J. K. Rowling Page A

ACOLYTE.
    JACOB
    (whispers)
    Queenie.
    He pushes his way into the crowd.
    ANGLE ON JACOB running toward QUEENIE.
    She turns. Utter delight—
    QUEENIE
    Jacob! Honey, you’re here! Hi!
    She flings her arms around his neck.
    QUEENIE
    (reading his mind)
    Oh, honey, I’m so sorry, I never should have done it, I love you so much—
    JACOB
    And you know that I love you, right?
    QUEENIE
    Yeah.
    JACOB
    Good, now let’s get the hell out of here.
    He tries to pull her back the way he came, but she tugs him back.
    QUEENIE
    (serious)
    Oh, wait. Wait a second. I just thought maybe we could hear him first. You know, just listen, that’s all.
    JACOB
    What are you talking about?
    She pulls a confused JACOB into a seat beside her in the front row, clutching his hand. JACOB looks around nervously at all the purebloods.
    ANGLE ON NEWT AND TINA.
    They are already in the crowd, TINA looking around for those they have followed, but NEWT, perturbed, is starting to see the bigger picture.
    TINA
    It’s a trap.
    NEWT
    Yeah. Queenie—the family tree—it’s all been bait.
    He looks around. ACOLYTES are moving to cover all the entrances.
    TINA
    We have to find a way out of here, right now.
    NEWT
    You go find the others.
    TINA
    What are you gonna do?
    NEWT
    I’ll think of something.
    He sets off. She moves more slowly into the crowd, looking for JACOB and CREDENCE.
    ANGLE ON AN ACOLYTE watching NEWT’S progress.
    The lights dim. The crowd begins to cheer.

    SCENE 112
    INT. UNDERGROUND AMPHITHEATER—NIGHT
    We follow GRINDELWALD onstage as the audience explodes with delight. Their hysteria builds as he stands there, part demagogue, part rock star.
    ANGLE ON TINA, edging through the crowd, searching.
    She spots QUEENIE and, at a short distance, CREDENCE. Whom should she approach first? She chooses CREDENCE, but as she moves, is blocked by an ACOLYTE. They make eye
contact. TINA knows she is wildly outnumbered. Under the ACOLYTE’S gaze, she sinks onto a bench.
    We pan over the crowd. We see QUEENIE, rapt, and JACOB, low in his seat and scared . . . KAMA, who is skeptical . . . CREDENCE, transfixed,
and NAGINI, who trusts nobody . . . LETA, studying GRINDELWALD, wondering . . .
    ANGLE ON GRINDELWALD, gesturing at the crowd to settle.
    GRINDELWALD
    My brothers, my sisters, my friends: the great gift of your applause is not for me.
    (off noises of denial)
    No. It is for yourselves.
    ANGLE ON LETA, amid the crowd. She is not clapping, but she feels the pull of GRINDELWALD’S charisma.
    GRINDELWALD
    You came today because of a craving and a knowledge that the old ways serve us no longer . . . You come today because you crave something new, something
different.
    ANGLE ON CREDENCE, listening.
    GRINDELWALD
    It is said that I hate Les Non-Magiques. The Muggles. The No-Maj. The Can’t-Spells.
    Jeers and hisses from much of the crowd. JACOB sinks deeper into his seat. QUEENIE is momentarily anxious; she seizes his hand: No, wait, listen—
    GRINDELWALD
    I do not hate them. I do not.
    Silence from the crowd.
    GRINDELWALD
    For I do not fight out of hatred. I say the Muggles are not lesser, but other. Not worthless, but of other value. Not disposable, but of a different disposition.
    (beat)
    Magic blooms only in rare souls. It is granted to those who live for higher things. Oh, and what a world we could make, for all of humanity. We who live for freedom, for
truth—
    His eyes meet QUEENIE’S in the front row.
    GRINDELWALD
    —and for love.
    We pan across QUEENIE, now heart and soul his . . .

    SCENE 113
    EXT. PÈRE LACHAISE CEMETERY—NIGHT
    The figures of fifty AURORS appear in silhouette among the mausoleums. We move in and see that THESEUS is one of them.
    THESEUS
    It isn’t illegal to listen to him! Use minimum of force on the crowd. We mustn’t be what he says we are!
    But on other faces we see nervousness, even fear, and on a few, a clear will to fight, to avenge.



SCENE 114
    INT. UNDERGROUND AMPHITHEATER—NIGHT
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