Sarah May

“NEWT: What d’you think I should say to her, if I see her?
JACOB: Oh, well, it’s best not to plan these things. You know, you just say whatever comes to you in the moment.
A beat. They walk.
NEWT (reminiscently): She has eyes just like a salamander.
JACOB: Don’t say that.”
― J.K. Rowling, Fantastic Beasts: The Crimes of Grindelwald: The Original Screenplay

“INT. MINISTÈRE DES AFFAIRES MAGIQUES, RECORDS ROOM ATRIUM—NIGHT
MELUSINE: Puis-je vous aider?
NEWT: Er—yes, this is Leta Lestrange. And—I’m her—
TINA: Fiancé.
There is an increased awkwardness between them.
NEWT: Tina, about that fiancée business—
TINA (brittle): Sorry, yeah. I should have congratulated you—
The doors to the records office open. They enter briskly.

INT. MINISTÈRE DES AFFAIRES MAGIQUES, RECORDS ROOM—NIGHT
The doors close behind them, plunging them into darkness.
NEWT: No, that’s—
TINA: Lumos.
NEWT: Tina—about Leta—
TINA: Yes, I’ve just said, I am happy for you—
NEWT: Yeah, well, don’t.
She stops. Looks at him. What?
NEWT: Please don’t be happy.
(in trouble) Uh, no, no. I’m sorry. I don’t . . . Uh, obviously, I—Obviously I want you to be. And I hear that you are now. Uh, which is wonderful. Sorry—
(a gesture of hopelessness) What I’m trying to say is, I want you to be happy, but don’t be happy that I’m happy, because I’m not.
(off her confusion) Happy.
(off her continued confusion) Or engaged.
TINA: What?
NEWT: It was a mistake in a stupid magazine. My brother’s marrying Leta, June the sixth. I’m supposed to be best man. Which is sort of mildly hilarious.
TINA: Does he think you’re here to win her back?
(beat)
Are you here to win her back?
NEWT: No! I’m here to—
A beat. He stares at her.
NEWT: —you know, your eyes really are—
TINA: Are what?
NEWT: I’m not supposed to say.
Pickett is climbing out of NEWT’S pocket onto the nearest shelf. NEWT doesn’t notice.
A beat. In a rush
TINA: Newt, I read your book, and did you—?
NEWT: I still have a picture of you—wait, did you read—?
NEWT pulls the picture of her from his breast pocket and unfolds it. She is inordinately touched. He looks from the picture to TINA.
NEWT: I got this—I mean, it’s just a picture of you from the paper, but it’s interesting because your eyes in newsprint . . . See, in reality they have this effect in them, Tina . . . It’s like fire in water, in dark water. I’ve only ever seen that—
(struggling) I’ve only ever seen that in—
TINA (whispers): Salamanders?”
― J.K. Rowling, Fantastic Beasts: The Crimes of Grindelwald: The Original Screenplay

“INT. PARISIAN CAFÉ—EVENING
KAMA leaves the café. The feather points at him. NEWT lets it out and it flies to KAMA’S hat.
JACOB: Is that the guy we’re looking for?
NEWT: Yes.
NEWT and JACOB jump up to confront him.
NEWT (to KAMA): Er—bonjour. Bonjour, monsieur.
KAMA makes to carry on walking, ignoring NEWT.
NEWT: Oh wait, no, sorry. We were . . . we were actually just wondering if you’d come across a friend of ours?
JACOB:Tina Goldstein.
KAMA: Monsieur, Paris is a large city.
NEWT: She’s an Auror. When Aurors go missing, the Ministry tend to come looking, so . . . No, now I suppose it would probably be better if we just report her absence—
KAMA (deciding): She is tall? Dark? Rather—
JACOB: —intense?
NEWT: —beautiful—
JACOB (hasty, off NEWT’S look): —Yeah, what I meant to say—she’s very—very pretty—
NEWT: She’s intense too.”
― J.K. Rowling, Fantastic Beasts: The Crimes of Grindelwald: The Original Screenplay

“But sometimes you have to be brave. Sometimes you have to show people what's important in life.”
― Sophie Kinsella, I've Got Your Number