Here to meet my brother, I expect?

  Newt steps forward.

  NEWT

  We’re here to see Albus Dumbledore.

  Aberforth eyes them once more in the mirror, then turns.

  ABERFORTH

  That would be my brother.

  NEWT

  Oh. Sorry, um . . . brilliant. I’m Newt Scamander and this is—

  As Newt extends his hand, Aberforth turns away.

  ABERFORTH

  Up the stairs. First on the left.

  Newt stands with his hand extended another moment, then nods and turns back to Theseus, who raises his eyebrows.

  THE HOG’S HEAD LOCATION RENDERING

  14 INT. UPPER ROOM—HOG’S HEAD—CONTINUOUS—DAY

  DUMBLEDORE

  Has Newt told you why you’re here?

  THESEUS

  Was he meant to?

  Dumbledore eyes Theseus, clocking the mild challenge in his tone.

  DUMBLEDORE

  No, as a matter of fact.

  Theseus’s eyes shift to Newt, who struggles to hold his gaze.

  NEWT

  There’s something we—that, Dumbledore—wishes to speak to you about. A proposal.

  Theseus considers his brother, then Dumbledore.

  THESEUS

  All right.

  Dumbledore, having crossed the room, takes the BLOOD TROTH from a table and dangles it in the firelight.

  DUMBLEDORE

  You know what this is, of course.

  THESEUS

  Newt had it in Paris. I can’t say I have much experience with such things, but it looks to be a blood troth.

  DUMBLEDORE

  That would be correct.

  THESEUS

  And whose blood is contained within?

  DUMBLEDORE

  Mine.

  (a beat)

  And Grindelwald’s.

  THESEUS

  I’m assuming that’s why you can’t move against him?

  DUMBLEDORE

  Yes. Nor he against me.

  Theseus nods, eyeing the troth, watching as the droplets of blood circle one another like weights in a clock.

  THESEUS

  Can I ask what would possess you to make such a thing?

  DUMBLEDORE

  Love. Arrogance. Naivete. Pick your poison. We were young. We were going to transform the world. This ensured we would. Even if one of us had a change of heart.

  THESEUS

  And what would happen if you were to fight him?

  Newt eyes Dumbledore expectantly, but he remains mute, staring at the troth.

  DUMBLEDORE

  It’s really quite beautiful, you have to admit. Were I even to think about defying it . . .

  The blood troth flashes red and flies free, caroming off the floor and to the wall. As he draws his wand, taking aim, the troth’s chain, still tethered to his arm, constricts, burrowing deep into his flesh.

  As Newt and Theseus look on, Dumbledore begins to approach the troth where it grinds into the wall, a strange smile coming over his face, as if he were in thrall to it.

  DUMBLEDORE (CONT’D)

  It knows, you see . . .

  Dumbledore stares, transfixed. The chain causes the veins in his hand to swell, bulging monstrously. Grimacing, the wand tumbles from his fingers.

  DUMBLEDORE (CONT’D)

  It senses the betrayal in my heart . . .

  Newt’s gaze shifts to the DROPS of BLOOD, now circling one another more frantically within the troth.

  Dumbledore continues to stare at the troth as it trembles more violently against the wall and the chain snakes slowly up his throat, encircling his neck . . .

  NEWT

  Albus . . .

  . . . drawing tighter, then tighter still . . .

  NEWT (CONT’D)

  Albus . . .

  . . . his eyes rolling up into his head . . .

  NEWT (CONT’D)

  Albus!

  The blood troth drops to the floor and then into Dumbledore’s hand, the chain slithering from his neck and reattaching itself to the troth, its host. Gradually the chain loosens and Dumbledore’s chest heaves, as if he’d just remembered to breathe. He opens his hand. In his palm, the troth trembles briefly, then goes still.

  DUMBLEDORE

  That would be the least of it. A young man’s magic, but as you can see, powerful magic. It can’t be undone.

  THESEUS

  So this proposal. I take it the Qilin has something to do with it?

  Dumbledore’s eyes shift to Newt.

  NEWT

  He promises he won’t tell a soul.

  Dumbledore turns back to Theseus, answers his question.

  DUMBLEDORE

  If we are to defeat him, the Qilin is only part of it. The world as we know it is coming undone. Gellert is pulling it apart with hate, bigotry. Things that seem unimaginable today will seem inevitable tomorrow if we don’t stop him. Should you agree to do what I ask, you’ll have to trust me. Even when every instinct tells you not to.

  Theseus eyes Newt. Finally, he looks up into Dumbledore’s gaze once more.

  THESEUS

  Let’s hear it.

  Dumbledore has always been an enigma. He’s got this spark, this kind of playful quality to him whilst dealing with ridiculously high stakes. But there’s also a kind of slightly father-son, master-apprentice connection between Dumbledore and Newt. In the past movies, Dumbledore’s kind of sent Newt out to do his dirty work for him. In this film he’s beginning to let him in.

  — EDDIE REDMAYNE

  (Newt Scamander)

  It’s an interesting time in Dumbledore’s life: The man that we all grew to love through the Harry Potter films is not fully formed yet, so we get to see an Albus going through big emotional and life-changing decisions and situations, and all of those lead him to become the much-loved, sage headmaster Albus Dumbledore in later years. So we see him confronting his past, confronting old friends, old foes, and also confronting himself.

  — JUDE LAW

  (Albus Dumbledore)

  15 INT. CREDENCE’S ROOM—NURMENGARD—DAY

  Credence’s face comes into frame. He meets his own eyes in the glass, then raises a hand. As he watches, a fly crawls along his arm. He watches, transfixed, then his eyes shift.

  Queenie stands in the doorway.

  CREDENCE

  Does he send you? To spy on me?

  QUEENIE GOLDSTEIN COSTUME SKETCH

  QUEENIE

  No. But he asks. What you’re thinking. What you’re feeling.

  CREDENCE

  And the others? Does he ask you what they’re thinking and feeling?

  QUEENIE

  Yes. But it’s mostly you.

  CREDENCE

  And do you tell him?

  She starts to reply, then falters. As the veins in his hand lighten, returning to normal, Credence turns, looking at Queenie directly for the first time.

  CREDENCE (CONT’D)

  You do?

  He smiles but there is something unnerving about it.

  CREDENCE (CONT’D)

  Who’s reading whose mind now?

  (smile vanishing)

  Tell me what you see.

  She eyes him, then:

  QUEENIE

  You’re a Dumbledore. It’s an important family—you know this because he’s told you. He’s also told you that they abandoned you, that you were a dirty secret. He says Dumbledore abandoned him too and he knows how you feel. And for that reason . . . for that reason, he’s asked you to kill him.

  Credence’s smile has curdled.

  CREDENCE

  I want you to go now, Queenie.

  She nods, makes to exit, then, at the door, stops.

  QUEENIE

  I don’t. Tell him. Not always. Not everything.

  She withdraws, closing the door quietly. Credence stands, unmoving for a moment, then the mirror catches his eye. Slowly, as if drawn by an invisible hand, LETTERS begin to MATERIALIZE on the SURFACE of the glass.

  . . . FORGIVE ME . . .

  Credence looks unsurprised. Stepping forward, he raises his own hand . . . and wipes the mirror clean.

  16 EXT. KOWALSKI’S BAKERY—LOWER EAST SIDE—PREDAWN

  A battered metal window shutter RATTLES upward, revealing the sad and lonely figure of JACOB KOWALSKI standing outside in the chill. He stares bleakly within.

  17 INT. KOWALSKI’S BAKERY—CONTINUOUS—PREDAWN

  The oven door opens to reveal Jacob as he checks that it is still lit.

  He grabs a BRISTLED BRUSH and, stepping to the front window, begins to sweep up yesterday’s crumbs, chasing off the occasional ROACH.

  18 INT. BACKROOM—KOWALSKI’S BAKERY—MOMENTS LATER—PREDAWN

  CLOSE UP—WEDDING CAKE

  A blanket of white icing. An ALTAR made of spun sugar. And two TINY FIGURINES: A BRIDE, poised before the altar. The GROOM, lying facedown in a drift of icing.

  Jacob delicately takes the groom when—BRINNNG!—the shop BELL sounds. He lays the groom back down on the icing.

  19 INT. KOWALSKI’S BAKERY—MOMENTS LATER—PREDAWN

  Jacob emerges, apron on his shoulder, stops cold.

  JACOB

  Hey, we’re closed—

  A WOMAN is peering into the far pastry case.

  JACOB (CONT’D)

  Queenie.

  The woman turns, beams. Queenie.

  QUEENIE

  Hi, sweetie.

  Jacob approaches.

  QUEENIE (CONT’D)

  Honey, look at your bakery, it’s like a ghost town.

  JACOB

  Yeah, well, I . . . I . . . missed you.

  JACOB KOWALSKI COSTUME SKETCH

  KOWALSKI BAKERY PRICE LIST

  KOWALSKI BAKERY RECEIPT PAD

  Tears well in Jacob’s eyes.

  QUEENIE

  Oh, baby. Come here . . . Come here.

  She enfolds him in her arms. He closes his eyes.

  QUEENIE (CONT’D)

  Everything’s going to be all right.

  Everything’s going to be just fine . . .

  NEW ANGLE—JACOB HUGGING HIMSELF IN THE EMPTY SHOP

  He opens his eyes. Looks at his empty arms. Sighs. Through the grimy front window he catches sight of a shy-looking young woman (LALLY HICKS) sitting on the bus bench across the street.

  20 EXT. BUS STOP—LOWER EAST SIDE—CONTINUOUS—PREDAWN

  Lally begins to read. In the near distance, we see THREE WORKMEN approaching.

  One of the men separates from the others.

  WORKMAN 1

  Hey, sweetheart. What brings you downtown?

  Lally continues to read her book.

  LALLY

  I really hope you didn’t spend all day coming up with that.

  The man is a little taken aback by Lally, who remains absorbed in the book in her lap.

  WORKMAN 1

  Oh, you want scary? Is that what you want?

  The workman waits expectantly as Lally studies him solemnly. Finally:

  LALLY

  You know what it is, you just aren’t menacing enough.

  WORKMAN 1

  I think I’m plenty menacing. Am I not menacing?

  He turns to his two cohorts, who seem uncertain.

  LALLY

  Maybe if you waved your arms around. You know, like a crazy man. Then you’d appear more menacing.

  As the workman continues to gesticulate wildly, Lally leans slightly to her left, peering across the street.

  LALLY (CONT’D)

  That’s good, a little more.

  21 INT. KOWALSKI’S BAKERY—CONTINUOUS—PREDAWN

  Jacob squints, watching as the workman looming over Lally begins to wave his arms.

  22 EXT. BUS STOP—LOWER EAST SIDE—CONTINUOUS—PREDAWN

  LALLY

  That’s it. Keep going, keep going. Perfect. Three, two, one . . .

  JACOB (O.S.)

  Hey!

  Jacob comes crashing out of the bakery in a cloud of Colonial Girl flour, BANGING the FRYING PAN with a METAL SPOON as he strides across the street. The three workmen circle away from Lally, start toward Jacob.

  JACOB (CONT’D)

  That’s enough. Get outta here . . .

  WORKMAN 1

  What’s on your mind, baker boy?

  JACOB

  Ah, jeez. You should be ashamed of yourselves.

  Lally watches carefully as the three men close in on Jacob, never taking her eyes from them.

  JACOB (CONT’D)

  Tell you what, I’ll give you the first shot, go ahead—

  WORKMAN 1

  Are you sure?

  BANG!

  Workman 1 drops. Jacob freezes. Seconds later the FRYING PAN comes clattering down to earth as he drops it.

  The first workman rolls up into a sitting position, rubs his neck.

  WORKMAN 1

  Last time I ever help that woman out again . . . Lally!

  Lally touches her wand to her sad little bob and—in quick succession—her lustrous hair spills forth, the spectacles vanish, and her dowdy dress and stiff collared shirt transform into smartly tailored slacks and a soft, flowing blouse.

  LALLY

  Whoopsie, Frank. Sometimes I forget my own strength. I’ll take it from here. Thank you!

  WORKMAN 3

  Welcome.

  WORKMAN 2

  Catch you later, Lally . . .

  LALLY

  Bye, Stanley, I’ll be over for a game of Befuddler Dudley soon.

  WORKMAN 2

  All right.

  LALLY

  That’s my cousin Stanley. He’s a wizard.

  Instantly, Jacob picks up the frying pan and begins to back away, shaking his head.

  JACOB

  No!

  LALLY

  Please, it’s early, don’t make me work for it.

  JACOB

  I said I wanted out. And I want out.

  LALLY

  Come now, Mr. Kowalski—

  Jacob enters the bakery.

  JACOB

  My therapist said you wizards don’t exist. What a waste of money!

  Lally magically appears standing opposite him inside the bakery, chewing on a cinnamon bun.

  LALLY

  You do know I’m a witch, right?

  JACOB

  Yeah. Look. You seem like a really nice witch, but you don’t know what I’ve been through with you people—so could you please get out of my life.

  Jacob opens the door and gestures for Lally to leave. When she continues to talk, he leaves the shop, still carrying the frying pan. Lally follows him.

  LALLY

  (in one long stream)

  A little over a year ago, in the hopes of securing a small business loan, you walked through the doors of the Steen National Bank—located about six blocks from here—you then made the acquaintance of one Newt Scamander, the world’s foremost—albeit only—Magizoologist, you then learned of a world you had previously been wholly unaware of, you met and fell in love with a witch named Queenie Goldstein, had your brain wiped by means of Obliviation, only it didn’t take, and—as a result—you reunited with Miss Goldstein who—after your refusal to marry her—decided to join Gellert Grindelwald and his dark army of followers, who pose the single greatest threat to your world and ours in four centuries. How did I do?

  Jacob sits down and just stares.

  JACOB

  Yeah. That’s good. Except for the part about Queenie going over to the dark side. I mean, yeah, she’s cuckoo, but she’s got a heart bigger than this whole crazy island and she’s so smart, she can legitimately read your brain, she’s a whatchamacallit—

  LALLY

  A Legilimens.

  JACOB

  Yeah . . .

  Jacob sighs, stands, and begins to walk toward the bakery. After a moment, he turns back to Lally.

  JACOB

  Look. You see this, you see the pan.

  (holding up the frying pan)

  That’s me. I’m the pan. I’m all dented. Dime a dozen. I’m just a schmo. I don’t know what crazy ideas you have in your head there, lady, but I’m sure as hell you can do a lot better than me. Goodbye.

  Jacob turns and hobbles slowly toward the dim lights of the bakery.

  LALLY

  I don’t think we can, Mr. Kowalski.

  He stops but doesn’t turn.

  LALLY (CONT’D)

  You could’ve ducked under the counter, but you didn’t. You could’ve looked the other way, but you didn’t. In fact you were willing to put yourself in danger to save a perfect stranger. Seems to me you’re just the kind of average joe the world needs right now. You just don’t know it yet—that’s why I had to show you.

  (beat)

  We need you, Mr. Kowalski.

  Jacob looks at the wedding cake in the bakery and makes his decision. He turns to face Lally.

  JACOB

  All right. Call me Jacob.

  LALLY

  Call me Lally.

  JACOB

  Lally. I gotta lock up.

  Lally waves her wand. The door closes, the lights turn out, and the shutters fall over the bakery. Jacob’s clothes transform.

  JACOB (CONT’D)

  Thanks.

  LALLY

  Much better, Jacob.

  Lally lets the book slip free of her fingers and, boards flapping, it softly flutters in the air, where the pages begin to turn.

  As she extends her hand, the pages riffle faster and faster, then explode from the binding, dispersing into the air like a kaleidoscope of butterflies.