GRINDELWALD

  Dumbledore sent you, am I right?

  KAMA

  He fears you are in possession of a creature. He fears the use you may put it to. He sent me here to spy on you. What would you like me to tell him?

  GRINDELWALD

  Queenie. Is he telling the truth?

  Queenie eyes Kama. Something troubles her eyes.

  She nods.

  Grindelwald’s gaze shifts to Credence in the shadows. Grindelwald nods, almost imperceptibly, and Credence slips away. Grindelwald turns his gaze back on Kama.

  GRINDELWALD

  What else?

  QUEENIE

  Even though he believes in you, he holds you responsible for his sister’s death. He carries her absence with him every day. Every breath he takes is a reminder that she breathes no more.

  Queenie sees Kama staring into her eyes. Grindelwald nods to himself, as if pondering this. Then draws his wand.

  GRINDELWALD

  Then I presume you won’t mind if I relieve you of your sister’s memory.

  Grindelwald steps forward and places the tip of his wand to Kama’s temple, watching him, to see if he will resist in any way. But Kama remains still, stalwart.

  GRINDELWALD (CONT’D)

  Right?

  KAMA

  Right.

  Slowly, Grindelwald retracts his wand, extracting a TRANSLUCENT STRAND as he does. Queenie attempts to remain composed, watching as—for a fleeting moment—a sense of loss ripples through Kama’s face.

  Just then, the translucent strand breaks free of Kama’s temple. It flutters like a kite’s tail at the end of Grindelwald’s wand and then turns to MIST.

  GRINDELWALD

  There. Better?

  Kama stares ahead, eyes unfocused. Finally, Kama nods.

  GRINDELWALD (CONT’D)

  I thought so. When we allow ourselves to be consumed by anger, the only victim is ourself.

  (a smile, then:)

  Now. We were just about to depart. Perhaps you’d like to join us? Come, we can talk some more about our mutual friend, Dumbledore.

  Queenie watches Grindelwald begin to escort Kama inside, when—just as he passes—Kama’s vacant eyes meet hers—briefly aglimmer with intensity—as if he were sending her a message. As he vanishes inside:

  ROSIER

  After you.

  Queenie looks up, sees Rosier studying her. Rosier gestures and closes the door behind her as we CUT TO:

  47 EXT. CROWDED STREET—BERLIN—DAY

  Dumbledore, walking briskly, heads through the Berlin streets. Credence follows behind.

  Dumbledore crosses the street and slowly comes to a stop in front of a shop, where he sees Credence, in the reflection of the window, visible behind and between passing cars.

  Dumbledore slowly blows on a snowflake, and it transforms into a water droplet.

  We follow the drop as it flies into the window like a translucent bullet and over the reflected view of the trams and cars, traveling across to Credence, breaking on his forehead. As it bursts, the sound of the street melts away, becoming distant.

  DUMBLEDORE

  Hello, Credence.

  Dumbledore turns and faces him. Credence tenses, wand ready, as Dumbledore steps out into the street. The world around them seems different, slower somehow, like we have shifted into a subtle mirror of BERLIN, a reflection of itself.

  They circle each other; the crowds around them seem oblivious. Credence, wand poised.

  CREDENCE

  Do you know what it’s like? To have no one? To always be alone?

  Dumbledore slowly realizes.

  DUMBLEDORE

  It’s you. You’re the one sending messages in the mirror.

  CREDENCE

  I’m a Dumbledore. You abandoned me. The same blood that runs my veins runs yours.

  The PHOENIX swoops past; Dumbledore glances up at it. The dark energy emanating from within Credence starts to ripple outward, cracking the pavement, lifting the tram rails up around them. Dumbledore studies the energy, recognizing it, all the while the world around seems to continue on as normal.

  CREDENCE (CONT’D)

  He’s not here for you. He’s here for me.

  The ground starts to splinter and break around Credence. Dumbledore tenses, sensing what may be coming.

  A GREEN BOLT spits from Credence’s wand. Dumbledore parries it, his movements smooth, wicked-fast. Instantly, Credence advances and fires another spell, lifting the ground and smashing it forward around Dumbledore, who dissipates the explosive onslaught before he Apparates out of the way.

  Credence is running now, lifting cars, masonry, glass from windows, all collecting and sending a rippling, seismic earthquake ahead of him, toward Dumbledore.

  Before Dumbledore can parry any further, Credence is upon him, the two locked arm in arm as they duel.

  Behind them, a TRAM is approaching and Dumbledore Apparates backward. Credence follows, and we go with them ONTO THE TRAM, as Credence seeks him out in his relentless onslaught. Credence releases another powerful spell, splitting THE TRAM IN HALF, as we travel at blinding speed from INSIDE OUT AND BACK INTO the street with them.

  SILENCE

  The STREET, eerily quiet now, and for the first time, Credence starts to register how the world around him feels different.

  Credence, suddenly aware of a wand at his neck, turns to see Dumbledore standing behind him.

  Dumbledore lifts the DELUMINATOR.

  DUMBLEDORE

  Things are not quite what they appear, Credence. No matter what you’ve been told.

  With a flick, the STREET around them is sucked into it, melting like a painting, leaving a negative image of the real world as if it were a distant memory.

  CREDENCE

  My name is Aurelius.

  DUMBLEDORE

  He’s lied to you, to kindle your hate.

  Credence, frustrated, lashes out, lightning fast, and for a moment, he and Dumbledore duel at kinetic speed.

  Dumbledore defends easily when Credence fires a VOLLEY of EXPLOSIVE SPELLS, which Dumbledore weathers before he stretches out his hand and hits Credence with a spell that sends him reeling backward, causing a black, kinetic mass to erupt from his body.

  Gently lowered by Dumbledore’s hand, Credence falls slowly, his back on the snowy street, staring upward at the angry sky, at the circling Phoenix.

  Dumbledore, chest heaving, lowers his wand and as the black vapors writhe behind Credence, watches the Phoenix swoop down, hover briefly over Credence, then beat its wings and soar off.

  NEW ANGLE—CREDENCE

  Dumbledore approaches. He crouches down—calmly—watching at Credence’s side.

  Credence’s eyes shift, peer into Dumbledore’s.

  DUMBLEDORE (CONT’D)

  What he’s told you isn’t true. But we do share the same blood. You are a Dumbledore.

  Hearing this, Credence’s eyes meet Dumbledore’s. They remain like this for a moment, connected, before the flowing black mass rushes back into Credence. Dumbledore gently places his hand on Credence’s chest.

  DUMBLEDORE (CONT’D)

  I’m sorry for your pain. We didn’t know, I promise.

  Dumbledore lifts the DELUMINATOR once more, a spell ripples forth, and he and Credence are now in the street, the world of their duel reflected beneath them in pools of water collected by the melted snow.

  Dumbledore steps back from Credence, studying him carefully, and stretches out his hand.

  When Credence takes it, Dumbledore reaches down and lifts him up, before slipping away into the busy street. Credence watches him go.

  Usually if we smash up a city, we then have to fix it. But here Dumbledore and Credence are in a mirror world, and that gives us the chance to really show off Credence’s unique skills as a wizard and come up with new ways to visualize spells, which ultimately are like these beautiful sculptures in the air. One thing we did was experiment with changing matter, so what looks like it should be solid becomes a liquid, or a massive tsunami of rubble becomes snow with the flick of a wand. And in the end, we’re left in this world that’s gone completely black, but in the melted puddles all over the ground you can see daylight and traffic in the real Berlin going on just as it was.

  — CHRISTIAN MANZ

  (Visual Effects)

  48 EXT. CLOSED U-BAHN ENTRANCE—BERLIN—SAME TIME—EVENING

  We see Newt approach and unlock a RUSTED GRILLE.

  49 INT. ERKSTAG PRISON—BERLIN—MOMENTS LATER

  A GUTTERING CANDLE eerily illuminates an unkempt WARDER stationed before a wall of PIGEON HOLES.

  ERKSTAG PRISON ELEVATION

  NEWT

  I’ve come to see my brother. His name is Theseus Scamander—

  As Newt extends the PAPERS Dumbledore provided, a well-traveled PHOTOGRAPH of Tina spins onto the desk. An overzealous charmed STAMP moves its way across Newt’s papers, heading toward the photograph. Newt snatches it away just in time.

  NEWT (CONT’D)

  Sorry, that’s just . . .

  Newt then notices: The Warder is wearing Theseus’s tie. He stares for a moment, then:

  WARDER

  Wand.

  Newt frowns, reaches into his coat, reluctantly complies. The Warder rises stiffly and begins to pass his own wand over Newt. As it hovers over a pocket, a SQUEAK is heard.

  NEWT

  Oh. That’s— I’m a Magizoologist . . .

  The Warder fishes Pickett out of the pocket.

  NEWT (CONT’D)

  He’s perfectly harmless. He’s just a . . . pet, really.

  Pickett cranes his neck upward and frowns.

  NEWT (CONT’D)

  Sorry.

  Teddy pokes his head out of another pocket.

  NEWT (CONT’D)

  That’s Teddy—he’s a total nightmare, truth be told—

  WARDER

  They stay here.

  Reluctantly, Newt hands both over, watching miserably as the Warder places Pickett, along with Newt’s wand, into one cubbyhole and Teddy into another, his plump body filling it to capacity. Pickett SQUEAKS BESEECHINGLY.

  With a SICKENING, SQUELCHING SOUND, the Warder plunges his hand into a BUCKET SQUIRMING with GRUBS, plucks one out, and shakes it in his fist, where it QUIVERS briefly before transforming into a FIREFLY. He deposits it in a tiny tin LANTERN. As it flutters about, the lantern glows feebly with a TREMULOUS LIGHT. Taking the lantern in hand, Newt eyes the dark passage.

  NEWT SCAMANDER NOTEBOOK SKETCHES

  NEWT

  How will I know where to find him?

  WARDER

  He is your brother?

  NEWT

  Yes.

  WARDER

  He will be the one who looks like your brother.

  As Newt heads off, Pickett stares after him.

  NEWT

  I’ll be back, Pick. On my word.

  Just before the darkness swallows him, Newt looks back.

  WARDER

  “I’ll be back, Pick. On my word.” And I’ll be Minister of Magic one day.

  The Warder GRINS CRUELLY. Teddy looks on as Pickett sticks out his tongue at him.

  50 EXT. GERMAN MINISTRY—NIGHT

  The streets surrounding the Ministry are now teeming with supporters of Grindelwald, holding placards bearing his likeness as the DRUMMERS beat their skins fiercely. At the top of the steps, Helmut surveys it all impassively.

  51 INT. GRINDELWALD’S CAR—CONTINUOUS—NIGHT

  Grindelwald stares—with cool fascination—at the FUNHOUSE OF FACES beyond the tinted glass. Rosier sits beside him.

  The faces beyond are no longer in focus. Instead, an IMAGE plays on the glass, an image only Grindelwald can see. Jacob bearing a wand.

  Rosier has leaned forward and is talking to the driver.

  ROSIER

  Take us around back. It’s not safe here.

  GRINDELWALD

  (coming round)

  No. Roll it down.

  GELLERT GRINDELWALD MONOGRAM HOOD ORNAMENT DESIGN

  ROSIER

  What?

  GRINDELWALD

  The window. Roll it down . . .

  Hand trembling, Rosier reaches out and CRACKS the window. Instantly CLAWING FINGERS probe the shadows of the car and VOICES RAGE. Throughout, Grindelwald remains calm, eyes shut. Then, without warning, he LIFTS the door latch . . .

  ROSIER

  No! No!

  As Grindelwald pitches himself into the maelstrom outside, Rosier sits frozen.

  52 EXT. GERMAN MINISTRY—CONTINUOUS—NIGHT

  Waving like a Roman magistrate, Grindelwald lets the tide of rabid supporters sweep him up the steps.

  53 INT. BALCONY ABOVE—GERMAN MINISTRY—SAME TIME—NIGHT

  A TALL BRITISH WITCH stands with the FRENCH MINISTER (VICTOR), Fischer, and Vogel, staring down at the swelling crowd.

  VOGEL

  Those people aren’t suggesting we listen to them. They aren’t asking us to listen. They’re demanding it.

  BRITISH WITCH

  You’re not actually proposing that man be allowed to stand—

  GRINDELWALD ELECTION MATERIALS

  VOGEL

  Yes! Yes, let him stand!

  Below, Rosier, white as a ghost, steps out of the car and watches Grindelwald move through the crowd.

  BRITISH WITCH

  Gellert Grindelwald wants Muggle-Wizard war! And if he gets his wish, he won’t just destroy their world, he’ll destroy ours as well.

  VOGEL

  Which is why he cannot win! Let him stand as a candidate. Let the people vote. When he loses, the people will have spoken. But deny them their voices . . . and those streets will run with blood.

  The others look down, watch Grindelwald borne over the arms of the crowd and up the steps of the Ministry.

  54 INT. PASSAGEWAY—ERKSTAG PRISON—NIGHT

  A tiny fluttering blob of light approaches. As it draws closer, Newt comes clear. He stops.

  NEWT

  Theseus!

  Tiny movements can be heard in the surrounding shadows.

  Newt crouches, swings the lantern. A tiny crab-like creature—a BABY MANTICORE—scuttles into view. Seeing Newt, it waggles its antennae. It is—there’s simply no denying it—adorable.

  Newt seems less than charmed. As he watches, another baby Manticore appears, then another, then another still. One peers up, bares TEETH. Not adorable.

  Newt backs away into a central atrium, his feet at the edge of a great pit. He looks down into the vast, dark hole. Something stirs in the shadows below.

  Newt suddenly adopts an odd, crab-like pose. The baby Manticores copy him.

  55 INT. GRAND HALL—GERMAN MINISTRY—NIGHT

  Plates of lobster are being ferried to tables. Seated now, Lally’s eyes rake the room, clocking the tables where Liu and Santos sit and assessing the potential threat the BUSBOYS and WAITERS orbiting them pose. One DARK-EYED WAITER keeps crossing into Lally’s view.

  As Jacob’s GOBLET magically fills with wine, he takes it and—noticing Edith waving enthusiastically from across the room—tips his goblet in a toast. He then notices a DISTINGUISHED WIZARD with conductor’s hair sitting to Edith’s left.

  JACOB

  Lally. The guy with the hair. Sitting next to Edith. He looks like he can kill somebody. He also looks like my uncle Dominic.

  LALLY

  (looking)

  Is your uncle Dominic the Norwegian Minister of Magic?

  JACOB

  No.

  LALLY

  Didn’t think so.

  Lally smiles. Then, abruptly, the energy in the room shifts and Grindelwald and his entourage stumble into the room in high spirits. Hair askew, jacket rumpled, Grindelwald seems rakishly authentic in this room of wheezing wannabes. He turns to the HOUSE ELF QUARTET to resume playing.

  JACOB KOWALSKI COSTUME SKETCH

  He moves through the room, trailed by Rosier, Queenie, Kama, Carrow, Zabini, and Acolytes.

  As Queenie crosses, Jacob rises.

  JACOB

  Queenie . . . Queenie.

  Queenie knows he’s there but blanks him completely.

  GRINDELWALD

  (spotting Santos)

  Madam Santos. A pleasure. Your supporters are in fine voice.

  SANTOS

  (a steely smile)

  As are yours, Mr. Grindelwald.

  Grindelwald constructs a smile.

  56 INT. FAR PASSAGEWAY—ERKSTAG—NIGHT

  Theseus hangs from his ankles in a small cell. As a CLATTERING SOUND RISES, he peers down the passageway, watching as Newt comes into view, doing an odd sidelong scissor walk, trailed by HUNDREDS of BABY MANTICORES, all of whom appear to be mimicking him.

  THESEUS

  Rescuing me, are you?

  NEWT

  That’s the general idea.

  THESEUS

  (Newt’s scissor walk)

  I presume this—whatever it is that you are doing—is strategic?

  NEWT

  It’s a technique called limbic mimicry. It discourages violent engagement. Theoretically. I’ve only actually attempted it once before.

  THESEUS

  And the results?

  NEWT

  Inconclusive. Also, that was a laboratory setting and the conditions were strictly controlled, and the current conditions are more volatile, making it less predictive of ultimate outcome.

  THESEUS

  Ultimate outcome presumably being our survival.

  Newt remains very still as a huge ANTENNA emerges from the darkness below. Theseus and Newt stare at each other in alarm. Newt delicately turns to the antenna, it studies him for a moment, then the lamplight in the cell adjacent to Theseus’s sputters out.