Fantastic Beasts全剧本里的格林德沃
*下午忍不住摸了个鱼，把剧本里的gg全部挑出来摘录了，看完之后感想是忽略一些颜值上的不可抗力罗琳笔下的gg还是有一定逼格的，忍不住就对未来多了点展望（好了不要做梦了！
*觉得有趣的地方标了下黑
Fantastic Beasts and Where to Find Them: The Original Screenplay
Some Further Added Details:
1. While having a secret meeting at a dinner with Credence, Graves turns an ordinary, wilted carnation into a Periculid, a beautiful but deadly magical flowers (链接)
2. Graves is investigating the goings-on in NYC, and he corresponds with Newt’s brother Theseus who lives in the U.K. and is a very powerful Auror. (43 Things to Know about the New Wizarding World Story)
SCENE 1
EXT. SOMEWHERE IN EUROPE—1926—NIGHT
A large, isolated, derelict chateau emerges from the darkness. We focus on a cobbled square outside the building, shrouded in mist, eerie, silent.
Five Aurors stand, wands aloft, tentative as they edge toward the chateau. A sudden explosion of pure white light sends them flying.
We whip around to find their bodies scattered, lying motionless at the entrance to a large parkland. A figure (Grindelwald) enters the frame, his back to the camera; ignoring the bodies, he stares out into the night sky as we pan up toward the moon.
MONTAGE:
We see various magical newspaper headlines from 1926 relating to Grindelwald’s attacks all over the world: GRINDELWALD STRIKES AGAIN IN EUROPE, HOGWARTS SCHOOL INCREASES SECURITY, ANTI-WIZARD FEELING ON THE RISE, WHERE IS GRINDELWALD?, IS ANYONE SAFE? He’s a serious threat to the magical community and he’s vanished. Moving photos detail destroyed buildings, fires, screaming victims. The articles come thick and fast—the worldwide hunt for Grindelwald continues. We push in on a final article displaying the Statue of Liberty.
SCENE 5
EXT. STREET NEAR CITY HALL SUBWAY—DUSK
A long street of identical brownstone houses, one of which has been reduced to rubble. A gaggle of reporters and photographers mills around in the vague hope of something happening, but without much enthusiasm. One reporter is interviewing an excitable middle-aged man as they move through the rubble.
WITNESS
—and it was like a—like a wind or like a—like a ghost—but dark—and I saw its eyes—shinin’ white eyes—
REPORTER
(expressionless—notebook in his hand)
—a dark wind—with eyes . . .
WITNESS
—like a dark mass, and it dove down there, down underground—I swear to God . . . into the earth right in front of me.
CLOSE ON PERCIVAL GRAVES as he walks toward the destroyed building.
Graves: Smart clothing, very handsome, early middle-age, his demeanor differs from those around him. He is watchful, tightly coiled, an air of intense confidence.
PHOTOGRAPHER
(sotto voce)
Hey—did you get anything?
REPORTER
(sotto voce)
Dark wind, blah blah.
PHOTOGRAPHER
It’s some atmospheric hooey. Or electrical.
Graves moves up the steps of the now ruined building. He examines the destruction, curious, alert.
REPORTER
Hey—you thirsty?
PHOTOGRAPHER
Nah, I’m on the wagon. Promised Martha I’d lay off.
Wind begins to pick up, swirling around the building, accompanied by a high-pitched screeching. Graves alone looks interested.
A sudden series of bangs at street level. All turn to look for the source of the sound: A wall cracks, the rubble on the floor begins to shake before exploding like an earthquake, ripping out of the building and down through the middle of the street. The movement is violent, rushed—people and cars go flying.
The mysterious force then flies up into the air, swirling through the city, diving in and out of alleyways, before crashing down into a subway station.
CLOSE ON GRAVES as he examines the destruction of the street.
A mingled roar and howl emanates from the bowels of the earth.
SCENE 22
INT. MAJOR INVESTIGATION DEPARTMENT—DAY
CLOSE ON A NEWSPAPER—The New York Ghost, with the headline MAGICAL DISTURBANCES RISK WIZARDING EXPOSURE.
A group of the highest-level Aurors in the organization are gathered together in serious discussion. Among them is Graves, examining the newspaper, his face cut and bruised from last night’s encounter with the strange entity, and President Seraphina Picquery herself.
MADAM PICQUERY
The International Confederation is threatening to send a delegation. They think this is related to Grindelwald’s attacks in Europe.
GRAVES
I was there. This is a beast. No human could do what this thing is capable of, Madam President.
MADAM PICQUERY (O.S.)
Whatever it is, one thing’s clear—it must be stopped. It’s terrorizing No-Majs and when No-Majs are afraid, they attack. This could mean exposure. It could mean war.
……
MADAM PICQUERY
Well, this office is currently concerned with very major incidents. Get out.
TINA
(humiliated)
Yes, ma’am.
Tina pushes a bemused-looking Newt back toward the elevator. Graves looks after them, the only one to appear sympathetic.
SCENE 24
Graves comes around the corner. Abernathy is immediately cowed.
ABERNATHY
Afternoon, Mr. Graves, sir!
GRAVES
Afternoon, ah—Abernathy.
Tina steps forward to formally address Graves.
TINA
(speaking quickly, eager to have her case heard)
Mr. Graves, sir, this is Mr. Scamander—he has a crazy creature in that case and it got out and caused mayhem in a bank, sir.
GRAVES
Let’s see the little guy.
Tina breathes a sigh of relief: Finally someone is listening to her. Newt tries to speak up—he looks more panicky than might seem warranted by a Niffler—but Graves dismisses him.
Tina theatrically places the case onto a table and throws open the lid. She looks aghast at the contents.
ANGLE ON THE CASE CONTENTS—it is full of pastries.
Newt approaches, nervous. On seeing the contents, he looks horrified. Graves looks confused, but smirks slightly—another one of Tina’s mistakes.
GRAVES
Tina . . .
Graves walks away. Newt and Tina stare at each other.
SCENE 42
EXT. BROADWAY—NIGHT
Credence is walking alone through a worldly crowd of late-night diners and theatergoers. Traffic roars past. He is trying to give out leaflets but is met with only incredulity and faint derision.
The Woolworth Building looms ahead. Credence glances toward it with a hint of longing. Graves stands outside, watching Credence intently. Credence spots him, hope flickering across his face. Utterly enthralled, Credence moves across the street toward Graves, barely looking where he’s going—everything else is forgotten.
SCENE 43
EXT. ALLEYWAY—NIGHT
Credence stands, head bowed, at the end of a dimly lit alleyway. Graves joins him, moving in very close to whisper, conspiratorial:
GRAVES
You’re upset. It’s your mother again. Somebody’s said something—what did they say? Tell me.
CREDENCE
Do you think I’m a freak?
GRAVES
No—I think you’re a very special young man or I wouldn’t have asked you to help me, now would I?
A pause. Graves rests a hand on Credence’s arm. The human contact seems to both startle and captivate Credence.
GRAVES
Have you any news?
CREDENCE
I’m still looking. Mr. Graves, if I knew whether it was a girl or boy—
GRAVES
My vision showed only the child’s immense power. He or she is no older than ten, and I saw this child in close proximity to your mother—she I saw so plainly.
CREDENCE
That could be any one of hundreds.
Graves’s tone softens—he’s beguiling, comforting.
GRAVES
There is something else. Something I haven’t told you. I saw you beside me in New York. You’re the one that gains this child’s trust. You are the key—I saw this. You want to join the wizarding world. I want those things too, Credence. I want them for you. So find the child. Find the child and we’ll all be free.
SCENE 48
EXT./INT. STREET OUTSIDE THE SECOND SALEM CHURCH—NIGHT
Credence walks home toward the church. He looks happier than before: His meeting with Graves comforted him.
SCENE 60
INT. PENTAGRAM OFFICE—NIGHT
An impressive hall arranged like an old parliament debating chamber. Every seat is occupied by wizards from all parts of the world. Madam Picquery is presiding, Graves at her side.
The Swiss delegate is speaking.
HEINRICH EBERSTADT
. . . that threatens to expose us all.
MADAM PICQUERY
I will not be lectured by the man who let Gellert Grindelwald slip through his fingers—
A hologram image of Senator Shaw’s dead and twisted body floats high above the room, emitting a glowing light.
All heads turn as Tina hurries into the chamber.
TINA
Madam President, I’m so sorry to interrupt, but this is critical—
Echoing silence. Tina slides to a halt in the middle of the marble floor before realizing exactly what she’s walked into. The delegates stare at her.
MADAM PICQUERY
You’d better have an excellent excuse for this intrusion, Miss Goldstein.
TINA
Yes—I do.
(stepping forward to address her)
Ma’am. Yesterday a wizard entered New York with a case. This case full of magical creatures, and—unfortunately—some have escaped.
MADAM PICQUERY
He arrived yesterday? You have known for twenty-four hours that an unregistered wizard set magical beasts loose in New York and you see fit to tell us only when a man has been killed?
TINA
Who has been killed?
MADAM PICQUERY
Where is this man?
Tina sets the case flat on the floor and thumps the lid. After a second or two, it creaks open. First Newt, then Jacob emerges, looking sheepish and nervous.
BRITISH ENVOY
Scamander?
NEWT
(closing the case)
Oh—er—hello, Minister.
MOMOLU WOTORSON
Theseus Scamander? The war hero?
BRITISH ENVOY
No, this is his little brother. And what in the name of Merlin are you doing in New York?
NEWT
I came to buy an Appaloosa Puffskein, sir.
BRITISH ENVOY
(suspicious)
Right. What are you really doing here?
MADAM PICQUERY
(to Tina, about Jacob)
Goldstein—and who is this?
TINA
This is Jacob Kowalski, Madam President, he’s a No-Maj who got bitten by one of Mr. Scamander’s creatures.
Furious reaction from the MACUSA employees and dignitaries all around.
MINISTERS
(whispers)
No-Maj? Obliviated?
Newt is absorbed in the image of Senator Shaw’s body floating around the room.
NEWT
Merlin’s beard.
MADAM YA ZHOU
You know which of your creatures was responsible, Mr. Scamander?
NEWT
No creature did this . . . Don’t pretend! You must know what that was; look at the marks . . .
ANGLE ON SENATOR SHAW’S FACE.
ANGLE ON NEWT.
NEWT
That was an Obscurus.
Mass consternation, muttering, exclamations. Graves looks alert.
MADAM PICQUERY
You go too far, Mr. Scamander. There is no Obscurial in America. Impound that case, Graves!
Graves summons the case; it lands next to him. Newt draws his wand.
NEWT
(to Graves)
No . . . Give that b—!
MADAM PICQUERY
Arrest them!
A dazzling eruption of spells hits Newt, Tina, and Jacob, all of whom are slammed to their knees. Newt’s wand flies out of his hands, caught by Graves.
Graves stands and picks up the case.
NEWT
(magically restrained)
No—no—don’t hurt those creatures—please, you don’t understand—nothing in there is dangerous, nothing!
MADAM PICQUERY
We’ll be the judges of that!
(to the Aurors now standing behind them)
Take them to the cells!
ANGLE ON GRAVES watching Tina as she, Newt, and Jacob are dragged away—
NEWT
(screaming, desperate)
Don’t hurt those creatures—there is nothing in there that is dangerous. Please don’t hurt my creatures—they are not dangerous . . . Please, they are not dangerous!
SCENE 65
INT. INTERROGATION ROOM—DAY
A small, bare room, black-walled and windowless.
Graves sits opposite Newt at an interrogation desk, a file open in front of him. Newt squints forward, a bright light shining into his eyes.
Tina stands behind, flanked by the two executioners.
GRAVES
You’re an interesting man, Mr. Scamander.
TINA
(stepping forward)
Mr. Graves—
Graves holds a finger to his lips, signaling for Tina to be silent. The gesture is patronizing, but authoritative. Tina looks kowtowed—she obeys, stepping back into the shadows.
Graves examines the file on his desk.
GRAVES
You were thrown out of Hogwarts for endangering human life—
NEWT
That was an accident!
GRAVES
—with a beast. Yet one of your teachers argued strongly against your expulsion. Now, what makes Albus Dumbledore so fond of you?
NEWT
I really couldn’t say.
GRAVES
So setting a pack of dangerous creatures loose here was just another accident, is that right?
NEWT
Why would I do it deliberately?
GRAVES
To expose wizardkind. To provoke war between the magical and non-magical worlds.
NEWT
Mass slaughter for the greater good, you mean?
GRAVES
Yes. Quite.
NEWT
I’m not one of Grindelwald’s fanatics, Mr. Graves.
A tiny change of expression tells us that Newt has scored a hit. Graves is looking more menacing.
GRAVES
I wonder what you can tell me about this, Mr. Scamander?
With a slow move of his hand, Graves raises up the Obscurus from Newt’s case. He brings it onto the desk—it is pulsing, swirling, and hissing.
CLOSE ON TINA as she stares, disbelieving.
Graves reaches a hand toward the Obscurus—he’s utterly fascinated. At his sudden close proximity, the Obscurus swirls faster, bubbling and shrinking backward.
Newt turns instinctively to Tina. Without fully realizing why, it is she whom he wants to convince.
NEWT
It’s an Obscurus—
(off her look)
But it’s not what you think. I managed to separate it from the Sudanese girl as I tried to save her—I wanted to take it home, to study it—
(off Tina’s shock)
But it cannot survive outside that box, it could not hurt anyone, Tina!
GRAVES
So it’s useless without the host?
NEWT
“Useless?” “Useless?” That is a parasitical magical force that killed a child. What on earth would you use it for?
Newt, anger finally boiling within him, stares at Graves. Tina, reacting to the atmosphere, also looks to Graves—concern and trepidation written across her face.
Graves realizes his mistake. He stands, brushing off the questions, turning the blame back onto Newt.
GRAVES
You fool nobody, Mr. Scamander. You brought this Obscurus into the city of New York in the hope of causing mass disruption—breaking the Statute of Secrecy and revealing the magical world—
NEWT
You know that can’t hurt anyone, you know that!
GRAVES
—you are therefore guilty of a treasonous betrayal of your fellow wizards and are sentenced to death. Miss Goldstein, who has aided and abetted you—
NEWT
No, she’s done nothing of the kind—
GRAVES
—she receives the same sentence.
The two executioners step forward. They calmly, intrusively, press the tips of their wands into Newt’s and Tina’s necks.
Tina is so overcome with shock and fear that she can barely speak.
GRAVES
(to the executioners)
Just do it immediately. I will inform President Picquery myself.
NEWT
Tina.
Graves again places a finger to his lips.
GRAVES
Shh.
(waving to the executioners)
Please.
SCENE 77
INT. STAIRS LEADING TO CELLS—MOMENTS LATER—DAY
Graves moves down the stairs with urgency. For the first time, a look of panic on his face.
SCENE 79
EXT. STREETS OF NEW YORK—LATE AFTERNOON
HIGH WIDE ABOVE NEW YORK. We zoom over rooftops before diving down through streets and alleyways, past speeding cars and cackling children.
We come to rest in an alleyway at the Second Salem Church, where Credence is pasting up posters advertising Mary Lou’s next meeting.
Graves Apparates into the alleyway. Credence, startled, backs away, but Graves makes straight for him, his tone and manner urgent, forceful.
GRAVES
Credence. Have you found the child?
CREDENCE
I can’t.
Graves, impatient but feigning calm, holds out his hand—suddenly seeming caring, affectionate:
GRAVES
Show me.
Credence whimpers and cowers, almost backing farther away. Graves gently takes Credence’s hand in his own and examines it—the hand is covered in deep red cuts, sore and bleeding.
GRAVES
Shhhh. My boy, the sooner we find this child, the sooner you can put that pain in the past where it belongs.
Graves gently, almost seductively, moves his thumb across the cuts, healing them instantly. Credence stares.
Graves seems to make a decision. He puts on an earnest, trustworthy expression as, from his pocket, he produces a chain bearing the symbol of the Deathly Hallows.
GRAVES
I want you to have this, Credence. I would trust very few with it—
Graves moves close, placing the chain around Credence’s neck as he whispers:
GRAVES
Very few.
Graves places his hands on either side of Credence’s neck, drawing him in, his speech quiet, intimate:
GRAVES
. . . But you—you’re different.
Credence is unsure, both nervous of and attracted by Graves’s behavior.
Graves rests his hand on Credence’s heart, covering the pendant.
GRAVES
Now, when you find the child, touch this symbol and I will know, and I will come to you.
Graves moves even closer to Credence, his face inches from the boy’s neck—the effect is both alluring and threatening—as he whispers:
GRAVES
Do this and you will be honored among wizards. Forever.
Graves pulls Credence into a hug, which, with his hand on Credence’s neck, seems more controlling than affectionate. Credence, overwhelmed by the seeming affection, closes his eyes and relaxes slightly.
Graves slowly backs away, stroking Credence’s neck. Credence keeps his eyes closed, longing for the human contact to continue.
GRAVES
(whispers)
The child is dying, Credence. Time is running out.
Abruptly, Graves strides back down the alleyway and Disapparates.
SCENE 82
INT. THE BLIND PIG—NIGHT
A seedy, low-ceilinged speakeasy for the down-and-out of New York’s magical community. Every witch and wizard criminal in New York is here, their wanted posters hanging proudly on the walls. A glimpse of GELLERT GRINDELWALD: WANTED FOR NO-MAJ SLAYINGS IN EUROPE.
SCENE 93
EXT. SECOND SALEM CHURCH—NIGHT
Graves Apparates in the shadows. Wand drawn, he slowly approaches the church, examining the scene of decimation. Rather than nervous, he seems intrigued, almost excited.
SCENE 94
INT. SECOND SALEM CHURCH—NIGHT
The place is destroyed—moonlight filters through gaps in the roof, and Chastity lies dead amid debris from the attack. Graves slowly enters the church, wand still drawn. Eerie sobbing can be heard from somewhere in the building.
Mary Lou’s body lies on the floor in front of him, the marks on her face visible in the moonlight. Graves considers the corpse: A realization dawning on his face—no horror, merely wariness and intense interest.
FOCUS ON CREDENCE, cowering at the back of the church, whimpering and clutching his pendant of the Deathly Hallows. Graves steps quickly toward him, bends down, cradling Credence’s head. However, there’s little tenderness to his voice as he speaks:
GRAVES
The Obscurial—was here? Where did she go?
Credence looks up into Graves’s face—he is utterly traumatized and unable to explain—his face a plea for affection.
CREDENCE
Help me. Help me.
GRAVES
Didn’t you tell me you had another sister?
Credence begins to weep again. Graves places a hand on his neck, his face contorting with stress as he tries to remain calm.
CREDENCE
Please help me.
GRAVES
Where’s your other sister, Credence? The little one? Where did she go?
Credence trembles and mumbles.
CREDENCE
Please help me.
Suddenly vicious, Graves slaps Credence hard across the face.
Credence, stunned, stares at Graves.
GRAVES
Your sister’s in grave danger. We need to find her.
Credence is aghast, unable to comprehend that his hero has hit him. Graves grabs him and pulls him up onto his feet as they Disapparate.
SCENE 95
EXT. TENEMENT IN THE BRONX—NIGHT
A deserted street. Graves, led by Credence, approaches a tenement building.
SCENE 96
INT. TENEMENT IN THE BRONX, HALLWAY—NIGHT
Inside, the building is miserable, dilapidated. Credence and Graves climb the stairwell.
GRAVES (O.S.)
What is this place?
CREDENCE
Ma adopted Modesty out of here. From a family of twelve. She still misses her brothers and sisters. She still talks about them.
Graves, wand in hand, looks around the landing—there are numerous darkened doorways stretching out in several directions.
Credence, still shell-shocked, has stopped in the stairwell.
GRAVES
Where is she?
Credence looks down—at a loss.
CREDENCE
I don’t know.
Graves becomes increasingly impatient—he’s so close to his goal. He marches forward into one of the rooms.
GRAVES
(contemptuous)
You’re a Squib, Credence. I could smell it off you the minute I met you.
Credence’s face falls.
CREDENCE
What?
Graves marches back along the corridor to try another room, his pretense of care for Credence all but forgotten.
GRAVES
You have magical ancestry, but no power.
CREDENCE
But you said you could teach me—
GRAVES
You’re unteachable. Your mother’s dead. That’s your reward.
Graves points to another landing.
GRAVES
I’m done with you.
Credence doesn’t move. He stares after Graves, his breathing becoming shallow and quick, as though he’s trying to contain something.
Graves moves through the dark rooms. A tiny movement somewhere close.
GRAVES
Modesty?
Graves advances cautiously into a derelict schoolroom at the end of a corridor.
SCENE 97
INT. TENEMENT IN THE BRONX, DERELICT ROOM—NIGHT
ANGLE ON MODESTY cowering in a corner, wide-eyed with fear and shaking as Graves approaches.
GRAVES
(whispering)
Modesty.
Graves bends down and puts his wand away—once again playing the soothing parent.
GRAVES
(gentle)
There’s no need to be afraid. I’m here with your brother, Credence.
Modesty whimpers with terror at the mention of Credence.
GRAVES
Out you come, now . . .
Graves extends his hand.
A faint jingle sounds.
ANGLE ON THE CEILING as cracks begin to appear, spreading like a spider’s web. Dust begins to fall as the walls shake uncontrollably, the room beginning to disintegrate around them.
Graves stands. He looks down at Modesty, but she is clearly terrified and not the source of this magic. Graves turns and slowly draws his wand, the wall in front of him collapsing as though turned to sand, revealing another wall ahead. Modesty is nothing to him now.
As each wall collapses in front of him, he is transfixed, elated, yet also aware that he has made a colossal error . . .
The final wall collapses. He is facing Credence, who stares at him, unable to control his fury, his sense of betrayal, his bitterness.
GRAVES
Credence . . . I owe you an apology . . .
CREDENCE
I trusted you. I thought you were my friend. That you were different.
Credence’s face begins to contort, his rage tearing him from within.
GRAVES
You can control it, Credence.
CREDENCE
(whispers, making eye contact finally)
But I don’t think I want to, Mr. Graves.
The Obscurus moves horribly beneath Credence’s skin. An awful inhuman growl comes out of his mouth, from which something dark begins to bloom.
This force finally takes over Credence, his whole body exploding into a dark mass that hurtles forward out the window, narrowly missing Graves.
Graves stands watching as the Obscurus zooms out and over the city.
SCENE 100
EXT. TIMES SQUARE—NIGHT
The scene is one of total chaos. Buildings are on fire, people scream and run in all directions, cars lie destroyed in the street.
Graves prowls through the square, oblivious to the distress around him, his focus concentrated on only one thing.
The Obscurus writhes at one end of the square, its energy angrier now—moving through layers of hurt and anguish, the products of isolation and torment—flecks of red light roaring from within. Credence’s face is just discernible within the mass, distorted, pained. Graves stands before it, triumphant.
Newt Apparates from farther down the street and watches.
GRAVES
(shouting to reach Credence over the almighty noise)
To survive so long, with this inside you, Credence, is a miracle. You are a miracle. Come with me—think of what we could achieve together.
The Obscurus moves closer to Graves—we hear a scream from within the mass as its Dark energy bursts out once more, knocking Graves to the ground. The force sends a shock wave around the square—Newt dives behind a fallen car for cover.
SCENE 101
EXT. TIMES SQUARE—NIGHT
Graves is moving nearer and nearer to the Obscurus, which continues to scream and wail at his presence. He takes out his wand, poised . . .
Tina runs into view behind Graves. She fires at him, but he turns just in time, his reactions marvelous, astounding.
The Obscurus now vanishes. Graves, thoroughly irritated, advances on Tina, deflecting her spells with perfect ease.
GRAVES
Tina. You’re always turning up where you are least wanted.
Graves summons an abandoned car, which whooshes through the air, forcing Tina to dive out of the way, just in time.
By the time Tina has gathered herself up from the ground, Graves has Disapparated.
SCENE 107
EXT. SUBWAY ENTRANCE—NIGHT
Aurors surround the entrance to the subway. Pointing their wands at the pavement and into the sky, they draw an invisible energy field around the entrance.
We hear more Aurors arrive, among them Graves—scanning, calculating, and immediately taking charge.
GRAVES
Bar the area. I don’t want anyone else down there!
As the magical field is almost complete, a figure rolls underneath it and dashes unseen into the subway—Tina.
SCENE 108
Newt slowly moves forward, but as he does so a sharp burst of light blazes out from the darkness and a spell strikes, throwing him backward.
Graves marches down the tunnel with intense purpose.
Credence begins to run as Graves fires further spells at Newt, who rolls out of the way toward the tunnel’s central pillars. From here, Newt tries to fire back, but his efforts are easily deflected.
Credence continues to lumber down the tracks but stops—a rabbit caught in the headlights—as a train approaches, its lights glaring from the darkness.
It is up to Graves to save Credence—magically casting him out of the train’s path.
SCENE 110
INT. SUBWAY—NIGHT
Graves stands on the platform, continuing to duel with Newt, who stands on the train tracks. Credence cowers behind him.
Finally, almost bored by Newt’s efforts, Graves casts a spell that ripples along the train tracks and down the tunnel, finally blasting into Newt, throwing him high into the air.
Newt lands on his back and Graves immediately sets upon him, casting spells in a whip-like motion with increasing vigor. Graves’s immense power is evident, as Newt writhes on the ground, unable to stop him.
SCENE 112
INT. SUBWAY—NIGHT
Graves continues to whip Newt, a manic, crazed look in his eyes.
CLOSE ON CREDENCE, farther down the tunnel, sobbing. He begins to shake, his face slowly turning black as he tries to stop the kinetic mass from rising up within him.
As Newt cries out in pain, Credence succumbs to the blackness—his body enveloped and overcome—the Obscurus rising up and blasting down the tunnel toward Graves.
Graves is mesmerized—he falls to his knees beneath the vast black mass—pleading in wonder.
GRAVES
Credence.
The Obscurus lets out an unearthly scream and dives toward Graves, who Disapparates just in time. The Obscurus continues to blast around the tunnel.
Graves and Newt Disapparate and Apparate around the subway, trying to avoid the Obscurus’s path. This causes the station to disintegrate even faster. Suddenly the force accelerates, becoming a giant wave that consumes the entire space before flying out through the roof.
SCENE 113
EXT. SUBWAY ENTRANCE—NIGHT
The Obscurus crashes up through the pavement, watched by wizards and No-Majs alike. It storms up a half-built skyscraper, windows shattering at every level, electric wiring exploding, until it reaches the skeletal framework of scaffolding above, which buckles perilously.
Below it, the crowd outside the magical cordon runs for cover, terrified.
The Obscurus forms a wide disc shape before plunging back down into the subway.
SCENE 114
INT. SUBWAY—NIGHT
The Obscurus screams and dives, bursting through the subway roof—for a split second, both Newt and Graves seem on the point of death—as they lie on the tracks, cowering beneath this Dark force.
TINA (O.S.)
CREDENCE, NO!
Tina runs onto the tracks.
Inches from Graves’s face, the Obscurus freezes. Slowly, very slowly, it rises back up, swirling more gently, staring at Tina, who looks straight back into its weird eyes.
TINA
Don’t do this—please.
NEWT
Keep talking, Tina. Keep talking to him—he’ll listen to you. He’s listening.
Inside the Obscurus, Credence reaches out to Tina, the only person who has ever done him an uncomplicated kindness. He looks at Tina, desperate and afraid. He has dreamed of her ever since she saved him from a beating.
TINA
I know what that woman did to you . . . I know that you’ve suffered . . . You need to stop this now . . . Newt and I will protect you . . .
Graves is on his feet.
TINA
(pointing to Graves)
This man—he is using you.
GRAVES
Don’t listen to her, Credence. I want you to be free. It’s all right.
TINA
(to Credence, calming him)
That’s it . . .
The Obscurus is beginning to shrink. Its dreadful face is becoming more human, more like Credence’s own.
Suddenly Aurors begin pouring down the steps of the subway and into the tunnel. More Aurors advance from behind Tina, their wands raised aggressively.
TINA
Shhh! Don’t, you’ll frighten him.
The Obscurus lets out a terrible moan and begins to swell again. The station is crumbling. Newt and Tina wheel around, arms akimbo, both trying to protect Credence.
Graves spins to face the Aurors, wand at the ready.
GRAVES
Wands down! Anyone harms him—they’ll answer to me—
(turning back to Credence)
Credence!
TINA
Credence . . .
The Aurors begin pelting the Obscurus with spells.
GRAVES
NO!
We see Credence from within the black mass, his face contorted, screaming. The barrage of spells continues and Credence howls in pain.
SCENE 116
INT. SUBWAY—NIGHT
Aurors continue to aim spells at the Obscurus, their efforts unrelenting and brutal.
Under this pressure, the Obscurus finally seems to implode—a white ball of magical light taking over from the black mass.
The force of the change sends Tina, Newt, and the Aurors stumbling backward.
All power subsides. Only small tatters of black matter are left—floating through the air like feathers.
Newt gets to his feet, his face racked with deep-felt grief. Tina remains on the floor, crying.
Graves, however, climbs up, back onto the platform, as close as possible to the remnants of the black mass.
The Aurors advance toward Graves.
GRAVES
You fools. Do you realize what you’ve done?
Graves seethes as the others watch him with interest. Madam Picquery emerges from behind the Aurors, her tone steely, questioning.
MADAM PICQUERY
The Obscurial was killed on my orders, Mr. Graves.
GRAVES
Yes. And history will surely note that, Madam President.
Graves moves toward her along the platform, his tone threatening.
GRAVES
What was done here tonight was not right!
MADAM PICQUERY
He was responsible for the death of a No-Maj. He risked the exposure of our community. He has broken one of our most sacred laws—
GRAVES
(laughing bitterly)
A law that has us scuttling like rats in the gutter! A law that demands that we conceal our true nature! A law that directs those under its dominion to cower in fear lest we risk discovery! I ask you, Madam President—
(eyes flashing to all present)
—I ask all of you—who does this law protect? Us?
(gesturing vaguely to the No-Majs above)
Or them?
(smiling bitterly)
I refuse to bow down any longer.
Graves walks away from the Aurors.
MADAM PICQUERY
(to the Aurors flanking her)
Aurors, I’d like you to relieve Mr. Graves of his wand and escort him back to—
As Graves moves down the platform, a wall of white light suddenly appears in front of him, blocking his path.
Graves thinks for a moment—a sneer of derision and irritation crossing his face. He turns.
Graves strides confidently back along the platform, firing spells at both groups of Aurors facing him. Spells fly back at him from all angles, but Graves parries them all. Several Aurors are sent flying—Graves appears to be winning . . .
In a split second, Newt pulls the cocoon from his pocket and releases it at Graves. The Swooping Evil soars around him, shielding Newt and the Aurors from Graves’s spells, and giving Newt time to raise his wand.
With a sense that he’s been holding this one back, he slashes it through the air: Out flies a crackling rope of supernatural light that wraps itself around Graves like a whip. Graves tries to hold it off as it tightens, but staggers, struggles, and falls to his knees, dropping his wand.
TINA
Accio.
Graves’s wand flies into Tina’s hand. Graves looks around at them, a deep hatred in his eyes.
Newt and Tina slowly advance, Newt raising his wand.
NEWT
Revelio.
Graves transforms. He is no longer dark, but blond and blue-eyed. He is the man on the posters. A murmur spreads through the crowd: GRINDELWALD.
Madam Picquery moves toward him.
GRINDELWALD
(with contempt)
Do you think you can hold me?
MADAM PICQUERY
We’ll do our best, Mr. Grindelwald.
Grindelwald stares intently at Madam Picquery, his expression of disgust turning into a small, derisory smile. He is forced to his feet by two Aurors, who move him toward the entrance.
As Grindelwald reaches Newt, he pauses—both smiling and sneering.
GRINDELWALD
Will we die, just a little?
He is led away, up and out of the subway. Newt watches, bemused.
