Fantastic Beasts: The Crimes of Grindelwald – The Original Screenplay. Дж. К. Роулинг

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      Contents

ForewordBy David YatesFantastic Beasts: The Crimes of GrindelwaldThe Original ScreenplayGlossary of Film TermsCast & CrewAbout the AuthorAbout the Book Design

      Foreword

      I’ve worked with many writers, but no one quite as special as Jo. She knows her characters and her universe inside out, she’s one of the most dynamic thinkers I’ve ever met, and for someone who has enjoyed so much success she is incredibly grounded. Her storytelling is singular, yet she approaches the filmmaking process as producer and screenwriter with a genuinely collaborative spirit.

      I first read Fantastic Beasts: The Crimes of Grindelwald in the spring of 2016, a full year and two months before we began shooting the film. The script felt layered, emotional and that most precious of things: itself. For a filmmaker it offered many gifts and a huge sandpit in which to play. Whether the thrill of recreating Paris in the late 1920s, wrangling a new collection of wonderful beasts, or exploring an emotional, multi-stranded story with compelling characters and themes, each day of prep and production was always exciting as well as fun.

      Above all, however, it was the characters that captured and beguiled me on that first read; they are timeless, enchanting, intriguing. All of them are being tested to their core, navigating a world that is becoming ever more complex and dangerous – a world that, however heightened and magical, in some ways echoes our own across time.

David Yates9 September 2018

      SCENE 1

EXT. NEW YORK, AMERICAN MINISTRY OF MAGIC—1927—NIGHT

      AERIAL SHOT of New York and MACUSA building.

      SCENE 2

INT. MACUSA BASEMENT, BARE BLACKWALLED ROOM—NIGHT

      The long-haired, bearded GRINDELWALD sits motionless, magically fixed to a chair. The air shimmers, charged with spells.

      ABERNATHY peers in at GRINDELWALD from the corridor.

      A baby Chupacabra – part lizard, part homunculus, a blood-sucking creature of the Americas – is chained to GRINDELWALD’S chair.

      SCENE 3

INT. MACUSA, CORRIDOR BETWEEN CELLS—SHORTLY AFTER—NIGHT

      PRESIDENT SERAPHINA PICQUERY and RUDOLPH SPIELMAN walk at pace towards an ominous-looking door, past endless pairs of guards.

      SPIELMAN

      (Germanic)

      . . . you’ll be glad to be rid of him, I expect.

      PICQUERY

      We’d be more than happy to keep him here in custody.

      SPIELMAN

      Six months are enough. It’s time for him to answer for his crimes in Europe.

      As they reach the door, ABERNATHY turns and acknowledges them.

      ABERNATHY

      President Picquery, Mr Spielman, sir. Prisoner is secured and ready to travel.

      SPIELMAN and PICQUERY peer into the cell at GRINDELWALD.

      SPIELMAN

      You’ve thrown everything at him, I see.

      PICQUERY

      It was necessary. He’s extremely powerful. We’ve had to change his guard three times – he’s very . . . persuasive. So we removed his tongue.

      SCENE 4

INT. MACUSA CELLS—NIGHT

      Cells resembling cages rise in tiers. Prisoners chant and bang against the bars as the bound GRINDELWALD is transported upstairs, suspended magically in mid-air.

      PRISONERS

      Grindelwald! Grindelwald!

      SCENE 5

EXT. MACUSA ROOFTOP—MINUTES LATER—NIGHT

      A hearse-like black carriage, drawn by eight Thestrals, waits. AURORS 1 & 2 climb into the driver’s seat, the rest force GRINDELWALD inside.

      SPIELMAN

      The wizarding community worldwide owes you a great debt, Madam President.

      PICQUERY

      Do not underestimate him.

      ABERNATHY approaches them.

      ABERNATHY

      Mr Spielman, we found his wand hidden away.

      He hands over a black rectangular box.

      PICQUERY

      Abernathy?

      ABERNATHY

      And we found this.

      He holds a vial of some glowing gold substance in the palm of his hand. SPIELMAN reaches for the vial, which hangs on a chain, and – after a moment of hesitation – ABERNATHY releases it.

      Inside the carriage, GRINDELWALD raises his eyes to the roof as the vial is passed to SPIELMAN.

      SPIELMAN climbs into the carriage. AUROR 1 driving, AUROR 2 beside him. The door closes. A series of padlocks emerges from the carriage doors. An ominous drumroll of clicks as padlocks fasten themselves in place.

      AUROR 1

      Yah!

      The Thestrals take off.

      The carriage plummets then soars away through torrential rain. More AURORS follow on broomsticks.

      A beat.

      ABERNATHY steps forward, holding the Elder Wand. He looks up at the carriage, growing ever smaller. He Disapparates.

      CUT TO:

      SCENE 6

EXT. THESTRAL-DRAWN CARRIAGE—NIGHT

      The underside of the carriage. ABERNATHY Apparates, clinging to the wheel shaft.

      SCENE 7

INT. THESTRAL-DRAWN CARRIAGE—NIGHT

      SPIELMAN and GRINDELWALD sit, eyes locked, flanked by AURORS, all pointing their wands at GRINDELWALD. GRINDELWALD’S wand box lies on SPIELMAN’S lap.

      SPIELMAN holds up the vial, dangling from its chain.

      SPIELMAN

      No