Fantastic Beasts and Where to Find Them: The Original Screenplay

Fantastic Beasts and Where to Find Them: The Original Screenplay Джоан Кэтлин Роулинг When Magizoologist Newt Scamander arrives in New York, he intends his stay to be just a brief stopover. However, when his magical case is misplaced and some of Newt's fantastic beasts escape, it spells trouble for everyone… Inspired by the original Hogwart’s textbook by Newt Scamander, Fantastic Beasts and Where to Find Them: The Original screenplay marks the screenwriting debut of J.K. Rowling, author of the beloved and internationally bestselling Harry Potter books. A feat of imagination and featuring a cast of remarkable characters and magical creatures, this is epic adventure-packed storytelling at its very best. Whether an existing fan or new to the wizarding world, this is a perfect addition for any film lover or reader’s bookshelf. The film Fantastic Beasts and Where to Find Them will have its theatrical release on 18th November 2016. Fantastic Beasts and Where to Find Them: The Original Screenplay To the memory of Gordon Murray, real-life creature-healer and hero Fantastic Beasts and Where to Find Them: The Original Screenplay 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 towards the chateau. A sudden explosion of pure white light sends them flying. We whip round 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 towards 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’, ‘WHERE IS GRINDELWALD?’. 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. TRANSITION TO: SCENE 2 EXT. SHIP GLIDING INTO NEW YORK – NEXT MORNING A bright, clear New York day. Seagulls swoop overhead. A large passenger ship glides past the Statue of Liberty. Passengers lean over the rails, looking excitedly towards the oncoming land. PUSH IN towards a figure sitting on a bench with his back to us — NEWT SCAMANDER, weatherbeaten, wiry, wearing an old blue overcoat. Beside him rests a battered brown leather case. A catch on the case flicks open of its own accord. NEWT swiftly bends down to close it. Placing the case on his lap, NEWT leans in, whispering. NEWT Dougal – you settle down now, please. It won’t be long. SCENE 3 EXT. NEW YORK – DAY AERIAL SHOT of New York. SCENE 4 EXT. SHIP/INT. CUSTOMS – SHORTLY AFTERWARDS – DAY Among bustling crowds, NEWT walks down the gangplank of the ship, as we push in towards his case. CUSTOMS OFFICIAL (O.S.) Next. NEWT stands at the Customs – a long row of desks by the shipyard, manned by serious-looking American officials. A CUSTOMS OFFICIAL examines NEWT’S very tattered British passport. CUSTOMS OFFICIAL British, huh? NEWT Yes. CUSTOMS OFFICIAL First trip to New York? NEWT Yes. CUSTOMS OFFICIAL (gesturing to NEWT’S case) Anything edible in there? NEWT (placing a hand over his breast pocket) No. CUSTOMS OFFICIAL Livestock? The catch on NEWT’S case flicks open again. NEWT looks down and hastily closes it. NEWT Must get that fixed – ah, no. CUSTOMS OFFICIAL (suspicious) Let me take a look. NEWT places the case on the desk between them and discreetly flicks a brass dial to ‘Muggleworthy’. The CUSTOMS OFFICIAL spins the case towards him and pops the catches, lifting the lid to reveal pyjamas, various maps, a journal, an alarm clock, a magnifying glass and a Hufflepuff scarf. Finally satisfied, he closes the case. CUSTOMS OFFICIAL Welcome to New York. NEWT Thank you. NEWT gathers his passport and case. CUSTOMS OFFICIAL Next! NEWT exits through Customs. 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 towards the destroyed building. GRAVES: smart clothing, very handsome, early middle-age, his demeanour 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. The 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 6 EXT. NEW YORK STREET – DAY Watching NEWT walk, we see in him an unselfconscious Keatonesque quality, a sense of a different rhythm to those around him. In his hand he clutches directions on a small piece of paper, but he still shows a scientist’s curiosity about this alien environment. SCENE 7 EXT. ANOTHER STREET, STEPS OF THE CITY BANK – DAY NEWT, intrigued by the noise of shouting, approaches a rally of the New Salem Philanthropic Society. MARY LOU BAREBONE, a handsome mid-western woman in a 1920s version of Puritan dress, charismatic and earnest, stands on a small stage at the steps to the City Bank. Behind her stands a man parading a banner emblazoned with the organisation’s symbol: hands proudly grasping a broken wand amid bright yellow and red flames. MARY LOU (to the assembled crowd) … this great city sparkles with the jewels of man’s invention! Movie theatres, automobiles, the wireless, electric lights – all dazzle and bewitch us! NEWT slows down and watches MARY LOU as he would observe a foreign species: no judgement, simply interest. Nearby stands TINA GOLDSTEIN, hat low on her head, upturned collar. She is eating a hot dog, mustard smeared on her upper lip. NEWT accidently bumps into her as he makes his way to the front of the rally. NEWT Oh… so sorry. MARY LOU But where there is light there is shadow, friend. Something is stalking our city, wreaking destruction and then disappearing without a trace. JACOB KOWALSKI moves nervously down the street towards the crowd, wearing an ill-fitting suit and carrying a battered brown leather case. MARY LOU (O.S.) We have to fight – join us, the Second Salemers, in our fight! JACOB makes his way through the gathered crowd, also pushing past TINA. JACOB Excuse me doll, just trying to get to the bank – excuse me – just trying. JACOB trips over NEWT’S case, disappearing momentarily. NEWT hauls him up. NEWT I’m so sorry – my case— JACOB No harm done— JACOB struggles on, heading past MARY LOU and up the steps of the bank. JACOB Excuse me! The kerfuffle around NEWT draws MARY LOU’S attention. MARY LOU (charming, to NEWT) You, friend! What drew you to our meeting today? NEWT is startled to find himself the centre of attention. NEWT Oh. I was just… passing. MARY LOU Are you a seeker? A seeker after truth? A beat. NEWT I’m more of a chaser, really. ANGLE ON people moving in and out of the bank. A smartly dressed man flips a dime towards a beggar sitting on the steps. CLOSE ON the dime, falling in slow motion. MARY LOU (O.S.) Hear my words and heed my warning. ANGLE ON some little paws, which have appeared in the narrow crack between the lid and the body of NEWT’S case. ANGLE ON the dime hitting the steps with a musical clang. ANGLE ON the paws, now trying hard to prise open the case. MARY LOU … and laugh if you dare: witches live among us! MARY LOU’S three adopted children, adults CREDENCE and CHASTITY, and MODESTY (an eight-year-old girl), hand out leaflets. CREDENCE appears nervous and troubled. MARY LOU (O.S.) We have to fight together for the sake of our children – for the sake of tomorrow! (to NEWT) What do you say to that, friend? As NEWT looks up towards MARY LOU, something seen from the corner of his eye catches his attention. The Niffler, a small furry black cross between a mole and a duck-billed platypus, is sitting on the steps of the bank, hastily pulling the beggar’s hat full of money out of sight behind a pillar. NEWT, startled, looks down at his case. ANGLE ON the Niffler, busy shovelling the beggar’s coins into a pouch in its belly. The Niffler looks up, notices NEWT’S gaze, and hurriedly gathers the rest of the coins before tumbling away and into the bank. NEWT jolts forwards. NEWT Excuse me. ANGLE ON MARY LOU – she looks confused at NEWT’S lack of interest in her cause. MARY LOU (O.S.) Witches live among us. ANGLE ON TINA, moving through the crowd, eyeing NEWT suspiciously. SCENE 8 INT. LOBBY OF BANK – MOMENTS LATER – DAY A large, impressive-looking bank atrium. In the centre, behind a golden counter, clerks are busy at work serving customers. NEWT skids to a halt in the entrance of the space and looks around for his creature. His dress and demeanour make him out of place among the smartly dressed New Yorkers. BANK EMPLOYEE (suspicious) Can I help you, sir? NEWT No, I was just… just… waiting. NEWT motions towards a bench and backs away, taking a seat next to JACOB. TINA peers at NEWT from behind a pillar. JACOB (nervous) Hi. What brings you here? NEWT is desperately trying to spot his Niffler. NEWT Same as you. JACOB You’re here to get a loan to open up a bakery? NEWT (looking around – preoccupied) Yes. JACOB What are the odds of that? Well, may the best man win, I guess. NEWT spots the Niffler, which is now stealing coins from someone’s bag. JACOB holds out his hand, but NEWT is off. NEWT Excuse me. NEWT darts away. In his place on the bench lies a large silver egg. JACOB Hey, mister… hey, mister! NEWT doesn’t hear; he is too engaged in hunting the Niffler. JACOB picks up the egg just as the door into the BANK MANAGER’S office opens, and a SECRETARY looks out. JACOB Hey, fella! SECRETARY Mr Kowalski, Mr Bingley will see you now. Pocketing the egg, JACOB heads towards the office, steeling himself. JACOB (sotto voce) Okay… okay. ANGLE ON NEWT, surreptitiously pursuing the Niffler as it moves through the bank. He finally spots it removing a glittering buckle from a lady’s shoe before scurrying onwards, eager for more shiny objects. As NEWT watches, helpless, the Niffler jumps lithely between cases and into bags, snatching and pilfering. SCENE 9 INT. BINGLEY’S OFFICE – MOMENTS LATER – DAY JACOB is facing the imposing and impeccably suited MR BINGLEY. BINGLEY is examining JACOB’S business proposal for a bakery. An uncomfortable silence. The sound of a ticking clock and BINGLEY murmuring. JACOB looks down at his pocket – the egg has started to vibrate. BINGLEY You are currently working… in a canning factory? JACOB That’s the best I can do – I only got back in ’24. BINGLEY Got back? JACOB From Europe, sir. Yeah – I was part of the Expeditionary Forces there— JACOB is clearly nervous, miming a digging action to the words ‘Expeditionary Forces’, in the vain hope that a joke might help his cause. SCENE 10 INT. BACK ROOM OF THE BANK – MOMENTS LATER – DAY We cut back to NEWT in the bank – in seeking the Niffler he has ended up waiting in line for a bank teller. He cranes his neck, peering towards the bag of a lady at the front of the line. TINA watches him from behind a pillar. ANGLE ON coins spilling from underneath a bench. ANGLE ON NEWT, who hears the coins and turns to see small paws hastily gathering them up. ANGLE ON the Niffler sitting under the bench looking fat and smug. Not yet satisfied, its attention is caught by the shiny tag hanging around the neck of a small dog. The Niffler moves slowly, cheekily, forwards – little paw outstretched to grab the tag. The dog snarls and barks. NEWT starts forwards and dives under the bench – the Niffler runs, scuttling over the bank counter screens and out of NEWT’S reach. SCENE 11 INT. BINGLEY’S OFFICE – MOMENTS LATER – DAY JACOB opens his case with great pride. Inside is displayed a selection of his home-made pastries. JACOB (O.S.) All right. BINGLEY Mr Kowalski— JACOB – you gotta try the paczki, okay, it’s my grandmother’s recipe, the orange zest – just— JACOB holds out a paczki. BINGLEY is not distracted. BINGLEY Mr Kowalski, what do you propose to offer the bank as collateral? JACOB Collateral? BINGLEY Collateral. JACOB gestures hopefully towards his pastries. BINGLEY There are machines now that can produce hundreds of doughnuts an hour— JACOB I know, I know, but they’re nothing like what I can do— BINGLEY The bank must be protected, Mr Kowalski. Good day to you. BINGLEY dismissively rings a bell on his desk. SCENE 12 INT. BEHIND THE BANK COUNTERS – MOMENTS LATER – DAY The Niffler sits on a trolley covered in money bags, which it greedily empties into its pouch. As NEWT watches through the security bars, aghast, a guard pushes the trolley away down a corridor. SCENE 13 INT. BANK, HALL – MOMENTS LATER – DAY JACOB, downcast, exits BINGLEY’S office. His bulging pocket vibrates. Alarmed, he pulls out the egg and looks around. ANGLE ON the Niffler, still sitting on the trolley, which is now being pushed into an elevator. ANGLE ON JACOB, who sees NEWT in the distance. JACOB Hey, Mr English guy! I think your egg is hatching. NEWT looks hurriedly between JACOB and the shutting elevator doors before making a decision: he points his wand at JACOB. JACOB and the egg are pulled magically across the bank atrium towards NEWT. In a split second, they Disapparate. TINA stares, incredulous, from behind a pillar. SCENE 14 INT. BACK ROOM OF THE BANK/STAIRCASE – DAY NEWT and JACOB Apparate into a narrow stairwell leading to the bank’s vaults, suddenly past the tellers and security guards. NEWT gently takes the egg back from JACOB as it hatches, revealing a small blue, snake-like bird – an Occamy. NEWT, his face full of wonder, looks to JACOB as though expecting a similar reaction from him. Slowly, NEWT carries the baby creature down the stairs. JACOB Excuse me. JACOB, very confused, looks back up the stairs towards the main bank atrium. On seeing BINGLEY approaching, he ducks down the stairs, out of sight. JACOB (to himself) I was – over there. I was – over there? SCENE 15 INT. BASEMENT CORRIDOR OF BANK LEADING TO VAULT – DAY JACOB’S POV: NEWT is crouched down, opening his case. He carefully places the hatched Occamy inside, whispering tenderly: NEWT In you hop. JACOB (O.S.) Hello? NEWT No. Everyone settle down – stay. Dougal, don’t make me come in there. JACOB moves along the corridor, staring at NEWT. We see a strange green creature, part stick insect, part plant, poke its head out of NEWT’S breast pocket, intrigued. This is PICKETT, a Bowtruckle. NEWT Don’t make me come down there. NEWT looks up to see the Niffler squeezing itself through locked doors, into the central vault. NEWT Absolutely not! NEWT takes out his wand and points it at the vault. NEWT Alohomora. We watch the locks and cogs of the vault door turn. BINGLEY comes round the corner, just as the vault door starts to open. BINGLEY (to JACOB) Oh, so you’re gonna STEAL the money, huh? BINGLEY hits a button on the wall. An alarm sounds. NEWT aims his wand. NEWT Petrificus Totalus. BINGLEY suddenly stiffens and falls back flat on the ground. JACOB cannot believe his eyes. JACOB Mr Bingley! The vault door opens wide. MR BINGLEY (in his paralysed state) … Kowalski! NEWT hurries into the vault. Inside he finds the Niffler lying among hundreds of opened deposit boxes, and seated on a great pile of cash. The Niffler stares at NEWT defiantly as it forces another gold bar into its already overflowing pouch. NEWT Really?! NEWT grasps the Niffler tightly and turns it upside down, shaking it by its hind legs. An extraordinary, and seemingly endless, number of precious items fall out. NEWT (to the Niffler) No. JACOB looks around him in disbelief, an almost queasy fear. Despite their altercation, NEWT is fond of the Niffler. He grins as he tickles its stomach, causing more treasure to pour out. Footsteps on the stairs as several armed guards run down and into the vault corridor. Конец ознакомительного фрагмента. Текст предоставлен ООО «ЛитРес». Прочитайте эту книгу целиком, купив полную легальную версию (https://www.litres.ru/dzhoan-ketlin-rouling/fantastic-beasts-and-where-to-find-them-the-original-screenplay/?lfrom=688855901) на ЛитРес. 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