When Did Percival Graves Disappear?

When did Percival Graves disappear?

I received my copy of the Fantastic Beasts and Where to Find Them screenplay two days ago and only now have been able to start reading it.  We all know Rowling is a queen of hints that are so subtle, they’re blatant after the fact. We also have to take into consideration sometimes we’re just too eager as fans to find clues, we’re completely wrong and think there is some dramatic purpose for the curtains to be purple when I just like purple curtains.  I’m working between the two.

@chaotic-king has a post that is a precursor to this post, on when or how the real Percival Graves disappeared and how Grindlewald got to New York.  @seasons-gredence also has a post on what we know of the real Percival Graves.  There are many notable comments and replies that I suggest everyone check out.  Heck, even in my reading of them, there are still things I may have missed.  (In other words, please point me in the direction of anything I might have missed.)

There are three parts to this post: screenplay evidence, film evidence, and my speculation on Graves’ disappearance, personality, Grindlewald, and Credence. This is an unusual format, even for me.  My theories usually don’t look like this—then again, I usually don’t give theories on screenplays and films.  I found it easiest to provide all evidence first, then my commentary.  Fair warning: it took far longer to write this theory (three hours) than it did to concoct it (however long it took me to read between Scenes 5 and 22).  It’s also a very long post.

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Screenplay Evidence

*Ext. Exterior.  Int. Interior.

Page 1 Scene 1 Ext. Somewhere in Europe—1926—Night

Grindlewald’s attack in Europe, leaving several Auror splayed across the ground.

Page 2 Scene 2 Ext. Ship gliding into New York—Next morning

Newt’s ship arriving the next morning (his speaking to Dougal).

Page 3 Scene 3 Ext. New York—Day

Described as an aerial of New York; kept to set up the following scene, indicating we’re still in the same day.

Scene 4 Ext. Ship/Int. Customs—Shortly Afterward—Day

Newt is being inspected by the NY customs agent at the dock.  “Shortly afterward” indicates we are still in the same day.

Page 6 Scene 5 Ext. Street Near City Hall Subway—Dusk

Graves investigating the explosion.

Page 9 Scene 6 Ext. New York Street—Day

Newt walking down the street, about to meet Mary Lou, Jacob, and Tina. The start of the adventure.

Page 41 Scene 22 Int. Major Investigation Department—Day

Tina brings Newt to MACUSA, where we meet Madam Seraphina Picquery and Percival Graves.  Same day as Scene 6.  Graves is described as being bruised from the encounter the night before.  Graves claims entity is a beast, not a human.

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Film Evidence

Newt’s adventures are said to have taken over, approximately, two days. Taking in the facts presented in the script and film:

Day -1.  (Scene 1)  Grindlewald’s attack in Europe.

Day 0.  (Scenes 2-5)  Newt arrives in New York.  Held up at the port almost all day, if not all day.  May have slept at the docks or somewhere close by.  (Not a proper “day one” by most people’s standards.)  Graves inspects explosion.

Day 1.  (Scene 6-)  Newt explores New York, meets Mary Lou, Jacob, Tina, Queenie, Picquery, Graves (etc). Loses beasts.

Day 1 into Day 2.  Nighttime adventures with Jacob retrieving the missing beasts.  Shaw Jr. killed.  Taken into MACUSA via suitcase by Tina.

Day 2.  Taken into custody by MACUSA.  Blamed for death of Shaw Jr. and sentenced to death.  Escaped.  Gnarly-fingers, because—damn.  Saved Dougal and the Occamy.  Fought Graves.

Day 2 into Day 3.  Fighting Graves.  Defeated Grindlewald, posing as Graves.  Obliviating the bad memories of New Yorkers.  (-end)

Day 3-onward.  MACUSA investigation.

(From screenplay)

Week Later.  Jacob given Occamy egg shells.

Day Later.  Newt cleared to leave New York and return to England.

Three Months Last.  Jacob’s bakery.

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My Speculation

Scene 1: there is a 5-hour difference between New York and London, a 6-hour difference between New York and Paris/Berlin, and an 8-hour difference between New York and Moscow (to be generous). Newspapers at the end of the film set the film in December.  I’m going with the assumption Grindlewald was somewhere were a winter “night” begins between 5:00-6:30 pm one day, and sticks around until 6:00-7:00 am the next day. Imaging this helps compensate for the information we lack.

Scene 2: New York is -5, -6, or -8 hours from wherever Grindlewald’s attack in Europe was, then +unknown hours to make it the next morning in New York when Newt arrives.  In theory, Grindlewald could have had 12 hours from his attack in Europe to get to New York by Newt’s arrival – if he arrived at this time.

Scene 5: “Dusk.”  Graves is investigating the explosion at dusk.  Dusk is at the end of the day.  I’ve watched the film three times: it’s fairly light outside, so it’s probably early dusk (civil twilight).  It is the end of the day Newt has arrived in New York. Grindlewald has had over 24 hours to get to New York.

Scene 6: “Day.”  There is where it hinges on semantics.  You do not go from “dusk” to “day” in that order: dusk proceeds night, night proceeds dawn, dawn proceeds day, day proceeds dusk. Either we’re to take this exact set up as an indicator the day has changed—this is a new day from Scene 5—or else the time of the explosion in New York that Graves was investigating (Scene 5) was an oversight and meant to take place in New York at the same time as Grindlewald’s attack in Europe (Scene 1).

Scene 22: Graves is described as bruised his encounter with the unknown entity.  Unless Graves pursued pursued the entity, I do not recall him being hit with debris during the explosion the night before, or being assaulted by the entity. It was not seen in the film or written in the screenplay, but moments do happen off screen.

So, how did Graves become injured? And, when did Grindlewald arrive in New York?  These two questions are tied together, in my opinion.  Scene 5 was the snap moment for me, and Scene 22 cemented it.

It’s already been noted that Grindlewald is an exceptionally talented wizard.  It would have taken Newt about a week to cross the Atlantic by ship.  Grindlewald, through the use of Apparation, Port Key, Flew network, flying, and any other host of connections that existed at this time and for this well-connected man, could have gotten to America sooner (if he wasn’t already here and the person in Europe was an imposter—I’m all for blowing holes in my own theories).  Assuming that the real Grindlewald was in Europe for the first scene of the film, then, as presented (with time zone differences), there was approximately 24 hours between Grindlewald’s attack in Europe (Scene 1) and Graves investigating the explosion (Scene 5).  Graves has no lines during his first appearance (Scene 5).  In spite my desire to blow holes in my own theories, saying to myself, “I cannot, in good conscience, claim this knowing alternatives exist;” still, it is my bad conscience belief that this Graves may be the real Percival Graves, the only time we ever see him.

Grindlewald had escaped to America, either to escape to America just for that sake or because of the interesting disturbances and alleged visions, and he did so before Scene 5.  Again, unless Graves pursued the source of the explosion, which we could see (and it was clear even No-Majs could see the unknown entity), in Scene 5 off screen, there is no accounting for Graves’ injuries.  Unless he was accosted by someone else.  Grindlewald.  Although his time was little, by Scene 5, Grindlewald was in New York.  Graves feels more the victim of planning than opportunity, but it very well could have been pure luck with no clean up: Graves has one of the highest positions in MACUSA, and one of the positions that would satisfy Grindlewald’s interest in the agency but also its investigations into anomalies and disturbances Grindlewald could harness for his own benefit.  (Picquery would be too ostentatious to assume. Grindlewald’s a narcissist, but he’s also cunning.  Going for Picquery would just be stupid, and obvious.)  I’ve seen the arguments that Rowling said Grindlewald shape shifted (without Polyjuice) into Grindlewald, but just as quickly I’ve seen people say this is untrue.  I’ve not personally found this statement right from her, either.  The questions are, how much damage did Graves sustain when Grindlewald attacked him and would these injuries carry over through transformations, anyway?  It’s clear that Grindlewald could heal minor injuries (healing Credence’s hand), so he could theoretically heal some injuries (so major injuries would not be present); as to whether Graves’ injuries would carry over to Grindlewald’s transformation, at the least Grindlewald had the perfect excuse for injuries if anyone asked.  He was present at the site of an explosion and followed the entity (he, Grindle-Graves, discovered nothing, of course).

The other question relating to all this is, whether Graves and Credence ever knew each other?  Because of Tina’s attack on the New Salem Philanthropic Society, it is possible. The memories of all the followers, including Credence’s, should have to have been wiped.  Did Graves take sympathy on Credence and allow him to keep his whole memory of the event?  That’s unknown.  What’s known is, according to Scene 114 (p. 250) of the screenplay, Credence (as the Obscurus) remembers Tina and her defending him that night.  Whether he recalls the magical element of it is unknown.  (And, if Credence was identified as vaguely magical, could there be an excuse for a loophole to the law to allow him to keep his memory?)  On the other hand, Graves still could have used Credence as an informant even if Credence’s memory of magic was wiped—but why?  That would be more an Auror’s job than his, to keep an informant.  No matter how you spin it, MACUSA had a strict policy against fraternization with No-Majs.

Unless Graves secretly was a supporter of Grindlewald, the questionable aspects of Graves’ actions out of the eyes of Picquery could be chalked up to Grindlewald seeping through the façade of Graves.  We know how Graves should have acted by how Grindlewald was able to pass as Graves in front of people, and supplementary material (such as the Casebook) suggested Graves was very by-the-books.  Hints at Graves’ dark side could easily refer to Grindlewald, as Farrell was playing Grindlewald who was portraying Graves throughout 99% of the story.  Graves was by-the-books in front of Picquery, but Grindlewald seeped out whenever she was out of the picture.

Back to the subject, if Graves had followed the unknown black cloud of destruction back to its home (side note: I believe it’s impossible to dislike or hate Credence, unless you’re Mary Lou Barebone), he would have risked causing more damage to the city if he were caught or engaged the entity.  Not to mention, if he was truly by-the-books, either he would apprehend Credence or report Credence (possibly requesting backup). If Grindlewald had followed Credence, maybe even encountering Graves and attacking him them (just his luck that the MACUSA agent he attacked wasn’t your standard mook), he could have taken on Graves’ appearance and identity then and there and made contact with Credence before nightfall.  Because Credence may retain some memory of Graves, just as he did Tina, gaining Credence’s trust could have been easy for Grindlewald.  In my review of the screenplay, Scene 42-43 (p. 86-89), Credence and Graves’ first interaction in-story happens the night of Newt’s first real day in New York (Scene 6).  This, too, gives approximately 24 hours between Scene 6 and Scene 42, time for Grindlewald (as Graves) to communicate with Credence.

Either way, very long.  Sorry.

The Colour in Anything (VERY long post)

I was invited to share my opinion of James Blake’s new album, and let me just say that I’m touched that at least one person cared enough to ask me to write this and post it. If one person cares, that’s enough for me. But anyways, we have to discuss the matter at hand which is Blake’s new release, The Colour in Anything, and after crying and whining like a small child for new material, and almost losing that unhealthy obsession with his music that comes with having “an addictive personality,” this album helped myself to redefine what truly got me into Blake’s music from the get-go. The reason why I call this a “coming of age” album is because no longer do we basically have to hear tracks that subtly hint at Blake’s unsuccessful personal encounters, but we are hearing songs that resonate in any context. Even your grouchy family who constantly complains about the state of music in our modern generation can grasp this album and what it’s about. Blake has truly grown from an immature young man into a distinguished gentleman.

Radio Silence - I had wanted to skip this track because I’d been replaying the awfully recorded live versions of it for SO LONG during the hiatus that Blake took, but the opening that contained his trademark ghostly humming and then quickly launched into dissonant piano chords had me waiting a little while to ponder whether I should truly skip it or not. The synths are great. I didn’t realise how badly I needed a studio version, but it wasn’t anything new 

Points - We all had heard a clip of this at a 1-800 Dinosaur night that someone had filmed, and apart from the beat being great it’s kind of just a “hey-look-I’m-still-here-and-look-what-I-can-do” track

Love Me in Whatever Way -  It contains traces of our young, unhappy, and sharp cheekboned Blake. It’s the track that is similar to ones like Enough Thunder that I love so much; the sappy piano ballads that fit the rainy week we’ve been having on the east coast

Timeless - I wasn’t really a fan of this track; it sounded like Blake doing too much of a parody of himself. Sound change is great, TRUST ME when I say I didn’t want an “Overgrown Part. II” but it was the track that had me seriously doubting whether I could call myself a fan of his or not

Forever - I’m really biased towards piano ballad tracks as I’ve previously stated and so I really loved this one. Somber lyrically but introspective. Simple and clean. Something I always can stand for

Put That Away and Talk to Me - I’m ambivalent about it but I like the title. Ahh the joys of living in the modern age

I Hope My Life - What can I say about this track that can still enable me to sound enthusiastic and NOT lose my credibility? The beat is wonderful allowing for fluid transition between concert venue and dance floor; violins are such an amazing addition to ANY song if done correctly. The lyrics again are a reflection of what it is like to live and grow in the modern age. Definitely something I can keep on repeat and not grow tired of

Waves Know Shores - Another great track that comes after another good one. Waves Know Shores sounds like something that belongs in a Wes Anderson or Elia Kazan film (the Overture in East of Eden anyone?). I love the vivid ocean imagery I picture from hearing this and the brass accompaniment is a beautiful touch. Lyric wise it is sonorous

My Willing Heart - The beginning reminds me of Salad Fingers and I had to keep from laughing so as to not disturb anyone. The track is wonderfully composed lyrically and musically, like Blake had written it on the bus ride back home, his head leaning against the seat as the rain drips down the window and the street lights reflect off the wet streets… I mean - yeah. The somber tracks are truly something to sit and think about

Choose Me - The gospel-esque intro pulls me in, and then the rest of the track tapers off rather anti-climactically. Not a fan of this one sorry

I Need A Forest Fire - I knew this was going to be a stellar track when I saw Bon Iver attached to the end. Fall Creek Boys Choir was a great track and this one clearly is here to prompt us to not forget what these two can bring to the table. Again it stands as a track in which lyrics shouldn’t be a concern; let the music carry you and indeed it does. It’s so relaxing, 10/10 do recommend it

Noise Above Our Heads - That was exactly what this track was to me. Noise above MY head. I appreciate the video game-esque sounds but it was ugh to me

The Colour in Anything - Brilliant track. TRULY brilliant. I found myself crying about halfway in and wanting to run outside in the rain while it was pouring and have a moment. It reminds me a lot of another artist who I truly love, David Sylvian, who also sings very profound lyrics and can evoke strong emotion. It was as if the two switched bodies for a moment and like Blake put exactly how it feels to have depression into a song. Something truly fitting for how I and possibly others feel. Such a truly marvelous track

Two Men Down - Did he just get bored and throw something together? Or rather not bored but did he feel rushed? This track was awkwardly strange and left me feeling somewhat disembodied 

Modern Soul - I’m not a fan of this track but it was one that showcased how Blake has truly grown from child to man in terms of songwriting

Always - Again, a cacophony of random sounds. Wasn’t too fond of it

Meet You in The Maze - Reminded me of a mix of Lindisfarne II and Measurements but it was a sublime close to this album. Very fitting of the cover that reminded me of the children’s books of my childhood, particularly Roald Dahl

PLEASE don’t tear into me too hard as this is only my opinion and if you disagree, let me know in a respectable manner please

oh Tina

Mr. Graves seems odd today.

amazing  Granger-Weasley gang! they reminde me of Tim Burton and Helena Bonham-Carter family :=)

A quick sketch of the Granger-Weasley family.

People were awfully mean to Millicent Bulstrode at school, probably because she wasn’t clever or powerful, and she didn’t have that sylphlike figure that every third-rate potioneer promises you can achieve with just one sip of their latest slimming solution; and anyway for some people being dim and weak and unfashionable makes it awfully hard to be nice, so she wasn’t, usually.

But Millicent did have a very good way with cats. After graduation, she opened up a successful magical creatures shop. Last I heard, she was seeing a rather rustically charming Albanian dragon-tamer, and, having been given some time to mature, is now a very kind and sensible young woman.

Your cool friend with a motorcycle