The Twilight Saga: ECLIPSE
- Original Movie Screenplay Script (Draft) by Melissa Rosenberg -- July 2009 -
 
Adapted from the novel, "Eclipse (2007)" by Stephenie Meyer


FADE IN:

EXT. SEATTLE - AERIAL SHOT APPROACHING THE CITY - NIGHT


EXT. PIKE PLACE MARKET, SEATTLE - NIGHT (1 YEAR AGO)

RAIN comes down in sheets, slapping the cobblestones.
Bright lights from the surrounding bars, reflect off the wet stones.
The dull thud of rock MUSIC wafts out.
A BAR DOOR opens - the music briefly BLASTS OUT as a young man exits --
-- he is RILEY, 22, genial, handsome, a university student full of promise.
He pauses under the awning, preparing to face the rain.
He slings a messenger bag over his shoulder laden with thick school texts.
He waves to his FRIENDS in the window before heading into the downpour.

BELLA (V.O.)
Some say the world will end in fire -- some say in ice...

ANOTHER STREET -- Dark, deserted.
RILEY makes his way up it --

SUDDENLY a SHADOW flies past him, moving at an inhuman speed.
RILEY pauses -- what was that?
Unnerved, he speeds his step, about to round a corner but

SUDDENLY --
Something leaps over him, knocking him backward to the ground!
It moved so fast, we, again, saw only a brief SHADOW.
RILEY panics now --

RILEY
Who's there?!

No response. RILEY BOLTS in a different direction -- YET ANOTHER STREET -
RILEY RUNS, beelining toward the end of the street at which stands
AN
APARTMENT BUILDING with a brightly lit lobby and a SECURITY GUARD: safety --
BUT, something grabs him by the neck and SLINGS him into a building window. IT CRACKS. RILEY drops.
The SHADOW won't let him reach the security guard.

RILEY'S terrified anew by this creature's strength.
He drops his book bag and staggers off, running for his life down a different street.
He looks over his shoulder, stumbling, desperate --


EXT. WATERFRONT (CONTINUOUS) - NIGHT

-- RILEY finds himself on the desserted boardwalk. Beyond the rail, black water -- A DEAD END.
He turns, realizng he's utterly alone. He's been herded here. He searches the darkness for whatever's chasing him --

RILEY
What do you want?! What are you --

-- the SHADOW DARTS past him. Riley yanks his hand back --

RILEY
-- OH, GOD!

-- He grips his hand in pain, looks at it to find a crescent moon shape on his palm, blood seeping out.
HE'S BEEN BIT.

His confusion and terror turn to agony as the venom from the bite crawls up his arm.
RILEY drops to his knees CRYING OUT in pain;
then falls, writhing as the venom spreads throughout his body, changing him, killing his humanity.

His tortured cries go unheard as we PUSH IN ON the crescent moon on his hand, OVER WHICH WE HEAR:


BELLA (V.O.)
...From what I've tasted of desire,
I hold with those who favor fire.
But, if I had to perish twice...


MATCH CUT - BELLA'S forearm - ON HER crescent moon scar -- whiter than her already pale skin.
EDWARD's lips move into frame, kissing the scare.

INCLUDE:

EXT. MEADOW - DAY (PRESENT DAY)
-- BELLA and EDWARD, LYING in the grass.
BELLA reads aloud from a book of ROBERT FROST poetry.

BELLA
...I think I know enough of hate to say that, for destruction, ice is also gread, and would suffice.

EDWARD teasingly pulls her book away, moves to KISS her. She STOPS him --

BELLA
English final -- gotta focus.

-- He GRINS, KISSES her anyway.

The SUN BRIEFLY COMES OUT from behind clouds, causing EDWARD's skin to SPARKLE, making the kiss appear magical.
He PULLS away, SMILING.

EDWARD
Marry me.

She LAUGHS. It's not the 1st - nor 15th - time he's asked. This is clearly a game between them.

BELLA
No.

He KISSES her FACE

EDWARD
Marry me.

BELLA
...Change me.

KISSES her NECK

EDWARD
Where I come, it's the way one says, "I love you".

She affectionately PUSHES him away, JUMPING up --

BELLA
Where I come from, it's the way one says, "I got knocked up."

She starts to GATHER up her coat and books.

He's suddenly RIGHT IN FRONT OF HER -- we didn't see him move.
He playfully GRABS her stuff from her --

EDWARD
You're worried about what people will think?

BELLA
I'm worried that 2 out of 3 marriages end in divorce.

EDWARD
The divorce rate amongst immortals is much lower.

They're inches apart -- the game laced with their attraction.

EDWARD (continued)
Marry me.

BELLA
Not yet. It's almost 4. I'm supposed to come straight home from school.

He PULLS her close -- KISSES her.

EDWARD
You'll be on time. I won't give your father another reason to hate me.

As he easily SLINGS her around onto his back --


INT. BELLA'S HOUSE - DAY

START on CHIEF CHARLIE SWAN, still in uniform from a day at the station.
His brown is furrowed with concern as he reads the Seattle Times --

HEADLINES READ: Murders, Disappearances, Possible Work of Serial Killer [etc]

The article WORRIES him.
He CHECKS his WATCH -- just as THE FRONT DOOR OPENS.
BELLA ENTERS, THROWS DOWN her book bag.
CHARLIE is LOOKING at his WATCH.


CHARLIE
4:00 on the dot. Does he have a stop watch or something?

BELLA
His name is Edward -- and now he's too punctual for you?

As she STARTS toward the STAIRS --

CHARLIE
-- Wait a sec, will you? Sit down.

She PAUSES, then moves to a CHAIR, SITS. He FACES her.

CHARLIE
You understand why you're being punished, right? 3 days -- no word.
You come back on Edward's arm like nothing happened.

BELLA
Yes. I'm sorry. But, Edward's in my life. That won't change.

CHARLIE
I'm getting that, so, I'll make a deal with you:
no more being grounded... if you use your new freedong to see your other frineds, too... like Jacob.

BELLA DARKENS -- a painful subject. CHARLIE NOTES this.

CHARLIE (continues)
What? Edward can't handle a little competition?

BELLA
There is no competition.

CHARLIE
Well, I'm sure Jake would rather be "just friends" than nothing at all.

BELLA
(rising) Then he should return my phone calls.

CHARLIE
His dad's worried about him, Bells. Jake's having a really hard time.

BELLA STOPS. This HURTS her to hear.

CHARLIE (continues)
I remember when that was you. You needed a friend and Jake was there. He might be worth another try.



INT. BELLA'S BEDROOM - DAY

BELLA OPENS her DESK DRAWER and PULLS out a FOLDED NOTE.
It's worn, having been read many times. She UNFOLDS it --

INSERT -- THE HANDWRITTEN NOTE.
Several SENTENCES have been CROSSED OUT. Only 1 line at the bottom is legible. It reads:

I miss you, too. Doesn't change anything.

OFF BELLA -- deeply TROUBLED, but, DECIDING something --

She TAKES OUT her PHONE and HOLDS DOWN a BUTTON (speed dial).
The word JAKE COMES UP on its SCREEN, and a shot of him HAPPY in former days, before he cut his hair.

-- STRAIGHT TO VOICEMAIL.


EXT. BELLA'S HOUSE - NIGHT

BELLA EXITS the HOUSE, HEADS to her TRUCK, CLIMBS IN --


INT. BELLA'S TRUCK (continuous) - NIGHT

BELLA TURNS the KEY -- nothing.
She tries again -- it's DEAD.
With a slight GUST of WIND --
SUDDENLY, EDWARD is SITTING next to her.
She JUMPS, catching her breath.

EDWARD
You frightened me --
(off Bella's look) deciding to go down to the reservation.

BELLA
...How'd you -- Alice had a vision.

His GUILTY FACE is her answer. He tries to make light of it.

EDWARD
I'm afraid my studies have never extended to fixing cars -- just disabling them. I'll send Emmett around in the
morning.

BELLA
Jacob could fix that. He's good with his hands.

EDWARD seems UNPROVOKED by this.

EDWARD
The wolves aren't in control of themselves.

BELLA
He'd never hurt me --

EDWARD
-- not intentionally.

BELLA
After graduation, I'll be one of you, and that'll be it. He'll hate me for good.

EDWARD
Bella, you have to understand: your safety is everything to me.

BELLA
Edward... I will be safe.

Deeply CONFLICTED, he LOOKS DOWN with regret, resignation.

EDWARD
I'm sorry.

She LOOKS at him, then GETS ANGRY -- FORCES OPEN her DOOR --


EXT. BELLA'S HOUSE (continuous) - NIGHT

-- BELLA CLIMBS OUT, SLAMS the TRUCK DOOR. EDWARD APPEARS next to her.

EDWARD (continued)
(beat, torn)
...I want you to be happy... (quietly)
...but, alive, is more important.

FRUSTRATED, she PUSHES past him and HEADS TO the HOUSE.

HE APPEARS on the STAIRS before she reaches them.

EDWARD (continued)
I'll understand if you're too angry for me to come to your room tonight. Just close the window.


INT. BELLA'S BEDROOM - NIGHT

ON THE OPEN WINDOW - BELLA CLOSES and LOCKS it.

- Long beat -

THEN, she UNLOCKS the WINDOW, OPENS it a bit. LOOKS at it. OPENS it as WIDE as it will go.


INT. FORKS HIGH SCHOOL - CAFETERIA - DAY

BELLA and EDWARD sit with ANGELA, ERIC, MIKE, and JESSICA.
EDWARD and BELLA are on the end, slightly apart.
ANGELA is busy addressing a pile of note card envelopes.
MIKE writes what he's saying on a legal pad:

MIKE
My fellow students,
we are the future. Anything is possible if we just believe. Blah, blah, blah --

He RIPS the page off, hands it to JESSICA

JESSICA
Yeah, this will be my speech--if I want people to throw their diplomas at my head.

She CRUMPLES the paper. TOSSES it at him.

MIKE
Ya gotta embrace the cliches, Jess.

ERIC
They are the bread and butter of all valedictorians.

ANGELA
This is why you're not valedictorian.

ERIC
I chose to exit the political arena to spend more time with my family.

BELLA
Jess doesn't need cliches. She's gonna rock that speech.

JESSICA
Rock? It'll change lives.

ALICE and JASPER have abruptly appeared, carrying trays of food they won't eat. As they sit --

ALICE
I've decided to throw a party.

JASPER
After all--how many times will we graduate high school?

EDWARD stifles a smile.

ANGELA
A party--at your house?

JESSICA
Whoa. I've never seen your house.

ERIC
No one's ever seen their house.

EDWARD
Another party, Alice?

ALICE
It'll be fun!

BELLA
That's what you said last time...

SUDDENLY, ALICE FREEZES--her eyes glazing over. She's having a vision.
MIKE hasn't noticed, yet.

MIKE
Well, cool! That's really, uh...normal of you. What time?
[nothing from Alice]
Dress code?
[still nothing]
Bring anything? Cheetos?

A BEAT as ALICE still looks into the distance. Awkward.
BELLA looks at EDWARD, concerned. EDWARD shrugs it off -- nothing to worry about.

EDWARD
Wake up, Alice.

JASPER
She hasn't been getting much sleep lately. Senior jitters.

This sounds weird and weirdly fluent coming from JASPER, but, it serves to break the moment.


INT. SHERIFF'S STATION - EVENING
BELLA and EDWARD enter.
CHARLIE is behind the counter, talking with a middle-aged couple, DOUG & NANCY BIERS, whose faces are
etched with grief and worry.

BELLA
So...what was that at school? What did Alice see?

EDWARD
Nothing. Something about Jasper. It was innocuous.

BELLA
Didn't seem that way.

EDWARD
I was just worried that everyone would notice how strange Alice is.

BELLA
I think that ship sailed a long time ago.

CHARLIE looks up at BELLA and EDWARD and subtly gesters for them to keep their distance. It could be interpreted as hostile.

BELLA
He'll get over it someday. Don't worry.

EDWARD
No, that's not what's bothering him. Those people--their son has gone missing.

BELLA can read their feelings on EDWARD's face.

BELLA
Do you know something about this?

EDWARD
[nods]
Seattle--unexplained disappearances, killings--we've been tracking it for a while.

BELLA
Really? You think--

EDWARD
[nods]
Our kind generally stick to victims who won't be missed, or they move on quickly, but, whoever's in Seattle isn't playing by the rules.

BELLA
You said, if vampires kill too conspicuously, the Volturi step in.
[off his look]
But, if they go to Seattle, they could come up here--see i'm still human.

He turns to her; strong, reassuring.

EDWARD
We won't let it get that far. We'll protect you, whatever it takes.

CHARLIE [O.S.]
You ready, Bells?

As CHARLIE approaches, off BELLA WATCHING the anguished BIERS EXIT.

CHARLIE
[to the Biers]
I'll call if I hear anything at all.

CHARLIE puts a PICTURE into his case. It is RILEY from the opening.


EXT. SHERRIFF'S STATION - EVENING

BELLA exits, flanked by CHARLIE and EDWARD. There's palpable tension between the 2 men.
CHARLIE
It is just us 2 for dinner, right?

BELLA
Dad--

EDWARD
--I'm just dropping Bella off, sir.
[to Bella]
I'll see you tomorrow.
[heads off, then stops]
Oh, Bella. My parents wanted me to remind you about that airline ticket they gave you for your last birthday.

BELLA eyes him with suspicion, but he appears guileless.

CHARLIE
What airline ticket?

BELLA
A round-trip to Florida to visit Mom.

CHARLIE
...That was...generous.

EDWARD
It expires soon. They thought you might want to use it this weekend.

BELLA
I can't just drop everything and go.

EDWARD
It could be your last chance to visit with her before you graduate.

This lands with Bella.

CHARLIE
It wouldn't hurt you to get away for a a couple days--get some time away.

BELLA
I would like to see Mom. Maybe I will go...
[to Edward]
...if you'll use the companion ticket.

CHARLIE
Wait--there are 2 tickets?


CLOSE on BELLA's face - ILLUMINATED by bright SUNLIGHT

EXT. RENEE'S BEACH BUNGALOW - FLORIDA - DAY

BELLA's face is turned upward to soak in the warm sun.

RENEE
Aren't you going to miss this?

Include her mother, RENEE. They LIE in chaise lounges, pushed tightly together on the deck of this funky
bungalow.

RENEE
[continuing]
The warmth on your skin. The vitamin D soaking into your pores?

BELLA
I will.

RENEE
Colleges in Florida are a lot sunnier.
[off Bella's look]
What? I'll never see you if you go to the University of Alaska.

--which is the point. Guilt washes over BELLA. She takes RENEE's hand, absently plays with the bracelet on
her wrist, trying to soak up her mother as much as the sun.

BELLA
They have a good science program.

RENEE
If by science program--you mean--Edward program.

RENEE nudges BELLA, who smiles--looks inside the house.


BELLA'S POV - INT. BEACH BUNGALOW - THROUGH WINDOW

EDWARD sits in an easy chair with a clear view of BELLA. He offers a small wave, then turns back to his conversation with PHIL, who lies on his back on the couch.

BACK TO SCENE

RENEE squeezes her hand a beat, then glances back at EDWARD.

RENEE
The way he watches you...it's like...he's ready to leap in front of you and take a bullet or something.

BELLA
And thats a bad thing?

RENEE
It's...an intense thing. And you--you're...different with him. If he moves, you move...like magnets.

BELLA
We're just, you know...

RENEE
In love. I get it. I just want to make sure you're making the right choices for you--'cause you're the one who has
to live with them.

BELLA takes this in--her choice much bigger than mere geographical location. RENEE sees her face cloud.

RENEE
Alright, enough with the heavy.

She REACHES under chaise and PULLS UP a LARGE BOX.

RENEE
Happy graduation!

She sets the box on BELLA's lap. BELLA is dismayed.

BELLA
Mom, I asked you not to waste your money.

RENEE
I didn't. I swear.

BELLA OPENS the BOX -- to find a QUILT. As she unfolds it, realizes what it is--emotion wells up.

BELLA
Our trip T-shirts?!

RENEE
Thought they'd make a nice quilt to keep you warm up there.

REVEAL that each square of the quilt is cut from T-SHIRTS bought at various roadside attractions from around
the Americas.
RENEE POINTS:

RENEE
Remember this one--from Enseņada?

BELLA
Saul's Snake Farm and Taqueria.

RENEE
God knows what was in those tacos...

BELLA
[re: another patch]
The three-headed lobster in Maine! Thing gave you nightmares.

RENEE
But, you were all, "Wow! Cool!" Already the science geek at 10.

They LAUGH together, remembering their past.

BELLA
This is amazing, Mom.

RENEE
We'll add to it when you have kids. We'll take them up to the world's tallest catsup bottle, and the chewing
gum art museum.

RENEE WRAPS the quilt around BELLA as--

RENEE
I didn't want you going to Alaska without me, or some part of me.

BELLA SUDDENLY HUGS her as if for the last time, and perhaps it will be.

BELLA
I'm going to miss you--so much.

RENEE's a little surprised by BELLA's emotionalism, but, HUGS her back. Off the 2 of them.


EXT. FOREST - NIGHT

START on ALICE - her eyes glazed over, intently watching something in her mind.
The woods are all mist and
shadows - a stark contrast to the previous bright scene.

INCLUDE EMMETT, the JASPER, then CARLISLE, ESME, and ROSALIE.
They're spread out, still as statues,
waiting for ALICE; ready to spring.

CARLISLE
You're sure this is where you saw her?

ALICE
She's almost here.

ANOTHER PART OF THE FOREST

CLOSE on a pair of FEMALE FEET in boots, RUNNING in the rain-wet mud--but, they falter, SLOWING to a stop --
PAN UP to include none other than VICTORIA. She INHALES -- something smells wrong.
She
ABRUPTLY BOLTS in another direction.

BACK ON ALICE - she SPINS to EMMETT

ALICE
On your left!

EMMETT explodes to his left; ROSALIE right behind him.
JASPER and CARLISLE go wide, looking to cut VICTORIA off.
ESME and ALICE following up the rear.

INTERCUT with VICTORIA racing through the trees, tense, but not afraid.
Escaping is what she's good at. She reaches --

-- A RAVINE. She doesn't break stride -- just LEAPS ACROSS IT.
CARLISLE pulls up short, YELLS to EMMETT and ROSALIE:

CARLISLE
Wait! She's in their territory.

ROSALIE
She'll get away!

JASPER
[hears something]
No, she won't!

On the OTHER SIDE of the RAVINE - 3 GIANT WOLVES LEAP onto the scene and take up the chase after

VICTORIA. The leader is BLACK, ENORMOUS [SAM-WOLF]

A parallel chase ensues. The WOLVES and the CULLENS keeping to their sides of the RAVINE, which we realize is the line that demarcates the territories.

VICTORIA LEAPS back over.

EMMETT
All ours, now.

The CULLENS close in.

EMMETT GRABS hold of her SHOULDER and HAIR!
They ROLL head over keester.
VICTORIA uses the
momentum to her advantage and FLINGS EMMETT off and OVER her into a TREE.
She takes the split second he's down to LEAP back over to the wolf-land and keeps RUNNING.
EMMETT is
PISSED.

ESME
Emmett, dont!

--But, EMMETT, seeing RED, FLIES over the RAVINE - the second his feet hit the other side, PAUL-WOLF turns to face him.

There's a moment of standoff. It would be simple enough for EMMETT to defuse the situation by jumping back, but, that's not his style. PAUL GROWLS with bravado. This just makes EMMETT smile.

ANGLE on VICTORIA - at a safe distance now.
She SLOWS, LOOKS BACK, surprised to see what's
happening. She studies the conflict with curiosity; her mind working.

PAUL and EMMETT CHARGE at each other. BAM! They ROLL a dozen yards in the dart.
[Alternately, for effect, we cut off of their cacophonous, sumo- esque impact]


EXT. FORKS HIGH SCHOOL - PARKING LOT - MORNING

EDWARD PULLS his VOLVO into a parking spot.


INT. EDWARD's Volvo

BELLA's in the passenger seat; SADNESS in her face. EDWARD strokes her cheek, comforting her.

EDWARD
Are you sorry you went?

BELLA
No. It was great seeing my mom. Just hard saying goodbye.

EDWARD
It doesn't have to be goodbye.

BELLA
Is that why you wanted me to go?--Hoping I'd change my mind?

He offers a gentle smile.

EDWARD
I'm always hoping for that.

Then he ABRUPTLY LOOKS UP - stiffens, hearing something.

BELLA
What?

EDWARD
Would you stay in the car if I asked you to?

She looks at him, concerned, then pulls open her door.

EDWARD
Of course not.


EXT. SCHOOL PARKING LOT - DAY (continued)

BELLA and EDWARD emerge from the VOLVO to SEE JACOB CLIMB off his motorcycle and stride toward them. He wears a tight black T-shirt, gease-stained jeans, no jacket in the cold.

His hard expression causes other students to give him a wide berth. He looks almost dangerous, but, BELLA is DELIGHTED.

BELLA
Jake!--

--EDWARD subtly, protectively PULLS BELLA BACK. Students watch from a distance, out of earshot.

JACOB
Charlie said you left town.

BELLA
To see my mother. Why?

EDWARD
He's here to make sure you're still human.

JACOB
You want to read my mind? Enjoy.

JACOB concentrates on something, and suddenly EDWARD seems to be distressed.

BELLA
What are you doing?!

JACOB
Just taking a walk down memory lane.

EDWARD
He's reminding me of what it was like for you when I went away.

BELLA
Jacob, please.

JACOB takes a breath to calm himself, then faces EDWARD.

JACOB
I'm here to warn you: If your kind come on our land again--

BELLA
Wait, what?

JACOB
[realizing; to Edward]
You didn't tell her?

EDWARD
Leave it alone, Jacob.

ANGLE on ALICE and JASPER, who gracefully and swiftly climb from their car, place themselves in proximity,
just in case.

ANGLE on MIKE, ERIC, JESSICA, and ANGELA, who WATCH the goings on. ANGELA clearly fears a fight.

The others seem more intrigued by one.

BACK on EDWARD, JACOB, and BELLA

BELLA
Tell me. I want to know.

EDWARD
There was a stupid misunderstanding between Emmett and Paul. Nothing to worry about.

JACOB
Man, listen to you. Slick. Did you lie to get her out of town, too?

EDWARD
Leave. Now.

JACOB
She has a right to know. She's the one the red-head wants.

BELLA
Victoria's back?
[spins on Edward]
Alice's vision. It wasn't about Jasper, was it. It was Victoria.

EDWARD
I was trying to protect you.

BELLA
By lying to me?

He can't respond. There are no words to express his concern and frustration. A beat - then she TURNS

BELLA
Jake, wait up--

--EDWARD's hand is on her arm so fast, she's barely moved. She turns to him with controlled anger.

BELLA
Edward, you have to trust me.

EDWARD
I do. It's him I don't trust.

BELLA just looks at EDWARD - strong, independent, not about to acquiesce. Finally, he releases her.
She
JOGS to JACOB, CLIMBS on the back of his BIKE. JACOB GRINS.

JACOB
[for Edward's benefit]
Hold on tight.

BELLA
Hey, lose the grin, Jake. We're just taking a ride.

He kick-starts the bike, then ROARS off with BELLA on the back. EDWARD WATCHES them go, off his
apprehension.



EXT. LA PUSH - EMILY'S HOUSE - DAY

JACOB PULLS UP. He and BELLA CLIMB off the bike.

BELLA
I don't think this is a good idea. I'm, you know--"the vampire girl".

But the front door BURSTS open and JARED, PAUL, EMBRY, and QUIL pile out, shoving the last of a meal

down their throats. BELLA tenses, but much to her surprise and relief, EMBRY smiles when he sees her.

EMBRY
Hey, look who's back!

QUIL
What up, Bella?

BELLA
Quil? You, too?

QUIL
Yeah; me, too. Glad you're here. We'll finally get a break from Jake's obsessive inner monologue.

[all mimick Jacob]

PAUL
"I wish Bella would call."

JARED
"I wish Bella wouldn't call."

EMBRY
"Maybe I should call Bella."

JACOB
You can all shut up now.

QUIL
"Maybe I should call Bella and hang up."

JARED
"Maybe I should call Bella, say something, then hang up"

JACOB
[to Bella] I'm looking for a new pack. Any suggestions?

BELLA smiles as the guys laugh; push each other, roughhouse.

Behind them, a slender girl with cropped black hair exits -- LEAH CLEARWATER, 19. She'd be gorgeous if not for her scowl. LEAH sees BELLA and the scowl deepens.

JACOB
Bella, this is Leah Clearwater -- Harry's daughter.

BELLA
I'm so sorry about your father. My dad really misses him

LEAH
If you're here to torture Jacob some more, feel free to leave.

BELLA's taken aback. JACOB shoots LEAH an angry look. She's impervious. As SAM and EMILY exit, LEAH
abruptly moves off.

BELLA
Fun, isn't she?

EMILY gives BELLA a HUG. SAM offers a pleasant nod hello.

EMILY
Bella! I was wondering when we'd see your face around here again.

JACOB
So...

SAM
We're good. She won't be getting through our line any time soon.

The guys AD LIB macho challenges as they make their way to the forest's edge. SAM turns to EMILY to say
goodbye, looks into her eyes. Their connection is deeply intimate. As SAM gently KISSES her, BELLA politely looks away -- to SEE

BELLA'S POV on LEAH at the edge of the woods. LEAH glances at SAM and EMILY's kiss, then abruptly FALLS FORWARD. Before her hands hit the ground, they become PAWS. LEAH, not a LIGHT GREY WOLF, disappears into the woods. Off BELLA's surprise -



EXT. JACOB'S HOUSE - DAY

JACOB and BELLA climb off the bike, and start wheeling it toward the garage as

BELLA
When did Leah...you know.

JACOB
Around when her dad died. Her brother, Seth, also phased. He's only 15 -one of the youngest we've had. Sam
keeps him home studying, but, the kid's chomping at the bit. Wish it was Leah who'd stay home.

BELLA
Don't be such a guy.

JACOB
It's not a chick thing. It's a love-triangle thing. We all have to live "the Leah-Sam-Emily pain fest". Wolf
telepathy, remember?

BELLA
Sam dumped Leah for Emily?

JACOB
It wasn't like that. Sam hates himself for hurting Leah, but, Emily was the one.

BELLA
Yeah, I guess sometimes it chooses you.

JACOB knows she's talking about EDWARD -- won't go there.

JACOB
It's more than some crush. Sam imprinted on Emily.

BELLA
Do I want to know what that is?

JACOB
[bitterly]
Just one more thing we have no control over. Even our damn soul mates are chosen for us--thanks to your bloodsucking buddies.

BELLA
Come on. You can't blame this on them.

JACOB
I sure as hell can. If we weren't wolves, we wouldn't imprint, and we wouldn't be wolves if the damn vampires
would stay away; but, they keep coming back.

BELLA
[getting it]
And when they do, you change.

JACOB
We lose everything--our lives, our futures, our free will. You know, Quil imprinted on someone--Claire. She's 2
years old.

BELLA
Um...that's just creepy.

JACOB
You don't get it. THere's nothing romantic about it. It's...a spiritual thing. All the same, Quil won't even date
anyone for 2 decades until Claire catches up to him.

BELLA
Still a little creepy.

JACOB
[laughs] Still not getting it.

He continues on in to the garage. She follows.


INT. JACOB'S GARAGE - continued

JACOB and BELLA enter. JACOB rolls the bite to its spot. She notes her old motorcycle in the corner, collecting dust.

As he finds his words, he slowly moves toward her.

JACOB
It's like...when you see her...everything changes. Suddenly, it's not gravity holding you to the planet anymore.
It's her. Nothing else matters. You would do anything / be anything for her.

Very close to Bella now. He's looking into Bella's eyes. She's afraid to ask, but--

BELLA
It sounds like you know the feeling.

JACOB
I do.

BELLA
Have you...imprinted on someone?

He weighs the loaded question--the truth versus what he wishes was the truth. She waits, emotions conflicting.

Finally, he turns away, regret in his voice.

JACOB
You'd know if I had. I just have a direct line to Sam and Quil's thoughts.

She's relieved, and confused at her relief. He picks up a wrench, tightening something on his bike as --

BELLA
So for now, you're still you.

JACOB
And you're still you.

BELLA
[hesitating]
Yeah...until after graduation.

JACOB
[anger abruptly flashing]
Graduation?!

BELLA
Jake, I told you it was going to happen.

JACOB
Not in a month! Not before you've...you've even lived! Before I could...

He abruptly THROWS his wrench across the garage. Hear it SMASH into the wall.

JACOB
For a second, just a second, I thought...but, he's got his hooks in you so deep.

BELLA
He didn't decide this. I did.

JACOB
And now you're gonna be that. They're not even alive! It makes me sick. Better you were really dead than one
of them.

BELLA
[reeling] You did not just that.

He's too angry to take it back. She heads for the door.

BELLA
Edward was right. This was a bad idea.

JACOB
Bella, I don't want--please.

She slows, turns back to him. He tries to calm himself.

JACOB
I'll--I'm gonna try not to think about--I--man. I'm sorry. I shouldn't have said that.

It takes a long beat for her to recover from the hurtful comment. Finally, she nods. She moves to her dusty motorcycle; brushes off the seat.

BELLA
We should stick to safer subjects--like motorcycles.

JACOB
Only thing safe about you on a motorcycle is when you turn it off.

She smiles, as does he. The tension slowly dissipates as they dost off the bikes, shifting back to friends
mode.



INT. BELLA'S BEDROOM - NIGHT

CLOSE on BELLA'S DREAMCATCHER as a MAN'S HAND moves into frame; turns it. Include the man's BACK as he moves around the room, touching her stuff, picking things up, curious, setting them down just a little out of place. It's creepy.

Finally, his hand falls on a RED BLOUSE draped over a chair. As he brings it to his nose, we see his FACE --

IT'S RILEY! Pale white, chiseled features, eyes BLOOD RED. A vampire. He inhales Bella's scent then stuffs it into his jacket and ixits her room. We follow him down the stairs and into--


INT. BELLA'S HOUSE - LIVING ROOM - NIGHT [continued]

RILEY soundlessly enters to find CHARLIE ASLEEP on the couch. He's in uniform, a case file spread out, some of it resting on his chest. RILEY leans over him, SEES a PHOTO of himself--it's his case file, and a newspaper article--

INSERT Newspaper: SERIAL MURDERS RISE IN SEATTLE

OFF RILEY, intrigued, taking in the news and his own file, and CHARLIE who's unaware of the danger just inches away.

RILEY stares casually at CHARLIE'S holster. Silently, uncannily smoothly, removes his gun. STARES right down the barrel. Yep--there's a bullet.

RILEY points the gun at CHARLIE'S head; smiles. This could be fun. How far can he pull the trigger without it going off? He squeezes -- the hammer goes back--

THEN, RILEY notices the picture on CHARLIE'S chest--his smiling, human self. He reaches out to it.


INT. BELLA'S HOUSE - LIVING ROOM - NIGHT

BELLA comes in the front door. The living room is empty and quiet--eerily so. SUDDENLY--

CHARLIE
(O.S.)
Edward could at least respect meal times.

BELLA turns, startled. CHARLIE leans in the kitchen doorway, indicating his watch.

BELLA
Actually, I was with Jake.

CHARLIE
Good! That's good.

There's a KNOCK on the door. CHARLIE knows who it is; heads back into the kitchen with a small, self-satisfied smile.

CHARLIE
I'll just give you 2 some privacy.

BELLA girds herself, then opens the door to find EDWARD.

EDWARD
Do you have any idea how worried I've been?

BELLA
I was perfectly safe.

EDWARD
I nearly broke the treaty to make sure--

BELLA
I know. I smell like dog.

EDWARD
Something's wrong.

He moves into the living room; DARTS throughout the first floor, checking it.
CHARLIE doesn't see, as he's
concentrating on the photo of RILEY, whose FACE has been SCRATCHED OUT.

BELLA
What? What is it?

EDWARD
Stay here.

And he BOLTS upstairs. She hurries after him.


INT. BELLA'S ROOM - NIGHT [continued]

BELLA enters to find EDWARD holding the dreamcatcher.

BELLA
Edward, what's wrong?

EDWARD
[grim]
Someone was here.



INT. CULLEN HOUSE - LIVING ROOM - NIGHT

EDWARD paces; frustrated.
ALICE is stressed.
BELLA tries to track their fast-pace conversation with
CARLISLE, ROSALIE, and ESME.

EDWARD
No, Alice. It was a stranger. I didn't recognize his scent.
[beat] That's not helpful, Rosalie.

BELLA
Could you guys please, like, speak out loud?

EDWARD
Sorry.

ESME
A nomad passing through?

ROSALIE
A passer-by wouldn't have left Bella's father alive.

BELLA's chilled by the thought. ESME wraps an ARM around her just as the door bursts open. JASPER
ENTERS.


JASPER
His scent disappeared about 5 miles south of Bella's house.

EDWARD
Someone orchestrated this.

CARLISLE
Victoria.

EDWARD
No, it has to be the Volturi.

BELLA
Checking to see if I've been changed?

ALICE
I don't think it was the Volturi, either. I've been watching Aro's decisions.

EMMETT
We gotta find this fool and get some answers out of him.

CARLISLE
We also need to take shifts at Bella's house.

ROSALIE
Another protection detail?

ESME
Rosalie...

BELLA
She's right. You can't watch over me and Dad, and search for the intruder, and for Victoria, and keep
yourselves fed.
Your eyes are black. When's the last time you went hunting? You're already too busy
protecting me.

EDWARD
I'm not about to let you fend for yourself.

BELLA
I'm not about to let you starve.

She stops. A beat--an idea occuring. She looks at him--a tiny glimmer of optimism flashing on her face.

EDWARD
[wary]
...What?



EXT. BELLA'S HOUSE - FRONT YARD - DAY

EDWARD STANDS at the curb, frozen in place, waiting, eyes unblinkingly watching the front door. Finally, it opens. BELLA exits; behind her--JACOB.

EDWARD meets them halfway. EDWARD is cool, calculating; JACOB hotheaded, factious.

JACOB
Whoever it was, he left his stink behind. It'll be hard to miss when we cross it again. We'll handle it from here.

EDWARD
We don't need you to handle anything--or anyone.

JACOB steps toward EDWARD, who doesn't move.

JACOB
I could care less what you need.

BELLA moves between them.

BELLA

[forced entusiasm)
Great! So, we'll all work together. Hey, we all have the same goal, right?--To catch the bad vampires.

JACOB
Like there's a distinction.

EDWARD
Jacob, I feel that some day, you and I are going to have words. That's it. I--

BELLA tries to push them apart. It's like pushing boulders.

BELLA
--Stop!

JACOB simmers. EDWARD just looks at him.

BELLA
Just stop it. I'm tired of being in the middle of a territorial dispute between mythical creatures. From now on,
I'm "Switzerland", okay?

JACOB starts to speak--

BELLA
--I don't expect you guys to chuck a football around together. Fine. But, we have a lot of problems, and this is one temporary solution. Are you willing to at least try?

A long, tense beat. Finally, EDWARD NODS, then JACOB.

BELLA
Alright, so, you need to coordinate. You know--schedules and stuff.

Neither says anything. BELLA signs; turns to JACOB.

BELLA
Would the pack prefer days, or nights?

JACOB
Nights.

BELLA
[to Edward]
Will days work for your family?
[off Edward's nod]
Good. See? How hard was that?

Agonizing. Off BELLA, determined to make this truce work.


BELLA'S POV - EXT. BELLA'S HOUSE - NIGHT

From ABOVE, looking down at the dark, silent forest beyond the yard. Stillness. SUDDENLY, we SEE a movement in the trees. THEN, 2 gleaming eyes peer out, belonging to a WOLF, skulking at the edge of the treeline. It looks up at--


INT. BELLA'S BEDROOM - ON BELLA - NIGHT [continued]

--she stands in the window, looking down at her protector. THEN, in contrast to the danger that surrounds her--

ANGELA (O.S.)
U.W. sent me and Eric our dorm assignments yesterday.

BELLA turns to the room where ANGELA lies on the floor; a massive stack of graduation announcements in the DONE pile. ANGELA is blitely unaware of BELLA's situation.

ANGELA
I'm in the furthest dorm from campus. Eric's in the closests, of course. Has Alaska assigned you guys dorms yet?

BELLA LOOKS at her, missing her already. She LIES next to ANGELA, takes up a card to address.

BELLA
Not yet.

ANGELA
Where is Edward tonight, anyway?

BELLA
Out looking for trouble.

ANGELA hears the worry in BELLA's voice; looks at her.

ANGELA
Is something wrong?

BELLA
No. Why?

ANGELA
1 - Edward's always with you.
2 - you keep looking out that window like you're hoping he'll show up with a
mariachi band.

BELLA
Angela, what if Eric was, like, secretly a member of this...violent gang,
and...your brother was in this other
gang, and they wanted to kill each other, and you couldn't tell anybody?

BELLA's slightly odd remark just kind of sits there.

ANGELA
It's ok. You don't have to talk about it.

BELLA
There's nothing to...
--[beat]--
I mean, there is, but...

How can she talk about it? BELLA debates, then sits up, cross legged, choosing her words carefully.

BELLA
Ok. You remember Jacob Black.

ANGELA
Ah. Edward's jealous

BELLA
[surprised]
You say that like it's so obvious.

ANGELA
[apologetic]
Oh, it's not?

BELLA
Edward just thinks Jacob's dangerous or something--a bad influence on me.

ANGELA smiles; shakes her head.

BELLA
What?

ANGELA
I've seen the way Jacob looks at you. Edward's seen it, too, and he's only human. He's going to react like any
other guy.

BELLA manages to curb her reaction.

BELLA
It's...more complicated than that.

ANGELA
Say the words, Bella: Jea-lou-sy

BELLA
I've told Jacob how I feel. He accepts it. He'd...rather be best friends than nothing.

ANGELA
Ok, so the words are: De-ni-al

BELLA
You're saying I'm an idiot?

ANGELA
Just a little oblivious.

BELLA
Well, I don't want this. Every move I make hurts someone.

ANGELA
They're big boys. They make their own choices.
Don't worry. It'll work itself out. It's not life or death or anything.

Off BELLA, glancing back at her window; at her reality--


EXT. BELLA'S HOUSE - ON THE WOLF [continued]
-- off the wolf's EYES, eerily refacting the light.



EXT. ROAD - DAY

EDWARD'S VOLVO pulls over to the side of the road. BELLA and EDWARD EMERGE from the car. They

SEE 30 yeards down the road, a shirtless JACOB leaning against his RED VOLKSWAGEN, waiting. The 2 guys exchange a tense look.

EDWARD
Doesn't he own a shirt?

BELLA looks at EDWARD a beat, realizing...

BELLA
Angela is a wise woman...

EDWARD
What does Angela have to do with--

BELLA
--You should go. No rush. I'm good here.

-Which doesn't make him feel better. He pulls her closer.

EDWARD
I hate being away from you.

THEN he surprises her with a particularly passionate KISS. Down the road, JACOB scowls. EDWARD pulls away, leaving BELLA a little dizzy.

BELLA
Well...you could rush just a little.

He smiles. She offers a reassuring look, then walks off.

ANGLE on JACOB. As BELLA reaches him, he smiles broadly.

JACOB
Hey, beautiful.

He pulls her into a big HUG. She HEARS EDWARD'S car PEEL out. He's obviously pissed. As she

WATCHES the VOLVO disappear, JACOB opens the car door. She takes her seat.

JACOB
What do you wanna do today? Bike, hike, hang? It's your call, but, tonight, we're going to a very chill party.

Off her curious look and the THUNK of her car door closing.



EXT. LA PUSH BEHIND JACOB'S HOUSE - BONFIRE - NIGHT

A group is GATHERED around the FIRE, eating hot dogs, laughing. BILLY SITS at the natural head of the circle. OLD QUIL, QUIL's ancient grandfather, sits on one side of him; SUE CLEARWATER on the other--the 3 council leaders.

The whole pack is there-PAUL, QUIL, EMBRY, JARED, and SAM, with EMILY at his side. LEAH sullenly stares into the fire. Meanwhile, a young Quileute girl about QUIL's age is definitely giving him the eye. He SIGHS, annoyed that in another life, he might be able to fulfill his promise as a CasaNova.

ACROSS the sand, JACOB LEADS BELLA toward a roaring fire.

BELLA
You sure this is okay? I hate being a party crasher.

JACOB
Technically, you're a council meeting crasher. But, you're okay.
I thought--I mean, they thought it'll be good for
you to hear the histories.

BELLA
[stops] Wait, the history-histories--of the pack? Aren't they secret?

JACOB
We all got a role to play, and you're part of this. It's the first time Quil, Seth, and Leah are hearing them, too.

But, you're the first outsider--ever.

BELLA
Wow, I should have dressed better.

SETH (O.S.)
Jake!

They're interrupted by a gangly-limbed boy; SETH, 15, who trots up like a puppy. He clearly idolizes JACOB.

SETH
'Bout time you got here. Paul's been hoovering the grub, but, I saved you some burgers.

JACOB
Good looking out, bro.
Bella, this is Seth Clearwater -- Leah's brother -- newest member of the pack.

SETH
Newest / Bestest / Brightest

JACOB
Slowest.

He grabs SETH in a HEADLOCK. The 2 tumble to the sand. SETH LAUGHS, absolutely loving this guy. A

WHISTLE comes from the circle. It's SAM. SETH jumps up.

SETH
Come on! Your dad's about to start.

As SETH DRAGS JACOB and BELLA toward the bonfire--

BILLY (O.S.)
The Quileutes have been a small tribe from the beginning...


EXT. LA PUSH BEHIND JACOB'S HOUSE - BONFIRE - NIGHT

On the FIRE, burning lower--

BILLY (O.S., continued)
...but, we have always had magic in our blood.

Include the CIRCLE, PANNING everyone's faces; their attention wholly on BILLY; his voice commanding.

BILLY
We were great spirit warriors--shape-shifters who could transform into the powerful wolf.
This enabled us to scare off our enemies and protect our tribe.

On BELLA, who absorbs the story; its images alive in her mind. JACOB glances at her, gauging her reaction.

BILLY [continuing]
One day, our warriors came across a creature.


INT. FOREST CLEARING - DAY - 1750's

2 Quileute WARRIORS in human form emerge from the trees, horrified to find a MALE VAMPIRE (wearing the clothing of a mid-1700's Spaniard) bent over 2 LIFELESS tribe girls. His eyes are blood red; feral. A terrifying image.

BILLY (V.O., continuing)
It looked like a man, but, it was hard like stone, and cold as ice.

The 2 warriors PHASE into wolves and charge the VAMPIRE.

He grabs one of them, strangling it. The 2nd wolf gets his teeth into the vampire's neck and tears off its head.

But, the strangled wolf falls dead to the ground.

BILLY (V.O., continuing)
Our warriors' sharp teeth finally tore it apart, but, only fire would completely destroy it.

[back to present] On BELLA-the horrible visuals alive in her mind. JACOB watches her, gratified by her somber reaction.

BILLY (continuing)
They lived in fear that the cold man was not alone. They were right.

[back to past]
A beautiful VAMPIRESS in a tattered 1700's Spanish gown, moves through the Quileute village of long houses
and teepees. A TRAIL of DEAD BODIES; tribes people screaming.

BILLY (V.O., continuing)
She took her vengeance out on the village.
Our elder chief, Taha Aki, was the only spirit warrior left to save the tribe after his son was killed.

TAHA AKI, 60's - anguished, STANDS over his DEAD son, 20. His 3rd WIFE, 40's, weeps inconsolably next to his body. TAHA AKI spins toward the Vampiress and takes a running LUNGE at her, TRANSFORMING into a great wolf. They CLASH.

The 3rd wife WATCHES with horror as the Vampiress quickly gets the upper hand.

BILLY (V.O., continuing)
Taha Aki's third wife could see that he would lose.

The 3rd wife PULLS OUT a KNIFE and RUNS toward the vampiress who barely acknowledges the impending attack.

[back to present] On BILLY, who looks at BELLA as he says:

BILLY
The third wife was no magical being, with no special powers but one: ...courage.

On BELLA's face as we go INSIDE her thoughts
[back to past] MATCHCUT BELLA'S face, now transformed into the 3rd wife! BELLA CHARGES the vampiress,
dagger raised high, but as she nears, shockingly, she PLUNGES the KNIFE into her own HEART! BLOOD flowers on BELLA's chest. The vampiress catches the scent and spins toward her; ravenous.

BILLY (V.O., continuing)
The third wife's sacrifice distracted the cold woman long enough for Taha Aki to destroy her. She saved the
tribe.

As TAHA AKI-WOLF leaps onto the vampiress, tearing her apart, BELLA lies DYING; her expression at peace.

BILLY (V.O., continuing)
Over time, our enemies have disappeared...
but, one remains: the cold ones.

[back to present] On BELLA-emotions conflicting as she sees all this from the wolves point of view.

BILLY (continuing)
Our magic awakens only when they come near, and we sense it now; feel the threat in our blood.
Something terrible is coming, and we must all be ready. All of us.

Off BELLA, then the FIRE



INT. CULLEN'S HOUSE - DAY

TIGHT on a TV screen turned to CNN. A FEMALE REPORTER with a mic does a stand-up in front of Pike Place.

Include CARLISLE and JASPER who WATCH with concern. EMMETT is draped OVER the couch. BELLA and EDWARD enter.

TV NEWS REPORTER
Seattle is in a state of terror. Police are baffled by the escalating murders and disappearances.
Theories range from a vicious new gang to a wildly active serial killer.
Reporting live--

EMMETT
[grinning to Bella] Look who survived the dog park. Need something for those flea bites?

BELLA
I'm good. Thanks.

EDWARD
[re: the newscast] Seattle?

CARLISLE
It's getting worse. We're going to have to do something.

EDWARD
Alice still hasn't had any visions about who's doing this.

EMMETT
So we track him down and kick his blood-thirsty ass. Let's go now. I'm bored as hell.

ROSALIE (O.S.)
[from upstairs]
Emmett.

EMMETT
She's such a pessimist.

EDWARD ABRUPTLY LOOKS at JASPER, reading his mind a beat

EDWARD
I didn't think of that, but, yes. It makes sense.

BELLA
Guys?

CARLISLE
Tell us, Jasper.

As JASPER speaks, BELLA is surprised when he continues beyond the 1 or 2 sentences he usually utters.

His slight southern lilt becomes more obvious.

JASPER
It takes more than one of our kind to cause the damage they're reporting. Quite a few more. They're
undisciplined, conspicuous.

EDWARD
Newborns.

BELLA
Like...new vampires?

EDWARD
In their first months after the change.

JASPER
That's when we're at our most vicious, uncontrollable; Insane with thirst.

EMMETT
[another grin to Bella] Something to look forward to.

BELLA blanches.

JASPER
No one has trained these newborns, but, this isn't random.

CARLISLE
[realizing] Someone's creating an army.

JASPER NODS. EMMETT RISES, enthusiastic.

EMMETT
Oh, now we definitely gotta go.

BELLA
Wait--an army of vampires?

CARLISLE
There haven't been any newborn armies in over a century that I know of.

JASPER
There is now, and they've been created to fight someone.

EDWARD
We're the only clan even close to Seattle.

CARLISLE
Regardless, if we don't put a stop to it, the Volturi will. I'm surprised they've let it go on this long.

EDWARD
[idea occuring] Maybe they're purposely ignoring it, or even behind it. When we were in Italy, I read it in Aro's
mind.

EDWARD'S VISION--Tracking toward EDWARD's face as we enter his memory; his environs drop out, blackness surrounding him, suspending him, as he turns, we go OVER his shoulder to SEE

EDWARD (V.O.)
He didn't want me to see, but, it was there. He wants Alice and me to join him. Our gifts would shore up his
power.

A FLASH of EDWARD and ALICE, each in one of the Volturi thrones, formerly occupied by MARCUS and CAIUS.

EDWARD (V.O., continuing)
But, he knows we'd never choose him as long as our family is alive.

[back to present]

EDWARD
An army could solve that for him.

BELLA takes this in; then--

BELLA
We can't wait 2 weeks for graduation. You need to change me now.

JASPER
You'd be a liability as a newborn; unable to control your instincts--an easy target.

CARLISLE puts an empathetic HAND on BELLA's SHOULDER.

CARLISLE
There's also your father to consider; and your mother--how terrible would it be for them if you suddenly
disappeard.

BELLA can't argue; considers. EMMETT looks confused.

EMMETT
...But, we are gonna kick someone's ass, right?



INT. ABANDONED CANNERY, SEATTLE HARBOUR FRONT - NIGHT

SMASH! A NEWBORN VAMPIRE careens into the wall, CRACKING bricks. He FALLS to the ground at the feet of RILEY, who SPINS on a 2nd NEWBORN.

RILEY
Next one who starts a fight gets his arms ripped off!
[to 2nd newborn] Now, get your own damn snack.

RILEY STEPS over a HUMAN MAN LYING on the ground, barely alive. NEWBORN 2 watches hungrily as

NEWBORN 1 dives on the man, taking what's left of his life.

Include another DOZEN NEWBORNS of both genders, all ethnicities and backgrounds, who feed, lounge, fight.

What they have in common is ferocity, strength, and thirst.

RILEY goes to a pretty girl; BREE, 15, who lies in a corner, just awakening. As he SQUATS to check on her, she suddenly jumps up, backs against the wall, disoriented and profoundly thirst. Her hand flies to her neck where she was bitten.

Behind RILEY, the 2 NEWBORN vampires start pushing each other again; the fight reigniting, irritating RILEY.

BREE
What did you do to me? I'm so--

RILEY
--Yeah. I know. We'll find you someone to drink. The thirst will calm down after a while. I've got a year under my
belt and I'm ok.

JUST THEN, NEWBORN 1 RIPS NEWBORN 2's head completely off. BREE SCREAMS. RILEY shakes his head, exasperated. He leaves BREE in confusion as he walks away. Off his face.



INT. BELLA'S HOUSE - KITCHEN - NIGHT

ON RILEY'S FACE - xeroxed onto a FLIER that reads, "Have you seen me?"
INCLUDE CHARLIE sho SITS at the TABLE, STARING at it. BELLA ENTERS, DROPPING her BACKPACK
then COAT.

BELLA
Hi, Dad. You already eat dinner?

CHARLIE
Huh? ...Um...no--not yet.

She looks over his shoulder and sees the flier.

CHARLIE
Riley Biers--his parents are papering Seattle with these. 5th time they've tried.

BELLA
Do you think they should give up?

CHARLIE
I wouldn't...if it was you--not ever.

BELLA swallos her guilt. She was about to put him through that, and may still. Then he unexpectedly wraps an arm around her waist, pulling her close. After a beat, he releases her, rising to cover his emotionality.

CHARLIE
So, one large--extra cheese?



INT. BELLA'S ROOM - NIGHT

BELLA (V.O.)
I have to figure out what to tell people...

BELLA'S coccooned in her bed in the dark. EDWARD lies next to her; her mother's quilt between them.

BELLA (continuing)
...How to explain why I won't be home for Christmases; why I won't visit; why they'll never see me again.

EDWARD
After a few decades, everyone you know will be dead--problem solved.

She FLINCHES at his brutal honesty, then FACES him.

BELLA
Why are you so against me becoming like you?

EDWARD
I've told you.

BELLA
There's more to it. You can be honest.

EDWARD
The choice you're making--I know the consequences of it; the loss, the isolation--I've lived it. To let you suffer
that...
(shakes his head)
and I know you believe I have a soul, but, I don't--and to risk yours, just so I'll never have to lose you...it's the
most selfish thing I'll ever do.

BELLA
Then I'm just as selfish.

She rests her head on his chest.

BELLA
I thought maybe you were afraid I'll be too different.
(off his look) I won't be...you know...warm anymore; won't smell the same.

He lifts her face to his--

EDWARD
You'll always be my Bella.

--then kisses her. She kisses him back. It grows more passionate. She locks her arms around his neck.

EDWARD pulls away, both of them reining in their desire.

EDWARD (continuing)
...My Bella, just less fragile.

He pulls the quilt around her. As they nestle in, CAMERA PULLS BACK until we're OUTSIDE looking in the window.


EXT. BELLA'S HOUSE - NIGHT (continued)

--Still pulling back, INCLUDE the edge of the treeline where we find EMMENT and ALICE standing several paces apart, stone still, keeping watch/listening.

They HEAR a sound; both SPIN at once to find behind them - 2 wolves, here to take over sentry duty. Slowly,

EMMETT and ALICE back away; the wolves eyeing their every move--a truche, but a tense one.



EXT. LA PUSH - BEACH - DAY

BELLA and JACOB walk along the sand. JACOB seems distracted, like he wants to say something but can't.

BELLA'S too busy worrying to notice.

BELLA
They keep saying, "Everything's fine", but, it's complete bull. Alice is even going ahead with that stupid
graduation party, which I'm inviting you to, by the way.
(off Jacob's scoff) ...Yeah, I figured. The whole situation is a mess, and I can't even help. If I was one of them
already--

JACOB
(stops)
--I want to say something.

BELLA
Right; sorry. We agreed not to talk about that.

JACOB
No, it's...I wanted to do this differently; smoother--but, I'm out of time, and you need to hear the truth--
understand all your options. You probably already know what I'm going to say, but...

BELLA
(she does.) Jacob, don't--

JACOB
--I'm in love with you, Bella...and I want you to pick me instead of him.

BELLA stares at him, momentarily speechless. Finally--

BELLA
Jake, I...I thought you understood. I don't feel that way about you.

JACOB
I don't buy it.

BELLA
What don't you buy? That's how I feel.

JACOB
Do you want me to go away--never see me again?

BELLA
Of course not!

JACOB
See? You feel something else for me. You just won't admit it...and, I'm not giving up. I'm gonna fight for
you...yeah...until your heart stops beating.

BELLA
Then you won't have to fight for long--

JACOB
--You'e rushing into it because you're afraid you'll change your mind!

This strikes a nerve which makes her angry.

BELLA
It's what I want.

JACOB takes her by the arms, emotionally charged--

JACOB
You wouldn't have to change for me...or say goodbye to anyone. I can give you more than him. He probably
can't even kiss you without hurting you. Feel that? Flesh and blood and warmth. --

BELLA
--Jacob...

SUDDENLY, spontaneously, he kisses her. BELLA PUSHES against him angrily, but he pulls her tighter to him.

Finally, BELLA goes limp, drops her arms, opens her eyes, waiting for him to stop. He does; lets go. She turns away. He waits, gauging her reaction. Did she feel what he felt?

But BELLA SPINS back toward him and PUNCHES him in the mouth! There's a horrible CRUNCH on impact.

JACOB doesn't even flinch, but BELLA grabs her hand in pain -

BELLA
OW!



EXT. BELLA'S HOUSE - DAY

BELLA, PISSED, climbs from JACOB'S car, holding her injured hand as EDWARD'S Volvo SCREECHES to a stop. He gets out, moves directly for JACOB. BELLA gets in his path -

BELLA
Not here, Edward. Please.

He goes around BELLA, getting directly in JACOB'S face.

EDWARD
If you ever touch her against her will again--

JACOB
--She's not sure what her will is.

EDWARD
Oh, she can speak for herself--I guarantee you.

JACOB
Fine! Some day, she'll speak for herself, and ask me to.

BELLA
Stop it, Jacob! Just go!

But, JACOB faces off with EDWARD. Behind them-CHARLIE exits, sees the hostility betwen them; head for them -

CHARLIE
(getting between them)
Ok, guys. Let's take it down a notch. Come on; simmer down. Now what the hell is going on?

The 2 guys could crush him, but they back off.

JACOB
I kind of...kissed Bella...

CHARLIE
...Oh?

He can't help but be a little pleased, but the next bits of information change his attitude -

JACOB (continuing)
...against her will, so, she hit me, and broke her hand--accidentally.

CHARLIE'S expression turns into a GLARE that even the cocky JACOB shrinks under.



INT. CULLEN HOUSE - KITCHEN - EVENING

EDWARD looks on with concern as CARLISLE finishes setting BELLA'S hand in a splint. ROSALIE, at the counter in the background, peruses several newspaper, looking for updates.

CARLISLE
It's just a small fracture. You're all set, Bella.

EMMETT and JASPER breeze in and see Bella's splint.

EMMETT
Trying to walk and chew gum at the same time again, Bella?

BELLA
Punched a werewolf in the face.

EMMETT
Bad-ass! You're gonna be one tough little newborn.

BELLA
Tough enough to take you on.

ROSALIE SLAPS down the newspaper and abruptly walks out, throwing a fierce scowl BELLA'S way. BELLA is thrown.

EMMETT
Don't worry about it.

EDWARD
Did you find any leads?

JASPER
No sign of the intruder, but, Victoria continues to make appearances.

CARLISLE
She's toying with us; keeping us distracted.

EMMETT
...From Seattle?

CARLISLE
...Or the intruder, or something else.

EDWARD
Alice can keep tracking her decisions but we have to track her on the ground.

Tired of being ignored, BELLA heads out to the deck.

JASPER
We've already covered the entire southern peninsula down to Quinault.

EDWARD
We'll search the  northwestern trail.



EXT. CULLEN HOUSE - DECK - EVENING (continued)

The sun sets over the river as ROSALIE looks out. BELLA exits. ROSALIE knows who's behind her without looking.

ROSALIE
Go blather to someone else about the joys of becoming a newborn.

BELLA
I know how bad it'll be.

ROSALIE
(contemptuous) You don't have a clue.

Now BELLA has had it. Pissed, she straightens -

BELLA
Rosalie, I'm trying here. I've been trying with you, but, I can't figure out what I did to make you hate me.

ROSALIE
(faces her, surprised) Hate you?...I don't hate you! I don't particularly like you, but,... Bella, I envy you.

BELLA
That's ridiculous--

ROSALIE
--You have a choice. I didn't. None of us did, but, you do, and you're choosing wrongly. I don't care how
miserable your human life is.

BELLA
My life isn't miserable; It's not perfect, but, no one's is.

ROSALIE
Mine was.

BELLA
It was a long time ago. Maybe you're forgetting the bad--

ROSALIE
--I remember, and it was perfect...til the end.

She turns toward the river again. BELLA slowly moves to ROSALIE'S side, but at a careful distance.

ROSALIE
I had--almost had--everything, even though it was the Great Depression. I was 18; beautiful. Everyone in
Rochester envied me.

PUSH IN on ROSALIE as -

ROSALIE
There's only 1 thing I wanted that I didn't have.

CLOSE on a BABY'S face - curly black hair, dimples, cherubic. He's being held by --

EXT. ROCHESTER, NEW YORK - PARK - DAY - 1933

-- HUMAN ROSALIE, rosy skin; stunning, but naive and vain. We SEE her longing as she hands the boy back to his mother, VERA, 18.

ROSALIE (V.O.)
I wanted a child badly; a home of my own; a husband to kiss me when he came home from work; and I
thought I was going to have all of that.

EXT. SAME - ANOTHER SCENE

ROSALIE walks on the arm of the handsome, well-dressed ROYCE KING. Passersby eye her admiringly.

ROYCE enjoys the attention she brings him, but it's clear from their looks that ROYCE himself is not well liked.

ROSALIE (V.O. continuing)
Royce was the most eligible bachelor in town. I barely knew him. We were never alone, but, I was in love with
the idea of love.

ROSALIE doesn't see ROYCE eying a pretty WOMAN across the street. The pretty WOMAN, appalled, hurries along. He wipes the leer of his face. ROSALIE blithely sees only her perfect man.

ROSALIE (V.O. continuing)
I was young.

EXT. ROCHESTER NEW YORK STREETS - NIGHT - 1933

ROSALIE heads down the empty lamp-lit streets. She pulls her coat close in the chill night air.

ROSALIE (V.O. continuing)
On the last night of my life, I left a friend's house late. I wasn't far from home.

She slows as she sees a GROUP of 5 MEN, gathered under a streetlight. They laugh drunkenly, passing a bottle. ROSALIE veers away to avoid them but then hears -

ROYCE
Rose! We've been waiting for you.

ROSALIE
Royce, you're drunk.

ROYCE
Isn't she lovely, John? Told you she was a looker.

JOHN
Hard to say with all those clothes on.

ROSALIE, UNCOMFORTABLE, looks to ROYCE but he just snickers.

ROYCE
Show him what you look like, Rose. Take off a few layers.

ROSALIE
I'll see you tomorrow--sober.

She starts off, but ROYCE abruptly YANKS her hat off. She CRIES out in pain as the hat pins wrench her hair out. ROYCE GRINS, the sadist in him unmasked now. The men laugh.

ROYCE
You'll do as I say!

Then he grabs her coat. She fights him, scratching his face, but he violently RIPS the coat off her.

ECU. ON THE BRASS BUTTONS - they POP off [slow motion]. FOLLOW the buttons as they scatter onto the street.

ROSALIE (V.O. continuing)
I didn't see who he was until that night; who they all were.

BACK TO PRESENT

BELLA reels at the horror of ROSALIE'S assault. Empathy fills her as a stoic ROSALIE continues -

ROSALIE
They left me in the street thinking I was dead. Believe me, I wanted to be. Carlisle found me. He smelled all
the blood. He thought he was helping me.

BELLA
I'm so sorry that happened to you.

But ROSALIE won't be pitied.

ROSALIE
I did get revenge on them--one at a time.
(slight smile) I saved Royce for last so he'd know I was coming.

FLASH TO -

INT. HOTEL CORRIDOR - NIGHT - 1933

2 large MEN guard the doorway to a room. They look up as a specter in white appears at the other end of the

hall. As it nears, we realize it's ROSALIE in her wedding dress.


INT. HOTEL ROOM - same

ROYCE is terrified as he HEARS the sound of the 2 guards bodies falling heavily to the ground. He backs into a corner. The door SPLINTERS open and ROSALIE enters. Off ROYCE'S horror as she closes in on him -

BACK TO PRESENT

ROSALIE (continuing)
I was a little theatrical back then.
(flash of amusement, but it quickly disappears)
Things got better after I found Emmett, but, we'll always be this: Frozen--never moving forward.
That's what I miss most: Possibilities; Sitting on a front porch somewhere--Emmett, gray-haired, by my side,
surrounded by our grandchildren--their laughter.

ROSALIE is silent a beat. BELLA turns to her, empathetic, but holding her ground -

BELLA
I understand that's what you wanted, but, there'll never be anything I want more than Edward..

ROSALIE
Wrong again. After you've been changed, there's one thing you'll want more. One thing you'll kill for: ...Blood.

Seeing her point has landed, ROSALIE walks off. BELLA, shaken, turns back toward the house.

See EDWARD standing in the window, looking out at her.



INT. FORKS HIGH SCHOOL - GYM - GRADUATION CEREMONY - DAY

CAMERA PANS ACROSS THE CAPS AND GOWNS, families, and teachers. Umbrellas are on hand in case the clouds open up.

FIND JESSICA at the podium -- class valedictorian.

JESSICA
When we were five, they asked us what we wanted to be when we grew up.
Our answers were things like: astronaut, president, or, in my case - princess.

(chuckles from the crowd)

When we were 10, they asked again, and we answered: rock star, cowboy, or, in my case - gold medalist.
But, now that we've grown up, they want a serious answer. Well, how about this?: Who the hell knows?

Loud hoots and hollers from the audience, in wich we FIND BELLA. JESSICA'S words are sinking in.

This isn't the time to make hard-and-fast decisions; it's the time to make mistakes.
Take the wrong train and get stuck somewhere chill. Fall in love...a lot.
Major in philosophy, because there's no way to make a career out of that.
Change your mind, then change it again, because nothing's permanent.

Off BELLA, knowing there will be no changing her mind once she makes her decision.

ON THE STAGE, BELLA walks to the school PRINCIPAL and shakes his hand while receiving her diploma.

Out in the audience, CHARLIE CLAPS loudly, beaming with pride.

JESSICA (continuing)
So make as many mistakes as you can.
That way, someday, when they ask what we want to be, we won't have to guess--we'll know.


EXT. SCHOOL - POST GRADUATION CEREMONY - DAY

CHARLIE and BELLA WALK away. BELLA awkwardly shouldering out of her gown and mortarboard. Ad-libbed "see you at the party"s with various students including the usual suspects, if possible. CHARLIE wraps an arm around BELLA'S shoulder; emotional.

CHARLIE
I'm so proud of you, Bells. I can't wait to see what you do next. You're by biggest accomplishment.

BELLA
Dad...that's not true.

CHARLIE
Yeah, it is; and it's...well, you'll see when you have kids.

Off Bella -



EXT. SEATTLE - ISOLATED STREET - NIGHT

RILEY (O.S., PRE-LAP)
What did I say about a low profile?!

RILEY, exasperated, stands next to a late model sedan that lies UPSIDE DOWN in the dark street. Smoke comes from the engine; a FIRE ignites. Inside the car, a WOMAN SCREAMS.

RILEY
You call this low?!

A MALE NEWBORN ignores him as he pulls the screaming woman from the car and begins to feed on her.

Nearby, 2 other NEWBORNS feed on prizes of their own - a PROSTITUE and a BIKE MESSENGER. RILEY gives up.

RILEY
Just...clean up after yourselves.

CAMERA CRANES UP AND BACK - TO AN OVERPASS IN THE DISTANCE
where we find 4 motionless figures looking down at the mayhem.

PUSH IN to find: THE VOLTURI
JANE with her misleadingly angelic face.
The hulking FELIX
Elegant DEMITRI
Cherubic ALEC
All wear dark coats with hoods. JANE is calling the shots.

ALEC
(To Jane, with distaste) How...indiscreet.

FELIX
They've already drawn too much attention.

DEMITRI
So has our inaction. Others may begin to question the Volturi's effectiveness.

JANE
Let them.

FELIX
Maybe we should consult with Aro.

JANE shoots FELIX a look - searing PAIN shoots through his body. The massive FELIX drops to the ground

writhing silently. JANE is one scary little girl.

JANE
Aro's decisions are being watched. We must decide.

ALEC carefully/gently touches her shoulder, interceding.

ALEC
Then decide, sister. It's time.

She releases FELIX. DEMITRI helps him up. She SMILES at ALEC, utterly uncaring of the agony she just caused FELIX.

JANE
Yes, it is. Either we let them do what they were created for, or we end them. Decisions, decisions.

Back on RILEY - He senses something; looks up.

RILEY'S POV on the overpass - The Volturi are gone. We begin to hear the POUNDING of dance MUSIC as we go to -



INT. CULLEN'S HOUSE - GRADUATION PARTY - NIGHT

It's wall to wall teenagers--dancing; celebrating. ALICE has transformed the place into a magical nightclub.

ANGLE on the front door - as BELLA enters, immediately overwhelmed by the crowd. She weaves her way through the throngs, searching for EDWARD. She finally spots him -

BELLA'S POV - THROUGH THE KITCHEN DOOR:
EDWARD is deep in consultation with CARLISLE, EMMETT, and JASPER. Their mood is intense.

BELLA heads toward them but JESSICA and ANGELA swoop in.

ANGELA
You're finally heret!

JESSICA
What'd you think of my speech? Too easy-breezy/self-helpful?

BELLA
Actually, you pretty much nailed it.

JESSICA
Like I was born to lead, right?

ANGELA
I love this song! Come on --

-- ANGELA pulls them to the dance floor where ERIC and MIKE find them.

MIKE
Time to dance, Bella. Don't make me get my robot on.

ERIC
You wish your robot looked this good.

MIKE and ERIC start a robot battle. The GIRLS LAUGH. Their celebratory mood is in striking contrast to the

atmosphere in the kitchen. A dance floor is BELLA'S idea of hell, but she forces a smile; shuffles a bit. Then

she SEES --

BELLA'S POV - ON THE FRONT DOOR:
JACOB enters, calm, confident. QUIL and EMBRY flank him, looking tense, eyes darting around the room.

BELLA maeuvers off the dance floor and into JACOB'S path.

BELLA
What are you doing here?

JACOB
You invited me, remember?

BELLA
Was my right hook too subtle? 'Cause that was me uninviting you.

JACOB
Bella--I'm sorry about, you know, the kiss and your hand, and I'd blame it on the whole inner animal thing, but,
it was really just me...being an ass. Really, I'm sorry.

She sees he's sincere. She softens; nods.

JACOB
I brought you a graduation present. Made it myself.

He takes her hand and clasps to her wrist a CHARM BRACELET.

INSERT - The charm -- an intricately hand-carved figurine of miniature WOLF. BELLA looks at it, moved.

BELLA
It's beautiful. You made this?
(off his nod) Wow, I... Thank you.

JACOB'S pleased, but, then BELLA'S eye is caught by -
- ALICE standing by the STAIRCASE, frozen. She's having a vision. Alarm clouds BELLA'S face. JACOB sees
it -

BELLA
I'll be right back.

JACOB
Why? What's going on?

BELLA
Nothing. Just wait here a sec.

JACOB shares a suspicious look with EMBRY and QUIL as BELLA pushes through the crowd.

ANGLE ON THE STAIRCASE - BELLA reaches ALICE just as she comes out of her vision; her face alarmed.

BELLA
Alice, what is it? What'd you see?

JACOB appears.

JACOB
Ok, something is going on. Tell me.

ALICE
I...need to talk to Jasper.

JACOB puts an arm against the wall, blocking her.

JACOB
Why don't you talk to me.

SUDDENLY, JASPER is there--his expression lethal.

JASPER
I suggest you remove your arm - before I do.

JACOB does so, slowly; carefully.

JACOB
Just looking for info.

ALICE
The decision's been made.

BELLA
You're not going to Seattle, are you?

ALICE
No. ...They're coming here.

Off ALICE as we SMASH TO -

- ALICE'S VISION -- SEATTLE - ABANDONED CANNERY

RILEY passes BELLA'S red blouse amongst the newborns. As they inhale, picking up her scent -



EXT. CULLEN HOUSE - BACK DECK - NIGHT

The party continues inside, but, outside, the discussion is tense. BELLA, ALICE, EDWARD, JASPER, and CARLISLE debate as JACOB tries to follow. QUIL and EMBRY are nearby, on guard.

EDWARD
How long?

ALICE
They'll be here in four days.

CARLISLE
This could turn into a bloodbath.

JASPER
There aren't enough of us to protect the town.

JACOB
Someone's going to attack Forks?

EDWARD
(to Alice) Who's behind it?

ALICE
I didn't see anyone familiar. Maybe one.

EDWARD
(reading her mind) Yes, I've seen his face. He's local. Riley Biers...but, he didn't start this.

He catches BELLA'S eye as she recognizes the name, shaken.

ALICE
Whoever did is staying out of the action.

CARLISLE
So someone's playing with blind spots in your vision.

EDWARD
Only the Volturi could know how Alice's gift works. Aro would have found out when he read Alice's mind.

JASPER
Either way, the army is coming, and our odds aren't good.

JACOB
Alright, hold up. What damn army?

He's about to explode. CARLISLE and EDWARD share a look. EDWARD shakes his head no, but CARLISLE decides differently.

CARLISLE
Our kind - newborns.

QUIL
How many?

JASPER
Enough.

EMBRY
What are they after?

ALICE
They were passing Bella's scent around - A red blouse.

BELLA
That's what he was doing at my house.

JACOB
Ok. What the hell does this mean?

CARLISLE
It means an ugly fight--with lives lost.

The weight of it lands on all of them. Beat. JACOB shares a sober look with EMBRY and QUIL. An imperceptible nod.

JACOB
We're in.

BELLA
What?! No! You'll get yourself killed!

JACOB
Please. It's what we were made for.

EDWARD
Forget it.

JACOB
Wasn't asking permission. --

CARLISLE
-- Alright!

The guys back off. CARLISLE turns to JACOB.

CARLISLE
You believe Sam will agree to this...understanding?

JACOB
If that's a fancy word for fighting together - yeah. We happen to live here, too.

EDWARD looks at CARLISLE, who's still weighing it.

CARLISLE
Jasper?

JASPER
They'll give us the numbers...and the newborns won't know werewolves even exist. That'll give us an edge.

BELLA
Carlisle, don't! They'll get hurt!

JACOB scoffs. They all look to CARLISLE. Finally, he nods, ignoring BELLA'S concern.

CARLISLE
We'll have to coordinate.

EDWARD'S not happy, but resigns himself. BELLA is panicked.

CARLISLE
Fighting newborns requires knowledge that Jasper has. We were already planning a strategic meetin You're
welcome to join us.

JACOB
Name the time and place.

- A MOMENT LATER - BACK TO THE PARTY -

JACOB, QUIL, and EMBRY head for the door. BELLA catches JACOB.

BELLA
Jake, wait. You don't know what you're getting into.

JACOB
It's what we do. You should be happy. Look at us--working together. You are the one who wanted us to get
along.

JACOB strides out, leaving her amid the revellers. As the MUSIC grows LOUDER, PUSH IN on BELLA'S worried face -



EXT. CLEARING IN THE WOODS - DAWN

The eerie silence contrasts the previous scene's noise. It's a large field surrounded by dense forest. The mist is heavy; it's overcast grey. Suddenly, the quiet is broken by -

- EMMETT being FLUNG through the air, flailing in slow motion. He lands HARD on his back, but immediately

springs up to face JASPER - the person who threw him.

EMMETT
Again!

INCLUDE CARLISLE, ESME, ALICE, and ROSALIE who watch them spar.

ANGLE ON AN ARRIVING VOLVO as it skids to a halt next to the JEEP. EDWARD and BELLA climb out,

head into the field together. Halfway across, EDWARD stops.

EDWARD
...They're here.

ON THE TREELINE - From out of the mist skulk 8 GIANT WOLVES as wary and on-edge as the CULLENS

are. EMMETT recognizes PAUL-WOLF; their eyes meet, both itching for a rematch.

BELLA
Two more have joined the pack.

EDWARD
They're young--very young.

CARLISLE joins EDWARD, who reads the pack's minds.

EDWARD
They don't trust us enough to be in human form.

CARLISLE
They're here. That's what matters.

BELLA SEES the red-brown WOLF as it turns toward her.

BELLA
...Jake.

He seems to almost smile, tongue lolling. A sharp look from SAM-WOLF gets JACOB-WOLF to focus.

CARLISLE asks EDWARD -

CARLISLE
Will you translate?

EDWARD nods. CARLISLE moves slowly toward the pack. SAM-WOLF, the biggest, steps foward.

CARLISLE
Welcome.

EDWARD
(reading Sam-Wolf's mind) He says they'll watch and listen, but that's the most we can ask of their self
control.

CARLISLE
That will be fine. Jasper has experience with newborns. He'll teach us how to defeat them.

EDWARD
They want to know how these newborns differ from us.

CARLISLE
They're a great deal stronger than us because their own human blood lingers in their tissues. Our kind is never
more physically powerful than in our first several months of this life.

The pack takes this in. CARLISLE nods to JASPER to take over. JASPER is initially uncomfortable with both the wolves and the attention, but steps forward -

JASPER
Carlisle's right. That's why newborns are created for armies.

EDWARD
One of them - Quil - he wants to know how many vampires constitute an army. He seems to be made
nervous by the term.

If it's possible for a wolf to look embarrassed, QUIL does. JASPER laughs.

JASPER
"Army" is an expression for a large number of newborns.
The good news is - they are not in the thousands,
like a human army.
The bad news is - no human army could stand against them, but, they're untrained, and
their thirst will make them wild; volatile.
That can work in our favor.

As JASPER moves to the center of the field for a demonstration, he grows more commanding; the long

dormant leader in him resuming control.

BELLA watches with surprise as this new JASPER emerges. The pack sit or lay to observe, ready to spring if

need be.

JASPER
The two most important things to remember are:
first--never let them get their arms around you. They'll crush you so fast, your head will spin.
Second--never go for the obvious kill. They'll be ready for that, and you will lose.
Emmett.
(gestures for him to atttack) Don't hold back.

EMMETT
Not in my nature.

EMMETT charges JASPER with impossible speed, but JASPER is a virtual BLUR. EMMETT lunges several times, his strong arms grabbing at air. JASPER stops long enough to say -

JASPER
You have to come at them from the side, and keep moving; always moving.

EMMETT lunges again with similar results, until suddenly he FREEZES - JASPER has him from behind - his teeth an inch from EMMETT'S throat.

BELLA is taken aback by JASPER'S skill, and there's an impressed RUMBLE among the watching wolves.

TRAINING SEQUENCE - A SERIES OF SHOTS

Everyone takes turns sparring with JASPER, or pairing off against each other. They're all blurs, which become

visible as we shift to SLOW MOTION to see a violent but extraordinary dance.

ALICE and JASPER spar, spiralling, twisting. JASPER launches at her, but with her eyes glazed over, not

looking at him, she sees his moves before he makes them. Out of nowhere, ALICE is perched on his back.

She kisses his neck.

ALICE
Gotchya.

EDWARD and CARLISLE attack one another, but EDWARD can read CARLISLE'S mind, which gives him the advantage. He twirls beyond CARLISLE'S grasp, then SLAMS into him, delivering a vicious body blow.

JASPER
Focus on speed, agility, keep your opponent off guard.

The WOLVES rise or pace, watching intently, itching to get into the fray, but holding back.

JASPER
Use their momentum against them.
Yes, good.

ANGLE ON BELLA anxiously watching these fierce, life and death war games--a portent of the violence to

come.

A furry muzzle brushes her face. JACOB-WOLF is beside her; his eyes conveying concern. She pensively

looks back out at the field.

BELLA
It'll be 100 times worse than this, won't it? Some of you might not be here - afterward - because of me.

BELLA'S POV - PANNING ACROSS the faces of the CULLENS and the WOLVES

A beat - then JACOB muzzles her face again. She pets him; leans against him.

EDWARD suddenly appears next to her.

EDWARD
We're done for the day.

His expression is calm, but firm. JACOB-WOLF eyes them, then rejoins his pack as they retreat into the woods.



- LATER -

The JEEP pulls away carrying CARLISLE, ESME, ROSALIE, and EMMETT.

BELLA sits on the hood of the Volvo. JASPER approaches, kicking the mud from his shoes, brushing dirt off.

BELLA looks at him as if for the first time.

BELLA
Jasper...is there anything I can do to help?

JASPER
Your presence alone, your scent, will distract the newborns. Their hunting instincts will take over - drive them
crazy.

BELLA
Good. I'm glad.
How do you know so much about all this?

JASPER
I didn't have quite the same...fine upbringing as my adopted siblings.

Hoping to end the conversation, he starts to move away, but she jumps off the jeep, following him. He pauses, sees her inguiring look. Beat. He slowly rolls up a sleeve. Shows her -

- CLOSE ON JASPER'S ARM

At first, we SEE nothing in the overcast grey light, then it becomes clear - his arm is feathered with hundreds of white, half-moon shaped scars. Bella is aghast.

BELLA
Those are bites - like mine.

JASPER
Battle scars. All the training the Confederate Army gave me was useless against newborns. Still, I never lost a
fight.

BELLA
This was during the Civil War?

He nods as he starts to walk. She walks apace with him.

JASPER
I was the youngest major in the Texas cavalry. All without having seen any real combat - until...

BELLA
...Until?

JASPER
...I crossed paths with a certain immortal: Maria.

OFF JASPER'S FACE, darkening with the past -


EXT. DESERT OUTSIDE HOUSTON, TEXAS - NIGHT - 1863

- MATCH CUT - JASPER'S HUMAN FACE - tan and flushed with the exertion of riding his horse full throttle

down the dirt road. He looks dashing in his confederate uniform.

JASPER (V.O.)
I was riding back to Galveston (after evacuating a column of women and children) when I saw her. Southern
Gentleman that I was, I immediately offered her my aid.

He slows when he sees 3 WOMEN in frayed dresses and bare feet. Their beauty overwhelms him. MARIA

[Mexican, black-haired, porcelain-skinned] is flanked by 2 blondes - LUCY and NETTIE. He dismounts, politely

bows. MARIA scrutinizes him.

LUCY
(inhaling his scent) Mmm. Lovely. And an officer.

NETTIE
You'd better do it, Maria. I can never stop once I've started.

JASPER is confused but mesmerized as MARIA moves closer.

MARIA
What's your name, soldier?

JASPER
Major Jasper Whitlock, ma'am.

MARIA
I hope you survive. You's be an excellent addition.

- BACK TO PRESENT - JASPER stops walking. The painful memory washing over him. BELLA moves to a

fallen log; sits. Prompts him -

BELLA
Maria was creating an army?

JASPER
I became her 2nd in command. Back then, armies were common in the South. There were constant - brutal
battles for territory.

- BACK TO FLASHBACK - DIFFERENT SCENE -

MATCH CUT JASPER'S face, eyes red. He's almost unrecognizable in his ferocity as he TEARS through an

opposing army of NEWBORNS, ripping off limbs, arms, heads. He's a terrifying warrior.

JASPER (V.O.)
Maria won every battle. She was smart and careful - and she had me. My ability to control emotions served her
well.


INT. BARN - DAY

JASPER trains a group of NEWBORNS, demonstrating defensive and attack maeuvers. They're a feral-looking

bunch. JASPER'S eyes are burgundy-red, his face hard; cold, until he crosses a YOUNG innocent looking

BOY, 15. JASPER softens ever so slightly as he encourages the boy, who clearly looks up to him.

JASPER (V.O.)
I trained her newborns--an endless occupation since she never let them live beyond their first year.

A stronger NEWBORN easily pins the boy. MARIA appears behind JASPER; grabs him into a kiss, dominant

and salacious. She whispers to him regarding the boy -

JASPER (V.O.)
It was my job to dispose of them.

JASPER approaches the boy, who looks up and smiles at his friend and mentor - so he's surprised when

JASPER throws an arm around his throat.

JASPER (V.O.)
I could feel everything they felt.

SEE JASPER'S despair as he restrains the boy in a choke-hold, almost an embrace before twisting the boy's

head off.

- BACK TO PRESENT -

JASPER'S despair as acute as if it was yesterday. ALICE has appeared next to him.

JASPER
I thought what Maria and I had was love--but, I was her puppet. She pulled the strings. I didn't know there was

another way...until I found Alice. She'd seen me coming, of course.

ALICE
Kept me waiting long enough.

JASPER
(tipping his head)
My apologies, ma'am. I don't know what I'd have become without her.

ALICE wraps her arms around JASPER from behind him.

ALICE
Shh. You'll never have to be that again.

ALICE kisses the ghosts away.

- Off BELLA, taking it all in -



EXT. BELLA'S HOUSE - NIGHT

PUSH IN on the 2nd story - BELLA'S darkened window


EXT. CLEARING IN THE WOODS - NIGHT - DREAM SEQUENCE

Find BELLA back in the field, only now she's alone. CAMERA CIRCLES around her until it's over her shoulder

and we SEE -

- JASPER in front of her. Then MARIA steps next to JASPER, whispers seductively into his ear. We don't hear

it, but we

PUSH IN CLOSE ON JASPER'S EYES - they being to turn bright BLOOD RED, thirst-crazed.

PULL OUT again to discover that it's no longer MARIA next to him - it's VICTORIA.

She LUNGES for BELLA, but for once, instead of running, she faces her enemy and SWINGS! --


NT. BELLA'S ROOM - NIGHT
ON BELLA, in bed - Mid-swing, EDWARD catches her fist. She was dreaming, but the fist was real. Her eyes

focus, realizng she swunn at EDWARD. Her heart is racing.

BELLA
The intruder, the newborn army--they're all her puppets--Victoria.

EDWARD
Alice would have seen Victoria's decision to make an army--

BELLA
--Unless she's hiding behind them - letting someone else decide. Maybe she found out how Alice's visions
work.

EDWARD rises, considering.

EDWARD
Trust me - I want it to be her. I want her that close - to end her myself, with my own hands.

She sees the darkness in his face, not certain what to make of his murderous side.



EXT. SEATTLE - UNDER A BRIDGE - NIGHT

It's dark. RILEY appears in the shadows, DRAGGING by the collar - a barely conscious, athletic young man,

18. RILEY effortlessly pulls the man's weight behind him as he traverses the long stretch of the underpass.

ON THE MAN'S FACE - he tries desperately to focus. The BUMP on his head prevents lucidity.

YOUNG MAN
Stop... I...

But he's dragged over a stone; CRIES OUT in pain -

RILEY ignores him, finally reaching his destination. He releases the man, who drops hard to the ground.

The man is blinded by the darkness, dazed, terrified. He starts to crawl away. He doesn't see a pair of boots

step up behind him. He manages to get to his feet, about to run -

SUDDENLY, a HAND wrenches him backward. It's VICTORIA. She forces him to his knees, his back to her.

He doesn't see her, and never will. She shoots a smile at RILEY; he returns it, backing away from the coming

blood.

She yanks the young man's head to the side to expose his neck -

VICTORIA
(whispers to the young man) Welcome to the army.
(to Riley) We're ready.



EXT. BELLA'S HOUSE - DAY

EDWARD exits with BELLA on his heels.

BELLA
Wait.

EDWARD
They'll be here soon, Bella.

BELLA
I know. That's why I...I wanted to ask you something.
(off his look) You'd give your life for me, wouldn't you?

EDWARD
Of course.

BELLA
What else would you give?

EDWARD
Anything.

BELLA
Good - then I feel better about asking you this -- I want you to stay out of the fight.

EDWARD
...I can't, Bella.

BELLA
I can't lose you.

EDWARD
(quietly) I won't be far, and it will be over quickly. With the wolves in it, there won't be enough for the rest of us
to do.

BELLA
If there won't be enough to do, then you're not needed, are you?

EDWARD seems caught by his own logic.

BELLA
...And it's just pride that's making you go. Well, I'm asking you to put that aside. I know that would take a lot
of courage.
(Beat - Edward is still resistant)

No more tricks. No more half-truths. We'll be together, one way or
another. Either you come with me, or I'll be at the battle with you.

EDWARD struggles; knows she's right, but resists. She sees he's wavering; she presses, reluctantly saying

the words she knows will land hardest -

BELLA
Edward, I've already gone crazy once. If you leave me again...

Yep. Those were the words that could evoke his guilt. He looks down. She feels terrible but doesn't take it

back.

BELLA
...There are only 2 alternatives: both of us in, or both of us out.

EDWARD struggles with his conscience - loses.

EDWARD
Then I choose the alternative I can live with.

He pulls her to him. Off BELLA, both relieved and guilty -



EXT. CLEARING IN THE WOODS - DAY

JACOB faces EDWARD and BELLA. They're in the center of the field. JASPER stands several paces behind

EDWARD.

JACOB
(mocking) You're not fighting? What, you pull a muscle or something?

BELLA
He's doing it for me, okay?

JACOB looks at her then EDWARD; shakes his head with disdain.

JACOB
Whatever. Just tell me the plan.

JASPER steps forward slightly.

JASPER
This field will give us an advantage in battle. We can lure the newborns with Bella's scent, but, it needs to end
here.

BELLA
Edward and I are going to a campsite, but, even if he carries me, they'll pick up on our scents.

EDWARD
(to Jacob) Your smell, however, is revolting.

JACOB
Dude, you really don't wanna start comparing stinks.

BELLA
He means your scent will mask mine if you carry me.

JACOB
Done.

EDWARD
(to Jasper) This is a bad idea.

JASPER
Edward, they won't want to get anywhere near his...odor.

BELLA
Let's just test it.

EDWARD finally nods. She extends her arms to JACOB. He grins, picks her up, holding her tight.

JACOB
Eau de wolf coming up.

EDWARD
Run.


EXT. FOREST - DAY

JACOB runs through the trees carrying BELLA - not super-human speed, but fast, and not breaking a sweat.

Some time has passed [indicated by scene cuts], and JACOB sets BELLA down. They start to walk, circling

back slowly toward their distant starting point.

JACOB
We'll see if that works. Personally, I think I smell great. You ever notice anything.

BELLA
Nothing except the usual boy smell.

JACOB
You gonna ask me to sit out of the fight, too? Or do you care about my safety?

BELLA
Of course, I care - but, you'd say no -- unless maybe you'd consider --

JACOB
-- Yeah, right. But, that doesn't mean he loves you more, and I don't have a choice anyway. Since I let Sam be
alpha, I have to live with the shots he calls.

BELLA
Wait...you let him be alpha? What does that mean?

JACOB
Technically, I was supposed to be Alpha. It's a lineage thing. It also woulda meant being chief of the whole

tribe, but, I turned it down when Sam offered.

BELLA
You're kidding.

JACOB
I didn't want to be in a pack, let alone be their leader.

BELLA
Wow. Chief Jacob.

JACOB
Opted out. But, every choice has consequences. Some more than others...

BELLA
Don't start. You're gonna have to accept my choice.

JACOB stops; their proximity intimate.

JACOB
You can love more than one person at a time. I've seen it--with Sam, Emily, and Leah.

BELLA
I'm not a wolf. I can't imprint.

JACOB
It's not about imprinting. It's about feeling something for someone, and I know you feel something for me. I can

sense how I make you feel--physically. I make you nervous.

JACOB pulls her closer - indeed making her a little nervous.

BELLA
...Jake. Come on...

JACOB
Don't worry. I promised I wouldn't kiss you again till you asked.

BELLA
You'll be keeping that promise a long time, Chief Jacob.

He sees he's gotten to her; grins.



EXT. CLEARING IN THE WOODS - DAY

BACK on EDWARD as JASPER jogs out of the woods.

JASPER
All I picked up was wolf stench--No Bella. This will work.

EDWARD
(gritted teeth) ...Great.


EXT. BELLA'S HOUSE - AFTERNOON

BELLA climbs from her truck just as ALICE exits the house with CHARLIE. The two LAUGH, enjoying one

another. As ALICE heads down the stairs -

CHARLIE
Don't be a stranger, Alice.
Hiya, Bells!

BELLA, surprised, waves back as CHARLIE heads into the house. ALICE meets BELLA in the yard.

ALICE
Your alibi for the battle is all arranged.

BELLA
Really?

ALICE
I told your father that my whole family's going camping this weekend, so you and I are having a sleepover at
my house. Me, he likes.
Actually, you and Edward will have the house to yourselves tonight.

BELLA
...Alone?

ALICE
We're all going hunting--powering up for the fight. You're welcome.

Off BELLA, flushed with anticipation and nerves.



INT. BELLA'S HOUSE - KITCHEN - AFTERNOON

BELLA enters as CHARLIE makes a sandwich. He looks up.

CHARLIE
The sister, I like.

She moves to the sing; starts washing dishes, overly casual.

BELLA
Yeah, Alice is great. So, Dad, I was wondering why you never got remarried after Mom...

CHARLIE
I don't know. Guess I still haven't met the right person. Why?

BELLA
I thought maybe it was 'cause you...I don't know - gave up on the whole institution--of marriage. But...you still

think it has value?

CHARLIE
(suspicious) ...Sure, marriage has value - when you're older - much older - like your mom. It worked out great

for her the second time - later in life.

BELLA
...I guess.

CHARLIE
...You definitely don't wanna have to get married because you weren't...careful.

BELLA
...What?

CHARLIE
I mean, there's things you need to know when you're...physically intimate--

BELLA
--Oh, no. Tell me this isn't "the talk".

CHARLIE
I'm just as embarrassed as you are.

BELLA
I seriously doubt that - and Mom beat you to it 10 years ago.

CHARLIE
You didn't have a boyfriend 10 years ago.

BELLA
I think things still work the same way.

CHARLIE
So...you two are taking precautions?

BELLA
Please - I mean, really - please don't worry about it. Edward is..."old school".

CHARLIE
...I...don't know what that... Is that like a technique or--

BELLA
--Oh, my God. I'm a virgin. ...Ok? And...I cannot believe I just had to say that out loud...

Neither can he.

CHARLIE
Really? Huh. Liking Edward a little more.

BELLA, mortified, bolts for the door.



EXT. CULLEN HOUSE - NIGHT

BELLA approaches the front door, overnight bag on her shoulder. She's nervous; awkward. She aranges her

hair; straightens her sweater; checks her breath.

SUDDENLY the door opens to reveal a worried EDWARD.

EDWARD
Why are you waiting out here? What's wrong?

BELLA
Nothing.

He looks at her quizzically, but takes her bag, shows her in. She takes a deep breath and enters.


INT. EDWARD'S BEDROOM - NIGHT

BELLA follows EDWARD into the room to find a large, luxurious, wrought-iron BED. She stops at the sight of

it.

BELLA
There's a bed.

EDWARD
I thought you might need one to sleep in.

She tentatively moves to it, sitting on its edge.

BELLA
A blow-up mattress would have sufficed.

EDWARD
Too much?

BELLA
No, it's perfect.
[Inhaling courage, she scoots to the bed's center. Beat - ]
I wanna ask you something.

He sees something's on her mind; joins her on the bed.

EDWARD
Anything.

BELLA
Is marriage still a condition to you agreeing to change me yourself?

EDWARD
(where is this going?) ...Yes.

BELLA
Okay, well... I wanna negotiate my own condition.

EDWARD
There's something else you want, it's yours - whatever it is.

BELLA looks at him, then leans over, kisses him. Awkwardly, she moves closer still, kisses him again, more

deeply. He returns the kiss. Passion sweeps over them, but as she attempts to unbutton his shirt, he pulls

back, realizing -

EDWARD
Bella...no. I could hurt you.

BELLA
You said you wanted me to have every human experience.

EDWARD
The ones that don't risk me killing you--

BELLA
--You won't. And everyone's so convinced that after I've changed, all I'll want is to slaughter the town.

EDWARD
That part doesn't last forever.

BELLA
I want to be with you, while I'm still me, while I want you this way.

EDWARD
It's too dangerous.

BELLA
Try. I'll marry you, go to college, let you buy me a car. Just try. Please.

He sees how important it is to her. Wrestles with his own conflicting desires - a difficult internal debate.

She sees he's on the fence. She tentatively moves closer - kisses his forehead, cheek, lips. He allows himself

to kiss her back, and keeps going.

Passion builds again. She successfully tugs his shirt off. Bare chested, he pulls her closer. They fall back on

the bed - but, when she tries to take off her own shirt, he finally pulls back, trying to retrieve his wits -

EDWARD
Bella--Bella, please stop trying to take your clothes off.

BELLA
Do you wanna do that part?

EDWARD
Not tonight.

She shrinks back, utterly humiliated--rejected.

BELLA
You don't want to--wow. O.k. that's...

He quickly moves to her side, grabs her up, pulls her close, takes her hand--intense desire in his eyes.

EDWARD
Oh, I want to--more than you can possibly imagine, but...I want us to be married first.

He kisses her hand. Bella's trying to sort this out.

BELLA
What--am I like some perv trying to steal your virtue?

EDWARD
It's not my virtue that concerns me.

BELLA
You can't be serious...

EDWARD
I'd like to leave this one rule unbroken. It may be too late for my soul, but, I will protect yours. I know it'snot a

very modern notion--

BELLA
--It's not even old fashioned--it's ancient.

EDWARD
I'm from a different era. Things were...less complicated. For instance, I was considered a man at 18. Had I met
you then...

He slides off the bed, still holding her hand.

PUSH IN on BELLA'S FACE AS -

EDWARD (continuing)
...I would have courted you...and called on you at home. We'd have taken chaperoned strolls, or had iced tea

on the front porch. I might have even stolen a kiss or two...and after asking your father's permission, I would

have gotten down on one knee...

EDWARD, now on one knee -

EDWARD (continuing)
...and offered you a ring.

He takes from his pocket a little BLACK BOX; flips it open to reveal -

INSERT - THE SPARKLING RING - a long oval face with slanting rows of glittering stones, set within a fragile

web of gold.

EDWARD (continuing)
This was my mother's.

The beautiful ring literally takes BELLA's breath away. EDWARD pulls her to her feet as he remains on his

knee. Fear and love do battle within her as -

EDWARD (continuing)
I would have said...
"Isabella Swan, I promise to love you every single moment of forever. Will you do me the extraordinary honor of
marrying me?"

BELLA
Yes. Yes, I will.

As he SLIPS the RING on her FINGER, she is overcome. TEARS spring to her eyes as, finally, loves wins out.

He rises, overjoyed, and embraces her, LIFTING HER off her feet. He is joyous. She reels, overwhelmed,

ambivalence not entirely gone as she takes in the ring on her finger.



INT. SEATTLE - ABANDONED CANNERY - NIGHT

ON RILEY and VICTORIA - in an embrace, a dark, discomfiting mirror image of the previous scene. They're on

a secluded catwalk, away from the newborn army. It's sexy; intimate.

RILEY
You're not coming with us?

VICTORIA
It'll be a last minute decision. I told you how it works.

RILEY
Right. The Cullens have powers.

VICTORIA pulls away, ever-so-slightly irritated by his tone.

VICTORIA
Don't underestimate them, Riley. You'll have the numbers, but, they'll be able to anticipate your every move.

RILEY
According to your friend?

She looks at him, not sure where he's going with this. She circles him -

VICTORIA
Yes. My dead friend. Laurent found out about the things they could do, and they killed him, but, not before he

told me.

RILEY
Maybe he was wrong. I mean, this is supposed to be Cullen territory. We've been tearing it up and I've never
even seen them here.

FURY flashes in VICTORIA'S eye's. She's suddenly standing several feet away from him.

VICTORIA
You don't trust me?

RILEY
With my life! I'm just saying--

VICTORIA
--I'm doing this for us so that we can feed without their retaliation--I can't live in fear anymore waiting for them to
attack!

He's suddenly next to her, wrapping his arms around her.

RILEY
I won't let them. I am going to end the Cullen clan. I swear.

She looks at him, then kisses him - hard.

VICTORIA
I love you so much.

He embraces her, but over his shoulder, we see her eyes go flat - the emotion disappearing.


EXT. TRAIL IN THE WOODS - MORNING

CLOSE on BELLA'S FINGER (sans ring) - A pin PRICKS it and a single drop of BLOOD appears.

INCLUDE BELLA who touches her finger to the side of a tree. She moves up the trail to the next tree, touching

it as well. A cold WIND BLOWS. The CLOUDS above are DARK. She continues, making her way to -


EXT. THE CLEARING (continued) - MORNING

BELLA emerges into the empty field. She touches another tree. EDWARD comes up behind her.

EDWARD
You're going overboard.

BELLA
If this is all I can contribute, I wanna be thorough.

EDWARD
Jasper will be very impressed, and the newborns'll be frantic. Now, let me put a bandage on that.

He reaches for her left hand. She pulls it away, worried.

BELLA
I can do it. You don't have to make yourself uncomfortable.

EDWARD
Don't worry. This doesn't bother me anymore.

BELLA
Since when?

-- He takes her hand; puts a bandage on it.

EDWARD
Since I survived thinking you were dead.
(He gives her a quizzical look) You're not wearing your ring.

BELLA
(busted.) ...I didn't want to risk losing it...

EDWARD
...Or letting Jacob see it.

BELLA
(beat) It would be better if I told him, ...you know, ...later, ...after tomorrow's fight.

EDWARD
If you're having second thoughts--

BELLA
--No...I just want him to have a clear head--

JACOB (O.S.)
--Whose head is unclear?

They spin to find JACOB across the clearing. He approaches -

BELLA
No one's, I hope.

EDWARD and JACOB nod curtly to one another. They eye the cloudy sky.

EDWARD
Alice says there's a storm coming.

JACOB
I can feel it. We should get going.

EDWARD
I'll take a longer route, but, I'll get there first--set up camp.

JACOB nods. EDWARD turns to BELLA, searching her face for ambivalence or surety. Finally, he KISSES her

FOREHEAD.

EDWARD
I'll see you in a few hours.

He GRABS her bag and some gear; leaves. JACOB eyes BELLA.

JACOB
Something up?

BELLA
(covering) The usual--Bunch of vampires trying to kill me.

JACOB
Same old, same old.

They SMILE as he slings her onto his back.


A SERIES OF SHOTS:

EXT. ABANDONED LUMBER YARD ON THE WATER - DAY

RILEY leads the army of newborns across this ghostly yard. They mve at a trot, LEAPING over pyramids of

rotting logs. As they head for the water, find BREE - doubt on her face.


EXT. WOODS - DAY

JACOB runs with BELLA, maintaining a steady jog, affortlessly carrying her weight. She HOLDS onto him; her

mind heavy with concerns.


EXT. PUGET SOUND BEACH - LATER - DAY

On the MISTY, DESERTED BEACH - eerily, RILEY RISES from the WATER - MUDDY and DRENCHED but

unfazed by the frigid water. He doesn't break stride; simply heads for the woods.

One by one, the rest of the army appears behind him. They follow RILEY, picking up speed. First walking, then

running -- an unstoppable force. At the rear is BREE.


EXT. WOODS - LATER - DAY

BACK ON JACOB CARRYING BELLA - climbing the mountainside, going up and up.

INTERCUTTING ENDS as JACOB and BELLA reach -


EXT. MOUNTAINS - EVENING - AERIAL SHOT TO ESTABLISH

JACOB and BELLA reach the peak where EDWARD waits near the tent.


EXT. MOUNTAIN PEAK - EVENING

SNOW falls in earnest now; glacial winds blow. JACOB sets BELLA down. They hurry to the side of a peak to

find -

A CAMPSITE - erected against the sheltering face of the peak. EDWARD stands by the tent -- pacing; waiting.

He's acutely relieved to see her. He HUGS her. Turns to JACOB -

EDWARD
Thank you.

JACOB nods. BELLA turns to JACOB -

BELLA
You should get home before the storm hits.

JACOB
I'm staying. You'll need my connection to the pack to keep tabs on what's going on.

EDWARD looks down, none-too-happy, but knowing JACOB is right.

BELLA
(hopeful) You're not gonna fight?

JACOB
Seth will spell me in the A.M.. He's not happy about missing the action, but, it'll keep him out of trouble.

EDWARD notes her disappointment, but he covers, guiding her toward the tent -

EDWARD
Let's get you inside.



EXT. TENT - NIGHT

SNOW blows sideways as the wind batters the tent. A light glows from inside -


INT. EDWARD and BELLA'S TENT - SAME

A LANTERN burns. BELLA'S wrapped in her down sleeping bag, fully dressed, but, her teeth still rattle - it's

that cold.

EDWARD
I should have chosen a site lower down.

BELLA
I
~m  f~i~n~e.  I~t~s  o~k.

EDWARD
What can I do?

She can only shake her head. EDWARD is in hell.

SUDDENLY, the front zipper opens to reveal -- JACOB.

JACOB
I can't sleep with all that teeth chattering going on.

JACOB starts to climb into the tent. EDWARD reads his mind.

EDWARD
Forget it.

JACOB
She may need her toes someday; And let's face it: I am hotter than you.

JACOB begins to crawl to BELLA'S side, but EDWARD'S HAND is suddenly hard on his shoulder. JACOB'S

jaw clenches -

JACOB
Take - your hand - off me!

EDWARD
Keep your hands off her!

BELLA
D
~o~n~t  f~i~g~h~t.

EDWARD sees her severe discomfort. He very reluctantly pulls his hand away. JACOB looks at him in all

seriousness.

JACOB
If she gets sick, it's on you.

EDWARD debates, then makes a hard choice - he nods. JACOB climbs into the sleeping bag next to BELLA.

EDWARD seethes.

JACOB
(to Bella) You'd warm up faster if you took your clothes off.

BELLA
Jake.

JACOB
Hey - Survival 101.

EDWARD glares, but quickly sees that BELLA'S shivering begins to lessen, and the relief of warmth sweep

over her.

- Off EDWARD, envious -

INT. TENT - LATER - NIGHT

- ON BELLA, no longer shaking -
Her eyelids are losing the fight against sleep. INCLUDE JACOB, spooned behind her, resting on one elbow,

facing EDWARD across the tent. EDWARD glares at him.

EDWARD
Get Bella out of your little fantasies, dog -- or we're going to have a problem.

JACOB
Payback for listening to my thoughts.

EDWARD
Trust me, I'd shut you out if I could.

On BELLA - her eyes flicker open slightly. The guys don't see she's awake.

JACOB
I really get under that ice-cold skin of yours, don't I? What?--Are you doubting her feelings for you?

No response from EDWARD. JACOB scoffs.

JACOB
Nice. So picking through my brain's okay, but, letting me into yours -- forget it. Look, I know she's in love with

you--

EDWARD
--Good.

JACOB
--but,she's in love with me, too. She just won't admit it to herself.

- Long beat -

EDWARD
I can't tell if you're right.

JACOB'S taken aback by his honesty. - Beat -

JACOB
Then let me ask you something: If she chooses me--

EDWARD
--She won't.

JACOB
--If she did, would you try to kill me?

On BELLA - waiting for the answer.

EDWARD
That's an intriguing idea, but, I'd never hurt her that way.

JACOB
No - you'd just turn her into a blood-sucking demon like you.

EDWARD
I don't want that. I never did.

JACOB
So, stop her.

EDWARD
I tried. From the beginning, I tried. I started with the hope that she'd outgrow me; lose interest. That didn't

happen.

JACOB
You gave up too quickly.

EDWARD
Then my aim was to stay with her throughout her natural life, but...my world is too dangerous for her as a

human, so I took myself out of her world.

JACOB
That I remember.

EDWARD
I was trying to force her to let go of me, but it nearly killed us both, which leaves only one choice: to do what

she wants --

JACOB
-- Or thinks she wants.

On BELLA, taking this in, but her eyelids grow heavier.

JACOB
Go back to option 3. If you'd stayed away another 6 months, she would have been fine. Give me more time.
[ Beat, then quietly - ] You have to consider the idea...that I might be better for her than you are.

EDWARD
I have considered that. I know you can protect her; but also, you could give her a life--a human life. I want that
for her...but...I won't force her into anything again.

JACOB nods.  - Beat -

JACOB
Thanks...for letting me in your head.

EDWARD
I suppose I'm feeling...grateful tonight...for your presence in her life. Actually, if it weren't for the fact that we're
natural enemies, and if you weren't trying to steal my reason for existing, I might like you.

JACOB
Well, if you weren't planning on sucking the life out of the girl I love, I might...no. Not even then.

EDWARD has to laugh. As we PUSH IN on BELLA'S face (sleep taking over) -

JACOB (V.O.)
There's still a chance, you know -- that she'll change her mind.

EDWARD
Then I'd let her go.



- CLOSE on BELLA'S face, suddenly in BRIGHT LIGHT

Her EYES OPEN, morning light blinding her. INCLUDE -

The SUN outside illuminates the tent. BELLA is alone.


EXT. TENT - MORNING (continued)

The wind has died. The ground is WHITE with SNOW; the campsite eerily guiet. The tent unzips and BELLA climbs out to find -- a young WOLF staring at her, sitting on his haunches.

BELLA
Right...Seth. Hi.

SETH-WOLF pants, "hello".

BELLA
Where's Jacob? Did he already--

EDWARD (O.S.)
--Not yet. He's making sure the woods are clear before he goes.

She turns as EDWARD rounds the peak, joining her. He wraps his arms around her. SETH-WOLF jogs off.

BELLA
Sorry about last night. That couldn't have been easy on you.

EDWARD
It definitely won't make my list of top 10 favorite evenings.

BELLA
You have a list?

EDWARD
All 10 were spent with you. Number one was when you said you'd marry me, "Mrs. Cullen".

BELLA
This is the 21st century. I'm at least hyphenating my name--

JACOB (O.S.)
--You're marrying him?!

She SPINS to find JACOB has reappeared. His face is devastated, fighting tears of rage/betrayal.

BELLA
Oh, no! Jake!
(realizing - to Edward) You knew he was listening!

EDWARD
He deserves to know.

- Which confirms for JACOB that it's true. He turns and strides toward the woods. BELLA starts to run after him.

BELLA
Stop! Jake!

EDWARD
BELLA, let him--

BELLA
(spins to Edward) Don't! Just let me talk to him alone.

EDWARD sees her desperation. He sinks resignedly and heads into the woods, disappearing. BELLA races to JACOB.


BELLA
Jake, please!

JACOB
I'm done! I'm so done!

BELLA
How can I fix this?

JACOB
You can't. I can -- by going down there and killing something.

BELLA
No! Not like this. You're not thinking clearly!

JACOB
Maybe I'll get killed and make things simple for you.

BELLA
What--no! Jake, just stay here..

JACOB
Why, Bella?! Give me one damn reason.

BELLA
I don't wanna lose you.

JACOB
Not good enough.

BELLA
Because you're my best friend.

JACOB
(heads off) Still not good enough.

BELLA
You're too important. Please!

He keeps moving. She searches for something to convince him; then -

BELLA
...Kiss me.

He stops; looks back at her.

BELLA
I'm asking you to.

He doesn't need to be asked twice. He grabs her and kisses her. His anger melts into passion. As the kiss

continues, BELLA, to her surprise, finds herself surrendering to it.

PUSH IN close on her face as a wave of repressed feelings rises up, flooding her mind --

EXT. BELLA'S HOUSE - DAY (Bella's fantasy)

A SERIES OF FAST DISSOLVES, ONE INTO ANOTHER - YEARS PASS:

-- BELLA and JACOB, arm in arm, sitting on the stoop in the bright sunlight --

-- In their 20's - they rock an INFANT. RENEE appears, takes the child, joyously tosses her grandchild in the

air --

-- 30's - There are 2 KIDS now. JACOB roughhouses with the oldest boy as BELLA and a happy aging

CHARLIE help the TODDLER GIRL to walk.

-- 40's - Their 2 GROWN KIDS pile out of JACOB'S car, home for a holiday. Gray-haired CHARLIE and BILLY

are there with BELLA to welcme them --

-- 60's - It's BELLA and JACOB who are graying now, playing with their own grandchild, contented. A family. --

BACK TO PRESENT - E.C.U. on BELLA
She abruptly snaps out of it, pulls away, reeling. JACOB whispers in her ear -

JACOB
That should have been our first kiss. I have to go. I won't be long.

JACOB is torn. He doesn't want to leave, but heads out to the fight.


BELLA'S eyes water with guilt/confusion/emotion. She hurries back to the tent. EDWARD appears from

around the rock and comes toward her. She sees his face and stops -- knows.

BELLA
Edward...You saw.

EDWARD
No, but...Jacob's thoughts are very loud.

BELLA
I don't know what happened.

EDWARD
You love him.

BELLA
I love you more.

EDWARD
I shouldn't have forced you to choose between us.

BELLA
Please don't be understanding -- I don't deserve it.

EDWARD
It's my fault. When I went away, I left you bleeding...and he stitched you up. I can't blame you for something I

made necessary.

BELLA
Don't you dare blame yourself...

EDWARD
I just want you to be happy...no matter what--

--He STOPS ABRUPTLY, turns to SEE SETH-WOLF loping out of the woods, growling. EDWARD reads his

thoughts --


-- FLASHPOP TO -

EXT. CLEARING IN THE WOODS - MORNING

A pare of male BARE FEET step onto the wet grass. PAN UP to find a hungry NEWBORN, ready for a fight.

ON EDWARD - his expression grave. He turns to BELLA.

EDWARD
--It's starting.

- BACK TO THE CLEARING -- ON THE NEWBORN -
A beat - then suddenly from behind him --

The entire newborn ARMY BLITZES out of the woods and into the field. SEE the frenzy in their eyes. Their

rabig thirst as they follow the scent of BELLA'S blood -- but the scent trail ends here. They're confused.

SUDDENLY, something BOLTS from the trees with lightning speed and TACKLES a newborn.

The other newborns spin to find a lethal looking JASPER in a crouch beside his victim's body, holding its

disembodied HEAD.

They rush JASPER but BAM! - BAM! - BAM! -- 3 of them go down, tackled by ESME, ROSALIE, CARLISLE,

EMMETT, and ALICE.

OUT OF NOWHERE lunges SAM-WOLF flanked by 2 wolves. They TEAR a newborn to pieces. 4 other wolves

dive into the fray.

We SMASH from one savage conflict to another - raw - brutal --

-- EMMETT SPRINTS full bore into the fight, relishing the battle --

-- The WOLVES work as a pack -- coordinated, deadly --

-- JASPER controls the field -- strategy and speed vs strength --

-- ROSALIE fights with icy calm --

-- ALICE with precognition --

-- ESME and CARLISLE fight side-by-side --

-- But the newborns are brutal and strong as hell. Our vampires and wolves are taking some vicious hits --

THEN -- in slow motion, JACOB-WOLF charges into the clearing, tackling a newborn, going for it's neck.


EXT. CAMPSITE - SAME

On EDWARD reading SETH-WOLF'S MIND, translating for BELLA --

EDWARD
Jacob just got there. He's good.

STAY on EDWARD'S face as he SEES the action through SETH-WOLF'S mind.
Camera CIRCLES EDWARD as BELLA and his surroundings DISSAPPEAR, dissolving into --

THE BATTLE FIELD (inside EDWARD'S mind)

EDWARD stands amidst the fight; the action all around him --

-- SAM-WOLF and JACOB-WOLF charge a newborn. Each wolf grab an arm in their mouths and RIP --

-- PAUL-WOLF is surrounded by 3 newborns. EMMETT comes to his aid. They share a look -- a battlefield

rapprochement. --

-- CARLISLE and ESME move in on BREE, but she backs up, frightened. ESME and CARLISLE share a look.

They relax their attack stance  and try to calm her/talk to her --

-- ALICE darts from newborn to newborn, not even looking at them, knowing their next move. She sweeps their

feet, keeping them off balance, confusing them. It's a dance. --

-- JASPER is a step behind her, trying to give her cover --

-- EDWARD sees a newborn take note of JASPER'S protective actions. EDWARD yells:

EDWARD
Jasper, back off! You can't be everywhere at--watch out!

--though JASPER can't hear. A newborn appears behind JASPER and BITES his shoulder. ALICE spins,

FLINGS the newborn to ROSALIE, EMMETT, and CARLISLE who KILL him. ALICE angrily tends to JASPER:

ALICE
I can handle myself!


BACK ON EDWARD and BELLA

BELLA
Is Jasper alright? ...Edward?

But he sees only SETH-WOLF'S thoughts; talks to himself:

EDWARD
Don't let them protect each other. Good. Go around--

--SUDDENLY, EDWARD stops, blinks, briefly disoriented as his mind is cut off from the battlefield. He looks around, finds SETH-WOLF frozen as well. They share a tense look.

BELLA
Someone's hurt?

EDWARD
Seth, go!

SETH-WOLF BOLTS away from the campsite fast.

BELLA
Is it Jasper?

EDWARD whips BELLA behind him against a cliff wall and takes a defensive stance in front of her.

EDWARD
She's close. I can hear her thoughts. She saw we weren't there, but, she caught my scent.
She knew I'd be with you; knew Alice would be too busy to see her decide.


EXT. CLEARING - TREELINE/BATTLEFIELD - MINUTES EARLIER

VICTORIA searches the battlefield from the treeline. She abruptly turns away from the fight and starts running,
following EDWARD'S scent.

BELLA
Victoria found us.

EDWARD
She's not alone.

RILEY steps out of the woods. BELLA immediately recognizes him and is taken aback. RILEY edges closer,

watching EDWARD'S every move. They both carefully position themselves.

EDWARD
Riley, listen to me. Victoria's using you to distract me. She knows I'll kill you. Actually, she's glad she won't
have to deal with you anymore.

RILEY hesitates, surprised to be adressed.

VICTORIA emerges from the woods, forming a triangle with RILEY; BELLA and EDWARD at the apex.

VICTORIA
Don't listen, Riley. I told you about their mind tricks.

EDWARD
Yes, I can read her mind. That's how I know what she thinks of you -- how I know she doesn't love you.

VICTORIA
He's lying.

EDWARD
Her sole purpose for creating you and this army was to avenge her true mate: James. That's all she cares
about. Not you.

RILEY'S beginning to hesitate. He glances at VICTORIA.

VICTORIA
There's only you! You know that.

RILEY focuses back on EDWARD, positioning himself to attack. VICTORIA'S eyes burrow into BELLA'S with bloodlust; revenge.

EDWARD
Think about it. You're from Forks. You know the area. That's why she picked you. She's using you like she's
using the rest of them.

RILEY falters every-so-slightly, doubt seeping into his mind, but VICTORIA'S face is convincingly emotional.

VICTORIA
Riley, don't let him do this to us. I love you.

RILEY needs to believe her. His resolves returns.

RILEY
(to Edward) You're dead.

RILEY CHARGES toward EDWARD who doesn't move because he knows --

-- SETH-WOLF LEAPS from the cliff above and lands on RILEY, taking a chunk out of RILEY'S HAND.

RILEY ROARS with fury and pain as SETH-WOLF circles back for another attack. While SETH-WOLF keeps

RILEY on the defense, EDWARD starts toward VICTORIA, who backs toward the trees. EDWARD sees she's

about to escape and DARTS into her path.

EDWARD
You can escape. You always do -- but, you'll never get another chance like this.

VICTORIA hisses at him and backs further away.

EDWARD
Don't you want her?! Don't you want me to feel the pain you felt when I killed James -- when I tore him to
pieces...and turned him into ashes...into nothing.

VICTORIA finally erupts and CHARGES BELLA --

-- BUT EDWARD never lets her get close. He intercepts her and they ROLL down the hill in a death grip.

On BELLA, watching this battle, desperate to help.

MEANWHILE, RILEY KICKS SETH-WOLF hard against the cliff. Sharp shards of rock fall around BELLA.

SETH-WOLF, battered, goes down. RILEY spins toward BELLA.

EDWARD now has to protect BELLA from both vampires! He does so with impressive skill --

-- with lightning fast speed, he bolts to RILEY, kicking him back --

-- he darts to VICTORIA, smashing into her --

-- SETH-WOLF struggles to rise as RILEY joins VICTORIA'S battle, providing her with the tiny advantage she

needs.

BELLA'S POV ON EDWARD - RILEY tackles him to his knees. VICTORIA grabs EDWARD from behind.

TIME FREEZES -- SLOW MOTION as BELLA'S eyes meet EDWARD'S

CLOSE on BELLA'S face - SEE her clarity. She's never in her life been more sure of what she wants than in

this moment. With purpose, she grabs up a sharp piece of slate -

- FLASHPOP - to the 3rd wife raising her dagger -

BELLA PLUNGES the shard downward, stabbing her arm. BLOOD immediately flows DRIPPING bright red

onto the white snow.

SMASH BACK TO REAL TIME

On RILEY spinning toward BELLA - the scent making him wild.

ON VICTORIA catching the smell - her head WHIPS toward BELLA.

EDWARD seizes the moment - dead drops to the ground while FLIPPING VICTORIA over his head, across the

clearing and into a tree, breaking it in two.

EDWARD spins on RILEY, who's still bedazzled by the blood.

HEAR a screeching sound like metal tearing as suddenly - RILEY'S SCREAMING. His arm is gone! EDWARD

tosses the arm aside and BOLTS back to VICTORIA.

SETH-WOLF, recovered, LEAPS UP, TACKLES RILEY and drags him SCREAMING into the woods.

RILEY
Victoria! Victoria! Victoria!

VICTORIA doesn't even glance at him, revealing to RILEY the painful truth. The last thing we see of RILEY in

his tragically betrayed face -- then we HEAR the sounds of SETH-WOLF tearing him apart; the metallic

screeching.

BELLA tears her shirt to create a make-shift bandage.

EDWARD CHARGES VICTORIA. The two CLASH and begin a blurred battle -- until he pummels her down

and, finally, maneuvers himself behind her, betting her in a death grip --

-- VICTORIA struggles. BELLA is directly in her eye-line. She GLARES at BELLA, who GLARES back, every

bit as fiercely.

EDWARD'S lips are at VICTORIA'S neck. He BITES a huge chunk from her neck, ripping her head off.

As BELLA watches VICTORIA'S body crumple to the ground, all sound disappears. The air goes still. The

atmosphere changes. This nemesis, this relentless demon, is finally dead.

- A long beat -

THEN, EDWARD looks up at BELLA. Their eyes meet, but shame/fear cloud his face. She moves toward him,

slowly, purposefully. As she reaches him, he turns away.

BELLA
Edward...

EDWARD
I didn't want you to see that.

She stops him, touches his face tenderly; her eyes telling him it's o.k.

EDWARD
I'll get some bandages for that arm.

He starts for the tent but SETH-WOLF abruptly lets out a sharp BARK. EDWARD turns; his expression fills

with concern.

BELLA
Something is wrong.

EDWARD
Alice wants us to come -- now.

BELLA
Why? What's happening?



EXT. WOODS - DAY

SLOW MOTION - THE VOLTURI (JANE, ALEC, DEMETRI, FELIX) glide past the trees with effortless grace and speed.


EXT. CLEARING IN THE WOODS (continued)

A massive FIRE burns as the CULLENS and the WOLVES hurriedly drag what's left of the newborns to it for

incineration. A purple-black smoke rises.

EDWARD and BELLA race out of the trees, bee-lining for ALICE and the rest of the CULLENS gathered near

the fire.

EDWARD
How long?

ALICE
A few minutes. Maybe 10.

BELLA scans the field for JACOB.

ROSALIE
They timed their arrival well.

EMMETT
Probably hoping the newborns took a few of us out.

EDWARD stops as he sees someone by the fire.

BELLA looks to the FIRE, by which cowers the newborn BREE.

ESME
We offered her safe haven if she stopped fighting. She took it.

CARLISLE
The pack needs to leave. The Volturi won't honor a truce with the werewolves.

BELLA
Where's Jacob?

EDWARD
(spotting) There.

BELLA'S POV - ON THE TREELINE CLEAR ACROSS THE FIELD

JACOB-WOLF emerges. BELLA signs with enormous relief. He sees her as well and starts toward her --

-- SUDDENLY - ON JACOB-WOLF: he HEARS a vicious snarl coming from behind him in the woods; spins to

see --

-- IN THE WOODS - LEAH-WOLF cornering one last male newborn who was hiding. LEAH-WOLF CHARGES

--

-- ON EDWARD with the CULLENS - He can't see the conflict, but he can HEAR it in his MIND -

EDWARD
Leah, don't!

Back on LEAH-WOLF and the male newborn --

-- The male newborn maneuvers out of her way; spins and GRABS her ruff; fiercely yanking her off her paws,

BUT --

-- JACOB-WOLF LEAPS on the male newborn, tackling him. They roll into --

THE CLEARNING where JACOB BITES a piece of his face off! --

-- But the male newborn gets his ARMS around JACOB-WOLF and CRUSHES him! JACOB-WOLF HOWLS in

agony --

BELLA sees this from afar --

BELLA
Jacob!

The other WOLVES are instantly there and POUNCE on the male newborn -- their teeth forcing him to release

JACOB-WOLF, who crumbles to the ground. As they pull him apart, EDWARD and CARLISLE appear at

JACOB'S side.

ON BELLA, RACING across the field to reach JACOB-WOLF.

ON JACOB-WOLF as he transfroms into a HUMAN -- NAKED, grotesquely twisted and broken, barely able to

breathe. CARLISLE quickly examines him as he writhes in pain. EDWARD steadies him, gripping his hand.

EDWARD
Jacob. Hold on. Carlisle'll take care of you.

CARLISLE
The bones on the right half of his body are shattered.

JACOB, in excruciating pain, squeezes EDWARD'S hand. BELLA reaches them, dropping to her knees beside

JACOB. She strokes his face, trying to comfort him.

BELLA
I'm here, Jake. I'm right here.

SAM, PAUL, EMBRY, JARED, QUIL, and LEAH, now in HUMAN FORM (clothed) race up.

LEAH
Jacob, you idiot--I had it!

SAM
Leah!

CARLISLE
I need to set the bones before his accelerated healing kicks in. It's already starting.

EDWARD
(to Sam) We have to get him out of here before the Volturi arrive. We won't win a fight with them.

CARLISLE
Go. I'll be there as soon as I can.

SAM
We'll bring him back to Billy's.

BELLA
Hang on, Jake.

JACOB CRIES OUT in pain as the PACK LIFT him. BELLA agonizes as she watches them disappear into the

woods. She and EDWARD exchange a look of shared concern.


THEN --

ALICE
They're here.

The CULLENS gather in the center of the field, converging around BELLA. She sees nothing through the oily

smoke from the FIRE. - A beat - THEN --

We HEAR  a flat female voice

JANE (O.S.)
It appears you've done our work for us.

From out of the mist and the smoke emerges -- THE VOLTURI -- JANE, FELIX, DEMETRI, and ALEC. JANE

assesses the scene, taking in BELLA as well.

JANE
Impressive. I've never seen a coven escape an assault of this magnitude.

CARLISLE
We were lucky.

JANE
I doubt that.

ALEC
It appears we missed an entertaining fight, sister.

JANE
Yes. It's not often we're rendered unnecessary.

EDWARD
If only you'd arrived a half hour earlier, you could have fulfilled your purpose here.

JANE
Pity.
(sees Bree) You missed one.

CARLISLE
We offered her asylum in exchange for her surrender.

JANE
That wasn't yours to offer.

As JANE moves to BREE, ESME shoots CARLISLE a concerned look. CARLISLE subtly shakes his head,

"don't".

JANE
Why did you come?

Before BREE can answer, JANE focuses her power - sending an invisible searing current through BREE'S

body. BREE SCREAMS in pain. BELLA flinches. ESME quickly steps up --

ESME
They came to destroy us -- to kill Bella.

JANE ignores ESME and continues her torture -- enjoying it.

JANE
Who created you?

ESME
You don't need to do that. She'll tell you anything you want to know.

JANE
Oh, I know.

CARLISLE puts a hand on ESME'S shoulder. BREE'S screaming briefly stops. JANE waits for an answer.

BREE
I don't know! Riley wouldn't tell us. He said our thoughts weren't safe.

JANE ZAPS her again! ESME is about to say something, but --

EDWARD
Her name was Victoria. Perhaps you knew her.

BREE'S pain abruptly ceases. JANE faces EDWARD with an innocent smile that's somehow unnerving.

The other 3 VOLTURI are suddenly positioned behind JANE. We didn't even see them move.

BELLA plants herself firmly at EDWAR'S side. She can't protect him, but she can die trying. The air is tense.

This could turn bad -- fast. CARLISLE intercedes with great and purposeful calm.

CARLISE
Edward, if the Volturi had knowledge of Victoria, they would have stopped her. Isn't that right, Jane?

JANE just looks at CARLISLE. - A long beat -

JANE
(gesturing re: Bree) Felix.

FELIX moves to BREE. ESME can't hold back --

ESME
She didn't know what she was doing!

JANE
The Volturi don't give second chances.
(to Edward re: Bella)
Keep that in mind. Caius will be interested to

know she's still human.

BELLA faces her, strong; unflinching.

BELLA
The date is set.

JANE is ever-so-slightly taken aback by BELLA'S confidence. Her look lingers on BELLA, this human.

EDWARD stands ready to defend her, but JANE turns back to FELIX.

JANE
I wonder if you'll still be immune to my powers after you'ved changed, Bella.

Meanwhile, FELIX - with his enormous strength, easily tears BREE limp from limb. Her SCREAMS quickly

cease, though the metallic screeching sound continues.

JANE
Thank you, Felix.
(to Bella) Until next time.

The CULLENS can do nothing but stand by, grim-faced. ESME tries not to watch.

OFF BELLA, fighting revulsion, but standing strong with the rest of the CULLENS as the thick plume of

SMOKE rises . . .


EXT. JACOB'S HOUSE - NIGHT

BILLY sits in his wheelchair on the porche, surrounded by the PACK, including EMILY, but sans SAM. They

wait ANXIOUSLY.

BELLA'S TRUCK pulls up. She hurriedly climbs out.

As she reaches the porch, a LOUD YELL of excruciating pain emanates from inside the house -- JACOB.

BELLA FLINCHES, feeling the pain herself. They all do.

It's all BILLY can do to keep it together. EMILY, next to him, puts an arm around his shoulders.

QUIL
(to Bella re: the yell) It's been going on for a while.

EMBRY
Doc's re-breaking his bones.

BELLA reacts to the horror of that. LEAH paces.

LEAH
Why did he have to butt in? I could've taken that tick.

PAUL
Oh, give it a rest, Leah.

Then they all spin toward the FRONT door as it opens. CARLISLE exits with SAM.

CARLISLE
The worst is over. He'll be all right. I gave him some morphine, but, his body temperature will burn it off soon. I'll

come back to set up a drip.

BILLY exhales heavily; tears threatening. SAM puts a hand on BILLY'S shoulder. EMILY wraps an arm around

SAM'S waist.

BILLY
(with emotion) Thank you.

CARLISLE
And make sure he doesn't phase until I clear him. The bones need to set.

SAM
We'll keep him in line.

QUIL
Yeah, good luck with that.

CARLISLE
(to Bella) He's asking for you.

They all look at her -- a combination of pleading, "Don't hurt him", and threatening, "if you hurt him...".

OFF BELLA, as she heads inside with trepidation.


INT. JACOB'S BEDROOM - NIGHT

BELLA quietly enters to find JACOB lying in bed. The entire right side of his body is in a series of braces.

BELLA can't bear to see him this way, but she forces a smile.

BELLA
Hey, Jake.

He looks up with some effort -- breath short, but he smiles.

JACOB
Hey. I've been worried about you.

BELLA
You were worried about me?

JACOB
I guessed Edward would read my mind. -- or Seth's. Was he hard on you?

BELLA
I wish. He wasn't even mad at me--or you.

JACOB
He didn't yell? No ultimatum?

BELLA
It would have been easier if he had.

Beat.

JACOB
(smiles bitterly) Well, damn. Just damn. He's better than I thought.

BELLA
He wasn't playing a game.

JACOB
Right. Bella, he's not as perfect as you think.

BELLA
I know exactly who he is.
(stops herself) ...Can we not talk about this?

JACOB
I'd rather get all the re-breaking done at once.

She carefully sits next to him on his bed.

BELLA
I'm sorry, Jake -- but it's like...Sam imprinting on Emily. I never had a choice with Edward.

JACOB
That's crap! You're not a wolf, remember?

BELLA
Still -- it's what it is.

A beat as it sinks in. He struggles to tamp down emotion.

JACOB
Well, at least I know I did everything I could. It wasn't easy getting you admit your feelings for me.

BELLA
I think I fought them because part of me knew they wouldn't change anything.

Beat.

JACOB
(quietly) I'm exactly right for you, you know. It would've been as easy as breathing with me.

BELLA
You know I love you.

JACOB
You know how much I wish it was enough.

A long beat. Finally, she rises.

BELLA
Should I come back?

JACOB
I need some time, but, I'll always be waiting--

BELLA
--until my heart stops beating.

JACOB
(smiles) Maybe even then.

She returns the smile. There's a sadness between them, but also -- a resignation; a rapprochement.

OFF BELLA, grateful for this tiny opening he's left her.


EXT. MEADOW - MAGIC HOUR

The grass is a welcoming rich green. The wild flowers are in bloom. The light is low, luminescent. EDWARD

and BELLA lie in the grass, her head on his chest.

EDWARD
August 13th?

BELLA
It's a month before my birthday. I don't need to be another year older than you. Alice thinks she can put

together a wedding by then.

EDWARD
I'm sure she can, but...there's no rush.

BELLA
I've chosen my life. I want to start living it.

Concern and suspicion fill him.

EDWARD
And you're letting Alice plan the whole thing? The dress, the reception, the guest list? Who knows who she'll

invite.

BELLA
Does it matter?

EDWARD sits up and looks her in the eyes.

EDWARD
Tell me why you're doing this.

BELLA
What? The wedding?

EDWARD
(abruptly rising) You're trying to make everyone else happy, but, you're already giving up too much.

Beat.

BELLA
(realizing) You're wrong.

She rises and goes to him with clarity washing over her.

BELLA
This wasn't just a choice between you and Jacob. It was between who I should be and who I actually am.
[She circles him, insight energizing her as she speaks.] I've always felt out of step -- literally, stumbling through life.
I've never felt normal, but, now I know I'm not normal, and I don't want to be.

[facing him] I've faced death and loss and pain in your world, but, I've also never felt stronger and more real; more myself, because it's my world, too, Edward. It's where I belong.

He takes this in; sees her strength. He has to smile.

EDWARD
You're saying...it's not all about me?

BELLA
Sorry.
[She wraps her arms around him and looks up at him]
I've made a mess figuring all this out. Now, I wanna do it right; responsibly -- And, I will tie you to mein every

way humanly possible.

EDWARD
Starting with a wedding.

BELLA
Actually, something much more difficult first--probably even dangerous:
[off his concerned look] We have to tell Charlie.

EDWARD
That's highly dangerous.

BELLA
It's a good thing you're bullet-proof. I'm gonna need that ring.

EDWARD smiles and pulls the black box from his pocket. He removes the ring and takes her left hand in his.

We slowly begin to PULL UP AND BACK on the two of them, silhouetted by the light which reflects off the

flowers, giving the blossoms a warm, magical glow.

It is against this beautiful, romantic backdrop that EDWARD slips the ring onto BELLA'S finger -- where it will

stay for eternity.

FADE TO BLACK