The Twilight Saga: NEW MOON
- Original Movie Screenplay Script (2nd Draft) by Melissa Rosenberg -
 
Adapted from the novel, "New Moon" by
Stephenie Meyer


CREDITS OVER:
A FULL MOON FILLS THE FRAME -- Luminous, tinged with gold.
Slowly, a penumbral shadow begins to spread across the moon’s surface, darkening it from left to right...


BELLA (V.O.)
"These violent delights have violent ends..."


...until the moon is enveloped in shadow; a new moon... which disappears into the darkness.

OVER BLACK - A RUFFLED TULIP appears, isolated against the blackness.


BELLA (V.O.)
"... And in their triumph die, like fire and powder..."


HOLD ON the tulip as the background FADES UP around it to reveal we’re now in --

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. FOREST - ECU ON THE TULIP - DAY

It’s surrounded by the dark, lush, greenery of the forest floor.


BELLA (V.O.)
"... Which, as they kiss, consume..."


SUDDENLY A FOOT SLAMS DOWN next to the tulip, nearly crushing it.
As the foot immediately lifts off again, it grazes the tulip, knocking its petals off –
ON THE RUNNING PAIR OF FEET, they abruptly change direction. Race on.

INCLUDE BELLA SWAN, desperately searching the woods --
SHORT, SURREAL CUTS of her frenetic quest


BELLA
Edward?!


Ahead, through the darkness of the thick forest, she SEES SUNLIGHT; a clearing.
She hurtles toward it--

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. MEADOW – DAY


BELLA
Edward?!


-- as Bella bursts into the sunlight. It’s the meadow where Edward revealed his skin in the sun. But he’s not here now.

Instead, BELLA SEES --ACROSS THE MEADOW -- AN OLD WOMAN, white hair framing her withered face.
Bella’s eyes widen with surprise as she recognizes –


BELLA
...Gran?


GRAN looks as surprised as BELLA. BELLA smiles and waves, as does GRAN. BELLA starts toward her but –


EDWARD (O.S.)
Bella...


She spins to the voice behind her to SEE –
EDWARD emerge from the forest, his alabaster skin in sharp contrast to the shadows.
She beams at him, relieved, in love... until he moves to edge of the shade, inches from sun’s rays--


BELLA
Stop - she’ll see!


But EDWARD just smiles and steps into the sunlight.
Sunbeams SHATTER off his skin like a thousand rainbow shards, as if he were made of diamonds.
An awesome sight.

JUMP CUT TO: EDWARD now inches from BELLA, still glistening, entrancing her.
She wraps an arm around his waist, then arranges her face into a calm expression. They turn to –

GRAN, whose expression is calm, too. GRAN’s arm is extended, as if she also holds someone.

JUMP CUT TO: BELLA and EDWARD, only feet from GRAN now.
BELLA’s about to present EDWARD, but then SEES that GRAN mimics BELLA's movement exactly.
With growing horror, BELLA reaches out to GRAN... and touches glass!

PULL BACK TO FIND GRAN is now surrounded by a GILDED FRAME.
It’s a MIRROR, mounted on a wall with wallpaper reflecting a surreal dreamlike version of the forest behind BELLA.



BELLA
Oh, my God. -- as she realizes that’s not Gran.
It’s BELLA, sixty-five years older.
BELLA spins to her perfect, eternally 17-year-old EDWARD.
He takes her now WRINKLED, age-spotted hand. Kisses it.
Then he leans in very close to her 83-YEAR-OLD FACE and whispers into her ear --


EDWARD
Happy birthday.

________________________________________________________________________________________________________

SMASH TO:

INT. BELLA’S BEDROOM - MORNING

ON BELLA - her eyes snap open. She lies atop her bed. A book, "ROMEO AND JULIET," lays open on her chest.
BELLA sits up, the dream still weighing on her...

INCLUDE HER ROOM, cluttered with pictures of EDWARD, of the CULLENS; memorabilia of all things EDWARD.

A KNOCK on the door. CHIEF CHARLIE SWAN enters carrying two gifts, one wrapped, one not.


CHARLIE
Happy birthday, Bells.

BELLA
Dad, we agreed, no gifts.

CHARLIE
At least mine’s not wrapped.
He hands it to her.
It’s a digital camera. Bella’s pleased, despite herself.

BELLA
Okay, this is actually kind of great. Thanks, Dad.

CHARLIE
(re: wrapped gift) Goes with this one from your mom. We coordinated - well, she coordinated me.

Bella opens the wrapped gift to reveal a SCRAPBOOK.

To put your pictures in, record your senior year. Man, senior year. How’d you get so old so fast?

BELLA
Not that old.

CHARLIE
I don’t know -- is that a wrinkle?

Bella races to the mirror, searches her face.

CHARLIE
I was kidding.

BELLA
So not funny, Dad.

......................................................................................................................................................................................

EXT. FORKS HIGHWAY – DAY

An AERIAL VIEW of this lush, green, overcast landscape; the rainy world that is FORKS. 
FIND BELLA’s old truck as it lumbers down the two-lane highway...


BELLA (V.O.)
It was just a dream... but also my worst nightmare. 
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
EXT. FORKS HIGH SCHOOL - PARKING LOT - DAY

BELLA climbs out of her truck, shouldering her book bag.  She looks around the parking lot, seeking EDWARD.


MIKE (O.S.)
Wherefore art thou, Bella? 

She turns as MIKE, ERIC, ANGELA and JESSICA approach.

MIKE
You finish the Shakespeare assignment?

JESSICA
He means will you finish his assignment?

MIKE
No, I don’t
-- okay I do.

BELLA
I can help you with it
-- but first -- (pulling out her camera) I need a picture. 
My mom’s expecting a scrapbook full of memories.

ANGELA
(holds up her own camera) I take ‘em, I don’t pose for ‘em.

BELLA
You do today.

She pushes Angela to the others; they arrange themselves.

JESSICA
You’ll photoshop my nose if it looks big, right?

ERIC
Don’t worry, I’m in the picture; no one will be looking at you guys.

JESSICA scoffs – ANGELA points her camera at BELLA – MIKE and ERIC joust – BELLA aims

FULL FRAME - THE CAMERA’S DIGITAL SCREEN 
It FREEZES on them, fun, delightfully carefree...
but when the camera lowers, their playfulness has dissipated as they see someone behind Bella. 
She turns to see EDWARD climbing out of his VOLVO.
 

MIKE
(dry) Oh good.  Cullen’s here.

JESSICA
(drier) Yay.

The friends, uncomfortable, move off –

ERIC
Check ya later.

– But BELLA doesn’t register their tone.  She’s transfixed by EDWARD who approaches, eyes never leaving hers. 
He reaches her, washing away all her concerns –

EDWARD
Happy birthday.

– except that one.  Her face falls.

BELLA
Don’t remind me.
 

EDWARD
Your birth is definitely a day to celebrate.

BELLA
Not for me.

EDWARD
Eighteen is a little early to be worrying about your age.

BELLA
It’s one year older than you. 

EDWARD
Bella, I’m ninety.

BELLA
True.  Maybe I should be creeped out that I’m dating such an old guy.

EDWARD
(smiles, amused)
Yes, it’s the age that’s creepy, not the fact that you’re dating a vampire.

Then he kisses her, tenderly, adoringly.  She kisses him back... despite their restraint, the passion mounts... until he pulls away. 
As always, both are left wanting more.  EDWARD nods toward the school building --

EDWARD
Class.

BELLA
Right.  Class.

Catching their breath, they start toward school...but EDWARD stops, hearing something in his mind.  Irritated.

EDWARD
Someone wants you.
 

JACOB (O.S.)
Bella!

JACOB BLACK, 16, jogs up, carrying a used car part, long, black ponytail wagging. 
He looks 18 due to his tall, muscular body, but the gregarious JACOB is a little klutzy, still catching up to his growth spurt. 
He nods to EDWARD, who moves off to the side but eyes
them.

BELLA
God, Jacob, what are they feeding you on that rez? Steroids?  You’re huge.

JACOB
Wouldn’t seem so drastic if you came around more.

BELLA
I will, soon.  But isn’t your school, like, ten miles that way?

JACOB
(re: car part)
Just here buying this for the Rabbit. I’m almost done with the rebuild. 
Gotta come take a ride when it’s done.

(as if remembering) Oh, and hey, happy birthday.  Your dad told my dad. 

So...He pulls from his coat a small woven DREAMCATCHER, feathers dangling from it.  He hands it to her.

JACOB
I saw it the other day and thought of you - it catches bad dreams.

BELLA
This, I need.  It’s great. 

EDWARD
The bell’s about to ring.

The bell RINGS.  JACOB gives EDWARD an amiable smile, with just a hint of snark.

JACOB
Ooh, look at you, all psychic.

EDWARD
I don’t have that particular gift.  But I can read a watch.  I’m clever that way.

They share a tight smile.  BELLA intercedes, squeezing JACOB’s arm. 

BELLA
Bye, Jake, and thank you.

EDWARD guides her away.  As they walk off –

EDWARD
How come Jacob Black gets to give you a gift and I don’t?

BELLA
He’s just a friend.

EDWARD
“Friends” don’t spend two weeks looking for the perfect dreamcatcher.

BELLA
Stop reading his mind if he bothers you so much.

EDWARD
Little hard to tune out. 

She just laughs, but EDWARD looks back at JACOB with resentment.  JACOB holds his gaze.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. FORKS HIGH SCHOOL - CORRIDOR – DAY

EDWARD and BELLA enter the double doors
-- SUDDENLY a small, wrapped gift appears in BELLA’s face --
(
ALICE presents it)

ALICE
Happy

BELLA
Shh!
 

– ALICE whispers in her ear as she hugs BELLA –

ALICE
birthday.

Over ALICE’s shoulder, BELLA sees JASPER, keeping his distance.  He offers her a pleasant nod. 
She tries to hide ALICE’s present, hoping no one noticed.

BELLA
Alice, didn’t I say, "no gifts"?

ALICE
You did.  I didn’t.  I’ve already seen you open it and guess what?  You love it.

BELLA
You had a vision about my birthday.

ALICE
And about the green dress you’ll be wearing to your party tonight.  Great color on you. 

BELLA
...My party?
 

ALICE
Please?  It’ll be fun.

BELLA
(beat, confused)
I...guess I can deal --

ALICE
(hurriedly)
-- Great!  See ya at seven!

ALICE hugs her again and races off before she can change her mind.  Which is when BELLA realizes --

BELLA
Wait, Jasper, no fair with the mood control.

He offers an apologetic bow before ALICE drags him away.

EDWARD
Vampires.  You can’t trust them.

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

CUT TO: CLOSE ON A T.V. MONITOR - Zeffirelli’s ‘68 “Romeo and Juliet” plays.  The suicide scene.

ROMEO
Arms, take your last embrace, and lips, O you, the doors of breath, seal with a righteous kiss...

PULL BACK TO INCLUDE
INT. FORKS HIGH SCHOOL - ENGLISH CLASS – DAY

The room is dark as we PAN OVER the class, some students entertained, some moved, MIKE trying not to fall asleep. 
The teacher, MR. BERTY, mouths every word
-- 

ROMEO
Here's to my love!
(drinks) O true apothecary!  Thy drugs are quick.

FIND EDWARD and BELLA in the back of the room, desks pushed together, whisper-talking. 

BELLA
I hate being...celebrated.

EDWARD
Come on, the last real birthday any of us had was Emmett’s. I think Bing Crosby was on top of the charts.
You’ll be helping us feel normal for a night.
 

BELLA sits back, knowing she’s trapped. He kisses her hand.

EDWARD
There are worse tragedies than a birthday.  Look at Romeo.  He’s responsible for his wife’s death.  Who could live with that?

(Looks at the screen)... Though, I do envy him one thing.

BELLA
(blanches slightly)
Juliet’s alright...if you like that obviously beautiful sort of thing.

EDWARD
Not the girl - the suicide.

(off her look)
Nearly impossible for my kind.  But humans, a little poison, dagger to the heart;  there are so many options.

BELLA
(appalled)
Why would you even think about that?

He turns her wrist over, runs his hand over the horseshoe shaped SCAR on her forearm.

EDWARD
(shrugs)
I considered it once - when James had you trapped.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
FLASHPOP TO “Twilight” - In the ballet studio, JAMES grabs BELLA’s arm and BITES –
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
BACK ON EDWARD - pained.

EDWARD
I didn’t know if I’d find you in time.  If I’d gotten you killed

BELLA
It wouldn’t have been your fault.

EDWARD
Either way, I had a plan.

BELLA
What plan?

EDWARD
There are...ways for us.  At least one way.  I would have gone to Italy, provoked the Volturi...

BELLA
The who?

MR. BERTY
Is there something you’d like to share with the class, Edward?
 

EDWARD
(politely)
Certainly not.  But I apologize for being a distraction. 
Perhaps you should rewind to act five, scene one, line twenty-eight eighty-nine --
(reciting)
“If you had the strength of twenty men, it would dispatch you straight.”

MR. BERTY just looks at him, then moves off, intimidated --

MR. BERTY
Eyes on the screen, people.

Bella is too concerned to be amused. 
......................................................................................................................................................................................

EXT. CULLEN HOUSE - NIGHT

Lights glow from inside the beautiful house.

EDWARD (O.S.)
The Volturi are a very old, very powerful family... 

INT. CULLEN HOUSE - CARLISLE’S ROOM - NIGHT

ON AN 18TH CENTURY OIL PAINTING,
depicting Grecian figures in swirling robes writhing among pillars and balconies. 
In a high balcony, FOUR CALM FIGURES look down upon the bacchanal; two black haired, one snowy white, one golden haired...

EDWARD (O.S.)
The closest thing my world has to royalty... 

INCLUDE -- EDWARD and BELLA (now wearing a green dress). 
She studies the painting - the largest on a wall crowded with pictures.  The other walls are towering bookshelves.

EDWARD
Francesco Solimena painted this; he often depicted the Volturi as Gods.

Bella examines the golden haired “God.”

BELLA
Is that...Carlisle?

EDWARD
Yes.  He lived with them for a few decades.  He describes them as very refined - for killers.
 

PUSH IN ON THE PAINTING
THE FOURSOME: - Their features begin to fill in, become real -
THEY COME TO LIFE in the painting, turning to leave the balcony through an archway.  We FOLLOW THEM into:

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. A CIRCULAR WHITE MARBLE HALL – DAY

It’s centuries old, its marble cracked and weathered.  The open oculus in the domed ceiling is the only source of light. 
The room is empty but for three large wooden chairs and half a dozen VAMPIRES in elegant 18th century attire.
 

EDWARD (V.O.)
The Volturi are also what you might call enforcers.

BELLA (V.O.)
Of what?

EDWARD (V.O.)
The only rule they have: to keep secret the existence of our kind.

Two of the Volturi, MARCUS and CAIUS, take their seats,

CARLISLE stands beside them.  ARO moves to the center of the room where we REVEAL --

A ROGUE VAMPIRE is on his knees.  He looks feral compared to the others, and terrified. 
ARO puts his hands on either side of the Rogue’s face.  Compassion?

EDWARD (V.O.)
We don’t make spectacles of ourselves, or kill conspicuously, unless we want to die.

ARO then slowly, dispassionately, RIPS THE ROGUE’S HEAD OFF. 

Two Volturi Guards (FELIX and DEMETRI) appear on either side,
holding him down as ARO easily detaches the head and tosses it aside. 
ARO calmly sits as the others tear the Rogue limb from limb. 

CARLISLE has to look away...
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. CULLEN HOUSE - CARLISLE’S ROOM – NIGHT

-- as BELLA spins on EDWARD –

BELLA
Don’t even -- talk about that.  You can’t let anyone hurt you.  The Volturi or anyone else.

EDWARD
(sees she’s worried)
Who else would hurt me?

BELLA
You said there were more dangerous things out there than you.  And I know you have at least one enemy.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

OFF BELLA’S FACE
- FLASHPOPS: ON ALL THREE EVIL VAMPIRES, JAMES, VICTORIA, LAURENT (from ”Twilight”)

CLOSE ON VICTORIA: fire-red hair, burgundy red eyes, feral, vicious grin (from ”Twilight”)

BELLA (O.S.)
You said she’d come after you for killing her mate.

BACK ON BELLA AND EDWARD

EDWARD
Victoria?  Yes, some day.  But Alice will see her coming.  And she won’t win. 

Bella looks up at him, pained.

BELLA
I hate that I can’t protect you.

He laughs, amused.  She’s decidedly not.

BELLA
That was me being serious.

EDWARD
(kissing her face)
I know.  But you do protect me...
(kisses her nose)
from boredom...
(kisses her lips)
and loneliness...
(in between kisses)
You give me a reason to stay...un-dead. But it’s...my job...to protect you...

-- but he stops, smiles, hearing something in his mind –

EDWARD
...from everyone but my sister.

-- as the door bursts open and ALICE dances in.

ALICE
It’s time, it’s time, it’s time!
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
INT. CULLEN HOUSE - SECOND FLOOR LANDING – NIGHT

ALICE tugs BELLA and EDWARD to the top of the landing, then skips down the stairs.  They look down into:

-- THE LIVING ROOM -
Hundreds of pink candles and rose-filled crystal bowls. 
ROSALIE, ESME, EMMETT, CARLISLE, JASPER, and ALICE look up at her, all of them stunningly beautiful.
BELLA would love to disappear, but EDWARD leads her down to:

--THE LIVING ROOM --
where ESME and CARLISLE hug BELLA warmly.


CARLISLE
Sorry about all this.  We tried to rein Alice in.

ESME
Like that’s even possible.  Happy birthday, Bella.

FLASH!  ALICE has snapped a picture of BELLA with them. 

ALICE
(re: camera)
Found it in your bag.  Mind?

EMMETT moves to EDWARD’s side.  Nudges him.

EMMETT
Dating an older woman.  Hot.

BELLA caught that.  EDWARD elbows him sharply to shut up.

EMMETT
What?

ROSALIE steps up.  Shoves a silver package at BELLA.

ROSALIE
It’s a necklace.  Alice picked it out.
 

She walks away, bored.  BELLA has to smile.  She sees JASPER across the room.  They wave to each other.

ALICE
(aims the camera)
Show me the love!

EDWARD pulls BELLA into an embrace, they look deeply into one another’s eyes.  FLASH!

ALICE
For your scrapbook.  Now open your presents!

ALICE drags BELLA over to a table piled with elaborately wrapped gifts, a huge cake and a tall stack of china plates.

BELLA
Alice, I’m the only one who even eats cake.  That thing could feed fifty.

ALICE
Hope you’re hungry.  Here, this one’s from Emmett.

The others crowd around.  JASPER somewhat away. 
BELLA, no fan of being the center of attention, opens the gift to find an empty car-radio box
.

BELLA
Um...thanks?

EMMETT
Already installed it in your truck.

EDWARD
Finally, a decent sound system in that piece of –

BELLA
No hating on the truck.  Thank you, Emmett. 

ALICE
Open mine.

ALICE hands her a box.  BELLA starts to open it, but –

BELLA
Ouch - paper cut!

CLOSE ON BELLA’S FINGER - A single drop of deep red blood appears.
BELLA thinks little of it, but then HEARS a disturbing, grisly SNARL.

-- She looks up just as --

BELLA’S POV: JASPER lunges toward her! Teeth bared, eyes beyond reason--

-- EDWARD FLINGS BELLA behind his own body, causing her to CRASH into the table, plates shattering as -- 
-- JASPER SLAMS into EDWARD; sounds like boulders colliding -- 
-- EDWARD pushes him, hard --
-- JASPER SAILS backward, hitting the wall.  But he RICOCHETS off it and comes back at BELLA --
-- EMMETT and CARLISLE TACKLE JASPER from the side, dragging him to the ground --
-- ALICE helps hold him down --

ALICE
(soothingly)
Jaz.... shhh...


But she stops, her head suddenly jerking toward BELLA. 
Then everybody’s eyes snap toward BELLA as they catch the overwhelming scent.

ON BELLA - lying amid the shards of broken china. 
She looks at her arm, seeing now - it’s been slashed by plate shards. Bright red blood pulses out of her, pooling. 
She looks up:

BELLA’S POV: THE CULLENS
(slow motion)
All of them now, including EDWARD (but not CARLISLE) stare down at her, at her blood, with fevered eyes. 
Six suddenly ravenous vampires...

SLOW MOTION ABRUPTLY ENDS as:
-- CARLISLE jumps to BELLA’s side. --
EDWARD, though white as a bone, snaps out of it and stands between her and the others. 

CARLISLE
Emmett, get Jasper out of here.

(no response)
Emmett.

EMMETT reins himself in, elbows ROSALIE.  They drag the snarling JASPER out. 
ESME holds her nose, politely exits with the others.  ALICE looks at BELLA, apologetic.

ALICE
I’m sorry, I... can’t...

She slips out the door.  EDWARD’s still on guard as CARLISLE examines BELLA’s arm.

CARLISLE
I’ll have to stitch this up. 

EDWARD
I’ll carry her to the kitchen.


He moves to pick her up, but his eyes dart to the blood.

CARLISLE
I’ll take care of her, Edward.
(Edward doesn’t move)
Check on Jasper.  Go.

EDWARD looks from him to BELLA.  Then steps back, allowing CARLISLE to lift BELLA and carry her to the kitchen. 
But just before the kitchen door closes, BELLA sees EDWARD’s agonized face.  He turns away, unable to meet her eyes...
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. CULLEN HOUSE - KITCHEN - NIGHT

BELLA sits in a chair opposite CARLISLE who mops up her blood as he removes glass shards from her arm. 
He drops one into a bowl; PLINK. She tries not to look at the blood.

BELLA
I sure can kill a party.

CARLISLE
It’s not your fault.  Jasper hasn’t been away from human blood as long as the rest of us.

BELLA
Seems like you’re the only one it doesn’t effect. 

CARLISLE
Centuries of practice.
 

BELLA
Did you ever think of...living differently?

CARLISLE
I enjoy my work too much.  Helping people, saving lives.  I’m hoping there’s a point to my existence, even if I am damned. 

BELLA
Damned?  You’re not damned.

CARLISLE
Then you and I agree.  But Edward doesn’t believe there’s an afterlife for our kind.
 
(lookingat her) He thinks we’ve lost our souls.

BELLA
(realizing) That’s why he won’t...he thinks he’d be damning me?

CARLISLE
If you believed as he did, would you risk it?

OFF BELLA: no, not ever...
......................................................................................................................................................................................

INT. BELLA’S TRUCK - NIGHT

A large red bow hangs from the new stereo in the dashboard.  EDWARD drives in silence.  BELLA studies him. 
Finally --
 

BELLA
Say something. 

EDWARD
What do you want me to say?

BELLA
That I’m a klutz.  That I should have been more careful
--

EDWARD
You got a paper cut.  Normal people get paper cuts.  And a normal boyfriend wouldn’t have flung you into a stack of plates. 
A normal boyfriend wouldn’t have had to fight the urge to kill you
--

BELLA
Stop.  I don’t want normal, I want you.

EDWARD doesn’t respond, just pulls the truck into --
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
EXT. BELLA’S HOUSE/INT. BELLA’S TRUCK (CONTINUOUS) - NIGHT

The truck stops.  Beat.

BELLA
You can’t protect me from everything - something’s going to separate us -- accident, illness, old age... as long as I’m human...

EDWARD
(appalled)
That’s your solution?  My ending your life?

BELLA
Your giving me forever.
 

He faces forward again, jaw tight, mind working, tormented. She reaches for his hand --

BELLA
Carlisle told me how you feel, about my soul, but I don’t believe that
--

-- he subtly moves his hand away from hers.

EDWARD
You should go in.  It’s late.

He climbs out – instantly he’s opening the passenger side door for her.  She climbs out. 
He looks down at her face - he softens as he takes it in.  Puts a hand on her cheek.

BELLA
I’ll leave my window open for you.

EDWARD
(quietly)
I won’t be coming back.  Not tonight.

BELLA
Then...can I ask for one thing?  It’s still my birthday.
 
(off his nod) Kiss me?

He lifts her face to his, and kisses her. 
He begins carefully, gently... but it changes, he becomes urgent, with an almost painful edge, as if it were goodbye. 
Abruptly, he pulls away.  With a last look, he turns walks off into the night.  Off BELLA...
......................................................................................................................................................................................

INT. BELLA’S BEDROOM – NIGHT

ON A PHOTO - as a printer spits it out.  It’s the pic ALICE took of BELLA and EDWARD’s embrace. 
BELLA, troubled, puts it in her scrapbook, her bandaged finger running over it.
________________________________________________________________________________________________________

INT. HIGH SCHOOL - ENGLISH CLASS – DAY

“Romeo and Juliet” lessons are on the board.  Everyone’s scribbling essays. 
BELLA glances at EDWARD’s desk: empty.

-- FLASHPOP TO -- (previous scene in truck) ECU ON EDWARD’S EYES, hard, turning away from her...
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
INT. HIGH SCHOOL - CAFETERIA - DAY

BELLA sits with JESSICA, ANGELA, ERIC and MIKE.  They joke, throw things.
BELLA's distracted, looking-out for EDWARD. 

-- FLASHPOP TO -- (scene in the truck) ECU ON EDWARD’S HAND moving away from hers...

BACK ON BELLA’S WORRIED FACE: off which we go to --
......................................................................................................................................................................................

INT. BELLA’S BEDROOM - DAY

PAN the photos on the wall. 

INCLUDE EDWARD who studies them, his expression grim. 
He looks down at BELLA’s SCRAPBOOK to SEE the photo of him and BELLA.  He pulls it out, takes a closer look...
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
EXT. BELLA’S HOUSE – DAY

ON BELLA THROUGH THE WINDSHIELD of her truck as she pulls into the driveway. 
She climbs out, heads toward the house but stops, relief washing over her –

BELLA
Edward.  You’re here.

He stands by the house.  BELLA hurries toward him, but slows when she sees his cold, distant face; an unreadable mask. 

EDWARD
Walk with me?

EDWARD gently takes her hand.  Dread fills her, but she lets him guide her toward the woods...
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. WOODS – DAY

EDWARD stops by a fallen tree.  Turns to BELLA. 

EDWARD
We need to leave Forks.

BELLA
What?  Why?

EDWARD
It’s time.  Carlisle’s supposed to be ten years older than he looks.  People will start noticing. 

BELLA
But...when?

EDWARD
Now.

BELLA reels, trying to take this in.  Finally --

BELLA
I’ll have to think of something to tell Charlie, but I can be ready
--

EDWARD
Not you.  Us.
 

BELLA
(stunned)
What? No - Edward, what happened with Jasper - that was nothing-- 

EDWARD
--Nothing compared to what could happen. You don’t belong in my world. 

BELLA
I belong with you...

EDWARD
You don’t.

BELLA
I’m coming--

EDWARD
I don’t want you to come!
 

BELLA is stung, as if slapped. 

BELLA
You don’t...want me.

EDWARD
No. 

She steps back.  Trying to understand this. 

EDWARD
I’d like to ask one favor though.

BELLA
(looks up, hopeful)
Anything. 

EDWARD
Don’t do anything stupid or reckless -- do you understand?
(adding) For Charlie’s sake.  Just...take care of yourself.

BELLA
I... yes... I will.

He softens ever-so-slightly. 

EDWARD
Don’t worry.  You’re human.  Time heals all wounds for your kind.  Particularly if you’re not reminded.

Desperation wells up in her, overwhelming dignity. 

BELLA
No, this is - don’t do this.  Please.

He sees she won’t let go easily.  Takes a breath.  His face turns cold again.

EDWARD
Try to understand.  Every second with you is about restraint.  You’re too fragile. 
I’m tired of pretending to be something I’m not.  Reining myself in so I can be with a human.
 

BELLA
Then take my soul.  I don’t care!  I don’t want it without you
--

EDWARD
(sharply)
--You’re not good for me, Bella.

BELLA looks at him.  His hard face.  His resolve. 

EDWARD
I’ve let it go on too long.  I’m sorry.

Tears sting BELLA's eyes.  This can’t be happening.  He steps forward...kisses her forehead.  She closes her eyes.

EDWARD
I promise, it will be like I never existed.  Goodbye, Bella.

And here, for the first time, we SEE how truly agonizing this really is for EDWARD.  But BELLA doesn’t see. 
By the time she opens her eyes - he’s gone.  She spins --
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

BELLA
--Wait!

She SEES a LEAF FLITTERING to the ground where he grazed a branch; the only indication of his direction. 
She hurries down the path, then runs --

BELLA
Edward?!

-- and she keeps running, going deeper into the woods...

A SERIES OF QUICK, SURREAL SHOTS - TIME LAPSING

BELLA runs through the woods, searching, reminiscent of her opening dream. 
It gets darker and darker, until we’re deep into night

-- HEAR BELLA’s sharp desperate BREATHS --

BELLA TRIPS.  Falls to the damp forest floor.  She looks up, the trees spinning around her...

STAY ON BELLA - NIGHT - AS HOURS PASS

She remains on the ground.  Curls into a ball.  Darkness shrouding her.  Devastation paralyzing her.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

ECU ON HER FACE - numb.  HEAR the faint sound of her name being called in the distance. 
A search party.  She’s too wrecked to respond.  Rain begins to pour; she doesn’t register it....

SERIES OF SCENES END ON -- BELLA, lying there, dazed. 
She begins to HEAR an animal SNUFFLING.  It gets closer.  It sounds large.  Scary.  Then she hears a whisper --

EDWARD (O.S.)
Move, Bella.

She lifts her head, looks for EDWARD...but SEES something else instead –

BELLA’S POV - A DARK SHAPE, huge, black.  Nearing.  Its EYES reflect light for a split second; they’re inhuman, savage. BELLA, terrified, manages to DRAG herself to a cluster of trees.  She squeezes between them.  Breathing  hard.  She closes her eyes, trying to disappear...
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. WOODS - LATER NIGHT

BELLA's eyes open to find herself FLOATING several feet above the ground.  Trees pass by.  She’s being carried...
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. BELLA’S HOUSE – NIGHT

Half the town is gathered - a tired rescue party that includes MIKE NEWTON and JACOB BLACK. 
CHARLIE, beside himself with worry, pores over a map with
BILLY BLACK (in wheelchair) and Quileute HARRY CLEARWATER, 46, (dark braids, stout, protruding belly, kind face).
 

CHARLIE
I’ll call the Cullens again.  Her note said she and Edward went for a walk.

BILLY
They left town, Charlie. 

HARRY CLEARWATER
Hospital said Doc Cullen got a big job somewhere else. 

HARRY puts a reassuring hand on CHARLIE's shoulder.

HARRY CLEARWATER
We’ll find her, Charlie.
 

CHARLIE is glad for the comfort of his two friends.

JACOB
Charlie!

CHARLIE spins to where JACOB points –

THEIR POV - THE EDGE OF THE WOODS

SAM ULEY, 20, emerges, a tall, strong Quileute Indian with cropped hair and a fierce expression. He’s carrying BELLA.

BILLY
It’s Sam Uley.  He found her.

CHARLIE bolts to her; he’s never moved faster in his life.  He wraps his arms around BELLA, lifting her from SAM’s arms. 

CHARLIE
Thank you, Sam.  Thank God.

CHARLIE carries BELLA to the house, cradling her. 

HARRY and BILLY give SAM a nod of praise and gratitude.  But SAM backs away, avoiding any accolades.
 

ON JACOB - jogging alongside CHARLIE, peering at BELLA with worry. 
Then JACOB slows, feeling eyes on his back... he turns to SEE SAM ULEY staring at him. 
JACOB, uncomfortable, quickly looks away.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

ON CHARLIE CARRYING BELLA up the stairs to the house --

CHARLIE
What were you thinking, Baby?  Why were you out there?

BELLA
He’s...gone.
 

Off her as CHARLIE carries her inside --
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. BELLA’S BEDROOM - NIGHT
OVERHEAD SHOT OF THE BED

-- CHARLIE lays BELLA down and wraps her in blankets --

A SERIES OF DISSOLVES ON BELLA:
She’s curled in a fetal position in the middle of the bed. 
Then at its foot. 
Under the blankets. 
On top of them. 
In various different arrangements. 

Meanwhile...A BLACK LIQUID begins to flood the floor, slowly swallowing everything in the room. 
It rises up the sides of the bed, higher and higher until it breaches the top of the bed and begins to engulf BELLA. 
Off her, submerged in blackness...
________________________________________________________________________________________________________

EXT.  BELLA’S HOUSE - DAY - A MONTH LATER

The leaves have turned red and orange.  SEE a FIGURE in the upstairs window --

INT. BELLA’S BEDROOM - DAY

BELLA sits in a rocking chair by the window.  Her face blank.  Empty. 
STAY ON BELLA, unchanging - but THROUGH THE WINDOW OUTSIDE, we SEE TIME LAPSING behind her --

OCTOBER: Costumed kids appear in the yard, trick-or-treating.  DISSOLVE INTO:

NOVEMBER: NEIGHBORS (BOB MARKS and his WIFE) bring CHARLIE a turkey.
They glance up at BELLA’s window with concern.
WINTER BEGINS -- the trees’ branches are now bare...

DECEMBER: CHARLIE drags a Christmas tree toward the house...worry has taken its toll on him. 
But BELLA remains unchanged...
________________________________________________________________________________________________________

BELLA (V.O.)
Dear Mom. I’m...lost...

PAN the now blank walls of the exceedingly neat room; gone are all traces of EDWARD... 

BELLA (V.O.)
Edward took everything with him.  Including my life.  He promised it would be like he never existed...

LAND ON the scrapbook which lies open; the photo of BELLA and EDWARD's embrace at the birthday party - gone. 
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 

INT. BELLA’S BEDROOM - ANOTHER DAY

BELLA AT HER COMPUTER, typing an e-mail to RENEE.

BELLA (V.O.)
...But I need to know he did. 

A SERIES OF TABLEAUS, DISSOLVING INTO ONE ANOTHER:

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
INT. BELLA’S HOUSE - LIVING ROOM – DAY

BELLA sits on the couch, blank, as the rain pounds.  CHARLIE watches her, concerned.

BELLA (V.O.)
It’s like a huge hole has been punched through my chest...
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
INT. BELLA’S BEDROOM – NIGHT

In the darkness, Bella is curled up in a ball on her floor.

BELLA (V.O.)
But the pain is my only reminder that he was real; that they all were.
________________________________________________________________________________________________________

INT. FORKS HIGH SCHOOL - CAFETERIA – DAY

Lunch.  BELLA sits alone, staring straight ahead. 

SEE JESSICA, ERIC, ANGELA and MIKE, watching her with concern.  Talking about her.  She doesn’t notice. 

BELLA (V.O.)
I miss them.  Especially Alice...
......................................................................................................................................................................................

EXT. TANYA’S ALASKAN HOME – DAY

A one-story contemporary home, surrounded by snowy, barren land and woods. 
Through a LARGE PICTURE WINDOW we SEE ALICE and CARLISLE, arguing inside –

BELLA (V.O.)
But I’m sure it’s better for them, not having me around...

INT. TANYA’S ALASKAN HOME (CONTINOUS) – DAY

ALICE faces off with CARLISLE as the others watch on. 
ESME desolate. EMMETT blank. He sits next to ROSALIE who seems almost irritated. JASPER isolates himself in a corner.

CARLISLE
No.  We promised Edward.

ALICE
But she won’t do well without us.  I get flashes of her, but they’re unclear --

ROSALIE
Forget her, let’s drag Edward home. 

ESME
He’ll come back when he’s ready. After Bella moves on.

CARLISLE
Yes.  When she’s living her life, safe from danger--

JASPER
(with self-contempt)
You mean safe from us. 

ALICE wraps an arm around JASPER, soothingly. 

ROSALIE
(pointedly to Alice)
And when will that be? 

EMMETT
Can you see him, Alice?

They all turn to ALICE. a beat.  She closes her eyes, trying to get a lock on EDWARD.

-- PUSH IN ON ALICE as –

ALICE
The only decision he’s made...

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
SMASH TO:

EXT. SOUTH AMERICA - ANDES (ALICE’S VISION) - DAY

(Visuals are jumpy, unclear)
START HIGH ON A MOUNTAINTOP in the middle of nowhere. 
SWOOP DOWN to its peak on which we find EDWARD: standing still, face agonized.

ALICE (O.S.)
...is to be alone.

-- and suddenly, he starts running, like he’s trying to outrun his memories, faster and faster --
-- he races toward a CLIFF; a RAVINE hundreds of feet below --
-- EDWARD doesn’t slow, just blasts forward faster --
-- then he LEAPS off the cliff, FLOATING, but the pain stays with him --

ON EDWARD’S FEET landing hard on the other side of the ravine
- as they hit ground, we --

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
SMASH BACK TO:

CLOSE ON BELLA’S FINGERS
-- as they hit computer keys –

BELLA (V.O.)
Time passes.  Every tick that goes by...aches...

INT. BELLA’S BEDROOM – NIGHT

INCLUDE BELLA’S COMPUTER SCREEN, as she types...

BELLA (V.O.)
...like the pulse of blood behind a bruise.

BELLA stops.  A beat as she stares at her own words.  Then she hits “select all” and “delete”

ON THE COMPUTER - A BLANK DOCUMENT. 

She types:
“Hi Mom, things are great, grades are up.  Hanging with friends.  Stop worrying.  I’m fine.”

BELLA presses “send”, and the cheery e-mail disappears.  BELLA rises, returns to her rocking chair, staring out desolately.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
PUSH PAST HER OUTSIDE:
AN UNKNOWN POV FROM THE WOODS
-- ON BELLA IN THE WINDOW --
Someone’s watching her, pacing menacingly, hungrily.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
DISSOLVE TO:

EXT. BELLA’S HOUSE – DAY

BELLA exits to find CHARLIE out by the street, stuffing trash into the bins. 
He talks with neighbor, BOB MARKS, who also attends to his trash: two old, beat up motorcycles.

CHARLIE
It’s about time you got rid of those, Bob.  Seen one too many bikers smeared on the highway.

BOB
Save the lecture, Chief.  Soon as the garbage truck hauls ‘em off, you and my wife can rest easy.
 
(Starts off, but stops) Oh, hey, what’s the word on that bear problem?  Folks are saying they’re huge.

CHARLIE
(distracted--)
That’s just...talk.

--as CHARLIE watches BELLA walk to her truck, head down.  BOB sees her, too –

BOB
How you doin’ there, Bella?

BELLA, in her own world, doesn’t respond.  BOB gives CHARLIE an understanding shrug and heads off. 

ON BELLA as she opens her truck door.  Suddenly, it gets slammed shut again by CHARLIE.

CHARLIE
That’s it.

BELLA
That’s what?

CHARLIE
You’re going to Jacksonville to live with your mother.

BELLA
What?  Why?

CHARLIE
I just - don’t know what to do any more.  You don’t act like someone left you; more like someone died. 

She looks away.  That’s how it feels to her.

BELLA
I’m not leaving Forks.

CHARLIE
Bells, the bastard’s not coming back. 

She nods.  Knows this all too well. 

CHARLIE
It’s not normal, this behavior.  And frankly, it’s scaring the hell outta me, and your mother.
 
(Gentler) Go to Jacksonville, Baby.  Make some new friends. 

BELLA
I like my old friends.

CHARLIE
You never even see them anymore.

BELLA
I do, too.  In fact, I’m... um... Jessica and I are going to Port Angeles tomorrow.  Shopping.

CHARLIE
(suspicious)
You hate shopping.

BELLA
That’s how good a friend I am.

CHARLIE
(somewhat appeased)
Alright.  Shopping.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
BELLA (PRE-LAP)
Hi Jessica, it’s Bella... 

INT. BELLA’S TRUCK – DAY

Bella drives, talking on her cell (hands-free, of course). 

BELLA
...Yes, Bella Swan.  Hey, any chance you feel like shopping tomorrow?
________________________________________________________________________________________________________

EXT. PORT ANGELES - MOVIE THEATER - NIGHT

BELLA and JESSICA exit the theater.  A MARQUEE behind them bears the title of a ZOMBIE film.

BELLA
I don’t get why are there so many zombie movies.

JESSICA
It’s, like, a metaphor?  For crass consumerism or something. 

BELLA glances at her.

JESSICA
Not that you’d know anything about consuming.  You didn’t buy anything today.

BELLA
I bought something.

JESSICA
Socks don’t count.  ‘Course, I was surprised you even called.

BELLA
I’ve been kind of...out of it.

JESSICA
Kind of?  I mean, at first I was worried.  Then I’m like, okay, she’s still bumming?  It’s not like I wasn’t going through things, too.  Like Mike deciding he wanted to “just be friends?”  That was really hard and

MAN’S VOICE (O.S.)
How ‘bout a ride, girls?

As BELLA looks ACROSS THE STREET, time suddenly SLOWS

BELLA’S POV: A DIVE BAR, “ONE EYED PETE’S”
(SLOW MOTION)
-- FOUR ROUGH-LOOKING GUYS loiter out front next to their motorcycles.  They’re in shadow, we can’t see their faces. 

OFF BELLA, WE SMASH TO:

FLASHPOPS: Bella surrounded by FOUR GUYS (”Twilight”) - EDWARD's VOLVO skidding to a stop - EDWARD staring them down –

BACK ON BELLA, a chill going down her spine, FREEZING her as she stares at the foursome across the street.
THEN suddenly, a pair of lips lean next to her ear –

EDWARD (O.S.)
Move, Bella.

She turns to find EDWARD standing next to her.  Or so it seems. 
But he’s an illusion, an apparition, which becomes clear when --
JESSICA steps right into him, dissolving him to nothingness, and TIME ABRUPTLY SPEEDS UP AGAIN –

JESSICA
Come on.

BELLA
I know them...I think...

JESSICA
Can we just go?

JESSICA pulls at her arm, but BELLA shakes her off. 

BELLA
I want to see something.

Much to JESSICA’s frustration, BELLA begins to cross the street toward the guys - frightened but drawn. 

GUY #1
Alright, we got a taker.

The apparition of EDWARD REAPPEARS in her path this time.  She stops.

EDWARD
Turn around, Bella.This is dangerous.

But when she steps backward, he fades. 
Testing her hallucination, she strides forward again. EDWARD’s apparition reappears, strides alongside her –

EDWARD
Stop.  Now.

She’s almost smiling as she reaches the guys, finally able to see them clearly -- and stops, realizing –

BELLA
...You’re not them.

And with that....EDWARD disappears.

GUY #1
We’ll be whoever you want, honey.

Guy #2 pulls up right next to her on his motorcycle. 

GUY #2
Ready for a thrill ride?

GUY #2 extends his hand to help her onto the bike.  She hesitates. 

EDWARD (O.S.)
Walk away.  Go.

EDWARD’s apparition appears on the other side of the bike. 
BELLA looks at him with determination -- then climbs on to the back of the bike -- 

BELLA
I can break promises, too.

GUY #2
(confused)
...Okay.

JESSICA
Bella!

The bike LURCHES forward, going way too fast.  As the wind blasts her hair back, she realizes this might have been a mistake --

BELLA
...Wait
-

Guy #2 doesn’t hear her, guns the engine, going faster --

BELLA’S POV - DIRECTLY AHEAD:
EDWARD stands in road, directly in their path, more present, more clear than ever. 
The bike’s headlight illuminates him, racing toward him --

BELLA
Stop - stop! - STOP!

The bike abruptly pulls up short. 

GUY #2
Hey, I didn’t force nothing on you.

BELLA scrambles off, stumbling in the process.  EDWARD is gone.
The four guys then REV their bikes and PEEL out.  BELLA watches them go as JESSICA storms up.

JESSICA
What the hell is wrong with you?!

BELLA
(almost to herself)
I...saw something.

JESSICA
You.  Are insane.  Or suicidal.

BELLA
(trying to figure it out)
The more dangerous...the more real it was.

JESSICA
So, what, you’re like an adrenaline junky now?  Go hang-gliding or bungie-jumping.  Don’t be a complete freak.

An angry JESSICA charges off.  BELLA watches the motorcycles disappear down the street as -- 
________________________________________________________________________________________________________

BELLA (V.O.)
He wasn’t real.  I knew that.  I didn’t care.  I needed to see him.  If danger’s what it took, that’s what I’d find.

Off BELLA, determination settling into her face...

EXT. JACOB BLACK’S HOUSE – DAY

BELLA pulls up in her truck, a tarp covering something big in the back.  JACOB comes out of the house.  A huge grin. 

JACOB
Bella!

BELLA hops out, JACOB gives her a hug.  BELLA’s surprised by his affection, but doesn’t mind.

JACOB
‘Bout time you came by.

BELLA
I brought you something.

BELLA pulls the tarp back, revealing - her neighbor’s two dilapidated, rusting MOTORCYCLES.

JACOB
Scrap metal.  You shouldn’t have.

BELLA
I rescued them from the dump. 
They’d cost more than they’re worth to fix...unless one had a mechanic-type friend.

JACOB
Me, being the mechanic-type friend
? (Off her shrug) Since when are you into motorcycles?

BELLA
Recently
.

JACOB
(studying the bikes)
The parts alone will be pricey.

BELLA
I have a college fund I can dig into.

JACOB
Charlie’s gonna love that.

BELLA
Charlie won’t know.

JACOB
Wow.  Lying to Dad.  Blowing through college money.  Repairing dangerous machines - that I’m guessing you’ll want to ride?

BELLA
I really get it if you think this is stupid and reckless.

JACOB
Oh it’s totally stupid and reckless.
  (Leans closer, grins) When do we start?

BELLA's face spreads into something we haven’t seen in a while: a wide smile. 
As they pull the bikes off the truck, they laugh and joke; it’s as though JACOB has brought BELLA back to life.  But -- 

-- UNKNOWN POV -
ON BELLA AND JACOB FROM A DISTANCE
-- someone’s watching as the two of them wheel the bikes into the garage. 
REVERSE on the watcher to discover –

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
EXT. EDGE OF THE WOODS - SAM ULEY – SAME

Next to SAM stand two others, JARED, 17, and PAUL, 18.  All three have cropped hair, sleeveless shirts, cut-offs. 
It’s unsettling how they watch BELLA and JACOB; the ferocity in their eyes, the danger. 
SAM turns; the others follow his lead.  The three slink soundlessly into the darkness of the woods.
......................................................................................................................................................................................

SMASH TO:

EXT. FOREST – DAY

Two hikers, NATE and TIM, 20’s, as they tromp through the shadowy, mist-laden woods.  Tim studies his iPhone GPS

TIM
We’re going the wrong way.

NATE
Who cares?  Enjoy the scenery.

TIM
(slapping a mosquito)
And the West Nile virus.

TIM hears a RUSTLE.  Stops.

TIM
You hear that?

NATE
If I knew you were such a wuss, I’d have brought my grandma. 

TIM
Could be one of those giant bears.

NATE
There are no giant –

RUSTLE.  NATE stops.  Then, from the opposite direction, another RUSTLE. 
Then another, and another, from behind, from in front. 
It’s either more than one creature or it’s moving with extraordinary speed.  The guys are terrified.

TIM
What the hell is that?!

NATE
I don’t know!

The guys, faced away from one another, search the trees. 

STAY ON TIM as suddenly, there’s an eerie SILENCE.  Beat.  

TIM
Think it’s gone?

No answer.  He turns to find that NATE has vanished. 

TIM
Nate?  Nate!?

Nothing... then the RUSTLING starts again.  And intensifies.

TIM BOLTS!  CLOSE ON TIM: tearing through the woods, too scared to feel the branches SMACK him in the face. 
Breath ragged, he looks over his shoulder –
TIM’S POV: BEHIND HIM – something gives chase, flattening foliage and bending thin trees in its path. 
TIM runs harder --

TIM’S POV - UP AHEAD THROUGH THE TREES - THE HIGHWAY

A couple cars pass.  Civilization.  Safety.  TIM races for it –

EXT. HIGHWAY (CONTINUOUS)

TIM bursts from the tree-line, he’s almost to the pavement, he‘s going to escape--

BAM!  Something YANKS him out of frame at an unnatural angle.  His SCREAM is abruptly choked off, leaving nothing but a disturbing silence.

DISSOLVE TO:
________________________________________________________________________________________________________

INT. JACOB’S GARAGE - ANOTHER DAY

Motorcycle parts are spread out on blankets.  JACOB moves among them excitedly, piecing them together.  BELLA watches.

BELLA
If we’re going to be working on this every day, we should probably include some homework.  Don’t want the Dads to think I’m a bad influence on you.

JACOB
You influence me?  Please.

BELLA
I am older than you. 

JACOB
Age ain’t nothin’ but a number.

BELLA
And I convinced you to secretly build us two-wheeled death machines.

JACOB
(sudden mock-horror)
God, you’re right, you’re like Satan

QUIL (O.S.)
Yo, Jake, you in there?

BELLA abruptly sits up, starts to pull a tarp over the bikes.

JACOB
It’s cool, it’s just my boys.

QUIL ATEARA and EMBRY CALL enter, both 16. 
Quil is short, stocky and feisty, with short hair. 
EMBRY is tall, thin and laid back, with chin-length black hair.
 

EMBRY
Hey, Jake

They stop when they see BELLA.  The two guys share a smile.

JACOB
Hey.  This is Bella.  Bella, that’s Quil and Embry. 

QUIL
So the bike building story is true.

BELLA
Taught him everything he knows.

QUIL
What about the part where you’re his girlfriend?

BELLA
Oh, we’re just friends.

EMBRY
Ooh.  Burn.

JACOB
(scrambling)
I said she’s a girl and a friend.

QUIL
Embry, you remember him making that distinction?

EMBRY
Nope.

BELLA rescues JACOB –

BELLA
So I guess you guys have girlfriends.

JACOB
(laughs loudly)
Right.  Quil took his cousin to prom.

EMBRY chuckles, as well.

QUIL
Yeah, that’s still a riot.  You want funny, Black?  I’ll give you funny.

QUIL makes a run at him, he dodges; a playful scuffle ensues.  EMBRY, amused, saunters over to BELLA.

EMBRY
I got five bucks on Quil.

BELLA
You’re on.

The scuffle continues.  Off BELLA, enjoying them...
......................................................................................................................................................................................

INT. JACOB’S GARAGE - OVER THE COURSE OF SEVERAL DAYS
A SERIES OF SCENES...

The bikes begin to take shape, the parts on the blanket thin out. 

BELLA (V.O.)
I never forgot my reason for doing what I was doing...

JACOB clowns for BELLA’s amusement, pretends to skewer himself with a pipe.  She laughs. 

BELLA (V.O.)
But being with JACOB was a bigger perk than I expected...

He constantly touches her, playful, affectionate.  It’s effortless in contrast to EDWARD’s intense restraint. 
We can see her spirits beginning to lift. 
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. JACOB’S GARAGE - NIGHT

BELLA and JACOB exit, make their way across the yard to her truck.  BELLA seems lighter, happier than before.

JACOB
Quil keeps asking to come over.  I think he likes you a little too much.

BELLA
Tell him I’m not into the cougar thing.

JACOB
What is it with you and age? I mean, that Cullen guy was young, didn’t seem to... bother you.

He instantly regrets saying EDWARD’s name as he sees it crush her spirits.  Off BELLA, retreating into herself...

BELLA (V.O.)
Not even Jacob could keep away the nightmares...
________________________________________________________________________________________________________

EXT. WOODS - NIGHT (NIGHTMARE)

BELLA TEARS through the forest, searching desperately. 
Then she turns -- finds EDWARD a few yards away, his face cold. 
She steps toward him -- but he BOLTS backward, suddenly twenty yards away --
 

BELLA (V.O.)
...the terror, the loneliness.

-- he rapidly retreats further until he disappears, leaving BELLA utterly alone, darkness closing in on her.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 

INT. BELLA’S BEDROOM – NIGHT

BELLA SCREAMS in her sleep.  The light turns on and CHARLIE hurries to her side, gently shaking her awake. 

CHARLIE
You’re alright, Bells.  You’re okay.

Her eyes open, tears streaming down her cheeks. 
He doesn’t quite know what to do, so hands her a glass of water from her bedside table. 
She sits up, sips.  He pulls the dreamcatcher from her bedpost.

CHARLIE
This thing’s not working very well. 

BELLA
It’s... not as bad as it was.

CHARLIE
Yeah right.
  (beat) I know what it’s like, you know.  When your mom left me, I had a hell of a time.  Imagined doing all kinds of crazy things, just to stop the pain. 

She avoids his look. 

CHARLIE
But hanging out with Jacob seems to help get your mind off...things.

BELLA
He’s been keeping me afloat. 

CHARLIE
That’s good.  He’s a good guy.
 

Off BELLA...
________________________________________________________________________________________________________

INT. BELLA’S TRUCK - DAY

BELLA drives along the La Push cliffs.  JACOB rides shotgun.  He studies a grease-blackened motorcycle crankshaft. 

JACOB
We got lucky at the dump.  You know how much a new crankshaft goes for?

BELLA
Sure, I spend all my free time on crankshaft-dot-com.

JACOB
I think that’s a porn site. (then) These bikes are gonna be rolling soon. Where should we ride first?

BELLA
Someplace sunny.

JACOB
Like there’s any place sunny around here.

BELLA
I know a place above the cloud line.

The second she says it, she regrets it.
-- Off her --
FLASHPOP TO: THE MEADOW - BELLA lying in the grass with EDWARD (”Twilight”), flowers surrounding them.
 

JACOB (O.S.)
Where is it?

BACK ON BELLA: her face falls.

BELLA
Actually, it’s...too hard to get to.
 

He brings his easy smile and optimism to the rescue.

JACOB
So we’ll find our sunny spot, right?

She smiles, grateful.  Then she looks out the window at the cliffs...and notices:

BELLA’S POV - IN THE DISTANCE BY THE CLIFF

FOUR MEN stand on the rocky ledge of the cliff (SAM, JARED, PAUL, and a fourth). 
They wear nothing but cut-off shorts.  They push each other, rough-housing. 

BELLA
Isn’t that...Sam Uley?

JACOB
(bitter)
And his cult.

Suddenly, two of the guys throw a struggling JARED over the cliff! 

BELLA SLAMS on the brakes.  Jumps out of the truck -- JACOB climbs out after her –

BELLA
Oh, my God!  Stop them!

EXT. LA PUSH CLIFFS (CONTINUOUS) - DAY

BELLA runs toward them.  But JACOB’s laughter slows her. 

JACOB
They’re not really fighting, BELLA.  They’re cliff diving.

BELLA
What, on purpose?

JACOB
Scary as hell, but a total rush.

BELLA’S POV - A DIVER (PAUL) takes a running start and FLINGS himself into the air, twisting and cartwheeling down. 
BELLA is intrigued, sees the potential for adrenaline - for EDWARD.

JACOB
Most of us jump from lower down.

BELLA
Think I could?

JACOB
Man, first motorcycles, now cliff diving?

BELLA
You said it was a rush.

JACOB
Maybe on a warmer day.  And not from the top.  We’ll leave the showing off to Sam and his disciples.

There’s that bitter edge again.  She looks at him.

BELLA
You don’t like them.

JACOB
They think they run this place.  Acting all bad ass, calling themselves “protectors.” 

BELLA
What are they protecting?

JACOB
The tribe, the land, their right to be jerks.  Embry used to call them hall monitors on steroids; now look at him.

BELLA looks closer, SEES the fourth guy is EMBRY, hair now shorn, thin frame filled out, laid back expression gone.  It pains JACOB to see him.

BELLA
That’s Embry?  I didn’t recognize him. What happened to him?

JACOB
He missed some school - then, out of nowhere, he’s following Sam around. 
Same thing happened with PAUL and JARED.  They weren’t even friends, now Sam owns them. 
(Beat) Sam keeps giving me this look, like he’s waiting for me or something; it’s kinda freaking me out.

BELLA
Maybe you should just avoid them.

JACOB
I try, but
...

She sees he’s unnerved, instinctively hugs him reassuringly.

BELLA
Hey.  If it gets worse, we’ll go to my Dad.  Or you can come stay with us.

JACOB
Thanks.

(beat, holding her) If this is how you’re going to react, I’ll freak out more often.

BELLA realizes she crossed a line and covers, playfully shoving him.  As they head to the truck, BELLA looks back –

BELLA’S POV ON SAM -- but now he’s looking directly at her. 
Then he turns and DIVES over the edge, cutting a clean line into the water.
________________________________________________________________________________________________________

INT. HIGH SCHOOL - CAFETERIA – DAY

BELLA carries her tray to an empty table, but looks over at MIKE, ANGELA, JESSICA and ERIC. 
BELLA takes a breath, then casually joins them.  They take note, but keep talking.

JESSICA
I’ll kill Tyler if he gave me his flu. 

ANGELA
It’s going around.  My sister was so sick, she couldn’t come on our hike this weekend...so she didn’t see it.

ERIC
(sotto)
Ang, maybe you should keep that to yourself --

ANGELA
We saw something, Eric.
 

ERIC
I believe you.

JESSICA
No he doesn’t.  He’s just trying to get lucky.

ERIC
(suddenly hopeful)
Is that an option?

ANGELA
(ignoring him)
It was jet black and huge; on all fours it was still taller than a person.  A bear, maybe.

JESSICA
Or Big Foot.

MIKE
Or an alien.  Lucky you didn’t get probed.

ANGELA
(quietly).
We saw it. 

She’s serious.  And a little scared.  BELLA see that.

BELLA
You’re not the only one. 

Everyone stares.  Did BELLA just speak? 

BELLA
My dad’s been getting reports at the sheriff’s station.  A couple hikers went missing.  People are scared.

Now everyone’s chilled.

MIKE
I did hear some guy talking about it at the store.

ERIC
Last time you clowns doubt my girlfriend.

As they continue, Angela mouths “thanks” to BELLA.  They share a smile and join in, BELLA becoming part of the group.
________________________________________________________________________________________________________

CUT TO:

ECU ON JACOB AND BELLA’S FACES just inches apart.

JACOB
You look scared.

BELLA
I’m not.

She’s lying. 

PULL BACK to see she’s straddling the now completed motorcycle. 
JACOB stands next to her, holding the bike up.  There’s an intimacy to their proximity.  INCLUDE –

EXT. LA PUSH - CLEARING IN THE FOREST (CONTINUOUS) – DAY

The bike is aimed down a dirt road.  JACOB runs through the instructions:

JACOB
Brake? (she taps it)
Clutch? (she squeezes it)
Right.  Gas? (she grips it)
You ready?

BELLA nods.  JACOB grins... then KICK-STARTS the bike.

JACOB
Slowly...release the clutch. 

She does...the bike moves forward an inch -- JACOB cautiously steps back.  She moves forward another inch –

EDWARD (O.S.)
Stop.

BELLA turns to find the apparition of EDWARD standing next to her. 
Her hand slips off the clutch, the bike BUCKS and falls on top of her. 
JACOB quickly lifts it off her as the apparition of EDWARD disappears.
 

JACOB
You okay?  Bruises, breaks--

BELLA
--I’m going again. 

JACOB
I’m not sure that’s a good–

BELLA quickly rises and hops back on. 

JACOB
Guess we’re going again.  Now what are you going to do with the clutch?

BELLA
Release it.  Slowly.
 

JACOB nods.  Then kick-starts the bike again.  She releases the clutch and moves forward. 
Slowly at first -- EDWARD reappears at her side, glowering.

She keeps going, a little faster.  EDWARD appears on her left now; she passes him.  He reappears ahead; she passes. 

ON BELLA’S FACE as the wind flings her hair back. 
She gathers speed... and for a moment, experiences pure freedom, exhilaration...
then she sees EDWARD standing at the curve in the road ahead, and realizes –

BELLA
(yelling to JACOB)
I don’t -- how do I turn!?

JACOB
Bank it!  Bank - hit the brake! 

JACOB races toward her.  She reaches the turn, doesn’t bank, goes straight... and flies right into a wall of trees. 
As she lies on the ground dazed, JACOB hurries up. 

JACOB
What, are you training for, the X-games? 

She looks around for EDWARD.  He’s gone.

BELLA
I want to go again.

JACOB
Forget it.  I’m revoking your motorcycle privileges.  Man, look at your head.

Indeed, blood drips down her forehead.  He pulls off his shirt to mop it up.  She shrinks away --

BELLA
God, I’m sorry.

JACOB
You’re apologizing for bleeding?

BELLA
It doesn’t...bother you?

JACOB
It’s just blood, Bella. 

He bends over her, carefully tending her head.  She finds herself looking at him. 
His dark eyes, his bare chest and smooth skin. He glances at her.

JACOB
What are you staring at? 

BELLA
Just, you’re actually...good looking.

He’s surprised; there’s a moment between them.  He smiles.

JACOB
How hard did you hit your head? 

BELLA
(realizing)
Oh, I - yeah. 

He offers her a hand, helps her up.  She holds onto it, alarmed.

BELLA
Jake, you’re hot.

JACOB
Upgraded from good looking?

BELLA
No, temperature hot.
  (feels his forehead) You’re burning up.

JACOB
I feel fine. 

He takes her hand from his forehead.  Holds it.  She tries to pull it away.

JACOB
What?  I can’t hold your hand?

BELLA
It just...means something else to you than it does to me.

JACOB
One, that’s my problem.  But two...we have fun, you think I’m hot
--

BELLA
--Good looking.

JACOB
I know you like me.

BELLA
More than anyone.  But...that’s all. 

JACOB
Because of Cullen?

The name stings her.  He takes both her hands now.

JACOB
Look, I know what he did to you.  I can see it in your face every time his name comes up. 
But you need to know: I would never, ever do that to you.  I promise I will never hurt you. 
You can count on me.

BELLA
I already do.  You don’t know how much.  You’re my best friend but...I don’t think my feelings will change.
 

He takes this in, it’s hard.  A wave of something sweeps over him.  He sits back.  Closes his eyes, takes a breath. 

BELLA
I’m sorry.  I should’ve said something right from the start–

JACOB
--No.  That’s not -- I just feel...weird.

BELLA
I told you, you have a fever.  Probably that flu everyone has.

JACOB
It doesn’t...feel like flu.I don’t know what it is.

Off JACOB, rattled, and BELLA, concerned...
________________________________________________________________________________________________________

INT. BELLA’S HOUSE - LIVING ROOM - ANOTHER DAY

BELLA does homework.  CHARLIE watches a game.  She’s on edge.  Anxious. 

HEAR A: -- BEEEP! --

BELLA (O.S.)
Hey Jake.  Just checking to see how you’re doing, and to say I’m sorry, about, you know...
how I feel and... hope the flu passes fast.  Call me.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. FORKS HIGH SCHOOL - PARKING LOT - ANOTHER DAY

BELLA climbs out of her truck, SEES the empty spot where EDWARD used to park. 

SEES ERIC and ANGELA canoodling.  Couples everywhere.  She puts her head down, hurries to class. 
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

-- BEEEP! --

BELLA (O.S.)
Hi, Jake.  Your dad said you have mono.  He won’t let me visit but... would you call me? 
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. BELLA’S BEDROOM - NIGHT

BELLA paces her room, not wanting to sleep/dream.  She eyes the phone, waiting for it to ring. 

-- BEEEP! --

BELLA (O.S.)
Me again.  I just...need to hear your voice...
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. BELLA’S HOUSE - KITCHEN – DAY

BELLA’s on the phone, leaving yet another message. Her desperation having reached its peak. 
In the living room, CHARLIE and HARRY check their fishing gear.
 

BELLA
JACOB.  Please.  Call me.

She hangs up, leans her forehead against the phone.  CHARLIE enters--

CHARLIE
Harry and I will be back by three.

He stops when he sees her. Puts a hand on her shoulder.

CHARLIE
It’s mono, Bells. 

BELLA
He’s too sick to even call?

CHARLIE
You just gotta wait it out.
(then) You know, I don’t have to go fishing...

BELLA
(forcing a smile) No, go.  I’ll call Jess or someone. 

CHARLIE
Good.  But stay here or at Jess’s.  No hikes or anything.  We’re issuing a warning about those bears.
 

Off BELLA’s nod--
......................................................................................................................................................................................

EXT. THE WOODS - DAY

SERIES OF CUTS - BELLA tries to navigate her way to the meadow.  She refers to a map, a compass. 

BELLA (V.O.)
I was more afraid of the hole in my chest than I was of bears.  Without JACOB, I needed EDWARD more than ever...

BELLA tries a trail; it doesn’t look familiar.  Backtracks.  Tries another. 

BELLA (V.O.)
I needed to know he existed.  There was only one place I might find him, or the feeling of him...
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
FLASHPOP: - THE MEADOW -
EDWARD and BELLA lie in the grass surrounded by flowers, sunlight dappling them. 
They look lovingly into one another’s eyes...

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .
BACK ON BELLA - the memory and her desperation fuel her.   Finally, she sees a clearing ahead, hurries toward it --

EXT. THE MEADOW (CONTINUOUS) - DAY

BELLA steps into the clearing, hopeful...but her face falls. 
In contrast to the warmth of her memory, the meadow is cold, gloomy, cloudy.  And no EDWARD. 
She closes her eyes, trying to force EDWARD here.  Nothing.  Her eyes open on the empty, overcast meadow. 
BELLA sinks to her knees.  Tears threatening. 
But then she hears a RUSTLING noise.  She turns toward it, peers into the woods. 
Another RUSTLING NOISE comes from another part of the woods.  She spins toward it -- nothing. 

Then, she turns and JUMPS when she finds:
Vampire LAURENT standing just ten yards away.  Dreadlocks, chiseled face.  BELLA can’t believe it.

BELLA
Laurent?!

LAURENT
Bella. 

She beams, realizing he’s real.

BELLA
Laurent!

LAURENT
I must admit, I didn’t expect to find you here.

BELLA
I live here.  But you - I thought you were in Alaska with Carlisle’s friend.

LAURENT
Tanya, I was.  It was kind of him to arrange, given my association with James and Victoria, “The Enemy.”

BELLA
You tried to help us.

LAURENT begins to stroll in a slow arc around her, his eyes assessing her as –

LAURENT
I went to visit the Cullens, but their house is empty.  I’m surprised they left you behind. 
Weren’t you sort of a pet of theirs?

BELLA’s smile falters, fear beginning to dawn on her.

BELLA
Um...something like that.

LAURENT
Do the Cullens visit often?

 
Suddenly, EDWARD’S apparition appears between them.

EDWARD
Lie.

BELLA
Absolutely.  All the time.

EDWARD
Lie better.

BELLA
I’ll tell them you stopped by. 

EDWARD fades (throughout, he’ll reappear when he speaks, then fade again).  BELLA tries to look relaxed.

BELLA
Will they be able to reach you in Alaska?

LAURENT
I don’t think so.  Tanya’s “vegetarian” family was pleasant enough. 
But the dietary restrictions were difficult - living on nothing but animals.

Suddenly, he’s standing inches from her.  She now sees his EYES.  Dark blood-red. 

LAURENT
(conspiratorial) Tell me BELLA.  Do you ever feel compelled to... cheat?

BELLA involuntarily takes a step away from him.

LAURENT
But that’s not why I left.  I came back here as a favor to Victoria. 

BELLA
...You’re still friends.

LAURENT
(shrugs) More or less.  She asked me to get the lay of the land with the Cullens.  Because, well...
I’m afraid Victoria is quite put out with you.

BELLA
That’s... too bad.

LAURENT
Yes.  She feels it’s only fair to kill Edward’s mate, given he killed hers.  Eye for an eye, mate for a mate.

And now BELLA knows.  Terror overwhelms her.  EDWARD appears –

EDWARD
Threaten him.

BELLA
Edward will know who did it.  He’ll come after both of you.

LAURENT
I don’t think he will.  After all, how much could you mean to him if he left you here unprotected? 
(then) Victoria sent me here for information.   She won’t be happy about my killing you. 

BELLA
No, LAURENT...

LAURENT
(sincere) No, no, no. Don’t be upset.  I’m doing you a kindness.  Victoria plans on killing you slowly, painfully -
whereas I’ll make it very quick.  (inhaling) And you smell so...mouth watering.

He faces her, taking in her scent, bloodlust building.  Her eyes dart around, escape is impossible.
The only thing she SEES is the apparition of EDWARD, looking at her with alarm...

BELLA
(whispering, barely audible) Edward, I love you.

LAURENT is milliseconds from biting - then abruptly, his expression changes. 
He sees something in the forest behind BELLA - and it terrifies him.

LAURENT
I...don’t believe it.

He steps back.  BELLA’s confused as she realizes he’s no longer focused on her.
She follows his eyes, slowly turning to find behind her:

AN ENORMOUS BLACK WOLF skulking out of the darkness of the woods. 
It stalks towards them, a low disturbing GROWL in its throat, sharp teeth gleaming. 

BELLA is trapped between the two killers.  EDWARD whispers in her ear:

EDWARD
Don’t...move.

The wolf slinks closer to BELLA, a mere twenty feet from where she stands, then –

FOUR MORE WOLVES soundlessly emerge from the trees, flanking the black wolf. 
They’re the size of small horses, all of different hues: dark silver, chocolate, ash and russet-brown. 
Their hackles are up, lips curling, bodies crouched, ready to spring.

BELLA is frozen with fear as they come toward her.

The RUSSET-BROWN WOLF is the closest and looks directly at her. 
LAURENT continues to retreat. THEN suddenly, almost simultaneously --

-- LAURENT BOLTS across the meadow--

-- The wolves SPRING toward BELLA and leap right over her in pursuit of LAURENT! 
Their thunderous SNARLS and SNAPS shake her as the pack sprint after the vampire,
surrounding him before he reaches the treeline.

LAURENT SWINGS at the dark silver wolf, SMACKING the wolf half-way across the meadow. 
Another wolf lunges at LAURENT - he kicks it and it sails into a tree, SPLINTERING it. 
The two wolves recover, lurch back to the pack which closes in on LAURENT. 
It’s impossible to know who will prevail.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

BELLA doesn’t stay to find out.  She RACES into the woods

EXT. WOODS (CONTINUOUS) - DAY

BELLA runs franticly, tearing down the hillside, tripping, quickly picking herself up, running, running

EXT. WOODS/ROADSIDE - DAY

BELLA DASHES out of the treeline and to her truck parked on the shoulder.  She jumps in, PEALS out
......................................................................................................................................................................................

INT. BELLA’S HOUSE - DAY

BELLA BURSTS in, out of breath.  CHARLIE and HARRY CLEARWATER are washing their fishing gear.  CHARLIE spins --

CHARLIE
Bella?  What’s wrong?

BELLA
They’re not giant bears -- I saw them.  Up in a meadow.

CHARLIE
Damn it, I told you not to go into the woods!

HARRY CLEARWATER
What did you see, Bella?

BELLA
Wolves.  They’re wolves, Dad.

We might note, though they don’t, that HARRY CLEARWATER sighs ever-so-slightly.

BELLA
Five of them.  The size of - of cars.  I swear.  They went after -- something -- and I ran.

CHARLIE grabs up the phone; as he dials –

CHARLIE
Harry, can you get some men from the rez?

HARRY CLEARWATER
Sure.  Yeah.  I’ll just –

HARRY seems more concerned than gung-ho as he slips out.

CHARLIE
(into phone) Jerry?  Put a hunting party together --  tranq guns, large caliber shotguns -- there’s something dangerous out there.

BELLA (V.O.)
Something dangerous.  Victoria. 

Her eyes dart around the house, their vulnerability spinning in on her.  As CHARLIE hangs up, goes to his gun cabinet

BELLA (V.O.)
If she came after me, Charlie would try to protect me -- and he’d die.

CHARLIE
I’ve gotta go to the station.
 

BELLA
Good! -- That’s good.
 

CHARLIE
You okay here?  You want to come with?

BELLA
Actually, I -- need to see a friend.
......................................................................................................................................................................................

EXT. JACOB’S HOUSE – DAY

BELLA knocks.  Then knocks again.  Finally, BILLY answers.

BELLA
Hi, Billy.  I know Jacob’s sick but –

BILLY
He’s out with friends.

BELLA
(taken aback) Oh. 

BILLY
I’ll let him know you came by.

BILLY starts to close the door, but BELLA stops him.

BELLA
Wait -- he’s got mono, right?  That’s what you told my dad.
 

BILLY
(with compassion) You should go on home, Bella.

And he closes the door.  Off BELLA –
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. BELLA’S TRUCK – DAY

BELLA climbs in, slams the door, pissed.  Starts the truck.  Then turns it off. 
Deciding, she tosses the keys aside and sinks down into her seat to wait...
 

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

BELLA’S POV - EXT. JACOB’S HOUSE - ON THE WINDOW – LATER

RAIN now pours down.  BILLY, inside, pulls the curtain back, looks out at BELLA with sympathy.  Then closes the curtain. 
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. BELLA’S TRUCK - ON BELLA – SAME

BELLA looks out the passenger window at BILLY.  SUDDENLY, there’s a KNOCK at the driver’s window. 
She spins to find JACOB standing there.  But his face is shockingly different. 
His hair is cropped short.  No friendly smile.  No warmth in his eyes. 
Just a hard, brooding resentment.  BELLA is taken aback.
 

She climbs out of the truck to FIND
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. JACOB’S HOUSE (CONTINUOUS) – DAY

-- behind JACOB stand SAM ULEY, JARED, PAUL and EMBRY.  They’re oblivious to the rain, wear minimal clothes. 

BELLA
You cut your hair.

JACOB
Go away.

JACOB turns away.  SAM leads the group toward the house.  JACOB follows. 
She, and we, note his sure-footed strides ;his awkward growth spurt disappeared overnight.  She grabs his arm.

BELLA
What happened to you?

He stops, turns back.  The others wait on the porch for him.  They’re out of earshot, but won’t leave him alone with her. 

BELLA
(lowers her voice) I can help.

His face is hard as he shakes his head.  He’s not talking.

BELLA
Sam got to you.  What did he do?

JACOB
Sam’s trying to help me; don’t blame him.

BELLA
Then who?

JACOB
(bitterness seething) How ‘bout those filthy, reeking bloodsuckers you love?  The Cullens.

BELLA
(thrown) I...don’t know what you’re --

JACOB
You know exactly what I’m talking about.

He’s shaking, almost convulsing with anger.  She regroups.

BELLA
The Cullens are long gone.  How are they to blame?

JACOB
They started all this by existing.  Goddamn leeches –

SAM
JACOB.

JACOB glances at SAM, who gives him a look.  JACOB takes a breath, trying to calm himself.

JACOB
I can’t be friends with you anymore.

BELLA
Jake, I know I hurt you.  I should have been more up-front but
I needed you, I still do. 
I don’t know what that means yet, but if you give me time
--

JACOB
Stop.  Don’t.  It’s not you--

BELLA
-- “It’s not you, it’s me?”  God.

JACOB
It’s true.  I’m not... good. 

BELLA
You’re wrong
--

JACOB
It doesn’t matter.  This is over --

BELLA
I can’t take losing my best friend, too. 

JACOB
You already have

BELLA
Don’t say that
- you promised--

JACOB
Go home, Bella.  Don’t come back.

He practically runs away, joining the gang who all disappear inside.  Off BELLA, standing in the rain...
......................................................................................................................................................................................

INT. BELLA’S HOUSE – NIGHT

BELLA enters, dripping wet, too listless to close the door. 
CHARLIE’s face falls when he sees the pain and lifelessness returned to her.  He grabs a blanket, wraps her in it. 

CHARLIE
Billy called, said you and Jacob had a fight.  But, hey, you guys will work it out, I’m sure of it.

BELLA
I’m... going to change.

BELLA heads upstairs.  CHARLIE sags, helpless.  He moves to the open door --
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

UNKNOWN POV - EXT. BELLA’S HOUSE (CONTINUOUS) - NIGHT
-- It paces, watching CHARLIE slowly close the door --

SMASH TO:

INT. FOREST - NIGHT

BELLA TEARS through the forest again, searching. 
She turns -- finds EDWARD, cold, distant.  But his face begins to MORPH...and becomes JACOB’s. 
She reaches for him but he BOLTS backward, suddenly many yards away.
 

BELLA
Why!?

He, too, retreats further, disappearing until BELLA is alone. 
BLACKNESS encroaches, the moonlight becoming a tiny spotlight on her. 
She searches the dark - then SEES a pair of EYES, female, blood-red - coming toward her;
HEAR a loud SCREECHING NOISE –

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. BELLA’S BEDROOM – NIGHT

-- BELLA tosses herself awake, slowly realizing it was just a dream.  But she HEARS the SCREECHING noise again! 
Fingernails on her window.  BELLA bolts upright, looks around for a weapon –

 JACOB (O.S.)
(whisper shouting) Bella!  Ouch - damn it; open the window!

BELLA cautiously moves to her window to find –
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. BELLA’S HOUSE (CONTINUOUS) – NIGHT

JACOB, shirtless, clings to the top of a tree which bends with his weight.  BELLA opens the window, whisper-yelling –

BELLA
What the hell are you doing?

JACOB
Get out of the way.

He begins to swing his legs, increasing momentum.  She realizes what he’s about to attempt –

BELLA
No!

He launches himself THROUGH the window with great agility –
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. BELLA’S BEDROOM (CONTINUOUS) – NIGHT

-- JACOB lands on the balls of his feet.  BELLA is stunned.  He freezes, listening for CHARLIE.  Nothing. 
A bitter, self-satisfied grin spreads on his face.  It pisses BELLA off.  He takes in her room.

JACOB
I pictured your room more...cluttered.

BELLA
Why are you here?

JACOB
I had to talk to you.  Alone. 

BELLA
To kick me in the gut again?  It was bad before, but you made it so much worse.

JACOB
I know.  And I want to explain.  But...I can’t.

BELLA
Then leave.

He stays put.  She tries to push him but he’s immoveable. 

BELLA
You’re done with me, remember?  Get.  Out! 
.

JACOB
BELLA, I literally can’t explain...

She becomes aware of her hands on his bare skin and muscular chest.  The intimacy of their touch.  She pulls away.

JACOB
I broke my promise not to hurt you, I know.  But I’m trying to keep it now. 
I need you to understand...even if you don’t want to see me when you find out
--

BELLA
Find what out?

He starts to speak -- but can’t.  It’s agonizing.  She sees he’s in pain.  Is concerned.

BELLA
What’s wrong?

JACOB
I can’t do it. 

BELLA
Yes, you can.  I’ll help you.  We can...we can leave.  Leave home, leave Sam.

JACOB
It’s not something I can run away from.  (then) I would run with you though...if I could. 
(beat, realizing) Wait.  Wait, I already -- I told you.  You know this -- you can guess.

BELLA
I don’t want to play games with you
--

JACOB
You have to!I can’t tell you, but if you remember
- it was that day I ran into you at the beach. 
I told you a story
-- come on!  I told you a story... about...

BELLA
... about...“The Cold Ones?”  You said it was a stupid tribal myth.
 

JACOB
(pointedly) Was it?  Are the Cold Ones a myth?

She doesn’t answer.

JACOB
What else did I say? 

BELLA
That...the tribe made a treaty with them.  They can’t come onto your land and...I don’t know, I don’t remember.

JACOB
Try, Bella.

BELLA
You have to give me more.  Tell me where to look.  Is there something I should see?
--

JACOB
No, that’s too dangerous.

BELLA
I’ll take the risk.  Jacob, show me.

He looks at her, doesn’t want to but knows it’s the only way.  Beat.

JACOB
Where was the last place you saw me...the way I used to be?

BELLA
The motorcycles - that clearing in the woods.
 

He nods slowly, then turns to go.  She stops him.

BELLA
Don’t go.  There are dangerous things out there; more than you know.

He looks at her with a wry smile. Then pulls her into a hug.  Her cheek against his bare chest. 
She takes in the closeness...then he soundlessly heads out her door.  A beat -- BELLA starts pulling on clothes.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. BELLA’S TRUCK – NIGHT

BELLA drives through the darkness. 

BELLA (V.O.)
If I was going to lose someone else, I needed to know why. 

She pulls off the road, and drives into the forest.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. LA PUSH - CLEARING IN THE FOREST – NIGHT

BELLA parks.  Climbs out of her truck.  The moon eerily illuminates the clearing.  Forest NOISES encroach. 
She hears a RUSTLE amid the trees. 
Spooked, she freezes -- then SEES JACOB emerge from the trees.  A moment as their eyes meet. 

Then -- SAM Uley, PAUL, EMBRY and JARED step into the clearing, as well, half-clothed, movements almost synchronized. 
Their expressions simultaneously alter into fury when they see BELLA.  PAUL spins on JACOB.

PAUL
What the hell have you done?!

JACOB
I didn’t tell her. You’d know if I did.

PAUL
She’s here, isn’t she?

SAM
Bella, there’s nothing to see here.  You should go home.

BELLA
Not until I know what you did to Jacob.

PAUL
(advancing on BELLA) What we did?!

JACOB moves in front of BELLA protectively, facing PAUL.

SAM
Both of you, calm down!

JACOB
Sam, she knows things about the bloodsuckers.  She’s been on the inside.  She can help
--

PAUL
Like a leech lover’s gonna help us.

JACOB
Watch what you call her.

EMBRY
Get a grip, guys

But PAUL and JACOB are so angry, their bodies begin to shake, nearly convulse.  It unnerves BELLA –

BELLA
It’s alright, Jacob, I’ll go.

PAUL and JACOB are beyond hearing.

PAUL
All you care about is her
--

SAM
(commanding) Paul, back off. 

PAUL
--and she doesn’t give a crap about you

JACOB flashes anger, PUSHES PAUL, hard.  PAUL FLIES backward.

SAM
Jacob.

PAUL rises, outraged, throws his head back in a growl, vibrating violently –

JARED
Too late.

SAM
Bella, get back!

PAUL FALLS FORWARD
but halfway to the ground there’s a loud RIPPING noise and PAUL explodes in silver-gray fur,
becoming a massive wolf crouched and ready to spring!
BELLA, horrified, grabs JACOB’s arm, pulling him --

BELLA
Run, JACOB!

But he yanks away from her, runs directly at the PAUL-wolf--

BELLA
Jake, no!  Stop!

JACOB DIVES headfirst into the air with another sharp TEARING sound,
shreds of cloth blast into the air, fur BURSTS from JACOB’s skin.
He lands on the ground a gigantic russet-brown wolf, charging the PAUL-wolf.

BELLA reels as the two wolves CRASH into each other, snarling and RAMMING one another. 
The sound is DEAFENING.  Their teeth flash at each other’s throats. 
BELLA stumbles backward as the fight carries the two wolves beyond the clearing and into the woods –

CAMERA FOLLOWS THEM, as they fight deeper and deeper into the darkness...until they disappear. 
The horrible SOUNDS of the fight still ECHO

-- BACK IN THE CLEARING --
SAM starts after them, kicking off his shoes.

SAM
Take Bella to Emily's place.

SAM disappears leaving an eerie quiet.  A long silence...

EMBRY
Guess the wolf’s out of the bag.

Off BELLA, stunned.
......................................................................................................................................................................................

EXT. LA PUSH - EMILY’S HOUSE – NIGHT

BELLA’s truck, driven by EMBRY, pulls up to a tiny, weathered house with a window box full of marigolds. 
JARED, in the back, jumps out, opens BELLA’s door.  He and EMBRY head toward the house.  She doesn’t move.

EMBRY
(to JARED) Pay up.  She didn’t puke.

JARED, annoyed, hands EMBRY five bucks. 

EMBRY
Told you she was tough.  She does run with bloodsuckers.

BELLA
Wait.  We should go back, make sure Jacob’s okay.

JARED
I hope Paul gets some teeth in him.  Serve him right.
.

EMBRY
No way.  Jake’s a natural.  You see him phase on the fly?  I gotta fiver says Paul doesn’t touch him.

JARED
Easy money.  Paul’s been at it longer.

BELLA looks at them, appalled.  They realize she’s not following them.

EMBRY
Come on in.  We won’t bite.

JARED
Speak for yourself.

BELLA warily climbs out of the car, joins them.  EMBRY pauses at the door –

EMBRY
Oh, hey, about Emily, Sam’s fiance - just try not to stare.  It bugs Sam.

BELLA
Why would I stare?
--

--But the guys are already entering.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. EMILY’S HOUSE (CONTINUOUS) – NIGHT

BELLA hesitantly enters behind JARED and EMBRY. 
She sees EMILY, 20, at a counter, popping fresh muffins out of a tin. 
SEE only one side of EMILY’s beautiful face, draped by long black hair. 

EMILY
You guys hungry?  Like I have to ask...

EMILY looks toward them now -- REVEALING the other side of her face:
A scar runs from hairline to chin, three red lines that pull down her eye and twist her mouth.
 

EMILY
Who’s this?

As JARED and EMBRY beeline for the muffins –

JARED
Bella Swan.  Who else?

EMILY
So you’re the vampire girl.

BELLA
And you’re a...you’re all...

EMILY
Werewolves?  I’m just engaged to one.  But these animals
--
(slaps EMBRY’s hand) Save some for your brothers.

BELLA cautiously approaches the counter, keeping an eye on the door for JACOB.

EMILY
Leave it to Jacob to get around Sam’s gag order.

BELLA
He didn’t say anything, or...couldn’t.

EMBRY
That’s a wolf thing.  Alpha’s orders get obeyed whether we want to or not
-- 

JARED
How ‘bout you shut up now, Embry?

EMBRY
You know Jacob’s gonna fill her in.

JARED
Yeah, I know every stupid thought he has.
 
(to BELLA) Wanna know what he thinks of you?

EMILY
Like you need special powers to know that. 

EMBRY
(to BELLA) It’s another wolf thing.  We hear each other’s thoughts.  Good for hunting.  Embarrassing for everything else. 

JARED leans to BELLA, challenging.

JARED
Freaking out yet?

BELLA
(meets his look) You’re not the first -- mind reader I’ve met.

EMBRY
(grins) Jake’s right.  You are good with the weird.

BELLA
But I don’t get
-- how?  Why? --

SAM (O.S.)
-- Because there are bad things here.

She spins - SAM is now standing behind her, the front door open behind him.

SAM
And they’re getting worse.

BELLA is chilled.  SAM moves past her to EMILY- the sight of her instantly warms his face. 

SAM
Hey, Em.

He kisses EMILY’s scarred face adoringly.  BELLA has to look away. 
Their utter devotion is a painful reminder of what she has lost. 
Fortunately, she’s distracted by -- JACOB and PAUL’s arrival.  They laugh and jab one another. 
BELLA is relieved to find JACOB unscathed.  JARED and EMBRY crowd them, finding a scar on PAUL’s arm –

EMBRY
Ha!  Pay up.

As JARED reluctantly hands EMBRY five bucks, JACOB’s eyes find BELLA’s.  He nods solemnly to the door;  we should talk.
......................................................................................................................................................................................

EXT. LA PUSH - CLIFFS – DAWN

The sun is just beginning to rise, reddening the clouds overhead. 
BELLA paces by the cliff’s edge, trying to come to grips with this new reality. 
JACOB keeps his distance, trying to control his anger.
 

BELLA
You just have to...stop. 

JACOB
It’s not a life-style choice.  It’s in my DNA. 

BELLA
Killing is in your DNA?

JACOB
Man, I thought maybe you wouldn’t be such a hypocrite -- what, I’m not the right kind of monster for you? 
Can’t measure up to your bloodsucking friends
--

BELLA
(angry as well) Hey, they manage to survive without hurting innocent people. 

JACOB stops -- a beat as his anger is replaced by confusion.

JACOB
Wait
- innocent? So...you don’t care that I morph into a giant dog.  Just that I... kill people?

BELLA
(appalled) “Just?”  Those hikers’ lives mean that little to you?

He bursts out laughing.

BELLA
(repelled, turns to go) Oh, my God. 

JACOB
Bella
-- Bella, wait... (he stops her) We’re not killing hikers.  We’re trying to protect them. 

BELLA
From what?

JACOB
The only thing we do kill: Vampires.

BELLA
(stunned, reels) Vampires?  Jake, no

JACOB
(steps back, bitter) Don’t worry, we can’t touch your precious Cullens - unless they bite someone and violate the Treaty

BELLA
That’s not what I
-- you can’t fight vampires.  They’re too dangerous.

JACOB
Please.  We took out that leech with the dreads easy enough. 

BELLA
You... killed Laurent

JACOB
(worried) ...He didn’t seem like a friend.

BELLA
No, God no.  But...how?
 

JACOB
It’s what we do, why we exist.  A few “lucky guys” in the tribe have the gene. 
If a bloodsucker moves to town, our DNA kicks in, we reach the right age and the fever hits.

BELLA
(realizing) “Mono.”

JACOB
I wish.  Next thing I know, they’re telling me, this is your life now.  That future you saw for yourself?  Gone.

Desolation fills him.  She sees this.

BELLA
It’s bad, huh?

JACOB
I just hate feeling...out of control.  Like maybe Sam is right; you shouldn’t be around me. 

BELLA
Like you could get rid of me.

JACOB
You’ve seen Emily.

That lands with her.  She nods. 

JACOB
Sam lost it for a split second; Em was standing too close. H
e’s still messed up about it.
(beat) I don’t want to be that kind of nightmare. 

BELLA
You’re not like that.  You save people, right? You saved me from Laurent.

JACOB
Yeah, didn’t mind taking him out.  His red-headed girlfriend will be fun, too.

BELLA stops, chilled to the bone.

BELLA
Victoria.  She’s here?

JACOB
We chased her all the way to the border the other night.  But she won’t stay gone.  Keeps coming back.
If we knew what she was after
-- (sees BELLA’s face) -- What?

BELLA
I know what she wants.  Me.
......................................................................................................................................................................................

SMASH TO:

EXT. FOREST HIGHWAY - DAY
A MASERATI with Canadian plates blasts down the highway at a blinding speed –

INT. MASERATI- SAME
CLOSE ON VICTORIA, easily controlling the steering wheel with two fingers. 
She speaks to someone we don’t see; her words laced with longing and fury.

VICTORIA
James hated cars.  He liked being close to the ground.  But I’d steal one occasionally, to throw him off the scent.
See, we played hide and seek sometimes. No one can hide like me

-- (grins to her passenger) -- but no one could seek like James. 

INCLUDE her barely conscious passenger, DENISE, 30’s, a pretty bleach-blonde with expensive jewelry. 
She’s just coming to, a bump on her head where she was knocked out. 

DENISE
What
-- what are you--?!

VICTORIA
Some games lasted months...but we always got hungry for each other.
  (sly, to Denise) So I’d let him find me...

Denise now lucid, looks around to SEE --

IN THE BACK SEAT, her husband, MICHAEL’S BODY, well-dressed in a turtle neck, 40’s,
sits upright, his head tilted forward as if he’s resting.  Denise reaches for him –

DENISE
Michael?  Oh, my God!

VICTORIA
We never could get enough of each other
... (seething) We would have had forever to try.

Denise, scared, shakes Michael’s arm –

DENISE
Michael?!

–which causes Michael’s head to roll to the side, revealing his gouged, blood-soaked neck and his vacant, dead eyes. 
Denise starts SCREAMING.  VICTORIA grins.

VICTORIA
James always loved a screamer.

VICTORIA’s hand jets out, grabbing a fistful of DENISE’s hair.  She yanks DENISE over, exposing her neck just as we –
......................................................................................................................................................................................

SMASH TO:

EXT. EMILY’S BACKYARD - DAY

ON JARED:

JARED
Excellent.  If the redhead’s after Bella, we’ve got bait.

With stunning speed,
JACOB grabs a four-pronged spading fork from some garden tools, and FLINGS it toward JARED’s head.
JARED easily, and amazingly, catches it.

JACOB
She is not bait.
 

INCLUDE - A picnic table in the middle of this small, quaintly landscaped garden. 
JACOB, BELLA, EMBRY, PAUL, SAM, JARED and EMILY are in the midst of a huge breakfast.
 

BELLA
I should leave town.

SAM
Victoria will follow you and make it harder for us to catch her.

BELLA
No one can catch her.  She can escape anything.

PAUL
Ooh.  She has special powers.

BELLA
Some of them do.

They all look at her.  She instantly regrets saying it.

JACOB
Like...what, Bella?

JARED
The mind reader you said you knew.  He was a suckhead? Can they all do that?

EMBRY
That would blow.

BELLA
No, I
-- shouldn’t have - no.

PAUL
She’s still protecting them.

JARED
I don’t know why.  It’s not like they stuck around to protect you
-- 

JACOB
Guys, back off.
 

JACOB looks apologetically at BELLA.  She shrinks, stung.  
......................................................................................................................................................................................
 
EXT. BELLA’S HOUSE - NIGHT

JACOB walks her to the door. 

JACOB
Don’t worry, we’ve got this place covered.  She won’t get near you or Charlie.
 

BELLA nods.  He sees she’s blue.

JACOB
Hey, we should do something fun.  Like...cliff diving, right?

BELLA
I could use the rush.

JACOB
Soon.  After we catch her.

He offers a reassuring look before jogging into the woods.
......................................................................................................................................................................................

EXT. CULLEN HOUSE - NIGHT

BELLA tentatively approaches the large, modern glass home.  She climbs the porch steps, approaches the door...

INT. CULLEN HOUSE - LIVING ROOM (CONTINUOUS) – NIGHT

BELLA enters to find it perfectly intact, lived-in, warm, candles glowing
and the CULLEN FAMILY enjoying the evening - CARLISLE, ESME, ROSALIE, EMMETT and JASPER. 
BELLA is overwhelmed with joy at seeing them.

BELLA
You’re here.

But they ignore her.  Won’t even look at her.  She starts toward them but SUDDENLY:
-- EDWARD appears and YANKS BELLA away, pulling her to the door and pushing her out, slamming it on her --

EXT. CULLEN HOUSE - (CONTINUOUS) - NIGHT

BELLA runs to the window, peers in at the family who continue to ignore her as they gather around EDWARD --
________________________________________________________________________________________________________

INT. BELLA’S ROOM - MORNING

BELLA awakens, tears on her face.  She can’t take it. 
Gets the hell out of bed, anxious to leave the dream behind.  But it stays with her...
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. EMILY’S HOUSE - DAY

BELLA knocks on the door, rain falling around her, wind blowing strong.  EMILY opens the door.  Sees her.

EMILY
Bella - Are you okay?

BELLA
Yeah, I just...is Jacob here?  He wasn’t at home...

SAM appears behind EMILY.

SAM
He’s with Jared and Embry, keeping an eye on things.  I’m heading out soon.  Should I tell him something?

-- as SAM wraps an arm around EMILY.  Their deep love is achingly obvious.  Off BELLA’s face --

FLASHPOP to BELLA and EDWARD at her birthday party, in a similar embrace, as ALICE SNAPS their picture --

BACK ON BELLA - pained. 

EMILY
You want to come in?

-- But BELLA’s already hurrying to her truck, determination on her face.
......................................................................................................................................................................................

EXT. WOODS - DAY
CLOSE ON A RIFLE as it locks and loads. 

INCLUDE CHARLIE, who checks it, then notes the position of the SIX MEN in his hunting party, all wearing rain gear. 
He SEES HARRY at the end of the line, pausing, looking down.

CHARLIE
You got something, Harry?

ON HARRY - he looks down at a large WOLF PAW PRINT. 

HARRY CLEARWATER
Nope, nothin’.
 

The hunting party moves forward.  HARRY lets them get ahead, stomps out the paw print.

ON CHARLIE as he passes under a huge tree
-- WHIP PAN UP THE TREE to find that HIGH ABOVE, crouching on a limb, is VICTORIA. 
She watches CHARLIE with a vengeful glare. 
She noiselessly SWINGS down to a lower branch, getting ready to pounce on CHARLIE

ON HARRY - his eye catches her movement; he looks up, SEES the back of her red head
-- his breath CATCHES --
She HEARS the sound, even through the rain and wind. 
Before HARRY can raise his shotgun, Victoria’s standing next to him, WHIPPING the gun out of his hands with superhuman speed. 
He GASPS, breath stuck in his chest. 
She grins, about to bite -- but SUDDENLY --

-- THE RUSSET-BROWN JACOB-WOLF smashes into her, knocking her away. 
She rights herself immediately and takes off --

THE THREE WOLVES give chase, disappearing.  It all happened soundlessly, in seconds, unbeknownst to the others.

STAY ON HARRY - he still can’t catch his breath, IN SLOW MOTION he clasps his left arm –

INTERCUT WITH:
EXT. ANOTHER PART OF THE WOODS – SAME

-- LIGHTNING FAST CUTS of THE CHASE: the wolves are right on VICTORIA’s tail, blasting through the forest -- 

-- BACK ON CHARLIE: SLOW MOTION, He turns to SEE HARRY clutching his chest.  CHARLIE runs to HARRY’s side -- 
-- SMASH BACK TO VICTORIA escaping at breakneck speed she bursts out of the trees to --
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. THE OCEAN (CONTINUOUS) – SAME

-- VICTORIA beelines for the choppy water, dives in --
When she reappears, she’s hundreds of yards offshore
THE WOLVES prowl the beach in frustration as we go –

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

BACK ON HARRY - SLOW MOTION - he falls to his knees just as CHARLIE reaches him. 
Off CHARLIE beginning CPR...
......................................................................................................................................................................................

SMASH TO:

EXT. LA PUSH - CLIFFS – DAY

BELLA’s truck comes to a stop; she climbs out.  Ignoring the wind and rain, she strides to the cliff’s edge; looks down –

BELLA’S POV - THE WATER - steely gray.  Rough whitecaps. 

EDWARD (O.S.)
Step back.

BELLA smiles, tears of relief springing to her eyes.  She turns to find EDWARD’s apparition at her side.
She steps back from the cliff’s edge - which causes him to disappear.

That’s it.  She starts pulling off her shoes and coat, adrenaline pumping.
EDWARD’s apparition reappears, but she keeps going --

EDWARD
Stop this now, Bella.

BELLA
You won’t stay with me any other way.

She takes a last look at him...then with a running leap
-- FLINGS herself over the edge --
ON BELLA SCREAMING with exhilaration as she plummets down, down...then SPLASHES into the water.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. ON THE WATER’S SURFACE (CONTINUOUS) - DAY

No sign of BELLA.  A beat.  Suddenly, she POPS back up.  Inhales deeply -- and laughs!

BELLA
Yes!

She enjoys a moment of elation and empowerment... then turns to swim ashore...
but her smile falters when she realizes how strong the current is...

A WAVE crashes over her head.  She gasps for breath. 
THEN - ANOTHER WAVE hits her.  Starts to pull her under...

UNDER THE WATER
- BELLA struggles –

ABOVE WATER
- she pops up, looks around in a panic, SEES –

BELLA’S POV - IN THE DISTANCE
Something orange-ish, bobbing on the surface of the water
BELLA goes down - then comes up again.
THE ORANGE-ISH thing is suddenly thirty yards closer. 
BELLA struggles to stay afloat but the current SMASHES her into a rock, the air goes out of her chest.  She sinks.

ANGLE ON THE ORANGE-ISH THING: IT’S VICTORIA, floating effortlessly, hungry anticipation on her face. 
-- She dips below the surface, vanishing --

UNDER THE WATER
-- BELLA SINKS --
Struggling at first,
-- EDWARD appears in front of her -- 
his eyes full of longing and love.  He reaches to her, she to him, hands almost touching, things going dark.
SUDDENLY -- A HAND GRABS HER COLLAR --

SMASH TO:
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. BEACH – DAY

CLOSE ON BELLA - barely conscious.

JACOB
Breathe, Bella!  C’mon!

JACOB hits her on the back.  She spits up water, coming to. 

JACOB
Bella?  Can you hear me?

BELLA
...Jake?

She focuses, finally SEES JACOB hovering over her, relieved.  Behind him stands SAM. 

SAM
She’ll be alright.

SAM looks out at the water, scanning it.  Sensing something. 

JACOB
What the hell were you thinking?

BELLA
I needed... to see... something.

JACOB
What?  The pearly gates?  If we hadn’t heard you scream

SAM
Get her home.  I’m heading to the hospital.  I’ll meet you there.

JACOB nods.  SAM jogs off. 

JACOB
Why would you jump?  Didn’t you notice it’s like a hurricane out here? 

BELLA
I know.  It was stupid.
(realizing) SAM said hospital. Someone’s hurt?

JACOB
Harry Clearwater had a heart attack. 

BELLA
Oh, my God - does my Dad know?

JACOB
He and my dad are both over there.

BELLA
Will Harry be okay?

JACOB
I don’t know.  Come on.  I’ll find you something dry and drive you home.

As JACOB helps BELLA up, we RACK FOCUS out to –

ANGLE ON THE WATER
where VICTORIA bobs, watching JACOB guide BELLA away...then she disappears below the surface.
......................................................................................................................................................................................

INT. BELLA’S TRUCK – NIGHT

JACOB drives.  BELLA wears a fleece jacket but still shivers.  He pulls her close, wrapping an arm around her -- 

JACOB
Hundred and eight degrees over here.

She tucks herself into him.

BELLA
Must be nice, never getting cold. 

JACOB
It’s a wolf thing. 

BELLA
It’s a Jacob thing.  You’re just... warm. 

JACOB
(grins) Like the sun.

BELLA
(meaning it) Like the sun.

JACOB
Which always comes back.  You can count on me.

She nods.  Awkward silence.  He fills it.

JACOB
There are other cool things about all this, like -- I heal fast.  Wanna see me stab my hand?

BELLA
(no!) Yeah, ‘cause that would be fun.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. BELLA’S HOUSE / INT. TRUCK (CONTINUOUS) – NIGHT

The truck pulls up to the curb.  It’s pitch black outside.  JACOB’s still holding her close as he shuts the engine off.

BELLA
So... this wolf thing’s not all bad?

JACOB
It’s better.  Now that you know.  But...

BELLA
..."but"...

JACOB
It just... comes so easily to me.  More than the other guys. 

BELLA
That’s a good thing, isn’t it?

JACOB
Maybe. Or maybe it makes me less... human than the others. 
(beat, quieter) Sometimes I’m scared I might... disappear, you know?  Who I really am.

BELLA faces him, looks directly in his eyes.

BELLA
I won’t let that happen.

Their faces are close... and stay close for an intimate beat.  They could kiss, their lips near...
but BELLA blinks herself back to reality and pulls away.

BELLA
Thanks for driving - for everything.

As she pushes open her door, WIND wafts in. JACOB reacts to a repugnant smell outside –

JACOB
Holy crap!
--

-- He abruptly pulls BELLA back into the truck, SLAMS her door shut and starts the truck.

JACOB
There’s a bloodsucker out there.

BELLA
How do you know?

JACOB
I can smell the stink.  I’m getting you out of here.

As JACOB whips the truck around, the HEADLIGHTS ILLUMINATE

BELLA’S POV - THE DRIVEWAY
A BLACK MERCEDES is parked in front.  BELLA spins to the rear window as JACOB floors it

BELLA
Stop!  It’s not Victoria
-- 

JACOB
Forget it!
--

BELLA
--It’s Carlisle’s car!  They’re here.  Go back!--

JACOB
--It’s a trick!

He’s still flooring it. BELLA cracks her door open while they’re moving. He SLAMS on the brakes.  She jumps out

JACOB
Damn it, Bella

EXT. ROAD (CONTINUOUS) – NIGHT

BELLA hurries up the road toward her house.  JACOB’s suddenly standing in front of her, furious

JACOB
Stop.  You gotta come with me.

BELLA
It’s okay.  They’re my friends

JACOB
Don’t you get it?  If a Cullen is back here, this is their territory.  The Treaty says we can only defend our own lands. 

BELLA
It’s not a war

JACOB
It is.  And you’ll only be safe in La Push.  I can’t protect you here anymore. 

BELLA
I don’t need you to.

JACOB
You’re about to cross a line.

BELLA
Only if you draw one.

She starts to move past him, but he stops her --

JACOB
I’m not letting you do this.

BELLA
You don’t have a choice.  I don’t belong to you.

Her words are a knife to the heart.  She sees that, but can’t take them back.  He hands her the keys.

JACOB
Bye, Bella. I hope you don’t die.

She flinches at the stinging remark.  He disappears into the darkness, leaving her alone on the dark road. 
She’s closer to her house than her truck.  She hurries forward.
 

The NIGHT SOUNDS start to encroach, branches crackling, bushes rustling. 
She glances behind her: nothing but darkness. She faces forward again --- And runs directly into a VAMPIRE!
 
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

BELLA SCREAMS -- then realizes IT’S ALICE.  BELLA is stunned.  So is ALICE.

BELLA
Alice!

ALICE
You’re... alive.

She’s clearly confused, but BELLA hugs her with tears of joy. 

BELLA
Oh, my God, Alice.  You’re here.
 

ALICE
I heard voices - I didn’t think it was you but - you’re alive.

BELLA
You keep saying that. 

ALICE
I saw you - a vision of you - you jumped off a cliff.  I knew I’d be too late but
--
(becoming angry) Why the hell would you try to kill yourself?!

BELLA
I didn’t.  I was cliff diving. 

ALICE
Why?!

BELLA
Um... fun?

ALICE
That was fun for you.

BELLA
Until I hit the water. 

ALICE
I have never met anyone more prone to life-threatening idiocy...and what is that hideous wet dog smell?

BELLA
Oh.  Probably Jacob.  He’s kind of a werewolf.

Off ALICE’s horrified expression.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. BELLA’S HOUSE - KITCHEN – NIGHT

As BELLA makes herself hot chocolate, ALICE paces.

BELLA
Werewolves are not vicious. 

ALICE
Until they lose their tempers. 

BELLA
They saved me from Laurent; they’re protecting me from Victoria.

ALICE
(shocked) Victoria?  I didn’t see her. I didn’t see you get pulled from the water either. 

BELLA
It was Jacob who saved me.  More than once.  I couldn’t have made it without him.  You have no idea what it was like.

ALICE
(softening) Yes.  I do.  I knew leaving wouldn’t be good for you.  I tried to tell Edward, but he wouldn’t listen.

BELLA
(hesitantly) ...Does he know you’re here?

ALICE
No.  He’s been... away...
......................................................................................................................................................................................

INT. TENEMENT APARTMENT - RIO DE JANEIRO - DAY

A dump, empty but for a table and chair.  On the table lie THE PHOTOS that once lined BELLA’s walls. 
EDWARD stands in the center of the room, stock still, staring out at the rising sun. 
His face is as empty and desolate as BELLA’s was after he left.

A CELL PHONE on the table RINGS jarringly.  He doesn’t move.  It continues. 
Finally, he whips the receiver to his ear, exasperated.

EDWARD
What.

ROSALIE (O.S.)
Wow, Edward finally answered the phone.  I feel so honored...
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INTERCUT WITH:

INT. TANYA’S ALASKAN HOME – DAY

ROSALIE, on the phone, stands at the picture window –

ROSALIE’S POV - EXT. ALASKAN HOUSE

EMMETT, JASPER, CARLISLE and ESME walk away from the house, over the snow to the treeline, on their way to hunt. 
None wear coats.
 

EDWARD
I’m hanging up now.

ROSALIE turns away from the window.

ROSALIE
Wait! You should come home. 
(no response) Esme’s a wreck, Carlisle never smiles.  Even Emmett’s depressed.  You’ve really done a number on them.

EDWARD
(pained) I’m sorry.  I am.  But they wouldn’t be happier with me around.  Trust me.

ROSALIE
I... I just miss... us.  The family.
 

EDWARD
I know.  But the further away I am, the safer Bella will be.  She deserves a shot at a normal life.

ROSALIE
But see, you don’t have to worry about that, not anymore
--

She stops, realizing she may be making a mistake.  But EDWARD caught it, sits up.

EDWARD
Why, Rose?  Did something happen?

ROSALIE
I, uh
...

EDWARD
Tell me, Rosalie.
 
(rises, fierce) Tell me!

ROSALIE
(blurts) -- Alice had a vision.  She saw Bella...throw herself off a cliff. (beat) She’s dead, Edward.

EDWARD reels, uncomprehending. 

EDWARD
I... don’t believe it.

ROSALIE
Alice is there now.  Thought she could help with the funeral or something.
 

STAY ON ROSALIE as --

ROSALIE
Come home, Edward.  It’s time...
...Edward?

She’s been disconnected.  Off ROSALIE, worried...
......................................................................................................................................................................................

EXT. BELLA’S HOUSE - DAY

BELLA walks CHARLIE to his cruiser.  He wears a dark, ill-fitting funeral suit.  At the car, BELLA adjusts his tie –

CHARLIE
Thanks for understanding, Bells.  They wanted to keep the service small. 

BELLA
Don’t worry about me.  Are you gonna be okay?

CHARLIE
Yeah... but Sue, and those kids -- Leah’s only a year older than you.  And Seth’s, what, fourteen...

Emotion threatens.  She hugs him.  He holds on a little too tightly for a beat.  Then he bucks up, climbs into his car.

CHARLIE
There’ll be a reception after.  I might stay late, see if I can help.

BELLA nods, then waves as he drives away.  She turns to head back inside but finds ALICE suddenly at her side.  She jumps.

ALICE
You’re not going?

BELLA
I’m not the most popular person on the werewolf rez right now.

ALICE
(saddened) Because you’re friends with me. 

BELLA shrugs.  ALICE hears something, then looks down the road

JACOB’S RABBIT appears in the distance....

ALICE
Huh.  Didn’t see them coming.  Didn’t see him pull you out of the water - maybe my visions are allergic to dogs.

BELLA
Alice.

ALICE
(jogging off) I’ll go do some hunting. 
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

ANGLE ON THE RABBIT -- as it pulls up.  JACOB drives, EMBRY in the passenger seat. 
BELLA approaches, surprised to find QUIL in the back; same short hair and hard look as the others.

BELLA
Quil...you too?

QUIL
(aggressive) Yeah.  Me, too.

JACOB climbs out.  EMBRY takes the driver’s seat. 

JACOB
You alone?

BELLA
Yes.  Shouldn’t you be at the funeral?

JACOB
Had to talk to you first.
(to the guys) I’ll meet you there.  Go on.

They’re wary... but pull out.  JACOB follows BELLA into –
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. BELLA’S HOUSE - LIVING ROOM – DAY

JACOB enters behind BELLA.  She turns to him... 

BELLA
Look, Jake, I’m sorry I
--

JACOB
--This place stinks to hell.

She sees he’s shut down, cold.  She shuts down, as well.

BELLA
You’re welcome to leave.  In fact
--

JACOB
--How many Cullens are here and how long are they staying?

BELLA
(snapping back) Just Alice.  And she’ll stay as long as she wants.

JACOB
Are the rest coming back?

BELLA
Not that I’m aware of.  Anything else?

JACOB
That’s it.

BELLA
Better go report to Sam.

JACOB turns, starts to leave.  He looks back, sees her anger turn to hurt.  He stops.  Beat.

JACOB
I’ve done it again.  I keep breaking my promise not to hurt you. 

BELLA
It doesn’t have to be this way.

He moves back to her, looks into her eyes with sadness.

JACOB
Yeah, it does.

BELLA
Am I gonna lose you this time, Jacob?

He can’t answer that, but he presses his hand to her cheek. 

JACOB
It was easier when we were both human, wasn’t it?

They look at one another, JACOB’s hand still on her face, his eyes searching hers. 
Slowly, he starts to bend toward her lips.  She doesn’t pull away.  She misses him too much, needs him too badly. 
This time, she’ll let it happen.  A kiss is a centimeter away...

SUDDENLY, the shrill RING of the phone makes them both jump. 
JACOB, the closest to it, doesn’t move his face, just keeps looking into her eyes as he reaches for the phone


-- answers --

JACOB
Swan residence.

She smiles.  But he instantly bristles, voice going cold.

JACOB
He’s not here.  He’s at a funeral
...

Then the phone goes dead --
......................................................................................................................................................................................

INT. TENEMENT APARTMENT - RIO DE JANEIRO - SAME

-- EDWARD stares at his phone crazed, enraged, grief-stricken -- he HURLS it against the wall, shattering it. 
......................................................................................................................................................................................

INT. BELLA’S HOUSE - LIVING ROOM - SAME

-- JACOB hangs up the phone.

JACOB
Filthy bloodsucker.

BELLA
Wait, who was it?

JACOB
(spitting it out) Dr. Carlisle Cullen.

BELLA
You should have let me talk to him!

JACOB
He didn’t ask for you!

Suddenly, JACOB’s eyes go wild, his body stiffens, starts trembling in the way that precedes a wolf-morph.

JACOB
Step away from me, Bella.

BELLA turns to see what he’s reacting to: ALICE.  She stands in the doorway looking empty, despairing. 
BELLA immediately hurries to her side.

BELLA
Alice, what’s wrong?

ALICE
... EDWARD.

BELLA
What about him?  What happened?

ALICE
I just saw him in a vision.  He... thinks you’re dead. 

BELLA
(realizing) That was him calling; not Carlisle.

ALICE
Bella, he’s going to Italy...to the Volturi.

OFF BELLA’S FACE
-- FLASHPOPS of the CIRCULAR HALL, the THREE VOLTURI - the DISMEMBERING of the rogue vampire --

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

SMASH TO:

INT. BELLA’S ROOM – DAY

The door SLAMS open and BELLA races in, shoving clothes into a bag.  JACOB dogs her, protesting.

JACOB
Why do you have to go? 

BELLA
He won’t believe Alice.  He has to see that I’m alive.
 

JACOB
(stops her) He left you, Bella.  He didn’t want you anymore, remember?

BELLA
But I still love him, and I’m not gonna let him kill himself out of guilt.

This wounds him.  But she can’t stop to soothe him.  She pulls away and continues packing.

JACOB
What about your dad?

BELLA
I’m eighteen, legally free to go.  I’ll leave a note.

ALICE enters.

ALICE
Got the airline tickets.

JACOB
(squaring off with Alice) You Cullens might hunt animals but those monsters in Italy don’t.

ALICE
I’m well aware what the Volturi are.

JACOB
Then why are you taking Bella to them like a bottle of wine to a party?

ALICE
Right, she’s better off here with Victoria stalking her.  The one you dogs can’t seem to catch?

JACOB growls, a shudder ripping through him.  BELLA intercedes, stopping him from morphing by grabbing ALICE.

BELLA
Let’s go.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. BELLA’S HOUSE – DAY

ALICE flies to her car.  But JACOB catches BELLA’s arm, not hostile.  Just pleading.

JACOB
Please, Bella.  Stay here...for Charlie...for me.

BELLA sees the love in his eyes; this could be the last time she ever sees him.  She hugs him, then pulls away.

BELLA
Bye, Jacob.
 

He watches, agonized as she races to the car, climbs in...
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. THE MERCEDES (CONTINUOUS) – DAY

BELLA tries to pull on her seat belt but ALICE stops her

ALICE
Maybe Jacob's right.
 
(BELLA tries to interrupt) No.  You need to realize - the Volturi could easily see me as Edward's accomplice. 
And you’re a human who knows too much and tastes too good.  They could kill us all.

BELLA’s response is to yank her seat belt into its clip. ALICE sees she won’t change her mind. 
She shifts into gear and PEELS OUT.

BELLA looks out the window for JACOB; he’s not there... she turns toward the woods --

BELLA’S POV -- THE TREELINE
SHREDDED CLOTHING FLIES in the air as we SEE the HIND LEGS OF A WOLF disappear into the forest.
 

Off BELLA, fighting tears but determined as hell...
......................................................................................................................................................................................

INT. VOLTURI HEADQUARTERS - NIGHT
ON EDWARD walking down a seemingly endless corridor. 
Finally, he reaches a set of intricately carved double doors which open for him.  He enters –

INT. CIRCULAR WHITE MARBLE HALL (CONTINUOUS) - NIGHT
-- EDWARD finds himself facing three wooden thrones, on which sit the ancient Volturi: ARO, MARCUS, CAIUS. 
ARO wears an expensive, contemporary, black Italian suit, long black hair in a loose ponytail to his waist. 
 
MARCUS and CAIUS eschew modern clothing for rich silk robes, their long hair loose around them. 
All three have translucent, onion-like, white skin
.


EDWARD
Have you decided?

ARO
It was an intriguing debate.  We don’t get many suicidal vampires.

CAIUS
Pathetic.

ARO
I’m afraid your gifts are too valuable to destroy.  But, if you’re unhappy with your lot, join us. 
We’d be delighted to utilize your skills.

EDWARD
So you won’t end this.

MARCUS
Not without cause.

EDWARD registers this, his face setting.  Clearly, he’s going to give them cause.  He strides out. 

Off ARO:

ARO
Such a waste.
......................................................................................................................................................................................

EXT. FLORENCE AIRPORT, ITALY – MORNING

BELLA waits impatiently at the curb as --

A YELLOW HARD-TOP PORSCHE with darkly tinted windows SCREECHES to a halt in front of her. 
The passenger door opens.
ALICE is behind the wheel, pulling off the chic, white, hooded coat she used for protection against the sun.
As BELLA climbs in, buckles up --


BELLA
Where’d you get the car?

ALICE
Hope you’re not opposed to grand theft auto.

BELLA
Not today.

Alice FLOORS it and the Porsche PEELS OUT – .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. TUSCAN COUNTRYSIDE - DAY

AERIAL VIEW
- THE YELLOW PORSCHE screams down a highway, cutting lanes, weaving through Peugots and Fiats –


INT. PORSCHE – DAY

BELLA grips the dashboard as ALICE narrowly misses a car.

BELLA
How much time do we have?

ALICE (O.S.)
He’s waiting till noon, when the sun’s at its highest.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

SMASH TO:

EXT. VOLTERRA - PALAZZO DEI PRIORI - DAY
(ALICE’S VISION)
It’s jumpy, uneven:
-- EDWARD stands in shadow, his shirt open, eyes shut.  A clock GONGS as he steps into SUNLIGHT –
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

ALICE

...He’s going to make the Volturi change their minds.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. PORSCHE - SAME

BELLA
(checking her watch) It's almost noon now.

ALICE
There’s Volterra.

ALICE punches it as BELLA SEES
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

BELLA’S POV
- A MEDIEVAL FORTIFIED VILLAGE atop a distant hill.  Volterra.

EXT. VOLTERRA – DAY

The narrow, centuries-old streets are crowded with festival revellers who all wear RED. 
They gaily head toward the town square carrying red pendants, balloons, scarves. 
The PORSCHE weaves through them, hurrying forward.

INTERCUT INSIDE THE PORSCHE –

BELLA
Why are they all wearing red?

ALICE
St. Marcus Day festival.  The perfect setting.  Large crowds. 
The Volturi won’t let him get far enough to reveal himself - he’s counting on that.

BELLA
We only have five minutes.

ALICE screeches to a halt at a ROAD BLOCK. Italian POLICE wave her back.  BELLA jumps out –

BELLA
Where’s the square?

ALICE
Follow that lane
--

-- BELLA’s already running –

ALICE
He’ll be under the clock tower!
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

ALICE watches her go... then senses something, looks up –

ALICE’S POV - ON THE ROOFTOPS
A FIGURE IN A BLACK HOODED OVERCOAT leaps from building to building, tracking BELLA. 
As he disappears, off ALICE –

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. VOLTERRA ALLEYS - SERIES OF FAST CUTS – DAY

BELLA races down the cobble-stoned alleys, stumbling on the uneven stones. 
Festival revellers head in the same direction, she maneuvers around them.
 

ABOVE BELLA
- SEE flashes of the FIGURE IN THE OVERCOAT --
As BELLA nears the square, the alleys become more populated. 
She pushes past people AD LIBBING “excuse me,” “sorry.”  Finally, she emerges into:
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. PALAZZO DEI PRIORI (CONTINUOUS) – DAY

BELLA’S POV
- a sea of scarlet flags, dresses and jackets.  On the other side of the crowded square
:

THE CLOCK TOWER
-- it reads one minute before noon -- 
BELLA battles her way through the square; the crowd shoves back, shouting at her in Italian:


ITALIAN MAN
Fare attenzione!

BELLA charges forward to find herself blocked by: A FOUNTAIN
SUDDENLY: GONG!  The clock tower bells chime.  It’s noon! 
-- BELLA jumps into the fountain, wades through the shallow water to the other side --
-- she jumps out and barrels through the crowd.  Finally, she SEES --
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

BELLA’S POV - BENEATH THE CLOCK TOWER:
EDWARD, in the shadows, just inches from the sunlight.
 

BELLA
Edward!
--

--GONG!  BELLA’s cry is drowned out by the BOOMING CHIME.  She pushes toward him, fighting to reach him as -- 

CLOSE ON EDWARD (IN SLOW MOTION)
-- as he unbuttons his shirt, exposing his bare chest --
 

ON BELLA (IN SLOW MOTION)
-- calling his name --

ON EDWARD’S FACE
- he closes his eyes, welcoming death --
then slowly...
-- EDWARD takes a step into the sunlight, the rays hitting his shoe, but before the sun touches his skin --
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

BELLA SLAMS into him! It’s like running into a brick wall--

BELLA
No, Edward!  Don’t
!

EDWARD opens his eyes and looks at BELLA as the clock booms its final CHIME.  He’s amazed, already dead in his mind.

EDWARD
Carlisle was right. ...Heaven.

BELLA
No, I’m here.  I’m alive.
 

EDWARD
(confused) You’re... not real.

BELLA
Look at me!  Alice was wrong.

He begins to realize... she is real.

EDWARD
Bella? 

BELLA
Please, step back.  I’m alive, I’m

He suddenly kisses her, stepping back into the shade with her. 
They soak each other in like starved people suddenly nourished.  He pulls away to look at her
...

EDWARD
You’re here.

BELLA
I’m here.

They share a long look, he’s about to kiss her again when SUDDENLY
-- HE STIFFENS --
-- and abruptly PUSHES BELLA behind him, taking a protective stance in front of her --
They face the DARK ALLEY that runs under the clock tower.  Out of the alley’s shadows emerge:

TWO FIGURES IN HOODED OVERCOATS.  Both stunningly handsome males in their 20’s:
FELIX, huge, strong; and DEMETRI, slender, elegant.  Both have unsettling burgundy red EYES.
 

EDWARD
I won’t be needing your services after all, gentlemen. 

FELIX
Aro wants to speak with you again.

EDWARD
No rules were broken.

DEMETRI's smile suggests he doesn’t agree.  He’s the more gracious of the two.  But no less dangerous.

DEMETRI
We should take this conversation to a more appropriate venue.

EDWARD
Fine.  Bella, why don’t you stay and enjoy the festival?

FELIX
The girl comes with us.

EDWARD
That’s not going to happen
--

ALICE suddenly appears, lightly tripping through the alley toward them, pulling back the hood of her white swing coat. 

ALICE
Come on, guys. It’s a festival.

She reaches EDWARD and BELLA, positioning herself in a protective stance, as well.

ALICE
We wouldn’t want to make a scene.

FELIX
There won’t be any scene.  And we’ll still win. 

EDWARD
But not easily

JANE (O.S.)
Enough.

A very tiny, young woman appears: JANE. 
She also wears a dark overcoat, her Botticelli angel-like face peering out from under the hood. 

SEE her CRIMSON IRISES.

FELIX and DEMETRI are back off immediately. 
EDWARD and ALICE step back, as well.  BELLA can see they’re afraid of this small girl.

EDWARD
(nodding to her) Jane.

BELLA
(sotto to Alice) Who is she?

ALICE
(sotto to BELLA) Just do as she says.

JANE tosses EDWARD an overcoat.  He dons it. 

JANE
Follow me.

JANE simply turns and heads up the alley, confident they’ll follow. 
FELIX, smirking, gestures for them to go ahead of him.  EDWARD takes BELLA’s hand...

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

EXT. VOLTERRA STREETS – DAY

JANE leads EDWARD, BELLA and ALICE through several narrow, dark alleys. 
FELIX and DEMETRI bring up the rear.  EDWARD never loosens his grip on BELLA’s hand. 
Their path dead ends at a WALL OF BRICK.
 

JANE just strides forward and, without breaking pace, DROPS DOWN into an OPEN HOLE in the street: it’s a drain. 
ALICE follows JANE.  BELLA looks down, sees nothing but BLACKNESS.
 

EDWARD
It’s alright.  Alice will catch you. 

EDWARD takes her wrists, dangles her over the hole –
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. SEWERS (CONTINUOUS) – DAY

-- ON BELLA as she drops through the darkness, to be caught by Alice. 
EDWARD lands beside them, then FELIX and DEMETRI.

EDWARD pulls BELLA close as they follow JANE through the sewer. 
He meets BELLA’s eyes, trying to look reassuring, but he’s tense as hell.  Finally, they reach:

A FOLDING IRON ELEVATOR DOOR.  JANE easily pulls it aside.  They all enter.  As the door CLANGS shut on them –

SMASH TO:

CLOSE ON MODERN ELEVATOR DOORS OPENING.

They all exit into:
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. VOLTURI HEADQUARTERS - LOBBY (CONTINUOUS) – DAY

An elegantly decorated space with old world charm. 
They’re greeted politely by GIANNA, an attractive human receptionist.

GIANNA
Buon pomeriggio
.

They head through the lobby to THE LONG CORRIDOR that EDWARD traversed earlier. 
Finally, they reach the carved double doors which open --
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. CIRCULAR WHITE MARBLE HALL (CONTINUOUS) – DAY

BELLA, EDWARD and ALICE enter to face the three ancients: ARO, MARCUS, CAIUS. 
Eight VOLTURI GUARDS (including JANE, FELIX, DEMETRI) line the walls in a variety of modern dark overcoats.

BELLA’S POV - THE FLOOR
There’s a depression in the center that leads to a drain.  BELLA shivers. 
ARO rises, greets them like old friends, taking EDWARD’s hand and shaking it –

ARO
What a happy surprise!  Bella is alive after all.  Isn’t that wonderful?

CAIUS responds with a sour expression.  MARCUS could care less. 
ARO doesn’t release EDWARD’s hand, looks at him as --

ARO
Her blood appeals to you so much it makes me thirsty.  How can you stand to be so close to her? 

EDWARD
It’s not without effort.

ARO
(laughing) I can see that.

Off BELLA’s look, EDWARD explains --

EDWARD
One touch and Aro can see every thought I’ve ever had in my life

ARO
You’re quite the telepath yourself, Edward.  Though...you can’t read Bella's thoughts.  Fascinating.

He releases EDWARD’s hand and turns to BELLA.

ARO
I would love to see if you are an exception to my gifts, as well.

He reaches for BELLA’s hand.  She hesitates, does she have a choice? 
ARO laughs at her reluctance, further extends his hand.  BELLA finally takes it. 
A beat as he holds her hand...confusion sweeping over him.

ARO
Interesting.

He releases her, moves back to his chair, deep in thought.

ARO
I wonder if
--

EDWARD
(reading ARO’s thoughts) No!

ARO
Let’s see if she’s immune to all our powers, shall we Jane
?

JANE turns toward BELLA but EDWARD springs in front of her.
JANE instead focuses her gaze on EDWARD which FLINGS him across the room where he collapses, writhing in agony. 
JANE concentrates on him with a small smile, enjoying his pain.

BELLA
Stop!

BELLA and ALICE rush to his side.  As soon as JANE looks away, EDWARD’s pain ceases. 

ARO
Jane, dear.  The girl?

JANE’s gaze now turns toward BELLA who cringes, awaiting the pain...but nothing happens. 
JANE’s grin is replaced by anger.  ARO laughs like a child with a new toy.
JANE, infuriated, moves toward BELLA, but ARO stops her with a tiny gesture.
 

ARO
Remarkable!  She confounds us all.  So what do we do with you now?

MARCUS
(seemingly bored) You already know what you’ll do, Aro. 

CAIUS
She knows too much. She’s a liability.

ARO
That’s true.  Unless Edward intends to give her immortality...
 
(looks at EDWARD) But that’s not your intention, is it.  Shame.

He nods to FELIX who moves toward BELLA, but he only takes a step before EDWARD tackles him. 

BELLA
Edward, don’t!

ALICE leaps to help but several Volturi guards hold her back, which is no easy job. 
As she struggles mightily, EDWARD is [David] to FELIX's [Goliath].  EDWARD will lose, but he’ll go down fighting. 
-- EDWARD is fast, anticipating FELIX's moves before he makes them, but FELIX is stronger --
-- FELIX grabs EDWARD, throws him into the ceiling, SMASHING against the marble; he drops like a stone. -- 
-- Is then immediately KICKED across the room. --

BELLA
(to ARO) Stop this!  Please!

But ARO ignores her, leans forward to study EDWARD.  JANE is itching to step in.  ARO gestures her back.

-- FELIX takes some hits, but then lifts EDWARD overhead, CRACKING him like a nut, then flinging him against a wall --

-- BELLA runs toward ARO but a Volturi Guard flings her away; she flies HARD against the wall. --

The guard is then occupied by the thrashing ALICE
-- BELLA, bruised, but not broken, makes another attempt to get to ARO --
-- finally reaches him, kneels in front of him --

BELLA
Do it!  Kill me!  Just leave them alone!
 

-- as she yanks her collar back, exposing her neck to him.  ARO is surprised and intrigued.  A beat.

ARO
Enough.

FELIX immediately releases EDWARD who manages to look up.  He sees BELLA kneeling in front of ARO. 

EDWARD
Get away from her
-- !

EDWARD moves toward ARO but is quickly immediately pinned by JANE’s invisible powers; he writhes in agony.
ALICE can no longer bear EDWARD’s suffering
--.

ALICE
Edward, stop.  I’ve already seen it.

EDWARD
(through gritted teeth) Alice, stay out of it.

ALICE
I know what to do.

ARO, intrigued, gestures for JANE to stop; EDWARD goes limp.

ARO
Ah yes, the clairvoyant.  I saw your gift in Edward's thoughts. What is it you’ve seen?

EDWARD
...Don’t...

ALICE
I’m the one who will change Bella
.

BELLA is taken aback by this.  ARO is surprised, as well.

ARO
(beat, then gestures) Please.  Be my guest.

ALICE
Not here.  Her father is in law enforcement.  If she goes missing, there will be questions.

CAIUS
He is easily dealt with.

ALICE
It will happen, Aro.  See for yourself.

She thrusts out her hand.  ARO nods to the Guards who release her.  She gives him her hand.  He closes his eyes--
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

SMASH TO:

EXT. FOREST - DAY (ALICE’S VISION)

EDWARD hunts a deer.  Matching his pace is another vampire: BELLA! 
She’s pale and beautiful. She and EDWARD smile at each other as they take a last grand leap for the kill –

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

SMASH BACK TO:

INT. CIRCULAR WHITE MARBLE HALL – DAY

BACK ON ARO, utterly delighted.  He releases ALICE's hand.

ARO
Mesmerizing!  To see the things you’ve seen, that haven’t happened yet!

ALICE moves to EDWARD’s side, helps him up.

ALICE
I’m so sorry.

ARO
(to BELLA) Your gifts will make for an intriguing immortal.  Go make your preparations.

BELLA hurries to EDWARD’s side, too.  CAIUS is put out.

CAIUS
You’re letting them leave
?

ARO
Dear Caius, the girl’s disappearance will be conspicuous at best.  And surely you see her potential.

MARCUS
(dispassionately) Let us be done with this.  Heidi will arrive any moment. 

ARO gestures - DEMETRI throws open the carved double doors.  CAIUS glares at them threateningly.

CAIUS
We will make sure she follows through.  I would not delay.  We do not offer second chances.

EDWARD, recovered now, takes BELLA by the arm and, with ALICE, they cautiously back toward the door –
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. VOLTURI HEADQUARTERS - LONG CORRIDOR (CONTINUOUS) – DAY

-- DEMETRI leads BELLA, EDWARD and ALICE out of the hall. 
As they make their way up the corridor, they see coming toward them:

-- A GROUP OF TWO DOZEN TOURISTS, led by a beautiful vampire, HEIDI. 
EDWARD, ALICE and BELLA stop to let them all pass.  As HEIDI passes DEMETRI, he gives her a flirtatious smile –

DEMETRI
(sotto) Nice fishing, Heidi. Save some for me.

HEIDI smiles.  She gives BELLA a curious once-over, then continues on. 

HEIDI
(to the group) This way, please.  Stay together.

A HUSBAND and WIFE, 60’s, cameras around their necks, pass BELLA.  The Husband winks at BELLA

TOURIST HUSBAND
Unusual tour, isn’t it?

TOURIST WIFE
Bill, get a picture of that bust there.

As the Tourists file past, we HEAR a variety of languages: German, Japanese, English. 
The group is moved toward the carved double doors which swing open for them.  They file into the marble hall.
EDWARD pulls BELLA forward, but she cranes her neck back as the last of the tourists disappear inside. 
As the large doors close, we begin to HEAR SCREAMING. EDWARD and ALICE rush BELLA out.

PUSH IN ON BELLA’S TORMENTED FACE as the SCREAMING gets louder and louder
________________________________________________________________________________________________________


SMASH TO:

INT. BELLA’S ROOM – NIGHT

ON BELLA’S SLEEPING FACE as the SCREAMING CRESCENDOS 
--  BELLA sits bolt upright, yelling–

BELLA
--Stop!

She catches her breath, disoriented, confused. Then she turns to find EDWARD lying beside her, looking at her

BELLA
It...wasn’t a dream.

EDWARD
Go back to sleep.  You’ve been through a lot.
 

BELLA
No, you might
--

EDWARD
I’ll be here when you wake up.
 

Beat, she looks at him, wary.

BELLA
Why?  Out of guilt?

EDWARD
(realizing) You... think I asked the Volturi to kill me because I felt guilty?

BELLA
Didn’t you?

EDWARD
I went to them because I thought I’d lost you.

BELLA
You didn’t even want me.

Now EDWARD takes her by the shoulders. 

EDWARD
Bella.  The only reason I left was to protect you.  I wanted you to have a chance at a normal, happy life. 

BELLA
But it was so easy for you to leave.

EDWARD
I had to be convincing.  But easy?  In my hundred years, I’ve never had a harder time than what I just went through.

She’s beginning to believe him.

BELLA
I kept seeing you.  Visions of you.  Always protecting me.  I thought I was going crazy.

EDWARD
Your own instincts were speaking to you.  I wish it had been me.  But you’re the heroic one.  You saved me. 

He moves to kiss her... but abruptly stops.  Suddenly --
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

HER DOOR swings open - she spins toward it as the LIGHTS flip on and CHARLIE enters.  EDWARD is gone
.

CHARLIE
You alright?  Another nightmare?

BELLA
I’m okay.  You don’t have to worry.

CHARLIE
Last time you said that, you disappeared.  You want to talk nightmares?

BELLA
(sincere) I’m really sorry, Dad. 

CHARLIE
Just... don’t ever do that to me again.  Okay?
(offher nod) And you’re grounded for the rest of your life.

BELLA
I know.

CHARLIE
Get some rest so I can keep lecturing you in the morning.
 

He kisses her forehead.  Exits.  A beat.
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

She turns to find EDWARD sitting on the bed
.

EDWARD
He won’t forgive me easily. 

BELLA
Nope.

EDWARD
Will you?  I don’t deserve it but... I hope you will.  Because I honestly have no idea how to live without you.

BELLA melts in his eyes.  He kisses her.

BELLA
You won’t be able to get rid of me once Alice changes me.
.

EDWARD
She won’t have to.  There are ways to keep the Volturi in the dark
.

BELLA
(pulling away) They’ll come after your whole family.  You’d risk that just to keep me human?

EDWARD
Just?  You really don’t understand what you’d be giving up.

BELLA
I really do.
 

They look at each other; an impasse.  She decides something, grabs her jeans, pulls them on--

BELLA
You’re not the only one with a say in it. 
......................................................................................................................................................................................

INT. CULLEN HOUSE - LIVING ROOM - DAWN

CLOSE ON BELLA –

BELLA
You all know what Edward wants.  And you know what I want.  But I won’t force myself on you...

INCLUDE THE ENTIRE CULLEN FAMILY who surround BELLA. 
The house has been restored to it’s original warmth and beauty. 
EDWARD sits off to the side as BELLA addresses them.

BELLA
I think the only fair way to handle this is by vote
-- 

EDWARD
--You can’t be serious.

BELLA
(firmly) This is my meeting, Edward. 

EDWARD, frustrated, sits back.  She faces the family again.

BELLA
However this turns out, I’m not letting the Volturi hurt you.  I’ll go back to Italy alone
--

EMMETT
The hell you will.  I’m not missing another fight.

BELLA
That’s not up for a vote, Emmett.  I don’t want you involved.

ESME
We’ve always been involved, honey, and we’re not going to stop

BELLA
No, please
- I want you to seriously think about this.  If I join you, you’ll be stuck with me for a long time - forever.  It’s a huge decision.  And I want - I need your honesty here. 

They nod or otherwise communicate agreement.

BELLA
Then let’s take a vote... Alice?

ALICE jumps up and hugs BELLA.

ALICE
Like you’re not already my sister.  Of course, yes
!

BELLA smiles.  JASPER rises, but keeps his distance. 

JASPER
I vote yes.  It’ll be a relief not to want to kill you.
 

BELLA
Um.  Thanks?  Okay, Rosalie?

ROSALIE, torn, looks at EDWARD who’s stony toward her.

ROSALIE
Edward, I’m sorry for what I did.  I really am.  And I know you’re not ready to forgive me...

(to BELLA) But this isn’t the life I’d have chosen for myself.  I wish there’d been someone to vote no for me...
(she exchanges a glance with Carlisle - then...) So...no.

BELLA takes it stoically.  EMMETT bounds over and lifts BELLA into a bear hug.

EMMETT
I vote hell yeah.  We can pick a fight with these Volturi some other way.


ESME approaches and embraces BELLA warmly.

ESME
I already think of you as part of the family.  Yes
.

BELLA
Thank you, Esme. 

CARLISLE moves, not to BELLA, but to –

CARLISLE
Edward

EDWARD
You can’t go along with this, Carlisle; you know what it means.

CARLISLE
You’ve chosen not to live without her, which leaves me no choice.  I won’t lose my son. 
(turns to BELLA) But Alice has never turned anyone.  It’d be safer if I did it

The front door suddenly SLAMS.  EDWARD’s gone.  BELLA blanches but turns to the family.

BELLA
Thank you.  Thank you all.
 
......................................................................................................................................................................................

EXT. CULLEN HOUSE - SAME

POV FROM AFAR ON A HILLTOP: REVEAL IT’S VICTORIA watching the house down below.  Off her seething fury --

SMASH TO:

EXT. HIGHWAY - MOMENTS LATER

A FERRARI has pulled over to the side of the road. 

VICTORIA PEERS IN THE WINDOW.  The DRIVER, a middle-aged man smiles --

VICTORIA
Where you headed?

DRIVER
Seattle.
 

VICTORIA
(a slow grin)
Sounds perfect.

As she climbs in...
......................................................................................................................................................................................

INT. EDWARD’S CAR – MORNING

EDWARD drives BELLA home.  He is somber.  She is resigned.

EDWARD
When?

BELLA
After graduation. 

EDWARD
Just two months? 

BELLA
It’ll be best for Dad that way.  I can pretend to be at college somewhere.  Carlisle suggested it.  But...
(quiet, emotional) I wish you’d be the one to change me.

EDWARD
(beat) Would you be willing to trade for that?

BELLA
(hopeful) Name it.

EDWARD
Five more years as a human.
 

BELLA
The Volturi won’t wait that long.

EDWARD
I’ll settle for three.

BELLA
(sadly, shakes her head) I won’t risk it.  It’ll have to be Carlisle.

He takes her hand.

EDWARD
Why are you so willing to give up your soul?

BELLA
Because I don’t believe you’ve lost yours.  And I want to share mine with you forever.

He looks to her, kisses her hand... then SUDDENLY
-- EDWARD SLAMS on the brakes –
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

THEIR POV - THE ROAD
-- Someone stands in the road directly in front of them --
It’s JACOB.  He glares, then turns and walks into the woods.

BELLA
What is he doing?

EDWARD
He wants to talk to me.

BELLA
Well, he can talk to me first.

She pushes out of the car –
.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .

INT. WOODS – MORNING

EDWARD and BELLA tramp through the woods to FIND: JACOB leaning against a tree.  His expression is hard

JACOB
You’re still alive?

BELLA
I’ve been calling you. 

JACOB
Couldn’t drop by?

EDWARD
He thinks I’m keeping you away.

JACOB
(spinning on him) Stay the hell out of my head.

BELLA
Dad grounded me, Jake. We’re trying to get back before he wakes up.

JACOB doesn’t buy it.  BELLA is frustrated.  But EDWARD takes a step toward JACOB.  Calm.  Diplomatic.

EDWARD
JACOB, I know you have something to say to me, but I’d like to say something first.  Alright
?

JACOB leans back against the tree, arms folded, waiting. 

EDWARD
(sincere) Thank you...for keeping Bella alive when I... didn’t.

JACOB
No, you didn’t.  And it wasn’t for your benefit, trust me
.

EDWARD
I know.  I’m still grateful.
  (then) But I’m back now.  And I’m not leaving Bella's side till she orders me away.

She looks at him.  He returns the look.  JACOB sees the devotion between them.  It wounds him.  But he masks it.

JACOB
We’ll see.

EDWARD
Either way, we’ll handle Victoria from here on out.

JACOB
She’s been laying low.  Ever since your freaky sister showed up.  Guess she can’t stand you Cullens either.

EDWARD
She’ll come back.

JACOB
She does, she’s ours.  She killed on our turf.

EDWARD
We’ll see.

JACOB
My turn to talk.  I’m here to remind you about a key point in the Treaty.

EDWARD
(reads his thoughts, nods) I haven’t forgotten.

JACOB
Good.

BELLA
What?  What key point?

JACOB
If any of them bites a human, the truce is over.  That’s bite, not kill.
 

BELLA
(realizing) But...if I choose it, it’s none of your business.

JACOB is horrified, starting to shake with rage.

JACOB
If you... what?!  No.  No way.  I won’t let you
-- 

EDWARD
--Bella, step back

JACOB
--You’re not gonna be one of them.

BELLA
That’s not your call

JACOB
(even more intense) You know what we’ll do to you. I won’t have a choice

EDWARD
--We’re done here.

EDWARD takes BELLA’s arm, starts to pull her away.  JACOB lunges, trying to extract BELLA from him –

JACOB
You don’t speak for her!

EDWARD PUSHES JACOB away; he flies back ten feet in the air, but mid-air he PHASES INTO A WOLF! 
The JACOB-wolf lands on all fours, spinning to face EDWARD in an attack stance. 
EDWARD shifts stance, as well, readying for a fight –

BELLA
Stop!
 

EDWARD and JACOB circle one another, seconds from lunging –

EDWARD
(to BELLA) Get out of here.  Now!

But BELLA races between them, forceful, insistent

BELLA
(to both of them) You do this, you’ll be going through me.

A long tense beat, none of them backing down. It could go either way –

BELLA
I swear to God, I’m not moving.

Both rivals see she’s dead serious.  EDWARD backs off, ever-so-slightly. The JACOB-wolf does the same.

BELLA
(turning to EDWARD) Give me a second.  Please.

EDWARD shakes his head.  Doesn’t move an inch.

BELLA
Read his thoughts.  Is he going to hurt me?

EDWARD does, and finally, reluctantly backs away.  But his eyes never leave the wolf’s.  They glare at one another.
BELLA carefully approaches the JACOB-wolf, blocking his line of sight.  Her voice is kind, pleading.

BELLA
Jacob...I love you.  You’re my best friend.  But...I can’t change how I feel.  Please don’t make me choose. 
(quietly, emotionally) Because it’ll be him.  It’s always been him.

Anguish sweeps through the wolf’s fierce face.  It’s even harder to take than when he’s in human form –

BELLA
But you know how important you are to

Suddenly, the wolf BOLTS out of there. ON BELLA - fighting tears as she watches him disappear...

BELLA (V.O.)
There were problems ahead

Seemingly insurmountable...EDWARD’s arms wrap around her from behind.

BELLA (V.O.)
If I didn’t become a vampire, the Volturi would kill me. 
If I did, my best friend would do the job himself, or get killed in the attempt.
 

She turns to face EDWARD, looking into his loving eyes...

BELLA (V.O.)
Victoria was still on the loose, putting everyone I loved in danger...

He kisses her tenderly, washing away her concerns. 

BELLA (V.O.)
But I’d already survived the worst -- losing EDWARD.  So I knew I could survive anything... 

EDWARD
I’m here.  Always.

And she sees that’s the truth, believes it.  He takes her hand and together they turn, heading out of the woods...

BELLA (V.O.)
And soon, I’d be like him.  We’d face our fate together.  Forever.

Off them, hand in hand, inseparable, as we begin to –

-- FADE TO BLACK --

HEAR the agonized HOWL of a wolf in the far distance...

THE END