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Ñóìåðêè/ Twilight
46.
BELLA
I think I'm warm enough now.
She reaches for the heater dial, he does as well -- their
hands TOUCH. And hold a moment too long. An electric
current connecting them.
BELLA
Your hand, it's still freezing cold.
He pulls his hand away, but she keeps looking at it... then
her attention shifts outside to FLASHING POLICE LIGHTS. As
they drive past the FORKS POLICE STATION, a sheriff's car
pulls away. Charlie's cruiser is parked out front.
BELLA
(concerned)
Dad's here late. Something must
have happened.
EXT./INT. FORKS - POLICE STATION (CONTINUOUS) - NIGHT 64
The Volvo pulls up. Bella and Edward climb out. Edward then
sees a second car next to the cruiser.
EDWARD
That's my father's car. What's he --
?
EDWARD AND BELLA'S POV: INSIDE THE DARKENED POLICE STATION
In a pool of light, a distressed Charlie and Dr. Cullen study
photographs and evidence. As they wrap up their discussion,
Dr. Cullen puts a sympathetic hand on Charlie's shoulder,
then exits the police station looking grim.
EDWARD
Carlisle. What happened?
DR. CULLEN
Waylon Forge was found in the woods
out near his place. I just
examined the body.
Edward darkens. Bella is horrified.
BELLA
He died? How?
DR. CULLEN
Animal attack.
BELLA
The same kind that killed the security
guard down in Mason?
Edward and Dr. Cullen trade a look, subtle, but Bella catches it.
47.
DR. CULLEN
Most likely.
BELLA
So it's getting closer to town.
EDWARD
Waylon lived all the way down on
Queets River. 75 miles south.
BELLA
But that's
-
DR. CULLEN
(with a kind, reassuring
smile)
Bella, you should go inside.
Waylon was your father's friend.
She goes to the door, but looks back to see them conferring
quietly, gravely. Clearly, there's more to this.
65 INT. POLICE STATION - NIGHT 65
Bella enters to find a distressed Charlie studying evidence,
photos, maps --trying to make sense of Waylon's death.
Deputies come and go in the background. Bella approaches
Charlie. He looks up.
BELLA
Dad, I'm sorry about Waylon.
CHARLIE
Known him going on thirty years.
He's obviously torn up. Bella isn't quite sure what to do.
And so puts a comforting hand on his shoulder. A beat..
.
Then Charlie squeezes her hand. It's the first physical
affection we've seen between them. And it threatens to evoke
even more emotion in Charlie. So he tamps it down, and rises,
then projects a confident manner.
CHARLIE
We'll get to the bottom of this, Bella.
But in the meantime..
.
As an ambulance pulls up outside, he opens a drawer, finds
out a cannister of PEPPER SPRAY.
CHARLIE
... I want you to have this.
BELLA
That's probably not a good
-
48.
CHARLIE
It'll give me some peace of mind.
She sees he needs this, and allows him to put it into her
purse.
As Charlie goes to get his coat, Bella steps outside to SEE
-
A66 EXT. POLICE STATION - NIGHT - BELLA'S POV A66
Two Attendants hoist a metal gurney into an ambulance. On it,
Waylon's dead, white, bloody bare FEET peek out from under
a
sheet, resting at a disturbingly unnatural angle. Off Bella,
chilled..
.
SMASH TO:
FLASH POP TO EDWARD'S BLACK EYES
FLASH POP TO EDWARD'S COLD WHITE HAND.
FLASH POP TO THE FIVE CULLENS, SLOW MOTION, beautiful and white.
FLASH POP TO WAYLON'S TWISTED WHITE FEET
INT. BELLA'S ROOM - ON BELLA - NIGHT 66
-- as she turns on the LIGHT. She hears a SNAP! outside the
window. She rises, digs into her purse for the PEPPER SPRAY
Charlie gave her, and goes to the window. She looks out -
-
all she sees is the wind blowing hard. But she's rattled.
She closes the curtains, then reaches for the BOOK she bought
earlier. She thumbs through, laying the pepper spray within
reach.
INSERT THE BOOK, “QUILEUTE FOLK STORIES AND ART.
”
As she leafs through we see PHOTOS of ancient, carved MASKS.
Comical, menacing, haunting... then she stops on a photo of
a
white mask with black eyes and a row of sharp teeth. THE
INSCRIPTION reads, “The Cold One.
”
Bella quickly goes to her computer and Googles “Cold One ” -
several beer ads appear. Frustrated, she closes the pop-ups,
revealing a link to: “The Cold One: Apotamkin” -
-
INTERCUT BETWEEN BELLA AND THE COMPUTER SCREEN
Several PICTURES begin loading: the seductive Apotamkin with his
ice-blue skin, devouring his victims in tapestries, engravings,
paintings. Creatures beautiful and horrific. Craven, skeletal
demons attacking villages; perfectly sculpted predators, luring
innocent maidens... it's all murder, blood, sexuality.
THEN SEVERAL WORDS LEAP OUT in quick succession: 49.
-- “Speed.” “Strength.” “Cold skinned.” “Immortal...
“
Then finally: “Blood drinker.
”
And we LAND ON A PICTURE OF A HANDSOME MAN BITING A WOMAN'S
WHITE NECK..
.
FLASH POP TO THE SAME PICTURE AS IT MOMENTARILY COMES ALIVE,
BUT NOW IT'S EDWARD BITING BELLA'S NECK, BLOOD DRIPPING
-
BACK ON BELLA - she reels back from the computer in utter
disbelief.
BELLA
... it's not possible..
.
Off BELLA'S FACE, struggling to make sense of it all..
.
MATCH CUT:
67
EXT. SCHOOL -LAWN -ON BELLA'S FACE -DAWN --THICK FOG 67
She stands in the center of the deserted, green lawn. Her
expression tells us she's still reeling with disbelief. STAY
ON HER FACE, TIME LAPSING AS:
The bell rings and students exit class, rushing past Bella as
she stands still, waiting..
.
BELLA'S POV - EDWARD AND HIS SIBLINGS
-- cross the lawn, heading to class. Edward sees Bella, sees
the intensity on her face. He stops.
She walks to him, eyes meeting his... her look says, we have
to talk... and she continues directly past him, into the dark
forest that borders the school.
He watches her disappear in the trees, then takes a step to
follow. Jasper moves in front of him, Rosalie grabs his arm.
ROSALIE
Edward, don't go.
But Alice gently removes Rosalie's hand from his arm.
ALICE
He's already there.
68
EXT. FOREST - DAY 68
Bella stands amid the trees, waiting. Then the SOUNDS OF THE
FOREST abruptly drop out. A predator is near. Edward
appears behind her. She doesn't turn around. A beat.
50.
BELLA
You're impossibly fast. And strong.
Your skin is pale-white, ice-cold.
Your eyes change color. And
sometimes you speak like... you're
from a different time.
(turns to face him now)
You never eat food, or drink, or
come out in the sunlight. And you
said no to the beach trip only after
you heard where it was. Because of
the treaty.
This last registers with him. She steps closer to him.
BELLA
How old are you?
EDWARD
Seventeen.
BELLA
How long have you been seventeen?
A long beat as we begin to CIRCLE THEM. He sees he can't hide
anymore. Honesty is an enormous risk, but he has to take it.
EDWARD
... A while.
She inhales. She knew, but it's still shocking. We CIRCLE
THEM FASTER
-
BELLA
I know what the Cold Ones are.
What you are.
EDWARD
Say it. Out loud. Say it.
All sound suddenly DROPS OUT. We hear only her whisper..
.
BELLA
... Vampire
They seem to hover in momentary stasis, him utterly exposed, her
reality utterly rocked.
EDWARD
Are you afraid?
BELLA
No. 51.
EDWARD
(angry)
Then ask me the most basic
question: what do we eat?
BELLA
You won't hurt me. You're different.
EDWARD
You think you know me?
He glares at her. She holds her ground. Suddenly, he takes
her by the hand. Starts walking.
BELLA
Where are we going?
EDWARD
Up the mountain. Out of the cloud
bank. You need to see what
I
really am. What I look like in the
harsh light of the sun.
BELLA
No! The sunlight will kill you.
EDWARD
Myth. You need to see the truth.
He pulls her but she stumbles.
BELLA
Slow down.
Suddenly, he's right next to her.
EDWARD
Are you afraid?
BELLA
No.
EDWARD
Then come with me. Someplace where
no one can protect you. Where
I
could do what I've wanted to do from
the first moment I met you.
Their proximity is intense, riveting both of them.
BELLA
I'm not afraid.
EDWARD
You should be.
52.
He abruptly and effortlessly scoops her up into his arms.
EDWARD
Hold on.
Then he flings her onto his back... and starts running.
69 EXT. FOREST - RUNNING - DAY 69
As in the opening sequence, Edward races through the forest, dark
trunks STROBING past as he picks up speed, faster and faster.
Bella clings to his back as it seems he'll collide with the trees,
but he avoids them with supernatural grace. It's frightening,
nauseating, intoxicating.
EDWARD
Are you afraid!
?
BELLA
No!
But she clings tighter. Terrified. They climb in altitude.
Higher and higher, above the fog layer. Finally, up ahead
-
THE FOREST'S EDGE fast approaches, a clearing is beyond. The
sunlight glows white hot beyond the trees... they're about to
emerge from the shadowy darkness... but suddenly-
Bella finds herself sitting on the ground, against a tree.
All is silent. She's dizzy, tries to regain her equilibrium.
Then she realizes she's alone.
BELLA
Edward? Where are you?
She rises, then steps just beyond the fringe of the ferns into
-
70 EXT. A MEADOW (CONTINUOUS) - DAY 70
A perfect circle of swaying grass, wildflowers and buttery
sunlight. HEAR a stream nearby. Bella looks around and finally
sees
-
EDWARD, his shirt open, standing nearby in the shade of some
trees. He watches her cautiously. She takes a step toward
him, but he holds up a hand. She waits. Finally, he takes
a
deep breath, and steps out of the shade
-
EDWARD
This is why we don't show ourselves
in sunlight..
.
As the sun hits him... EDWARD'S SKIN literally sparkles as if
embedded with thousands of tiny diamonds. He is magnificent,
shimmering, like a statue carved from glittering crystal. He
moves toward her. 53.
EDWARD
This is what I am.
He nears, clearly expecting her to recoil, but..
.
BELLA
You're... beautiful..
.
He realizes that she's in awe. She reaches to touch him, but
he immediately backs into the shadows, his skin normal again.
EDWARD
(appalled)
Beautiful? I'm a killer, Bella.
This is the skin of a killer.
His arm juts into A SHAFT OF LIGHT, sparkling again.
BELLA
I don't believe that.
EDWARD
Because you believe the lie. The
camouflage. I'm the world's most
dangerous predator. Everything
about me invites you in - my voice,
my face, even my smell. As if
I
need any of that..
.
He's suddenly BEHIND her --then IN FRONT of her --then by
a
tree, DARTING so fast, we only see where he lands
-
EDWARD
As if you could outrun me. As if
you could fight me off.
He abruptly rips off a LARGE TREE LIMB, then THROWS it against
a
tree trunk with explosive force.
Bella flinches, but holds her ground, unshakable.
EDWARD
I'm designed to kill.
BELLA
I don't care.
EDWARD
I've killed people.
BELLA
It doesn't matter.
54.
EDWARD
I wanted to kill you. I've never
wanted a human's blood so much in
my life. I'm dangerous to you.
BELLA
I trust you.
EDWARD
Don't.
BELLA
I trust you, Edward. I'm here.
She takes his hand. He reels at the warmth of her touch.
She leans in, drawn to him, unaware that her THROAT is
nearing his lips... then suddenly he's gone.
BELLA
Edward?
She looks over to FIND he's on the other side of the meadow,
catching his breath.
EDWARD
You... took me by surprise.
(collecting himself)
I don't know how to... do this.
He moves back toward her. Slowly.
EDWARD
Me, and my family, we're different
from others of our kind. We're not
nomadic, we have a permanent home.
We only hunt animals. We've
learned to control our thirst..
.
(shaking his head)
But you - your scent, it's like
a
drug to me... my own personal brand
of heroin.
BELLA
(realizing)
Oh... I thought you hated me when we met.
EDWARD
I did. For making me want you so badly.
I'm still not sure I can control myself.
He reaches her again.
BELLA
I know you can.
55.
He's utterly vulnerable as he looks at her, searching her
face for clues.
EDWARD
I wish I could understand this
thing you see in me. You look at
me with those eyes..
.
(frustrated)
I can't read your mind. Tell me
what you're thinking.
BELLA
I'm afraid.
Stricken, he sinks gracefully to his knees in the grass.
EDWARD
(devastated)
Good.
She sinks down in front of him.
BELLA
Not of that. I'm afraid... you'll
disappear. That I'll lose you.
EDWARD
(amazed, elated)
You don't know how long I've looked
for you.
They share a smile. Then he reaches toward her neck,
pausing..
.
EDWARD
Be very still.
She does so. Exercising great control, he places his hand on
her throat... it's so exposed, so vulnerable. The rush
between them is overwhelming. But Bella doesn't move.
He brushes his hand up her cheek. Then lowers it to her
heart... Clouds float past the sun..
.
They're both overwhelmed, taking each other in.
EDWARD
And so the lion fell for the lamb.
BELLA
Stupid lamb.
EDWARD
Sick masochistic lion.
56.
CRANE UP on the two of them, laying together, as close as
they dare... his hand to her heart..
.
DISSOLVE TO:
71 INT. BELLA'S ROOM - MORNING 71
CLOSE ON BELLA'S FACE. Still in bed. Thinking.
BELLA (V.O.
)
About three things I was absolutely
positive. One, Edward was
a
vampire.
She rises, goes to the mirror. Looks at herself, worry
knitting her brow.
BELLA (V.O.
)
Two, there was a part of him that
thirsted for my blood. And three..
.
As she moves past her window, something catches her eye, causing
her to BANG into her desk. She looks back out..
.
BELLA'S POV - THE DRIVEWAY
Edward leans against his car, looking up at her with a small
smile. She beams at the sight of him.
BELLA (V.O.
)
... I was falling, unconditionally
and irrevocably, in love with him.
72 OMITTED 72
73 EXT. OLYMPIC RAINFOREST - DAY (ANOTHER DAY) 73
Edward helps Bella balance-walk across an enormous fallen pine
tree in the moss-covered forest.
BELLA
How long have you been like this?
EDWARD
Since nineteen-eighteen. That's
when Carlisle found me.
She takes that in, it's a lot. But it stokes her curiosity.
BELLA
Where'd he find you?
EDWARD
In a hospital, dying of Spanish
influenza. My parents had already died. 57.
FLASHBACK to CHICAGO HOSPITAL, 1918 - NIGHT
BELLA (V.O.
)
What was it like?
EDWARD (V.O.
)
The word excruciating comes to
mind. But what Carlisle did was
much harder... not many of us have
the restraint to do that.
BELLA (V.O.
)
Didn't he just... bite?
EDWARD
Not just. Our bite contains venom.
And once we taste blood, a sort of..
.
frenzy begins. It's almost
impossible to stop.
BELLA (V.O.
)
But Carlisle did.
EDWARD
First with me, then with his wife,
Esme. He found her in a hospital,
as well. The others followed.
BACK to PRESENT DAY
BELLA
Does someone have to be dying to
become like you?..
.
Their CONVERSATION CONTINUES as we go to
-
74 EXT. RIVER'S EDGE - DAY (ANOTHER DAY) 74
They walk along a stunning coastline -- rugged black rocks,
covered in bright green moss.
EDWARD
... No, that's just Carlisle. He
would never do... this, to someone
who had another choice.
BELLA
So Carlisle's the reason why you
hunt animals, instead of people.
EDWARD
Not the only reason.
He stops, looks down at her, serious, with emotion..
.
58.
EDWARD
I don't want to be a monster.
She nods. Understands. He smiles.
EDWARD
We call ourselves vegetarians, by
the way... For our kind, hunting
animals is like living on tofu. It
keeps you strong but isn't very
satisfying.
Then abruptly, he whips past Bella. She turns to see him standing
on a large rock in the river.
BELLA
Show off.
EDWARD
It's not that impressive, really.
Anyone in my family can do this.
BELLA
Can they all read minds, too?
EDWARD
No, that's unique to me. But Alice can
see the future.
BELLA
(fishing)
Really? Bet she saw me coming
a
mile away.
She notes his change of mood as he slows, darkening.
EDWARD
Her visions are very subjective.
The future can change.
He cuts off her questions by returning to shore, and
continuing their walk..
.
75 EXT. CHARLIE'S HOUSE - TWILIGHT (ANOTHER DAY) 75
Water sprays from a hose as Bella and Edward wash her truck.
A boom box PLAYS. He perches on top of the roof.
EDWARD
Come to my house tomorrow.
Bella looks up, aiming the hose badly - water ricochets off
the cab and sprays in her face. He jumps down from the roof.
BELLA
Your house? With your family?
59.
He wipes down the dented front fender, then reaches under it
and, with his bare hands, easily pops a large DENT out of the
truck's body. She's too flustered to register it.
BELLA
But... what if they don't like me?
EDWARD
(laughing heartily)
You're worried, not because you'll
be in a houseful of vampires, but
because you think they won't
approve of you?
BELLA
I'm glad I amuse you.
But then his laughter dies, as he hears something.
BELLA
What is it?
EDWARD
A complication.
... as a BLACK CAR comes into view, and pulls up.
EDWARD
I'll pick you up tomorrow.
He heads to his car, eying the passengers in
-
EDWARD'S POV - INT. BLACK CAR
Jacob, with his father, Billy, who's expression is intense.
Anxious. SLOW MOTION as Edward locks eyes with Billy. Jacob
looks questioningly at his father.
Bella watches Edward drive away, perturbed by the exchange. She
forces a smile and goes to greet the visitors. Jacob sets up
Billy's wheelchair and Billy climbs into it as
-
BELLA
Come to visit your truck?
JACOB
Looks good. You got that dent out.
BILLY
Actually, we came to visit your
flat screen. First Mariners game
of the season. Plus Jacob here
kept bugging me to see you again.
60.
JACOB
(mortified)
Great, Dad. Thanks.
Jacob shoots his father an irritated look, just as the POLICE
CRUISER pulls up. Charlie climbs out, holding two six-packs.
CHARLIE
Pale Ale.
BILLY
(holds up a brown paper
BAG)
Harry Clearwater's homemade fish fry.
Charlie smiles, pleased. He clicks on the game as they all head
inside
-
BILLY
Any luck with the Waylon case?
CHARLIE
(darkening)
Found a footprint out at the crime
scene today. A bare, human footprint.
Billy seems disturbed but not surprised. Bella is horrified.
BELLA
A person did that?
JACOB
A crazy person, walking around
barefoot this time of year.
CHARLIE
Spread the word out at the rez, will
ya? Keep the kids out of the woods.
BILLY
Will do.
(directed at Bella)
Don't want no one else getting hurt.
Bella looks away from Billy, unnerved.
76 OMITTED 76
77 OMITTED 77
78 DREAM SEQUENCE - UNDERWATER 78
Bella floats near Edward, only their hands touching, but
their bodies are nearing, so close, so sensual..
. 61.
Suddenly, EDWARD IS YANKED DOWNWARD! Something has him,
pulling him down..
.
SMASH TO:
79
INT. BELLA'S ROOM - ON BELLA - MORNING 79
-- as her eyes pop open... and relief sweeps over her as she
realizes it was just a dream. But it haunts her..
.
80
EXT. OLYMPIC PENINSULA - ROAD - DAY 80
AERIAL SHOT of the forest as we sweep over its lush green
expanse, to FIND Edward's Volvo speeding along, very fast.
The Volvo finally turns off the paved highway and onto a long
serpentine dirt road. FOLLOW THE CAR until, finally, it
reaches a small meadow, in the center of which sits
-
81
EXT. CULLEN HOUSE - DAY 81
A timeless graceful house. The Volvo pulls up and Bella
climbs out, surprised.
BELLA
It's... wonderful.
EDWARD
You expected turrets, dungeons and moats?
BELLA
No... not moats.
He takes her hand. She girds herself. They head inside.
82
INT. CULLEN HOUSE - LIVING ROOM - DAY 82
Edward guides Bella into the large, bright house. Walls of glass
look out on the river. Everything's open and white. Historical
objects are tastefully placed throughout.
HEAR Verdi's “La Traviata: Libiamo ne' lieti calici” coming from
another room. Bella is enraptured.
BELLA
It's so light and open.
EDWARD
Thanks to tinted windows... It's the one
place we never have to hide.
We then notice CLANGING coming from the kitchen. Edward
shakes his head.
EDWARD
I told them not to do this.
62.
83 INT. CULLEN HOUSE - KITCHEN - DAY 83
Verdi's opera BLASTS Bella and Edward who enter to find the
kitchen in full swing. Dr. Cullen, Emmett, Rosalie, and ESME
prepare elaborate platters of Italian pastas and antipasti.
Esme rolls out a pizza dough and fans tomatoes around it in an
instant. Rosalie stirs a pot, disinterested.
Esme sees Bella and stops, emanating maternal warmth. Her
heart-shaped face and billows of hair are reminiscent of the
silent-movie era.
ESME
Bella. We're making Italiano for
you.
EDWARD
This is Esme, my mother for all
intents and purposes.
BELLA
Bon giorno?
ESME
Molto bene!
DR. CULLEN
You've given us an excuse to use
the kitchen for the first time.
Hit pause..
.
PAN across brand new Williams-Sonoma cookware boxes to the
corner --they're watching an ITALIAN COOKING SHOW on a TV.
Emmett hits the DVD remote control.
ESME
I hope you're hungry.
BELLA
Oh, absolutely
-
EDWARD
She already ate.
Bella shoots him a look, but something SHATTERS. Rosalie has
thrown down a bowl and now strides out
-
ROSALIE
Perfect.
63.
84 INT. LIVING ROOM (CONTINUOUS) - DAY 84
-- Bella exits behind Rosalie, trying to explain. The
other's follow -
BELLA
I just assumed -- because you don't
eat, you know..
.
ESME
Of course. That was very considerate
of you.
EDWARD
(re: Rosalie)
Ignore her. I do.
ROSALIE
Yes, let's keep pretending this
isn't dangerous for all of us.
BELLA
I would never, ever tell anyone.
DR. CULLEN
(reassuring)
She knows that.
EMMETT
The problem is, you two have gone
public now, so..
.
ESME
Emmett.
ROSALIE
No, she should know.
(to Bella)
The entire family will be
implicated if this ends badly.
BELLA
... Badly?
This hangs in the air, uncomfortably. Edward can't look at her.
BELLA
(realizing)
Oh. Badly. Like, where I become
a
meal.
Emmett chokes back laughter. Edward grins. Wraps his arm
around Bella. Even Esme has to chuckle.
Rosalie, exasperated, heads back into the kitchen. Emmett
shrugs, goes after her.
64.
ALICE (O.S.
)
Hi, Bella!
ON THE BALCONY Alice leaps over the rail, holding a bouquet
of wildflowers. Jasper follows her. She bounces forward to
kiss Bella's cheek and hands Bella the wildflowers.
ALICE
I'm Alice. You do smell good.
EDWARD
Alice.
ALICE It's alright, Bella and I are going
to be great friends.
BELLA
(extending her hand)
And you're Jasper, right?
JASPER
Pleasure to meet you.
But he shies away from her hand.
ALICE
(gently encouraging)
You won't hurt her, Jasper.
He isn't so sure. Edward takes Bella's hand instead.
EDWARD
I'll give you a tour of the house.
ALICE
(with meaning)
I'll see you soon.
Edward shoots Alice a look, which Bella catches before he guides
her up the stairs. As they ascend, Bella takes in the eclectic
ART PIECES from around the world, Ethiopian crosses, Dresden
China, Asian scrolls. They reach
-
THE LANDING - to FIND a wall of dozens of artistically arrayed
silk squares with tassels. Bella looks closer.
BELLA
Graduation caps?
EDWARD
A private joke. We matriculate a lot.
BELLA
What a nightmare, repeating high school. 65.
EDWARD
True, but the younger we start out in
a
new place, the longer we can stay there.
She shivers at the thought of it, as they continue on..
.
85 INT. EDWARD'S ROOM - DAY 85
EDWARD
... and this is my room.
Bella enters to find a wall of glass doors open to a deck, with
the river beyond. The rest is floor to ceiling CD's, vinyl,
8
track tapes, etc., with a sophisticated I-pod/stereo set up.
BELLA
So you're obsessed with music. But..
.
(looking around)
No bed?
EDWARD
No sleep.
BELLA
Ever?
EDWARD
No nightmares, no drool, no
snoring.
She considers this, as she runs a hand along a wall of CD's,
studying the titles.
EDWARD
Do you have any favorites?
BELLA
Depends. Alternative? Jazz?
Sixties, seventies..
.
EDWARD
Ooh, she knows her music. Alright,
nineties. Eighteen-nineties. Classical.
BELLA
I'd have to say... Debussy.
He looks at her, surprised, smiles.
EDWARD
My favorite, too.
Off their connection, he pulls out a CD and puts it on.
A
solo piano version of CLAIR DE LUNE begins to play.
66.
He moves to her, taking her hand, then he starts to turn her
in a pirouette, dancing with her - but she breaks off and
backs away.
BELLA
No dancing.
EDWARD
Ever?
BELLA
No tripping, no falling, no derision.
EDWARD
(mischievously)
I can always make you.
BELLA
You don't scare me.
EDWARD
You really shouldn't have said that.
He grins, a low GROWLING SOUNDS in the back of his throat.
She laughs and backs out the door, onto
-
86 EXT. EDWARD'S ROOM - DECK (CONTINUOUS) 86
-- Bella backs up to the rail. Edward appears in the
doorway, shifting into a half-crouch, about to pounce.
BELLA
Don't you dare -
Suddenly, she's airborne as he tackles her and they FLY OFF THE
DECK... then she finds herself
-
IN A TREE - in his arms. When she realizes where she is, she
laughs, delighted. It's infectious, he laughs heartily, too..
.
CUT AWAY TO:
87 INT. CULLEN HOUSE - LIVING ROOM - SAME 87
Esme and Dr. Cullen look out the window. Edward's LAUGHTER
filters inside to them; Esme, in turn, smiles.
ESME
She's brought him to life.
DR. CULLEN
He's been alone too long... but how
can it end well?
ESME
Alice has been wrong before.
67.
DR. CULLEN
Not often.
Esme turns to Dr. Cullen, gentle but absolutely firm.
ESME
Carlisle. Bella is what he wants.
It will work out. Somehow.
Dr. Cullen smiles at her with love, then takes her hand as
they look back out the window..
.
EXT. TREE - SAME 88
Edward looks Bella in the eye.
EDWARD
Trust me?
BELLA
In theory.
EDWARD
Then close your eyes.
She does, warily. He grips her more firmly, then LEAPS them to
another tree like a flying squirrel! Then, again, to the TOP of
another tree. He easily gets a foothold, while holding Bella.
EDWARD
Open.
She does... to the most astonishing bird's eye VIEW of the
valley, river, and the mountains beyond. CAMERA whirls around
them allowing us a 360 degree view of their surroundings. Off
Bella's intoxicated face..
.
CUT AWAY TO:
A89 EXT. HIGH SCHOOL - DAY A89
Jessica pops a volleyball in the air, doing practice serves.
Angela takes a picture of her, then points her camera around,
looking for another shot. Eric studies some fliers
advertising the prom.
JESSICA
Monte Carlo? That's our prom
theme?
ERIC
Gambling, tuxedos and -
-
(ala Sean Connery)
Bond. James -- ow!
-- as Jessica head-butts the ball which hits him in the face.
68.
ANGELA
Oh. My. God.
Angela, scanning for a shot, has frozen. Jessica and Eric
SEE
-
BELLA AND EDWARD
-- arriving together. All eyes on campus are turning to
them, filled with curiosity, jealousy, envy.
BELLA
Everyone's staring.
EDWARD
Not that guy over -- yeah, he just
looked.
Off his rakish, but reassuring smile..
.
89
CLOSE ON A GERMAN SHEPHERD 89
Moving fast, tracking. INCLUDE CHARLIE holding the leash
-
EXT. FOREST - DAY
--It's a hunting party, several dogs, half a dozen armed men.
CHARLIE
Guys, we got something
-
The Deputies hurry to Charlie. They gather around
-
A FOOTPRINT. The dogs start pulling them in a certain
direction. As the posse takes off at a sprint
-
UNKNOWN POV - ON CHARLIE, FROM A DISTANCE
We watch Charlie and the posse move away... REVERSE to find
-
JAMES - ATOP A KNOLL, WATCHING THEM
Laurent stands next to him. Victoria jogs up.
VICTORIA
They took the bait.
JAMES
By tomorrow they'll be half way to
Winnipeg.
Victoria lasciviously grabs James' shirt. Pulls him to her.
VICTORIA
I love when men chase me.
69.
He grins, then starts taking off her clothes. They pull each
other toward the woods with carnal lust. It barely registers
with Laurent, who continues to watch the posse with concern.
90 EXT./INT. FORKS COFFEE SHOP - LATE AFTERNOON 90
Bella hurries toward the entrance, trying to keep the joy on her
face in check... with minimal success. Outside the door, she
passes Mike, hanging out with several of his basketball TEAMMATES.
MIKE
Yo, Arizona. So. You and Cullen.
She shrugs, non-committal, but can't entirely hide a smile,
as she hurries inside to Charlie's table and slides in.
BELLA
Sorry I'm late. Biology project.
Cora sets a top sirloin steak in front of Charlie, and plate
of seafood in front of Bella.
CHARLIE
Ordered you the seafood combo.
BELLA
Order one for yourself next time.
You should cut back on the steak.
CHARLIE
I'm healthy as a horse.
CORA
(concerned)
Say Chief, boys want to know, you
find anything down by Queets River
today?
Charlie's aware of the LOGGERS at the counter listening, too.
He frames his answer carefully to keep everyone calm.
CHARLIE
The suspect's moving east. Kitsap
County Sheriff is taking over from
here. They're putting extra guys on.
CORA
Hope they catch him fast.
She moves off, with a measure of relief. Charlie and Bella
pass each other the salt, butter for bread, etc., with an
easy rhythm now.
CHARLIE
Your friends are flagging you.
70.
She turns to see Mike and the guys horsing around outside,
straws in their noses, making faces at her. She smiles.
CHARLIE
It's okay you wanna join them. I'm
just gonna turn in early anyway.
BELLA
Yeah, me, too.
CHARLIE
It's a Friday night. Go out. The
Newton boy's got a big smile for
you. Nice family, the Newtons.
BELLA
He's just a friend.
CHARLIE
None of the boys in town interest you?
BELLA
We're not really going to talk
about boys, are we?
CHARLIE
Just... you should be around people.
I leave you alone too much.
BELLA
(with genuine affection)
I've never minded being alone. Guess
I'm a lot like my dad that way.
Charlie smiles. These two have come a long way. Cora returns
-
CORA
Berry cobbler, two forks.
She sets it between them. Off them, both reaching for forks..
.
91 INT. BELLA'S ROOM - NIGHT 91
Bella, dressed for bed, looks out the window as she talks on the
phone with Rene. Bella's euphoria still lingers in her eyes..
.
BELLA
So spring training's going well?
INTERCUT WITH:
92 INT. CAFE - NIGHT 92
Rene talks on her cell. Phil is in the background, post-batting
practice, chowing down with a couple of teammates.
71.
RENE
Phil's working hard. We're looking
around for a house to rent, in case
it becomes permanent. You'd like
Jacksonville, baby.
BELLA
Actually, Forks is kind of growing on me.
RENE
(stops, knows there's
more)
Could... a guy have something to do
with that?
BELLA
(small smile)
Maybe..
.
RENE
Tell me everything! Jock? Indie? Bet
he's smart. Is he smart?
BELLA
(trying to avoid lies)
Well... he is kind of a history buff.
-- this as she turns to find
-
EDWARD LYING ON HER BED, smiling. She nearly drops the phone.
BELLA
I, uh... have to go.
RENE
No way, we gotta talk boys. Are
you being safe?
Edward shoots her a look, he heard that. She's mortified.
BELLA
I'll call you later, Mom.
STAY ON BELLA who hangs up.
BELLA
How did you get in here?
EDWARD
The window. As always.
BELLA
You've been here before?
EDWARD
What else is there to do at night? 72.
She pushes him. He grabs her hand and playfully pulls her
onto the bed, wrestling as
-
BELLA
You're a peeping Tom! Perv!
EDWARD
Shh! The Chief will hear you!
But the electricity of their physical contact quickly overwhelms
them, their laughter quieting. He studies her face.
EDWARD
I just... like watching over you.
He raises his fingers to her lips, sending a thrill up her spine.
EDWARD
There's something I'd like to try.
She nods, bedazzled by him. He takes her face in his hands,
hesitates to test himself, then he softly kisses her..
.
What neither of them is prepared for is her response. Her
breath comes in a wild GASP. Her fingers knot in his hair,
clutching him to her. Lips part as she breathes his scent..
.
Then his hands gently, but forcefully push her face back. She
opens her eyes to see that his eyes are wild, his jaw clenched.
BELLA
(mortified)
Oh... I'm... oh.
He relaxes slightly, looking at her blushing face.
EDWARD
I'm stronger than I thought.
BELLA
Wish I could say the same. I'm so
embarrassed.
EDWARD
Don't be. But we have to be careful.
(serious)
I can never lose control with you. Ever.
She nods, then carefully lies on his chest. He wraps his arms
around her. Off the two of them..
.
93 INT. CHARLIE'S HOUSE - LIVING ROOM - LATE AFTERNOON 93
Bella enters to find Charlie cleaning a rifle. He starts to
say hello but she just blurts out -
-
73.
BELLA
I have a date with Edward Cullen.
He suddenly looks like he's having an aneurysm.
CHARLIE
He's too old for you.
BELLA
We're both juniors. I thought you
liked the Cullens.
CHARLIE
And I thought you weren't interested in
any of the boys in town.
BELLA
Edward doesn't live “in town.” And
it's in the early stage and -
-
whatever, he's outside right now.
CHARLIE
Now? He's out there?
BELLA
He wants to meet you. Officially.
CHARLIE
Good.
He cocks the rifle in mock-seriousness.
BELLA
Be nice, okay? He's... important.
Charlie gives his daughter a reassuring nod... then she opens
the door to REVEAL Edward in a parka and gloves.
EDWARD
Chief Swan. I wanted to formally
introduce myself. I'm Edward.
Edward extends his hand. Charlie takes it, but grunts
a
hello, resisting him.
EDWARD
I won't keep Bella out late
tonight. We're just going to go
play baseball with my family.
CHARLIE
Bella's going to play baseball?
Bella's equally surprised, but hides it.
74.
EDWARD
Yes, sir, that's the plan.
CHARLIE
Well. More power to you, I guess.
EDWARD
(looks him in the eyes)
She'll be safe with me, sir, I promise.
As Edward exits... Charlie holds Bella back.
CHARLIE
(sotto)
You got that pepper spray?
BELLA
Dad.
94 EXT. CHARLIE'S HOUSE - LATE AFTERNOON 94
Edward and Bella climb into a massive JEEP parked in the drive.
EDWARD
(amused)
Your father thinks you should go to
an all-girl's school.
BELLA
No fair, reading Charlie's mind.
As they climb in the Jeep, Bella notices a baseball bat
-
BELLA
And since when do vampires like baseball?
EDWARD
It's the American pastime. Plus,
there's a thunderstorm coming. It's the
only time we can play. You'll see why.
95 EXT. CLEARING IN WOODS - TWILIGHT 95
Storm clouds gather in the sky as Bella and Edward pull up in
the Jeep. She takes in a rough baseball diamond, set into an
enormous field in the lap of the Olympic peaks.
Esme and Emmett come to greet Bella.
ESME
Good thing you're here. We need
a
umpire.
EMMETT
(big crooked grin)
She thinks we cheat.
75.
ESME
I know you cheat. Call ‘em as you
see ‘em, Bella.
WHIP PAN to Alice on the Pitcher's Mound.
ALICE
It's time.
-- Just as a deep RUMBLE of thunder shakes the forest.
BEGIN MONTAGE - THE GAME
And it's extraordinary. Bella stays by Esme who plays
catcher. Alice pitches with lightning-fast speed. Edward
and Emmett take positions in the outfield.
-- ROSALIE SMASHES the ball with the aluminum bat. It CRACKS
like thunder -- and is followed directly by real THUNDER.
BELLA
(to Esme)
Now I get why you need the thunder.
The ball SHOOTS like a meteor deep into the forest, rocketing
through the trees. Edward disappears after it.
BELLA
That has to be a home run.
ESME
Edward's very fast.
Rosalie darts around the bases, almost a blur -- Edward races out
of the forest with the ball and WHIPS it to home plate. WHAP!
Esme catches it a millisecond before Rosalie slides in.
BELLA
Yer out?
Esme nods... Amazed, Bella watches as DR. CULLEN hits a line
drive. Edward and Emmett race for the catch, DIVING 15 feet
and COLLIDING with such might that it sounds like enormous
boulders falling. They miss the ball -- Dr. Cullen is safe!
JASPER WHACKS the next pitch -- deep into the forest. But
before Edward can chase it, Alice suddenly GASPS.
ALICE
Stop! I didn't see them..
.
They all stop. Edward is immediately at Bella's side. The
family instantly gathers at home plate.
ALICE
They're traveling so quickly
-
76.
ROSALIE
You said they left the county -
-
ALICE
They did, but then they heard us..
.
(looking at Edward)
And changed their minds.
EDWARD
(to Bella)
Put your hair down
-
ROSALIE
Like that'll help. I could smell
her from across the field.
Edward ignores Rosalie as he arranges Bella's hair.
EDWARD
I shouldn't have brought you here.
I'm so sorry.
She'd ask why, but suddenly, they all turn as one toward -
THE EDGE OF THE FOREST
There's a faint rustle... then James, Victoria and Laurent
emerge. As they near, Bella SEES their bare feet, then the
deep BURGUNDY of their eyes. Laurent holds up the baseball.
LAURENT
I believe this belongs to you.
He tosses the ball (his casual toss is still blindingly fast)
to Dr. Cullen who easily catches it and smiles politely.
DR. CULLEN
Thank you.
LAURENT
Could you use three more players?
DR. CULLEN
Of course.
LAURENT
I'm Laurent. This is Victoria.
And James.
DR. CULLEN
Would you like to bat first?
Laurent picks up a bat. The Cullens take the field. Dr.
Cullen is catcher, Edward is on first, with Bella behind him,
near the Jeep.
77.
Bella sees that Edward's eyes are locked onto James. Laurent
is at bat first.
DR. CULLEN
I'm afraid your hunting activities have
caused something of a mess for us.
LAURENT
Our apologies. We didn't realize
the territory had been claimed.
DR. CULLEN
Yes, we maintain a permanent
residence.
The three newcomers exchange a look of surprise.
LAURENT
Really? Well, we won't be a problem
any more.
VICTORIA
The humans were tracking us, but we
led them East-
Jasper pitches the ball -- Laurent SLAMS it -- but Alice is
up a tree is a flash and the ball slams into Alice's hand
with a THWAP. Laurent is pissed, but James smiles ever so
slightly, delighted at the discovery of worthy opponents.
James is up next and he POWER-SLAMS IT with AMAZING FORCE..
.
He runs past first, past Edward, past Bella..
.
CLOSE ON BELLA -- IN SLOW MOTION as the wind from the ball
ruffles her hair, carrying her scent, which floats to
-
JAMES -- who suddenly SCREECHES to a halt. His head WHIPS
around at her and he lurches into a crouch, his nostrils
flaring, excitedly, eyes locked on Bella.
JAMES
You brought a snack.
EDWARD springs in front of Bella, baring his teeth. A truly
menacing, feral SNARL rips from his throat. James GROWLS back.
OVERHEAD SHOT: in a flash, the Cullens rush into position
behind Edward -- Laurent and Victoria line up behind James.
DR. CULLEN
The girl is with us.
78.
LAURENT
(trying to defuse
situation)
We won't harm her.
EMMETT
(hungry for battle)
Just try it.
DR. CULLEN
I think it best if you leave.
LAURENT
Yes, I can see the game is over.
We'll go now. James?
But James' eyes don't leave Edward's. Laurent puts a hand on
James' shoulder, and finally, James backs into the woods with
his cohorts, disappearing. Once they're gone, Esme
immediately gathers up the bats-
-
DR. CULLEN
Get Bella out of here. We'll follow
them.
Dr. Cullen, Jasper and a resentful Rosalie race off after the
three vampires. Edward scoops Bella up as we
-
SMASH TO:
EXT. BASEBALL FIELD - ON THE JEEP - LATE TWILIGHT 96
Edward whips Bella into the Jeep and straps her in -
-
EDWARD
James is a tracker. I saw his mind.
The hunt is his obsession, and my
reaction set him off -
-
-- The tires spin as Edward WHIPS the jeep around
-
EDWARD
-- We're a large clan of strong fighters
all protecting one vulnerable human.
(dark with disgust)
I just made this his most exciting
game ever.
Bella blanches with the dawning realization of what she has just
wrought up on them all as..
.
THE JEEP CAREENS DOWN THE DIRT MOUNTAIN ROAD
A jolting, death defying ride, SPLASHING through creeks, until
they reach
-
79.
97 EXT. MOUNTAIN ROAD - NIGHT 97
THE JEEP speeds wildly down the road.
EDWARD
The first place he'll go is your
house. He'll track your scent
there.
BELLA
(horrified)
What?!? Charlie's there. He's in
danger because of me. Because of
us!
EDWARD
(calmly)
Then we'll lead the tracker away
from him. Somehow.
He angrily WHIPS around a bend, MUD FLYING
-
98 INT. CHARLIE'S HOUSE - LIVING ROOM - NIGHT 98
Charlie watches a baseball game on T.V. as the door suddenly
BURSTS open to reveal Bella, crying, and Edward, devastated-
BELLA
I said, leave me alone!
EDWARD
Bella, don't do this. Just think
about it, please
-
BELLA
Get out! It's over.
She SLAMS the door. Charlie has risen, baffled, concerned.
CHARLIE
Bella? What happened?
BELLA
I have to get out of this place.
Out of Forks. I'm leaving. Now.
Bella runs upstairs. Charlie hurries after her
-
99 INT. BELLA'S BEDROOM - NIGHT 99
Bella slams the door behind her. REVEAL Edward's already there,
pulling things from her drawers and shoving them into a duffle
faster than humanly possible. Bella leans against the door. 80.
BELLA
(a pained whisper)
I can't hurt him.
Edward gives her a look, you have to. There's a KNOCK.
INTERCUT Charlie on the other side. It's agony for both of them.
CHARLIE
Bells. Did he hurt you?
BELLA
No, Dad.
CHARLIE
Then what? Did he break up with you?
BELLA
I broke up with him.
CHARLIE
I thought you liked him?
BELLA
That's why I have to leave. I don't
want this. I want to go home.
EDWARD
(whispering)
I'll be in the truck.
And he disappears out the window. Bella gathers strength to
continue her performance. She opens the door to reveal Charlie.
He follows as she carries her duffle and truck keys into
-
100 INT. CHARLIE'S HOUSE - STAIRS (CONTINUOUS) - NIGHT 100
Bella charges down the stairs -- Charlie follows.
CHARLIE
Your mother's not even in Phoenix.
BELLA
She'll come home. I'll call her
from the road.
CHARLIE
You can't drive home now. I'll take
you to the airport in the morning.
BELLA
I want to drive. I need time to
think. I'll pull into a motel in
a
few hours. I promise.
She heads down the stairs. Charlie follows..
. 81.
101 INT. CHARLIE'S HOUSE -LIVING ROOM (CONTINUOUS) -NIGHT 101
Bella reaches the ground floor with Charlie on her heels.
She's almost to the door but Charlie blocks her.
CHARLIE
Bells, I know I'm not around much,
but I can change that. We can do
more things together.
She takes a breath, hating herself for what she's about to say..
.
BELLA
Like watch more baseball on the flat
screen? Or go to the Coffee Shop?
Same people, same steak, same berry
cobbler every night? That's you,
Dad. Not me.
This hits Charlie hard. She can barely stand it, heads down
the stairs, as he takes a second to recover..
.
CHARLIE
Bella... I just got you back.
Which breaks Bella's heart... and forces her to deliver the
final blow.
BELLA
And if I don't get out now, I'm
going get stuck here like mom did.
Charlie is stunned, wounded. She takes advantage of his
shock, pushing past him out the door.
102 EXT. CHARLIE'S HOUSE - NIGHT 102
Bella exits, heads to her truck. Fresh tears spring to her
eyes.
ANGLE ON THE WOODS
Trees, branches... and a pair of DEADLY EYES. James. He watches
from a distance as Bella pulls out. The truck moves off... and
so does James, leaving Charlie alone with his pain, staring out
the window.
103 INT. BELLA'S TRUCK - NIGHT 103
Bella drives, wiping tears away. Suddenly Edward is outside
the car, near Bella's window. 82.
EDWARD
He'll forgive you.
(off Bella's startled look)
Slide over..
.
Bella slides over to the passenger side as Edward opens the
door, sliding in, and takes the wheel. Bella slumps.
BELLA
His face... I said the same words
my mother used when she left him.
EDWARD
It was the only way he'd let you go.
Edward FLOORS it.
EDWARD
Your father's safe now, Bella. The
tracker is following us
-
Suddenly, BOOM! - a dark figure LEAPS onto the bed of the
truck. Bella SCREAMS.
EDWARD
It's alright. It's just Emmett.
Alice is in the car behind us.
She catches her breath. It kills him to see her so frightened.
She looks out the window as they drive through town..
.
104 BELLA'S POV - EXT. FORKS COFFEE SHOP (CONT) - NIGHT 104
The small, insulated town passes by in SLOW MOTION... INSIDE we
SEE Mike, Jessica, Eric and Angela laughing, flirting, innocent,
hopeful..
.
105 EXT. CULLEN HOUSE - NIGHT 105
Edward, Emmett and Alice rush Bella from the truck to the
house... but freeze when the door opens and Laurent exits. They
immediately take defensive positions but Dr. Cullen appears.
DR. CULLEN
He came to warn us. About James.
They back down slightly. Laurent address Dr. Cullen.
LAURENT
I've grown tired of his games. But
he's got unparalleled senses.
Absolutely lethal. I've never seen
anything like him in three hundred
years ... And the woman, Victoria,
will back him. Don't underestimate
her.
83.
Dr. Cullen nods thanks. Laurent looks at Edward, apologetic.
LAURENT
I'm truly sorry for what's been
unleashed here.
And he moves off, disappearing into the woods..
.
106 INT. CULLEN HOUSE - FOUR CAR GARAGE - NIGHT
The side door BURSTS OPEN as Edward and the Cullens enter,
followed by Bella. The lights flip on to reveal a pristine
garage; the Volvo, the red BMW, a black Mercedes sedan, an SUV.
Everyone but Rosalie springs into action, opening cupboards for
supplies - cell phones, extra batteries, maps, portable GPS units,
changes of clothes, cans of gasoline, etc. As they load up the
vehicles
-
JASPER
I've had to fight our kind before.
We're hard to kill.
EDWARD
But not impossible. We'll tear him up
EMMETT
(with bloodlust)
We'll rip him apart with our hands,
then burn the pieces
-
DR. CULLEN
I don't relish killing another creature.
Even a sadistic one like James.
ROSALIE
If he doesn't get to one of us
first.
BELLA
(horrified)
This is insane. You can't put yourselves
in danger like this - for me.
ROSALIE
Too late.
Edward shoots Rosalie a look, but he grabs two sets of keys
off a hook, throwing one set, lightning fast, to Dr. Cullen
-
EDWARD
I'll run Bella south, while you lead
the tracker away
-
84.
DR. CULLEN
No, Edward -- the tracker thinks
you won't leave Bella. He'll
follow you.
ALICE
I'll go with Bella. Jasper and
I
will drive her south.
(facing him)
I'll keep her safe, Edward.
Edward agonizes. Frustrated. Alice steps forward.
EDWARD
(studies her, torn)
Can you keep your thoughts to yourself?
She nods. An unspoken agreement. Edward finally surrenders
his keys to Alice. Then he opens one of Bella's suitcases,
pulling out clothes, tossing them to
-
EDWARD
Esme, Rosalie, put these on so the
tracker will pick up Bella's scent.
ROSALIE
(dropping the clothes)
Why should I? What is she to me? Just
a danger you've inflicted on us
-
DR. CULLEN
(spinning on her)
Rosalie. Bella is with Edward. She's
a part of this family now. And we
protect our family.
She glowers, but picks up the clothes. Dr. Cullen hits the door
opener and the massive METAL DOORS roll open. Dr. Cullen
squeezes Edward's shoulder before he and Esme climb into the
SUV. Everyone finishes loading up, climbing in cars
-
Amid this, Edward and Bella take a moment together.
BELLA
If any of you get hurt because of me
-
EDWARD
We won't, there are five of us, two of
them. When it's done, I'll come get you.
He pulls her closer, looking into her eyes.
EDWARD
You're my life now.
85.
They drink each other in, possibly for the last time... as the SUV
PEELS out, WIPING THE FRAME
-
107 EXT. HIGHWAY, PACIFIC NORTHWEST - DAWN 107
The sun begins to rise on the empty road as a sleek, black
MERCEDES SEDAN with dark tinted windows BLASTS through frame
-
108 INT. MERCEDES - SAME 108
Jasper drives, Alice in the passenger seat. Bella is in the
back, her eyes red from crying. She talks on her cell phone
-
BELLA
Mom, it's me again. You must have
let your phone die. Anyway, I'm
not in Forks anymore but I'm okay.
I'll explain when you call.
She hangs up, then faces back out the window, watching the green,
misty Olympic Peninsula speed past. Off Bella's face -
A SERIES OF DISSOLVES THROUGHOUT THE DAY, THEN THE NIGHT
-- show us the landscape as it changes from dark green
forests to stretches of grassy hillsides, to drier, browner
surroundings, until night falls and headlights lights flash
by us. Finally, we land in..
.
109 OMITTED 109
110 EXT. FOREST, OLYMPIC PENINSULA - DAY 110
TREES BLOW PAST US at a blinding speed as we track Edward,
Rosalie, and Emmett who dart in and out of frame, blasting through
the misty woods, Edward, the fastest, in the lead.
Edward stops, trying to read his enemy's thoughts. Rosalie
tears a tiny swatch of her shirt, leaves it on a FLOWERING
MAPLE TREE. And then they're gone.
111 OMITTED 111
112 EXT. ANOTHER PART OF THE WOODS - DAY 112
Esme and Dr. Cullen crouch atop a hill, looking down at the
river. In the distance, below, they SEE
-
THEIR POV - ON THE LAKE - VICTORIA jogs into view. She then looks
in their direction. Once Dr. Cullen and Esme are assured she has
their scent, they continue over the hill's crest.
113 OMITTED 113
114 EXT. FOREST, OLYMPIC PENINSULA - DAY 114
86.
James blasts past the FLOWERING MAPLE -- then stops, backtracks to
the tree, finds the tiny swatch of fabric. He starts off again..
.
but stops, smells the fabric. Something's not right. He runs
back in the opposite direction... Uh oh..
.
SMASH TO:
115 INT. SCOTTSDALE HOTEL - BEDROOM - LATE AFTERNOON 115
ON BELLA'S FACE: her eyes pop open. She's lying atop a bed,
fully clothed. She rises, reorienting.
116 INT. SCOTTSDALE HOTEL - LIVING ROOM - LATE AFTERNOON 116
The blinds are pulled. Alice and Jasper stare blankly at
a
T.V. set. Several plates of food crowd a table. Alice looks
up as Bella enters, looking at her cell phone.
BELLA
I wish he'd call.
ALICE
You should eat.
But Bella ignores the food. She sits heavily.
BELLA
They could get hurt. It's not
worth it.
JASPER
(insistent)
Yes. It is.
She's taken aback. It's the first time he's engaged with her.
JASPER
Edward's changed since he found
you. And none of us want to look
into his eyes for the next hundred
years if he loses you.
(he looks forward again)
It's worth it.
Suddenly, Alice REELS. Jasper goes to her, Bella follows.
JASPER
What do you see?
ALICE
(with deep worry)
The tracker. He just changed course..
.
Jasper quickly sets a pad of paper and pencil in front of her. 87.
JASPER
Where will it take him, Alice?
PUSH IN ON ALICE'S FACE as we-
FLASH POP TO - JAMES
A disorienting vision of him standing in a room full of..
.
ALICE
Mirrors. It's a room of mirrors.
Alice begins to draw at HYPER SPEED, closing her eyes, trying
to see it clearly.
BELLA
How do the visions work? Edward
said they weren't always certain.
JASPER
She sees the course people are on,
while they're on it. If they change
their minds, the visions change.
Bella looks over Alice's shoulder to see the drawing.
BELLA
So the course James is on now will
lead him to... a ballet studio?
ALICE
(looks up at her)
You've been here?
BELLA
No. I don't know. I used to take
ballet lessons as a kid. The
school had an arch like that.
JASPER
Was your school here in Phoenix?
BELLA
Yeah, around the corner from my house.
But I haven't been there in ten years.
JASPER
Do you have any reason to go now?
BELLA
No. Hell, no. I hated the place.
Alice and Jasper share a look, trying to figure this out.
Suddenly, Bella JUMPS as her cell phone RINGS. She picks it
up. Sees the caller I.D. and exhales relief. She answers..
.
88.
BELLA
Edward. Are you alright?
INTERCUT WITH:
117 INT. JEEP/EXT. WASHINGTON ROAD - DAY 117
Dr. Cullen drives the Jeep, fast, Emmett in the back, Edward in
the passenger seat on his cell phone.
EDWARD
I'm coming to get you.
(hates having to say
this)
We lost the tracker. The woman is
still in the area. Rosalie and
Esme are protecting your father.
BELLA
(sinking)
This is my fault. You warned me,
but I didn't think. I just..
.
EDWARD
Bella, we're in too deep. We can't
change how we feel..
.
BELLA
No... we can't.
(then)
When will you get here?
EDWARD
In a couple hours. Then you and
I
will go somewhere. Together. The
others will keep hunting.
(then, determined)
Bella, I swear to you, I'll do whatever
it takes to make you safe again.
Off Bella, her eyes welling..
.
118 EXT. SCOTTSDALE HOTEL - DAY 118
SEE Alice in the lobby, settling the bill. Jasper loads up
the car out front.
119 INT. SCOTTSDALE HOTEL - BEDROOM - DAY 119
Bella gathers her things, then her phone RINGS again.
INSERT CALLER I.D. -It reads “HOME.” Bella answers -
BELLA
Mom, I'm so glad you got my -
-
89.
RENE (O.S.
)
(panicked)
Bella? Bella? Where are you?
BELLA
Calm down, Mom. Everything is fine,
okay? I'll explain every
-
HEAR RUSTLING on the line, as if Rene dropped the phone.
BELLA
... Mom? Are you there?
Then Bella HEARS a voice that sends a chill down her spine
-
JAMES (O.S.
)
Nice house you have here. Not the
best on the block, but comfortable.
INTERCUT WITH:
120 INT. RENE'S HOUSE, PHOENIX - DAY 120
VERY CLOSE ON JAMES, his sinister eyes and vicious smile.
JAMES
I was prepared to wait for you.
But then Mom came home after she
received a very worried call from
your Dad. It all worked out quite
well.
Bella's eyes are wild with fear.
JAMES
I must say, Forks High School doesn't
protect its students' privacy very
well. It was just too easy for
Victoria to find your previous address.
RENE (O.S.
)
Bella? Bella?..
.
BELLA
Leave my mother out of this.
JAMES
You're protective of her. That's
nice. You can still save her. But
you'll need to get away from your
friends. Can you do that?
BELLA
I... don't think so.
90.
JAMES
If your mother's life depends on it?
Bella is terrified, but there's no choice here.
BELLA
Where should I meet you?
James grins as he fingers a PHOTO of Bella that's attached to
the refrigerator with a magnet. It's the same photo Charlie
has of her, age 7, in a tutu, sitting on the floor.
JAMES
The old ballet studio around the
corner. And I'll know if you bring
anyone along. Poor mommy would pay
the price for that mistake.
(sniffs the air)
She smells like you. Delicious.
STAY ON BELLA as she hangs up, panicked. She starts flinging
open drawers, searching for a weapon - a pen, a sewing kit.
Useless. Then she remembers..
.
Her purse. She dumps out the contents, and FINDS the pepper
spray Charlie gave her. She clings to it, her only protection
now.
121 OMITTED 121
122 OMITTED 122
123 OMITTED 123
124 OMITTED 124
125 OMITTED 125
126 OMITTED 126
127 INT./EXT. SCOTTSDALE HOTEL - TWILIGHT - DRIVING 127
Bella walks through the lobby, scanning for Jasper and Alice.
She spots them outside under the porte cacher, loading the
Mercedes, deep in a heated discussion. She slips out the
opposite door, rushes toward a Taxi and jumps in, closes the
door. The DRIVER is an elderly woman with a hacking COUGH.
BELLA
(taking a breath for
courage)
8th and Palo Verde, please.
The taxi pulls out. Bella watches the hotel disappear. Off
her FACE IN THE REAR WINDOW..
.
91.
BELLA (V.O.
)
I've never given much thought to
how I would die..
.
128 EXT. SCOTTSDALE HOTEL - NIGHT - BELLA'S POV 128
Once again, we see the polished malls, the manicured cactus
gardens. All empty for the night.
BELLA (V.O.
)
But dying in the place of someone
I
love seems like a good way to go..
.
129 OMITTED 129
130 OMITTED 130
131 EXT. MIMI'S SCHOOL OF DANCE - NIGHT 131
Bella climbs out of the taxi. It pulls away, leaving her on the
curb facing the deserted building. Bella twirls her mother's
ring around her finger, then reaches for the pepper spray.
BELLA (V.O.
)
I can't bring myself to regret the
decisions that brought me face to
face with death... they also
brought me to Edward.
She slips the pepper spray into her jeans pocket. She wraps
her purse strap around her wrist. She takes a breath,
approaches the school. Peers in the windows. The blinds are
drawn. But from inside, we HEAR a faint sound..
.
RENE (O.S.
)
Bella? Bella?
It's time. Bella goes to the front door. It's unlocked.
132 OMITTED 132
133 INT. MIMI'S SCHOOL OF DANCE - STUDIO - NIGHT 133
Bella cautiously enters this grand, empty room of mirrors.
A
ballet bar wraps around the walls -
-
RENE (O.S.
)
Bella, where are you?
Bella whirls, trying to find its source. She follows the sound to
a cleaning supply CLOSET. She throws open the door to FIND
-
A T.V. - ON SCREEN A VIDEO PLAYS - Bella, age 7, hides in the
very closet the T.V. is in now. Little Bella looks up at us. 92.
RENE (O.S.
)
Don't you want to dance, baby?
Little Bella shakes her head stubbornly. The frame jiggles
as Rene hands someone the camera. Rene, ten years younger,
appears on screen and kneels next to Bella.
BELLA
Everyone makes fun of me.
RENE
But you're a wonderful dancer.
BELLA
Mom, I suck.
LAUGHTER behind Bella. She spins, trying to locate James in
the mirrors.
JAMES
That's my favorite part. Stubborn
child, weren't you?
Bella's face flushes with rage... and relief.
BELLA
She's not here.
JAMES
Sorry. But you really made it too easy.
Visible in the mirror, he sighs, disappointed. Then he steps
up next to her and points a VIDEO CAMERA at Bella.
JAMES
So to make things more entertaining,
I'm going to make a little film of our
time together. Borrowed this from
your house. Hope you don't mind.
(turns it on)
And... action!
Bella FLINGS her purse at him, and runs for the door.
JAMES
Excellent! An escape attempt.
Suddenly, he's right behind her. She freezes.
JAMES
It'll break Edward's little heart.
He smells her hair. Touches her throat.
BELLA
Edward has nothing to do with this.
93.
JAMES
He will. His rage will make for
more interesting sport than his
feeble attempt to protect you.
He's having too much fun to notice --the peppers spray in
her hand. She spins around and sprays him.
Then she runs, as James REELS back briefly. But he leaps
over her and lands RIGHT IN FRONT OF HER.
Amused, he flings her across the floor like a bowling ball.
She SMASHES hard into a mirrored column. James captures it
on film.
JAMES
Beautiful! Very visually dynamic.
I chose my stage well.
He advances toward her.
JAMES
Still stubborn, aren't you? Is that
what makes you special? Because
frankly, I don't see it.
He inhales as if he can taste her already
-
JAMES
Too bad he didn't have the strength
to turn you. Instead, he kept you
this fragile little human. It's
cruel, really.
James flips on the camera, but the lens is coated with pepper
spray. He tries to wipe it off.
JAMES
Well done! You've succeeded in
annoying me.
He STOMPS on her shin! HEAR her tibia SNAP! Bella SCREAMS in
agony.
JAMES
Tell Edward how much it hurts.
Abruptly, the camera is in her face
-
JAMES
Tell him to avenge you.
BELLA
No! Edward, don't..
. 94.
James inhales as her blood pools. He leans in, hungry. Bella,
half-conscious, watches him turn the camera on his own face
-
VIDEO CAMERA'S POV - ECU ON JAMES' FACE
JAMES
Cut! The end.
Suddenly -- JAMES IS KNOCKED OUT OF FRAME!
He rises to find himself face to face with Edward. James
CHARGES Edward, forcing him up against a column.
JAMES
You're alone... because you're
faster than the others. But not
stronger.
James SMASHES Edward's face into the mirror until it cracks.
EDWARD
I'm strong enough to kill you.
Edward FLINGS James backwards -- SMASHING through
a
freestanding mirror -- into the doorway. He scoops Bella up
and leaps toward the balcony exit door -- when suddenly he
and Bella are JERKED downward.
James YANKS Edward violently onto the floor -- KNOCKING Bella
out of his arms -- as James FLINGS Edward up into the top
window -- EMBEDDING him in the casement and bricks.
James crouches beside Bella. He grabs her HAND
-
Looking directly at Edward with a sinister grin -- he SINKS
HIS TEETH into Bella's hand! She SCREAMS in agony.
Edward's rage ERUPTS -- he climbs out of the window casement
and SUICIDE-DIVE-BOMBS James, savagely PLOWING him through
the floorboards.
ON BELLA -- as the venom travels through her veins.
BELLA'S POV - dark figures twist and fight, in and out of
focus.
Her eyes suddenly POP OPEN to see the EXPLOSIVE RAW REALITY
of James KICKING Edward, delivering death blows when -
-
Suddenly Edward's hand SHOOTS UP and GRABS James' ankle.
Edward ROARS up to his feet and SWINGS James around like
a
baseball bat, SMASHING him into mirror after mirror.
James is battered, beaten. Bella moans -- and the sound of
her pain slices through Edward. In an animalistic fury,
Edward BITES OFF a piece of James' flesh ..
.
95.
WHIP PAN from Bella's horrified face to DR. CULLEN --now
standing beside Edward, placing a hand on his son's shoulder.
Edward turns to see his father -- and EMMETT, JASPER, and
ALICE, dropping down from the balcony.
Edward's expression changes --he realizes he's gone too far.
He backs off as his siblings crouch into attack mode and
LUNGE at James like a pack of animals.
Dr. Cullen rushes to the injured Bella who SCREAMS again in
pain. Edward dashes toward her -
-
BELLA'S POV -ON THE THREE CULLEN SIBLINGS, going in and out
of focus... it almost looks like a tribal dance as they rip
out the floorboards and build a fire ... it's like a funeral
pyre as they rip James apart, throwing limbs into the fire..
.
BACK ON BELLA -- as Edward reaches her side. Dr. Cullen works
fast to assess her wounds, focusing on a massive bleed from her
leg. But clearly her hand hurts the most. She writhes in pain.
INTERCUT BELLA'S DISORIENTED POV WITH THE CHAOTIC REALITY:
Dr. Cullen applies pressure to the gash on her thigh -
-
DR. CULLEN
Her femoral artery's been severed.
She's losing too much blood
-
BELLA
It's on fire! My hand!
EDWARD
Venom -
-
DR. CULLEN
(working on Bella)
You have to make a choice. Either
let the change happen
-
EDWARD
No!
BELLA'S POV -ALICE appears behind Edward, fuzzy, indistinct.
ALICE
It's going to happen. I've seen it
-
EDWARD
It doesn't have to be that way.
DR. CULLEN
Alice, find me a tourniquet.
A
rag, a shirt.
96.
Alice holds her nose and avoids the blood as she rips the
sleeve off her blouse and kneels to aid Dr. Cullen.
BELLA
It's burning!
EDWARD
What's the other choice? You said
-
DR. CULLEN
(to Alice)
Tighter, above the knee
-
EDWARD
Carlisle.
DR. CULLEN
You can try to suck the venom out.
EDWARD
I -- won't be able to stop
-
DR. CULLEN
Find the will to stop. But choose,
she only has minutes left.
Edward looks down at Bella, thrashing in pain. Finally,
Edward takes her hand. She tries to pull it away.
EDWARD
It's alright, Bella. I'll make it
go away.
He looks at her - then starts to suck the venom from her
hand. They never take their eyes off one another, the
connection palpable, intense..
.
CLOSE ON BELLA'S EYES -wild with pain. But subsiding..
.
CLOSE ON EDWARD'S EYES -the frenzy has begun. He sucks
harder. Hungrily. Anguished, he wants to stop but can't.
Dr. Cullen's voice sounds miles away..
.
DR. CULLEN
Stop. Her blood is clean, you're
killing her.
-- but the bloodlust is too strong. He is killing her. Bella
looks at him, forgivingly, as she begins to lose consciousness..
.
BELLA'S POV -ON EDWARD -growing blurry... he disappears
into the blinding light. It's as if she's underwater, like
her dreams..
.
BELLA (V.O.
)
Death is peaceful. Easy.
97.
Bella starts to float away... we're losing her..
.
Suddenly from the darkness, Edward reaches out a hand..
.
A brilliant light flares..
.
134 BELLA'S FACE APPEARS IN THE WHITENESS
Eyes closed. But they slowly open. She squints at the light.
BELLA
Life... is harder..
.
An oxygen tube rests under her nose. She reaches for it,
confused. A hand stops her as her surroundings come into focus.
RENE (O.S.
)
You're awake, baby! You're okay!!
!
INT. HOSPITAL ROOM - DAY
Bella lies in a hospital bed. Bandaged, leg in a cast. In bad
shape. Rene hovers over her, tears in her eyes. On the dresser,
SEE get well cards and a PHOTO MONTAGE of her friends from Forks.
BELLA
Edward? Where's -
RENE
He's asleep.
She nods across the room to a chair in which Edward “sleeps.
”
RENE
He never leaves. And your dad's
down in the cafeteria.
BELLA
What... happened?
RENE
Baby, you fell down two flights of
stairs and through a window.
Bella is drawing a blank, confused. Rene jogs her memory
-
RENE
Edward came here to convince you to
come back to Forks. His father
brought him down. You went to their
hotel but you tripped on the stairs.
A moment... then Bella realizes it's a cover story. She nods.
BELLA
Sounds like me.
98.
Rene's cell phone BEEPS. She opens it. Reads a text, starts
typing in a reply.
RENE
It's Phil. He's worried about you.
BELLA
Mom, you're... texting.
RENE
(smiling)
I told him to stay in Florida. The
Suns signed him!
BELLA
That's great mom.
RENE
Jacksonville is always sunny and
you'll have your own bathroom..
.
BELLA
Mom, wait. I want to live in
Forks. I have Dad..
.
(re: the get well cards)
... and friends..
.
RENE
(re: Edward)
And he's there.
Bella shrugs, conceding the truth.
RENE
Charlie doesn't like him. Blames
him for your leaving.
BELLA
What do you think?
RENE
(lowering her voice)
I think that boy is in love with
you.
Bella smiles. Rene grins. Bella glances at Edward.
BELLA
Um, Mom, would you mind getting Dad?
I
want to talk to him. Apologize.
RENE
I'm sure he doesn't care about
that, Baby. But I‘ll go get him.
99.
Rene kisses Bella's forehead. Exits. Bella watches her go.
The door shutting behind her. Bella turns back to find
Edward standing next to her with deep concern. Her eyes
well. He kisses her forehead soothingly.
BELLA
Is James - did you --
?
EDWARD
We took care of him. And the
woman, Victoria, she ran off.
She closes her eyes with relief, then looks at him.
BELLA
I'm alive because of you.
EDWARD
(darkens)
You're in here because of me.
Her wounds cause him pain. He strokes her face.
EDWARD
The worst of it... was thinking
I
couldn't stop -
BELLA
But you did.
EDWARD
Bella, you should go to Jacksonville.
Where I can't hurt you anymore..
.
BELLA
What? No! I want to be with you!
I
don't want
-
EDWARD
(sitting next to her)
Sssh. It's alright. I'm not going
anywhere. I'm right here..
.
He wraps an arm around her. As she curls up in his arms..
.
DISSOLVE TO:
135 EXT. FORKS, WASHINGTON - LATE AFTERNOON 135
An AERIAL SWEEP over the lush green forests. We're back in
the misty, damp beauty of the Pacific Northwest..
.
100.
136 EXT. CHARLIE'S HOUSE - BEAUTIFUL LATE AFTERNOON 136
At a picnic table, Charlie cleans a fish with a big knife.
Edward waits awkwardly near his Volvo, dressed in an elegant
suit. But even calm Edward is unnerved by Charlie's glare. The
front door opens and they look up to see
-
BELLA --framed in the doorway in a stunning long dress. Edward
is enchanted. Bella descends the steps with difficulty, due to
her LEG CAST. Charlie edges out Edward to help her down.
BELLA
Alice lent me the dress. It was the
only thing that would fit over my
cast. Is it too...
?
EDWARD
You're perfect... I'll take good
care of her, Chief.
CHARLIE
Heard that before.
Edward moves to open the car door. Charlie holds Bella back.
CHARLIE
(sotto)
I put new pepper spray in your bag.
BELLA
Dad.
CHARLIE
... and... you look beautiful.
Father and daughter share a smile..
.
137 EXT./INT. MANSION, VIEW POINT INN - TWILIGHT 137
Edward's Volvo pulls up to this lovely inn. He helps Bella
out of the car, and begins to guide her through the dining
room. Mr. Molina and other teachers are there. We may
notice the back of a Redhead, mingling with the chaperones.
BELLA
I can't believe you're making me do
this.
He just grins. Edward guides her around a corner to..
.
138 EXT. MANSION BACKYARD (CONTINUOUS) - TWILIGHT 138
THE PROM - Monte Carlo style. Gaming tables and roulette
wheels. Guys in tuxes and girls in gowns gamble for prizes,
dance and socialize. 101.
BELLA
You really are trying to kill me.
EDWARD
Prom is an important rite of
passage. I don't want you to miss
anything.
She can't be mad at him, just shakes her head affectionately.
They continue into the prom. Several heads turn. Bella sees
-
THE DANCE FLOOR, where a gap has formed. In the middle, two
couples whirl gracefully. It's Alice and Jasper, Rosalie and
Emmett, looking absolutely stunning.
Rosalie glances over; indifference has replaced fury. But
Alice waves brightly. Bella returns it with a smile as we
hear a crossfade into the next track-
BELLA'S POV -- THE DJ BOOTH
-
It's Eric at the turntables, making the room bounce! Next to
him, Angela wears the headphones, flipping through a stack of
vinyl. They nod at Bella -- she shoots them a smile when -
-
A FLASHBULB gets her attention
-
BELLA'S POV - PHOTOGRAPHER'S STATION
Mike and Jessica stand in front of an Aston Martin cut-out.
Bella catches their eye -- Mike does his best James Bond
impersonation. Jessica poses like Pussy Galore.
Edward smirks, then turns to Bella
-
EDWARD
Shall we?
BELLA
(laughs, then realizes)
You're serious.
He doesn't wait for an answer, more or less CARRIES her to
the DANCE FLOOR -- then places her feet atop his own... and
starts to move. She actually begins to enjoy it.
EDWARD
See? You're dancing.
BELLA
At prom.
As they dance, she feels his grace, his strength. Becomes
thoughtful. Finally, she looks at him.
102.
BELLA
Edward... why did you save me?
(off his questioning look)
If you'd let the venom spread,
I could've been like you by now.
EDWARD
(stops, horrified)
You don't know what you're saying.
You don't want this.
BELLA
I want you. Always.
EDWARD
(angry)
I won't end your life for you.
He keeps dancing, slowly, hoping his was the last word.
BELLA
I'm dying anyway. Every minute,
I get closer, older EDWARD
That's how it's supposed to happen. BELLA
Not the way Alice saw it.
(off his sharp look)
I heard her. She saw me like you. EDWARD
Her visions change, Bella. BELLA
Based on what someone decides. And
I've decided.
He looks at her, angry.
EDWARD
Is that what you dream about?
Becoming a monster?
BELLA
I dream about being with you forever.
EDWARD
You really want this?
BELLA
Yes.
He lowers his lips to her neck. One bite is all it would take. 103.
EDWARD
You're ready right now?
BELLA
Yes.
His lips hover over her skin, a long beat... then he presses his
lips to her throat. Not a bite. A kiss. He looks at her.
EDWARD
You're going to have a long and
happy life with me. Isn't that
enough?
She looks at him... and finally smiles.
BELLA
For now.
They WHIRL around, gliding on his grace, never looking away from
one another, as we CRANE UP on them, in each other's arms..
.
BELLA (V.O.)
No one will surrender tonight. But
I won't give in. I know what I want.
CONTINUE UP AND BACK on the dance floor. We realize ..
... someone's watching it, looking down from the window of
a second floor hotel room in the Inn. The MUSIC wafting up in
echoes. PULL BACK to REVEAL..
VICTORIA, turning from the window. She's stylishly dressed
now, but seething -- a low, sinister SNARL in the back of her
throat. PUSH IN FAST ON HER FACE, AND INTO HER BURGUNDY EYES
filled with vengeance as we
-
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