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Сумерки. Сага. Новолуние/ Twilight: New Moon

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!

2.

-- 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.

3.

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.

CHARLIE To put your pictures in, record your senior year -- man, senior year. How'd you get so old so fast?

BELLA Not that old.

4.

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.

5.

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 silver 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.

6.

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.

7.

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.

8.

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?

9.

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.

10.

EDWARD Come on, the last real birthday any of us had was Emmett's - I think Bing Crosby was on top of the charts. (then) 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 --

11.

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...

12.

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?

13.

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, the dread- locked 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.

14.

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.

15.

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 --

16.

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.

17.

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.

18.

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. (looking at her) He thinks we've lost our souls.

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

CARLISLE (CONT'D) 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 --

19.

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?

20.

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?

21.

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!

22.

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 --

23.

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....

24.

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 --

25.

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...

26.

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... (beat) ... 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.

27.

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.

28.

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...

29.

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?

30.

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.

31.

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.

32.

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.

33.

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.

34.

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.

35.

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.

36.

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 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.

37.

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 --

38.

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 --

39.

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.

40.

BELLA You're on.

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

A SERIES OF SCENES...

INT. JACOB'S GARAGE - OVER THE COURSE OF SEVERAL DAYS

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...

41.

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...

42.

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 --

43.

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.

44.

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.

45.

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.

46.

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 --

47.

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.

48.

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.

49.

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.

50.

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 BEEEEP --

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.

51.

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. BEEEEP --

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. BEEEEP -- 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.

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