She flinches at the stinging remark. He disappears into the darkness, leaving her alone on the dark road. She’s closer to her house than her truck. She hurries forward.
The NIGHT SOUNDS start to encroach, branches crackling, bushes rustling. She glances behind her... nothing but darkness... she faces forward again --- And runs directly into a VAMPIRE!
Bella SCREAMS -- then realizes IT’S ALICE. Bella is stunned. So is Alice.
She’s clearly confused, but Bella hugs her with tears of joy.
Oh my God, Alice. You’re here.
I heard voices - I didn’t think it was you but - you’re alive.
You keep saying that.
I saw you - a vision of you - you jumped off a cliff. I knew I’d be too late but--(becoming angry)Why the hell would you try to kill yourself?!
I didn’t. I was cliff diving.
That was fun for you.
Until I hit the water.
I have never met anyone more prone to life-threatening idiocy... and what is that hideous wet dog smell?
Oh. Probably Jacob. He’s kind of a werewolf.
Off Alice’s horrified expression.
INT. BELLA’S HOUSE - KITCHEN – NIGHT
As Bella makes herself hot chocolate, Alice paces.
Werewolves are not vicious.
Until they lose their tempers.
They saved me from Laurent, they’re protecting me from Victoria –
Victoria? I didn’t see her. I didn’t see you get pulled from the water either.
It was Jacob who saved me. More than once. I couldn’t have made it without him. You have no idea what it was like.
Yes. I do. I knew leaving wouldn’t be good for you. I tried to tell Edward, but he wouldn’t listen.
... Does he know you’re here?
No. He’s been... away...
INT. TENEMENT APARTMENT - RIO DE JANEIRO - DAY
A dump, empty but for a table and chair. On the table lie THE PHOTOS that once lined Bella’s walls. Edward stands in the center of the room, stock still, staring out at the rising sun. His face is as empty and desolate as Bella’s was after he left.
A CELL PHONE on the table RINGS jarringly. He doesn’t move. It continues. Finally, he whips the receiver to his ear, exasperated.
Wow, Edward finally answered the phone. I feel so honored...
INT. TANYA’S ALASKAN HOME – DAY
Rosalie, on the phone, stands at the picture window –
ROSALIE’S POV - EXT. ALASKAN HOUSE - Emmett, Jasper, Carlisle and Esme walk away from the house, over the snow to the treeline,on their way to hunt. None wear coats.
I’m hanging up now...
Rosalie turns away from the window.
Wait!... You should come home. (no response)Esme’s a wreck, Carlisle never smiles. Even Emmett’s depressed. You’ve really done a number on them.
EDWARD(pained)I’m sorry. I am. But they wouldn’t be happier with me around. Trust me.
I... I just miss... us. The family.
I know. But the further away I am, the safer Bella will be. She deserves a shot at a normal life --
But see, you don’t have to worry about that, not anymore –
She stops realizing she may be making a mistake. But Edward caught it, sits up.
Why, Rose? Did something happen?
I - uh –
Tell me, Rosalie. (rises, fierce) Tell me! –
-- Alice had a vision. She saw Bella -- throw herself off a cliff... She’s dead, Edward.
Edward reels, uncomprehending.
I... don’t believe it.
Alice is there now. Thought she could help with the funeral or something.
STAY ON ROSALIE as --
Come home, Edward. It’s time... Edward...?
She’s been disconnected. Off Rosalie, worried...
EXT. BELLA’S HOUSE - DAY
Bella walks Charlie to his cruiser. He wears a dark, ill-fitting funeral suit. At the car, Bella adjusts his tie –
Thanks for understanding, Bells. They wanted to keep the service small.
Don’t worry about me. Are you gonna be okay?
Yeah... but Sue, and those kids -- Leah’s only a year older than you. And Seth’s, what, fourteen...
Emotion threatens. She hugs him. He holds on a little too tightly for a beat. Then he bucks up, climbs into his car.
There’ll be a reception after. I might stay late, see if I can help.
Bella nods, then waves as he drives away. She turns to head back inside but finds Alice suddenly at her side. She jumps.
You’re not going?
I’m not the most popular person on the werewolf rez right now.
Because you’re friends with me.
Bella shrugs. Alice hears something, then looks down the road –
JACOB’S RABBIT appears in the distance....
Huh. Didn’t see them coming. Didn’t see him pull you out of the water - maybe my visions are allergic to dogs.
I’ll go do some hunting.
ANGLE ON THE RABBIT -- as it pulls up. Jacob drives, Embry in the passenger seat. Bella approaches, surprised to find QUIL in the back; same short hair and hard look as the others.
Quil... you, too?
QUIL(aggressive)Yeah. Me, too.
Jacob climbs out. Embry takes the driver’s seat.
Yes. Shouldn’t you be at the funeral?
Had to talk to you first.(to the guys)I’ll meet you there. Go on.
They’re wary... but pull out. Jacob follows Bella into –
INT. BELLA’S HOUSE - LIVING ROOM – DAY
Jacob enters behind Bella. She turns to him...
Look, Jake, I’m sorry I –
This place stinks to hell.
She sees he’s shut down, cold. She shuts down, as well.
You’re welcome to leave. In fact –
-- How many Cullens are here and how long are they staying?
Just Alice. And she’ll stay as long as she wants.
Are the rest coming back?
Not that I’m aware of. Anything else?
Better go report to Sam.
Jacob turns, starts to leave. He looks back, sees her anger turn to hurt. He stops. Beat.
I’ve done it again. I keep breaking my promise not to hurt you.
It doesn’t have to be this way.
He moves back to her, looks into her eyes with sadness.
Yeah, it does.
Am I gonna lose you this time, Jacob?
He can’t answer that, but he presses his hand to her cheek.
It was easier when we were both human, wasn’t it?
They look at one another, Jacob’s hand still on her face, his eyes searching hers. Slowly, he starts to bend toward her lips. She doesn’t pull away. She misses him too much, needs him too badly. This time, she’ll let it happen. A kiss is a centimeter away...
Suddenly, the shrill RING of the phone makes them both jump. Jacob, the closest to it, doesn’t move his face, just keeps looking into her eyes as he reaches for the phone, answers --
She smiles. But he instantly bristles, voice going cold.
He’s not here. He’s at a funeral...
Then the phone goes dead --
INT. TENEMENT APARTMENT - RIO DE JANEIRO - SAME
-- Edward stares at his phone crazed, enraged, grief-stricken -- he HURLS it against the wall, shattering it.
INT. BELLA’S HOUSE - LIVING ROOM - SAME
-- Jacob hangs up the phone.
Wait, who was it?
JACOB(spitting it out)
Dr. Carlisle Cullen.
You should have let me talk to him.
He didn’t ask for you --
Suddenly, Jacob’s eyes go wild, his body stiffens, starts trembling in the way that precedes a wolf-morph.
Step away from me, Bella.
Bella turns to see what he’s reacting to - Alice. She stands in doorway looking empty, despairing. Bella immediately hurries to her side.
Alice, what’s wrong?
What about him? What happened?
I just saw him in a vision. He... thinks you’re dead.
That was him calling, not Carlisle.
Bella, he’s going to Italy... to the Volturi...
OFF BELLA’S FACE -- FLASHPOPS of the CIRCULAR HALL, the THREE VOLTURI - the DISMEMBERING of the rogue vampire --
INT. BELLA’S ROOM – DAY
The door SLAMS open and Bella races in, shoving clothes into a bag. Jacob dogs her, protesting.
Why do you have to go?
He won’t believe Alice. He has to see that I’m alive.
He left you, Bella. He didn’t want you anymore, remember?
But I still love him, and I’m not gonna let him kill himself out of guilt.
This wounds him. But she can’t stop to soothe him. She pulls away and continues packing.
What about your dad?
I’m eighteen, legally free to go. I’ll leave a note.
Got the airline tickets.
JACOB(squaring off with Alice)
You Cullens might hunt animals but those monsters in Italy don’t.
I’m well aware what the Volturi are.
Then why are you taking Bella to them like a bottle of wine to a party?
Right, she’s better off here with Victoria stalking her. The one you dogs can’t seem to catch?
Jacob growls, a shudder ripping through him. Bella intercedes, stopping him from morphing by grabbing Alice.
EXT. BELLA’S HOUSE – DAY
Alice flies to her car. But Jacob catches Bella’s arm, not hostile. Just pleading.
Please, Bella. Stay here. For Charlie... for me.
Bella sees the love in his eyes; this could be last time she ever sees him. She hugs him, then pulls away.
He watches, agonized as she races to the car, climbs in...
INT. THE MERCEDES (CONTINUOUS) – DAY
Bella tries to pull on her seat belt but Alice stops her –
Maybe Jacob’s right. (Bella tries to interrupt)No. You need to realize - the Volturi could easily see me as Edward’s accomplice. And you’re a human who knows too much and tastes too good. They could kill us all.
Bella’s response is to yank her seat belt into its clip. Alice sees she won’t change her mind. She shifts into gear and PEELS OUT.
Bella looks out the window for Jacob; he’s not there... she turns toward the woods --
BELLA’S POV -- THE TREELINE -- SHREDDED CLOTHING FLIES in the air as we SEE the HIND LEGS OF A WOLF disappear into the forest.
Off Bella, fighting tears but determined as hell...
INT. VOLTURI HEADQUARTERS - NIGHTON EDWARD walking down a seemingly endless corridor. Finally, he reaches a set of intricately carved double doors which open for him. He enters –
INT. CIRCULAR WHITE MARBLE HALL (CONTINUOUS) - NIGHT-- Edward finds himself facing three wooden thrones, on which sit the ancient Volturi: Aro, Marcus, Caius. Aro wears an expensive, contemporary, black Italian suit, long black hair in a loose ponytail to his waist.
Marcus and Caius eschew modern clothing for rich silk robes, their long hair loose around them. All three have translucent, onion-like, white skin.
Have you decided?
It was an intriguing debate. We don’t get many suicidal vampires.
I’m afraid your gifts are too valuable to destroy. But if you’re unhappy with your lot, join us. We’d be delighted to utilize your skills.
So you won’t end this.
Not without cause.
Edward registers this, his face setting. Clearly, he’s going to give them cause. He strides out. Off Aro...
Such a waste.
EXT. FLORENCE AIRPORT, ITALY – MORNING
Bella waits impatiently at the curb as --
A YELLOW HARD-TOP PORSCHE with darkly tinted windows SCREECHES to a halt in front of her. The passenger door opens - Alice is behind the wheel, pulling off the chic, white, hooded coat she used for protection against the sun. As Bella climbs in, buckles up --
Where’d you get the car?
Hope you’re not opposed to grand theft auto.
Alice FLOORS it and the Porsche PEELS OUT –
EXT. TUSCAN COUNTRYSIDE - DAYAERIAL VIEW - THE YELLOW PORSCHE screams down a highway, cutting lanes, weaving through Peugots and Fiats –
INT. PORSCHE – DAY
Bella grips the dashboard as Alice narrowly misses a car.
How much time do we have.
He’s waiting till noon, when the sun’s at its highest...
EXT. VOLTERRA - PALAZZO DEI PRIORI - DAY (ALICE’S VISION)
It’s jumpy, uneven -- EDWARD stands in shadow, his shirt open, eyes shut. A clock GONGS as he steps into SUNLIGHT –
... He’s going to make the Volturi change their minds.
INT. PORSCHE - SAMEBELLA(checking her watch)It’s almost noon now.
Alice punches it as Bella SEES –
BELLA’S POV - A MEDIEVAL FORTIFIED VILLAGE atop a distant hill. Volterra.
EXT. VOLTERRA – DAY
The narrow, centuries-old streets are crowded with festival revellers who all wear RED. They gaily head toward the town square carrying red pendants, balloons, scarves. The PORSCHE weaves through them, hurrying forward.
INTERCUT INSIDE THE PORSCHE –
Why are they all wearing red?
San Marcos Day festival. The perfect setting. Large crowds. The Volturi won’t let him get far enough to reveal himself - he’s counting on that.
We only have five minutes –
Alice screeches to a halt at a ROAD BLOCK. Italian POLICE wave her back. Bella jumps out –
Where’s the square?
Follow that lane ---- Bella’s already running –
He’ll be under the clock tower!
Alice watches her go... then senses something, looks up –
ALICE’S POV - ON THE ROOFTOPS - A FIGURE IN A BLACK HOODED OVERCOAT leaps from building to building, tracking Bella. As he disappears, off Alice –
EXT. VOLTERRA ALLEYS - SERIES OF FAST CUTS – DAY
Bella races down the cobble-stoned alleys, stumbling on the uneven stones. Festival revellers head in the same direction, she maneuvers around them.
ABOVE BELLA - SEE flashes of the FIGURE IN THE OVERCOAT --As Bella nears the square, the alleys become more populated. She pushes past people AD LIBBING “excuse me,” “sorry.” Finally, she emerges into –
EXT. PALAZZO DEI PRIORI (CONTINUOUS) – DAY
BELLA’S POV - a sea of scarlet flags, dresses and jackets. On the other side of the crowded square –
THE CLOCK TOWER; it reads one minute before noon. Bella battles her way through the square; the crowd shoves back, shouting at her in Italian –