Twilight Page #12

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.

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