New Moon Unofficial Film Script — Romeo Must Not Die (Part 4)
DISCLAIMER The Twilight saga is owned and created by Stephenie Meyer, Little, Brown and Company and Summit Entertainment. This site and its content are in no way affiliated or associated with and/or or it's respective companies.
To read Part 3 — Close to Home, please click here.
To read Part 2 — Shattered Pieces, please click here.
To read Part 1 — Severed Ties, please click here.
SEQ . INT. Yellow Porsche. Bella wakes up to hear a private conversation between Alice and Jasper. Bella is still wearing Jacob's jacket.
ALICE
I think Bella is the only chance. But, the odds aren't good. Don't follow me. I promise, Jasper. One way or another, I'll get out… And I love you.
Alice cuts off the connection.
ALICE
I hate lying to him.
BELLA
What do you mean?
ALICE
I promised him I would get out before they killed me, too. Bella, let me be very clear. None of us may survive this.
BELLA
Who are these Volturi?
ALICE (V.O. — voice over)
The Volturi have been in existence for more than 3,000 years. The ruling family is comprised of Aro, Caius and Marcus.
Image of the three elders in the Volturi court.
ALICE (V.O. — voice over)
And their wives.
Image of the three wives joining Aro, Caius and Marcus.
ALICE (V.O. — voice over)
However, Marcus' wife died.
Image of Marcus grieving over the dead body of Didyme.
ALICE (V.O. — voice over)
They are joined by the members of their guard, each with a formidable talent and ability.
Image of the Volturi guard.
ALICE (V.O. — voice over)
Over the millennia, they have assumed the position of enforcing our rules — which actually translates to punishing transgressors. They fulfill that duty decisively.
Images of the Volturi scourging and purging during the vampire wars.
ALICE (V.O. — voice over)
We only have one chance. The Volturi have said no to killing Edward. Aro thinks it's wasteful.
Images of the Volturi court with Edward supplicating for death and Aro's refusal.
ALICE (V.O. — voice over)
Edward will force their hand in their own beloved city of Volterra, the city they've secretly held for thousands of years. Edward has decided. At noon, he will walk out into the sun.
Images of Edward in the shadow of the alley, watching the approaching sun and the hands of the clock tower moving towards the number 12. The people are in full celebration regalia of red and plastic fangs.
SEQ. EXT. Road. Seven minutes before noon. Bella and Alice are on a country road on the way to Volterra. The yellow Porsche approaches the gates of Volterra. Alice opens the car window for the guard.
GUARD
Only tour buses are allowed in today for St. Marcus Day, miss.
ALICE
It's a private tour. I'm in a wee bit of a hurry.
Alice smiles and dazzles the guard.
GUARD
Of course, of course. Anything for the beautiful lady.
SEQ. EXT. Volterra Streets. Five minutes before noon. Action sequence wherein the yellow Porsche drives through narrow streets and crowds. The Volturi tries to block them in different ways: sudden movement of crowds, closed gates, attempts to physically stop the car, etc.
SEQ. EXT. Volterra Courtyard. Two minutes before noon.
ALICE
The Volturi are everywhere! Go towards the clock tower.
Alice points to the clock tower.
ALICE
He's in the alley. Run, Bella!
The Volturi is directed by a cloaked figure to capture Alice, deeming her the more dangerous of the two. Alice thwarts their attempts by deliberately focusing attention on herself by joining a man on stilts and doing tricks. With the crowds looking on and clapping, the Volturi is halted in their tracks.
Meanwhile, Bella is immediately swallowed by the crowds. She goes through the fountain to cut through the courtyard. Bella stumbles to the ground. A Volturi guard almost catches her but Alice goes into his path. The clock begins to ring the twelve chimes to signal the noon hour.
Edward steps out from the alley. Bella recovers from her fall, runs and crashes into him.
SEQ. EXT. Volterra Courtyard. Noon. Edward clasps Bella's face between his hands and looks down at her tenderly.
EDWARD
Isabella…
Edward lowers his face near her lips and inhales her breath.
EDWARD
Death, that hath suck'd the honey of thy breath,
Hath had no power yet upon thy beauty.
Edward inhales her scent.
EDWARD
You smell just exactly the same as always. So maybe this is hell. I don't care. I'll take it.
BELLA
Edward, I'm alive! I'm right here beside you!
Bella takes Edward's hand and puts it over her heart.
BELLA
Touch me, Edward! Feel my heart beating!
Edward lifts Bella until he could lay his ear against her chest, listening to her beating heart.
EDWARD
Beautiful Bella. Is this some strange form of deranged death?
Bella grabs his face to force him to look at her.
BELLA
I'm alive! Edward, please believe me!
EDWARD
Amazing…
Bella catches a glimpse of a movement of dark cloaks. She tries to push Edward into moving, to no avail.
BELLA
We have to get out of here! C'mon! The Volturi are -
Edward stiffens, throws his red cloak over himself, puts Bella under the cloak with him and begins to walk swiftly through the crowd. The multitude of red cloaks and clothing partially hide them, but, still, Edward changes directions several times as the ways out of the city are blocked by the Volturi. As they are cornered, Edward ducks into an alley, where a dark figure is waiting for them at the far end.
SEQ. EXT. Alley. Midday. Edward goes deeper into the alley. Alice removes the cover from a drainage and slides into the hole. Bella balks at having to do the same thing.
EDWARD
It's all right, Bella. Alice will catch you.
Edward releases her wrists to lower her into the hole to follow Alice.
SEQ INT. Drainage pipe. Bella passes through the winding pipe.
SEQ. INT. Subterranean Tunnel. Bella loses her balance as she lands unsteadily on her feet. Alice catches her before she falls.
ALICE
We're going to try and escape the city through its old subterranean tunnels. Edward has read it in one of the guard's minds.
The cover is placed over the circle of light, plunging them into darkness. Edward comes through the pipe and is immediately at Bella's side. Edward flings Bella to his back; and, then, he and Alice begin to run swiftly through the tunnel.
SEQ. INT. Subterranean Tunnel. Edward makes a turn. Alice follows.
EDWARD
The Volturi have a tracker a thousand times more gifted than James. His name is Demetri.
SEQ. INT. Subterranean Tunnel. Demetri is concentrating with a bowed head. The Volturi guards are right behind him, waiting for his orders.
EDWARD (V.O. — Voice Over)
He reads the tenor of someone's mind, then follows it. His talent works over long distances.
Demetri raises his head and opens his eyes. He gives a small nod to Felix.
FELIX
This way!
The Volturi guards go in the same direction that Edward and company has fled.
SEQ. INT. Subterranean Tunnel. As Edward and Alice run through the tunnel, a figure jumps from above to block their path. Edward and Alice crouch instinctively. Edward relaxes almost immediately. Alice looks askance at him. The figure approaches them confidently, before stopping in front of Alice, and stares into her eyes intently.
JASPER
What makes you think I don't know when you're lying to me? I will never let you face any danger without me to protect you.
ALICE
I didn't want you to get hurt.
JASPER
Don't you know by now that I would storm the heavens or hell itself to keep you safe? No matter what the cost. Do not attempt ever again to separate yourself from me. Do not ask it of me. I need you. You are my life.
SEQ. INT. Subterranean Tunnel. Edward and company is running, and then come to a sudden standstill. Through their heightened senses, they hear the fast approach of the Volturi guard. Jasper looks at Edward.
EDWARD
You're right, Jasper.
Edward runs off with Bella, leaving Alice and Jasper behind.
SEQ. INT. Cullen Living Room. Early evening. Carlisle is on the phone, while Esme is seated near him. Rosalie is staring out the window with Emmett nearby.
CARLISLE
Hello, Charlie. I called to let you know that Alice has gotten in touch with us and said that she and Bella are in Italy. I'm sorry, Charlie, but I don't have any more information. Yes, of course.
Carlisle puts down the telephone.
ROSALIE
None of them might come back. Bella, Edward, Alice, Jasper…
ESME
There must be something we can do.
CARLISLE
I'm afraid we can do nothing but wait. And hope…
SEQ. INT. Subterranean Crossroads. Edward slides Bella off his back and points her into one of the tunnels.
EDWARD
Bella, love, follow this tunnel to its very end. It will lead out of the city. No matter what happens, no matter what you see, hear, feel or sense, keep moving forward and get out of here.
BELLA
No!
EDWARD
Please, Bella. Please. Once you reach outside, call Carlisle.
Edward tucks a piece of paper into her jeans' pocket.
EDWARD
He'll arrange for you to get back to Forks. I promise that I'll follow as soon as possible.
BELLA
Edward…
Edward hugs her tightly, and then releases her to put the hood over her head and zip up Jacob's jacket.
EDWARD
Make sure to wear this jacket. The Volturi do not know its scent. It will help hide your trail. Go!
Edward pushes her in the right direction. Bella looks back.
EDWARD
Go! Please, Bella! I promise that I'll follow soon.
Bella reluctantly begins to half-run, stumbling a little, as she goes into the tunnel. Edward stares after her and then begins a false trail in another tunnel.
SEQ a. INT. Subterranean courtyard. Alice and Jasper are fighting a losing battle with the Volturi guard. Edward jumps in to join the fray. As soon as Demetri spots him, he signals Felix. The Volturi guards throw something to the backs of the three battling vampires, which turn out to be small vampires who cling tightly to Edward, Alice and Jasper while holding a scimitar (a curved sword that's perfect for decapitation) to their necks. The three reluctantly cease fighting.
SEQ b. INT. Subterranean courtyard. Edward, Alice and Jasper are kneeling on the floor with bent heads, the scimitars held at the ready to their necks by the small Volturi guards. A blazing fire is burning nearby.
FELIX
Where's the human female?
Felix sniffs the air.
FELIX
What have you done? I can't trace her scent. Or hear her heartbeat.
Felix gestures to one of the Volturi guard, who throws to him another scimitar. Felix runs the tip threateningly over the fingers of Alice's hand. Jasper and Edward growl. Alice throws them a look of caution.
FELIX
Seems such a waste to have a fire without something to burn in it. Do you like our scimitars? They can just rip your heads off, of course, but we've found it more civilized to use the scimitars.
Demetri raises his head, with an unusual frown on his face. He shakes his head to signal Felix he can't find Bella, and to proceed to the next course of action.
FELIX
Aro wants to meet your little Bella.
Edward growls at him. The scimitar is immediately within a centimeter of his neck. Alice glares at Edward. Felix smiles at his reaction.
FELIX
Instead of searching for her, I think we have to persuade Bella to come to us. Now what could possibly convince her to accept our invitation? Something irresistible. (imitating Edward's voice) Bella! Bella! Bella!
Felix goes around the courtyard shouting Bella's name in Edward's pleading voice, making sure the sound goes into all the tunnels.
SEQ. INT. Subterranean tunnel. Bella hears Edward calling her. She stops then determinedly continues forward. She sees a small light that indicates she's near the exit. She moves faster towards the light, despite the calls of Edward.
SEQ. EXT. City Walls. Bella pushes the stone door and exits. She hurriedly removes Jacob's jacket and stuffs it in some nearby bushes.
SEQ. INT. Subterranean courtyard. Felix can be heard shouting Bella's name in Edward's voice in nearby tunnels. Felix returns to the courtyard.
FELIX
It's been an hour.
Demetri looks at him impassively.
FELIX
Bella! Bella!
They hear a sound. Demetri signals the Volturi guard. Within seconds, they return with Bella.
BELLA
I'm sorry, Edward.
SEQ. INT. Volturi Court. Bella, Edward, Alice and Jasper enter the well-lit court, flanked by the guard. Demetri offers his hand to Aro. Aro greets them even as he reads Demetri's mind. Marcus and Caius are beside Aro.
ARO
Edward! We are so very pleased to welcome you back! And, of course, Alice and Jasper! And this must be the lovely Bella. Also on behalf of Marcus and Caius, I welcome you all to Volterra on St. Marcus Day!
EDWARD
On behalf of my companions and myself, we thank you for your kind reception.
ARO
Oh, forgive me. We haven't been introduced properly at all, have we? It's just that I feel like I know you already when I read Edward's mind yesterday. Jasper, the mighty warrior who has survived thousands of vampire attacks. Fascinating Alice, who can see the things yet to come. And, the captivating Bella, the one exception to Edward's impressive talent.
Aro focuses on Bella.
ARO
I was wondering, since our talents are similar, may I try to see if you are an exception for me as well? But my talent requires physical contact, so if you would be so kind as to raise your hand?
A terrified Bella looks at Edward for guidance, who nods slightly. Bella raises her hand as requested. Aro touches his hand to hers. His confidence changes to doubt, incredulity then a friendly mask.
ARO
A first. I wonder if she is immune to our other talents… Jane, dear?
A roar rips out from Edward. Jane beatifically smiles at him. Edward collapses and silently writhes in pain on the ground. Jasper and Bella make a slight movement towards Edward as if to help him. Alice grabs Bella by the shoulders to stop her. Jane smiles at Jasper. Jasper falls to the floor in pain, an occasional hiss escaping from his lips.
ARO
Alice, if you please…
Alice reluctantly releases Bella and takes a couple of steps away from her. Bella looks at the writhing figures, then raises her head to meet the gaze of Jane, prepared to be tortured as well. Jane smiles at Bella. But nothing happens. Jane increases the intensity of her efforts, glaring at Bella. Aro laughs delightedly and touches Jane on the shoulder.
ARO
Don't be put out, dear one. She confounds us all. Cease and be at peace.
Edward and Jasper spring lithely to their feet, and, together with Alice, form a circle around Bella. Marcus touches Aro's palm briefly.
ARO
(to Marcus) Thank you.
Marcus moves away towards the windows.
ARO
(to Edward and company) Marcus is surprised at the intensity of your family's ties with one another. (to Alice) Your brother seems to think you infallible, but, apparently, there was some mistake.
ALICE
Oh, I'm far from infallible. As you can see today, I cause problems as often as I cure them.
ARO
You're too modest. I've seen some of your more amazing exploits, and I must admit I've never seen anything like your talent. Wonderful! (to Edward) You see, Edward? What did I tell you? Aren't you glad that I didn't give you what you wanted yesterday?
EDWARD
Yes, Aro, I am.
ARO
I adore a happy ending. They are so rare. Ah, the bliss of true love. And the tragedy of its loss.
Aro glances briefly at Marcus then turns his gaze back to Edward and company.
ARO
My young friends, we are in a quandary. You have broken our most basic of laws by telling Bella of our secret existence.
Edward tries to speak, but, Aro raises his hand.
ARO
But, let it not be said that the Volturi are not merciful. Alec, leave their sight and hearing.
Alec looks in the direction of Edward and Jasper. A mist travels from him and surrounds the two male vampires.
EDWARD
No!
ARO
We, Marcus, Caius and I, will spare all of you. But we claim Bella. Only her life will be forfeit.
With Alec's mist, Edward and Jasper are incapacitated. They cannot move nor speak. However, their sight and hearing are intact, and they are still aware of the proceedings. Aro beckons to Bella to come closer to him. Bella is forced by the Volturi guards to move forward.
ARO
I'm so curious, you see. Edward, do you know that we have a name for her? La Tua Cantante. Her blood sings for you. Just remembering the siren call of her blood through your memories makes me thirsty.
Aro sniffs delicately.
ARO
Ah- The bouquet is tantalizing.
Aro lowers his head towards Bella's neck.
ARO
I shall sip her like a fine wine.
Aro suddenly turns to Marcus and Caius.
ARO
Marcus! Caius! I have a wonderful idea! I haven't seen a prospective talent so promising since we found Jane and Alec. Shall I invite Bella to be one of us?
Without waiting for an answer, Aro turns back to Bella.
ARO
My dear Bella, since Edward is unwilling, shall I give you the immortality that you long for? You shall be free to go afterwards, of course, but, we would be utterly delighted if you decide to join our company.
Bella is totally confused and terrified. Alice steps forward with her hand raised. Aro eagerly takes her hand, and then laughs in delight at the images, especially the vampire version of Bella who is shown tracking and then attacking a hunter in the woods. As she bites his neck, her eyes are clearly tinted with red.
ARO
That was fascinating! To see the things that you've seen- especially the ones that haven't happened yet!
ALICE
But that will.
ARO
Yes, yes, it's quite determined. Alec, that will be all, thank you.
The mist disappears. Edward and Jasper are immediately beside Bella and Alice.
EDWARD
Then we are free to go now?
ARO
Yes, yes. But please visit again. It's been absolutely enthralling!
CAIUS
And we will visit you as well. Were I you, I would not delay too long. We do not offer second chances.
The sounds of an excited group can be heard approaching the doors.
CAIUS
I think it would be best if you leave now. Accidents do happen.
EDWARD
We shall follow your advice.
ARO
Goodbye, young friends. And, remember, we would always consider you as excellent additions to our elite company. Send my regards to Carlisle.
Edward nods tightly. The doors open to let a whole group of tourists come in. The attention of the Volturi court of vampires is diverted towards their prey.
ARO
Welcome, guests! Welcome to Volterra!
SEQ . INT. Volturi Court Hallway. Edward and company hurriedly walk away from the closed court doors, but they cannot escape the sound of terrified screams.
SEQ. INT. Private plane interiors. Bella is wide awake on Edward's lap, who cannot let go of her, and is continuously kissing her hair, forehead, etc., but never the lips.
FLIGHT ATTENDANT
Sir, is she all right? Does she need to go to a hospital?
Edward ignores the FA. Jasper responds to avoid any delay.
JASPER
(soothingly) No, she's just very tired. Thank you.
FLIGHT ATTENDANT
Sir, she has to wear the seat belt or we can't take off.
Edward puts the seat belt on both of them.
JASPER
Could you let this be an exception? They're newlyweds. Just coming home from the honeymoon.
FLIGHT ATTENDANT
Sir, it's against regulation.
Jasper uses his talent for persuasion. The FA's stern face relaxes.
FLIGHT ATTENDANT
Yes, of course, it's alright.
JASPER
Thank you for understanding.
SEQ, INT. Airport. Early evening. The rest of the Cullen family members are waiting at the gates. Esme hugs Edward fiercely. Since he can't let go of Bella, she's included in the tight embrace.
ESME
Don't do that to me ever again!
EDWARD
Yes, mom.
ESME
(fervently) And, thank you, Bella.
Esme hugs Alice and Jasper next. Carlisle gives Edward a wordless hug. Rosalie approaches tentatively.
ROSALIE
I can't lose Emmett, Edward. I just can't. I'm sorry.
Behind her, Emmett makes a face at Edward asking him to please forgive Rosalie. Edward gives a curt nod.
ROSALIE
(sincerely) I'm sorry, Bella.
BELLA
It's alright. I understand.
Edward kisses the top of Bella's head.
BELLA
Carlisle, can we please have a meeting with everybody present?
CARLISLE
Of course, Bella. And, Charlie has been so worried about you for the past three days.
SEQ. INT. Cullens Dining Room. Evening. Bella is seated at the head of the table. The rest of the Cullens are seated on the remaining chairs.
ALICE
Yes.
JASPER
Yes.
EMMETT
Hell, yeah.
ROSALIE
No.
ESME
Yes.
CARLISLE
Edward, it's almost been a century that you've been alone. You have changed in so many ways since you've found Bella. Before, our only fear was losing her, but, now that you have chosen not to live without her… I'm sorry, Edward. You give me no choice. (to Bella) Would after your graduation be convenient for you?
EDWARD
NO!!!
ESME
Edward, please.
BELLA
(to Carlisle) Yes. Thank you.
EDWARD
Alright.
Edward grabs Bella into an embrace, and arches her back until her neck is exposed.
EDWARD
I will bite you myself. On one condition.
BELLA
(warily) What?
EDWARD
Marry me.
Bella is dumbstruck and then recovers by going out of Edward's arms.
BELLA
No!
ALICE
(excitedly) Oh, we're going to have a wedding! I have the perfect gown!
ESME
You'll make such a lovely bride! I can finally use all the fine china!
Emmett picks up Bella.
EMMETT
Welcome to the family! (laughs)
Edward smiles smugly at Bella's horrified face as Emmett twirls her in a circle.
SEQ. EXT. Swan Porch. Late evening. Charlie snatches a sleeping Bella from Edward's arms.
CHARLIE
Give her to me! Get out of here or I'll arrest you for trespassing!
Charlie slams the door in Edward's face. Edward goes down the steps.
EDWARD
Consider us reminded of the treaty. And we've found no trace of Victoria on our side of the line — have you?
Jacob comes out from the trees, but, maintains his distance.
JACOB
No. She bailed when she caught your little female's scent. She hasn't come near our lands since.
EDWARD
When she comes back, she's not your problem anymore. We'll -
JACOB
She killed one of our people! She's ours!
Edward is quiet for a moment.
EDWARD
Thank you. I will never be able to tell you how grateful I am for keeping Bella alive. I will owe you for the rest of my…existence.
Jacob gives him a mental picture of Bella's state while he was gone, all the dangers she went through and their special moments together, including the tender embrace and kiss Bella gives him before she goes away with Alice.
EDWARD
I'm a quick learner, Jacob Black, and I don't make the same mistake twice. I'm here until she orders me away.
CHARLIE
(shouting from inside the house) I'm coming out with my shotgun if I don't hear that car of yours moving away from my house!
EDWARD
May the best man win.
JACOB
May the best human win.
EDWARD
Touche.
CHARLIE
I'M WAITING!
Sound effect of a shotgun being cocked.
SEQ. INT School stage. The Capulets and the Montagues are engaged in a sword fight. Angela, who's playing the ruler of the land, enters to stop the brawl. Edward, who's embracing Bella from behind, watches the play from the wings.
ANGELA / PRINCE
Put up your swords; you know not what you do.
BELLA
I'm not marrying you, you know.
EDWARD
Ouch. You wound me.
ANGELA / PRINCE
Once more, on pain of death, all men depart.
BELLA
Why can't -
EDWARD
Oops. Cue for swords…
Edward flits to where the actors are exiting so that he can get the swords. Bella looks at him in consternation. Edward winks at her, puts away the props and returns to her.
BELLA
Isn't that dangerous? Someone might see you.
EDWARD
The darkness blinds their eyes.
SEQ. INT. School stage. The play has progressed to the famous Romeo and Juliet Balcony Scene. Bella and Edward are watching from the wings. Bella is distracted because Edward is kissing her on the forehead, hair, tip of the nose, etc. (but not the lips).
JESSICA / JULIET
What satisfaction canst thou have to-night?
EDWARD / MARK / ROMEO
The exchange of thy love's faithful vow for mine.
EDWARD
Yes?
BELLA
No.
To persuade her, Edward resumes kissing her.
EDWARD
How long can you resist? You're a teenager with raging hormones.
BELLA
I am not!
Bella proves him correct by searching for more kisses. Edward chuckles in amusement.
EDWARD
Excuse me, my love. The balcony awaits.
Edward rushes off to exit the balcony set.
SEQ. INT. School stage catwalk (walkway in the flies above a theater stage). Bella is kissing Edward's jaw, etc. When she tries to kiss him on the lips, he puts a finger on her lips to stop her. Onstage, Romeo and Juliet's kissing is halted by the priest.
EDWARD / ERIC / FRIAR LAURENCE
For, by your leaves, you shall not stay alone
Till holy church incorporate two in one.
EDWARD
Yes?
BELLA
No. Edward, please…
EDWARD
All you need to do is say yes. Yes?
Mutinously, Bella turns away. Edward hauls her to his lap. Bella doesn't protest.
BELLA
So where were you these past eight months?
EDWARD
Tracking Victoria, which I'm very poor at. She led me all the way to South America. And then doubled back to Forks. I never even realized it. But, don't be afraid. Victoria is going to die. Soon.
BELLA
So you were nowhere near Forks?
EDWARD
Bella, do you honestly think I would have been able to stay away if I had known Victoria and Laurent were stalking you? I would have been back within 24 hours, if that were the case.
BELLA
It's just that I kept seeing you.
Edward caresses Bella's face.
EDWARD
I have wished so many times for sleep to claim me so that I may dream of you. Of you and I together.
BELLA
That's not what I meant. You see, whenever I was in danger…I could remember you more clearly. Just as if you were standing right next to me. And, well, I wonder if the reason I could see and hear you so well was, because, underneath it all, I always knew that you hadn't stopped loving me.
Edward embraces Bella.
EDWARD
My sweet. You will never be in any danger again. I swear. I only left because I wanted you to have a chance at a normal, happy, human life. I'll never be strong enough to leave again. What I want and need is to be with you. I cannot exist without you.
SEQ. INT. School stage catwalk. As she remembers what happened in Volterra, Bella, with tears in her eyes, watches the deaths of Juliet and Romeo. Edward kisses her tears away to comfort her.
SEQ a. INT. School stage. Romeo drinks the poison.
MARK / ROMEO
O true apothecary!
Romeo dies beside Juliet.
SEQ b. INT. School stage. Juliet plunges the dagger into her breast.
JESSICA / JULIET
O happy dagger!
Juliet slumps near Romeo.
SEQ c. INT. School stage. The Capulets and the Montagues surround the dead young lovers.
ANGELA / PRINCE
For never was a story of more woe
Than this of Juliet and her Romeo.
SEQ. INT. School stage catwalk. Edward flits to the side and returns immediately with a large bouquet of ruffled tulips (the same flower on the New Moon book cover). Edward gestures to the red and white flower.
EDWARD
Red tulips mean true love.
BELLA
You love me.
EDWARD
Truly, I do. White tulips mean forgiveness. Can you ever forgive me, Bella? I was so stupid to think…
Bella pulls out a ruffled tulip and gives it to him.
EDWARD
I'm so unworthy of your forgiveness.
Edward kisses the inside of her wrist.
BELLA
You have forever to make up for it.
Finally, Edward kisses Bella on the lips. One of his hands releases the nets of tulip petals on the bowing cast. The cast looks up in pleased surprise, but do not see the lovers on the catwalk.
To read Part 3 — Close to Home, please click here.
To read Part 2 — Shattered Pieces, please click here.
To read Part 1 — Severed Ties, please click here.
Lorna Lopez aka ATwilightKiss Notes This script version is my attempt to reconcile the literary world with the more visual medium of film. Just like in the Lord of the Rings, changes will be made to accommodate a driven story line, time constraints, and attention to character development.
The Wife of Marcus The story of Marcus and his wife, Didyme, is written on Stephenie Meyer's site.
Jasper Hale I included Jasper in the Volterra scenes to strengthen the true love theme; plus, since he can basically read Alice, I thought it would be more logical for him to know that she is lying. As Stephenie Meyer described their relationship in Midnight Sun, Chapter 1, First Sight, “[It] was Alice and Jasper who knew each other's mood as well as their own. As if they could read minds, too- only just each other's.”
Once he learns that Bella and Alice are going to Italy, he informs Carlisle that he's going too. Although Esme tries to persuade him otherwise, Jasper would not be dissuaded. When he talks to Alice on the phone, he is already in Italy, albeit a little bit behind them. He arrives in Volterra just as the trio is trying to escape from the Volturi guard and follows them down into the subterranean tunnels.
And, since Jasper tried to kill Bella in the beginning of the film, I thought it would be fitting to have his character be part of the attempt to save her life in the end.
The Futility of Hiding Bella Edward's plan of hiding Bella from the Volturi, as he proposed during the Vote chapter in New Moon, is played out in this unofficial script when they were attempting to escape.
Although Bella may not be found by Demetri, the others can be; and, owing to Bella's nature of self-sacrifice, will likely cause any endeavor to hide her to be futile. Her nature to be responsible also had her removing Jacob's jacket before going back to surrender to the Volturi to ensure that the werewolves' existence remains a secret.
Alec Alec's powers have been described by Edward in the Happily Ever After chapter in Breaking Dawn as “[cutting] off all sense and feeling” so that “no one can run when the verdict is given.”
I added control to Alec's talent by enabling him to choose which senses to affect, thus, Aro can direct him to leave the sight and hearing of Edward and Jasper intact while they are immobile.
Scimitars In Stephenie Meyer's world, only vampire, werewolf and shape shifter wolf teeth have proven to be effective against the vampires' stone hard skin. I have added the feature of scimitars as a “technological” advancement by the Volturi to further enhance their reputation as the “guardians” of the vampire race. In their three thousand years of existence, it seems logical for the Volturi to have experimented and found a way to create the scimitars made out of vampire and werewolf teeth.
Ruffled Tulips Although ruffled tulips did not yield a specific meaning, the colors of red or white tulips did, “The meaning of tulips is generally perfect love. Like many flowers, different colors of tulips also often carry their own significance. Red tulips are most strongly associated with true love. White tulips are used to claim worthiness or to send a message of forgiveness.”
Although this script is based on the Twilight saga, it will be faithful to the spirit of the books, but, not necessarily be faithful in every way as to how it's presented in the books per se.
Thanks to the Lord of the Rings Team Once again, I am thankful to Peter Jackson, Fran Walsh and Philippa Boyens, the Lord of the Rings scriptwriting team, for their commentary on the extended DVDs; because, aside from their passion and commitment to being faithful to the books, they were also driven to push the story forward for the film medium.