iM tOtaLLY iN-LoVEd wITH ThIS hOUSE..fROM iTS ARCHITECtURE TO tHE pERSONALiTY UP TO iTS aTTItUDE.

I found this house so ADDICTIVE.=p

I aDmIT,.. i ReALLY lOVE tROPICAL dESIGN AND The first Time I saw the House at the movie TWILIGHT, I keep sUrfing The net to Find Details abOut It.

It is popuLarly known As the CULLEN HOUSE.. But in ReaLity.. ITs the HOKE HOUSE.. Design BY Arch.’t. Jeff Kovel of SKYLAB architecture.

This is the living area– color scheme came so neutral–it binds outdoor to its interior…=p

Hmmn.. I guess even human can live here EDWARD!.,,hahaha..=P

Edward Cullen: “What did you expect? Coffins, and dungeons and moats?”
Bella: “Um..not the moats.”..

AI..talaga naman.. I dont have the strength to get off this house anymore…hahaha

The amazing symmetry and rough floor looks great, and the (perhaps over used) hanging lamp looks great in this living room.

How did I got here?…

The funny side–my brother thought i Love Robert Pattinson..lol

He didn’t know that im SICK—desperately in-LOVE with this one..=p

Sino bang hindi..?!

Amazing bathroom window/skylight would allows its users to feel very free and open when stripped down and having a shower.

At parang ang sarap yatang mag-babad sa TUB na ito…di ba?..hahaha=p

This portion of the house made me remember about one of my instructor…

HAH!…i can imagine how he’ll react about its atmosphere.. BONGGA YA NEH!!

hahaha=p

The contemporary boxy home is well positioned on the site, the architects have taken advantage of the natural sloping landscape and have strategically placed the home so it looks out over the greenery.

SORRY…these are just some of the picture That I can SHARE for now..hahaha=p

BAka unahan nyo pa akong ipatayo ito in the nEar future..hehehe=p

…Basta..libre lang mangarap..malay natin diba?..=p

O..sya…have enough of this BLOG… Back to CADD nako..

APplying some Filipino planning at its design…LOL=p

–Arkiprincess=p

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zaha hadid designs a plastic shoe for melissa

the brazilian footwear brand melissa has given zaha hadid the opportunity to design a shoe in plastic…
in its most fashionable state. the curvature of the limited-edition shoe is familiar from many recent projects
by zaha hadid architects, like the abu dhabi performing arts center and the london aquatic center.
‘the fluidity of our design combined perfectly with the technology of melissa’s plastic, injecting pieces
without closures or seals,’ says hadid. available in eight colours, the shoe was launched on september
18, 2008 during london fashion week. ‘it can’t be clunky - you have to really work on it like a sculpture’
she said. here are a few stills from a video showing the making of a giant zaha hadid shoe sculpture.

the shoes features zaha hadid’s signature: morphed curves, transformed into a ballet slipper.

In the era of the high-rise heel, it’s no surprise that an architect has been called upon to design women’s shoes.

Architect Zaha Hadid, known for her abilities to mould metal and glass into spectacular buildings, has joined forces with Brazilian shoemakers Melissa to create a new women’s shoe.

The £200 limited edition shoe takes on features of one of Hadid’s grand-scale designs with cut out holes for the toes and diagonally sloping straps.

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September 11th, 2001

WTC Facts:

Flight 11, 93, 175, 77   -    If these numbers are broken down, 11 actually remains the same in numerology, 93 becomes 12, 175 becomes 13 and 77 becomes 14.   11 - 12 - 13 - 14 Broken down again and you have
2 - 3 = 4 - 5.   Add them all up and break them all down!

11 + 93 + 175 + 77 = 356 = 14 = 5
11 + 12 + 13 + 14 = 50 = 5
2 + 3 + 4 + 5 = 14 = 5

Twin Towers =11 + Flight 11 + September, 11th = 33

In Freemasonry 33 is the highest degree there is.  Remember on another page I taught you one must be careful in pointing the finger at an instigator?   Well, I’ll point the finger right now.   Certain members of the U.S. Government and the U.S. Military knew the event was going to happen because they are the ones who planned it.  They worked together with Osama bin Laden to bring this event to pass.

Flight 11 was a Boeing 767-200.  It hit the North Tower at 8:45 AM EST.   The length of the aircraft is 159 feet and 2 inches.  1 + 5 + 9 - 2 (planes?) = 13.   The number 13 is used extensively within Freemasonry.  The 33rd degree Masonic Temple is located just 13 blocks north of the White House.   There are many other instances of the number thirteen within Masonry.  The Pagan mind is obsessed with numbers and symbols.

Flight 175 was also a Boeing 767-200.   This aircraft hit the South Tower.  1 + 7 + 5 = 13.  The Twin Towers were hit with planes carrying the occult signatures of ‘11′ and ‘13′, the two most important numbers in the entire occult world.  The number ‘11′ symbolizes all that is evil and imperfect [The Old World Order] and the number ‘13′ signifies rebellion against God’s constituted authority!

It is interesting that the North Tower was hit first.    In Masonic doctrine, North, is designated as the area where darkness, superstition, and ignorance dwells.  Albert Pike describes this belief: “To all Masons, the North has immemorially been the place of darkness; of the great lights of the Lodge, none is in the North.” [Morals and Dogma, p. 592]

The Elite Mason worships toward the East, because they are pagan Sun worshippers, hence the Eastern Star.   Most other Masons do not even realize this.  In their Lodges, the North is empty as a symbol of their belief about that direction.  Why do Masons believe this way about the North? The Bible states that God sits on His throne in the north [Isaiah 14:13].    By striking the North Tower first, the Illuminist Masons guiding this world into the New World Order may have been symbolically striking at God and His system, the Old World Order!

If you tie these two understandings together, you should realize why the first aircraft designated ‘11′ hit the North Tower first.  North is the direction of God’s throne.

We know who is behind the terrible tragedy simply by the occult Illuminist signature.   Osama bin Laden was only carrying out part of the plan which originated from the Illuminati.    If American, British, and Israeli Intelligence really wanted a man out of the way, they would get him no matter how rich or powerful or protected he might be. Osama bin Laden is alive today only because the Illuminati wants him to be alive.

The numbers 3, 7, 9, 11, 13, 33 , 39 have special meaning to the ELITE Freemasons.  Remember, The Brotherhood of the Serpent was founded clear back in ancient Sumeria and the one who founded it was overthrown by those who were evil.  With evil now in control it took this Brotherhood of the Serpent (Big Brother) and made several spin-offs of it.   The Bilderberg Group is one, it has 39 members in its core who are broken into 3 groups of 13.  And the 39 answers to the 13 who make up the Policy Committee.   The 13 who make up the Policy Committee answer to the Round Table of Nine.

Did you know that the original number of states within the United States of America was 13?  The Stripes on the American Flag represent this.   The Constitution also has 7 articles and was signed by 39 members of the Constitutional Convention.

The Pagan assigns numbers to objects, planets, or an idea.   One of history’s greatest Satanist’s, W. Wynn Wescott who was extremely influential in the latter part of the 19th Century explains:

“The followers of Pythagoras … referred every object, planet, man, idea, and essence to some number or other, in a way which to most moderns must seem curious and mystical in the highest degree. ‘The numerals of Pythagoras’, says Porphyry, who lived about 300 A.D., ‘were hieroglyphic symbols, by means whereof he explained all ideas concerning the nature of things’, and the same [numeric] method of explaining the secrets of nature is once again being insisted upon in the new revelation of the ‘Secret Doctrine’, by H.P. Blavatsky. ‘Numbers are a key to the ancient views of cosmogony — in its broad sense, spiritually as well as physically considered, to the evolution of the present human race; all systems of religious mysticism are based upon numerals. The sacredness of numbers begins with the Great First Cause, the One, and ends only with the nought or zero — symbol of the infinite and boundless universe’.” [The Occult Power of Numbers, W. Wynn Westcott, p. 15.]

The entire World Trade Center event was underlined with the occultic number 11.  Occultists all over the world knew exactly what had happened and who did it.

Idols of past pagan societies have been formed in the likeness of fish, birds, animals, the Sun, the Moon and the Stars.   The mathematics underlying science and science itself they also worship.  Inherent power is what they believe numbers possess.

To understand this fact, you need to understand that the occultist literally fulfills Paul’s explanation of a pagan, of a Satanist, in Romans 1:25, “… they exchanged the truth of God for a lie and worshiped and served the creature rather than the Creator …“

There are events in the past which have the number 11 associated with them.

The Illuminati ended the First World War according to Albert Pike’s occult plan to produce Antichrist.   They deliberately ended it on the 11th hour, on the 11th day, on the 11th month.  (11 x 3 = 33)  The signing of the Armistice agreement was undergirded by three eleven’s!

We have zeroed in on the number 11, because this tragedy is undergirded by this number.

Why is the number 11 important to the occultist?  As Wescott explains, “… so 11 is the essence of all that is sinful, harmful, and imperfect.” [Ibid., p. 100] Thus, while 11 is very important, multiplication’s are also important, such as 22, 33, 44, 55, 66, 77, 88, and 99.

Let’s examine representations of various eleven’s woven into this terrible tragedy.

1. The first 11 is formed by the day on which this tragedy occurred, September 11.

2. The second 11 is formed by adding the 9th month, September, and the date, [9 + 1 + 1], forming another 11.

3. The third 11 is formed by the airplane number that first crashed into the World Trade Tower. That plane was American Airlines Flight #11.

4. The fourth 11 is formed by the airplane number that crashed into the Pentagon. That plane was United Airlines Flight #77 [11 x 7].

5. The fifth 11 is formed by the North Twin Tower of the World Trade Center was 110 stories tall [11 x 10]

6. The sixth 11 is formed by South Twin Tower, the World Trade Center was 110 stories tall [11 x 10]

7. The Architecture of the Twin Towers [ 11 ] of the World Trade Center — Satanists love to express their beliefs and their goals in architecture. Thus, many of the buildings of Washington, D.C., were created originally with occult symbols on them, and in them. This fact is the reason why the street designs are created in such a way as to form Satanic symbols. The streets north of the White House form an inverted Pentagram, the Goatshead of Mendes, while the streets joining the White House to the Capitol form one side of a Masonic Compass, while other streets form the Masonic Square and Rule.

8. The eighth ‘11′ is formed by one of the doomed flights, where the crew totaled ‘11′.

9. The ninth ‘11′ is formed by the fact that September 11 is the 254th day of the year. When you add 2 + 5 + 4 you get ‘11′

10. The tenth ‘11′ is formed because, after September 11, there are 111 days left in the year.

11. The eleventh ‘11′ is formed by the historic fact that New York State was the 11th state to join the Union in preparation to create the 13-state confederation that would declare independence from England.

We have at least 11 firm and fundamental instances in which this tragedy was carried out “by the numbers” just as any Illuminist would want, because they believe a good plan can fail unless it is carried out according to the correct numbers sacred to the Satanist. The more numbers, the greater the chance of success. This very strong numeric signature on this attack clearly sends a signal to the rest of the occult world that this event was Illuminist, and that it signaled the beginning of a further series of events that will bring the world to the coveted Third World War that will produce Antichrist.

Freemasonry and the Illuminati go together like peanut butter and jelly.   The Illuminati proudly display their New World Order logo, the pyramid with the All-Seeing-Eye on the reverse of the American one Dollar bill.  This graphic shows evidence that the Illuminati are linked to Freemasonry.  The graphic is a scan of a page from a Masonic bible.  You can see the ink on the reverse of the page on the right-hand side which says “Holy B” or “Holy Bible”.    Notice the Illuminati symbol on the top of the page (the All-Seeing-Eye)?

In numerology, A = 1, B = 2, C = 3, D = 4, and so on.   There are 33 sections are within the emblem of the United Nations.  U (21) N (14) = (2+1=3)  (1-4=3)  3 and 3 make 33  U.  N. United Nations.    33 is the highest obtainable degree within Freemasonry.

“No one will enter the New World Order unless he or she will make a pledge to worship Lucifer. No one will enter the New Age unless he will take a LUCIFERIAN Initiation.” (David Spangler, Director of Planetary Initiative, United Nations)

When the Illuminati assassinated President Kennedy, he was killed according to the occult number signature of eleven [11]. He was killed in the 11th month, on the 22nd day, and on the 33rd parallel. He was also killed in the Masonic Dealey Plaza, the most powerful secret society in the world today to whom the number 11 is extremely important.

The Master Number

As before mentioned, the number 11 has special significance.   In Numerology it is not reduced to a single digit.    It is a power number as is 22, 33 etc.   The number 11 represents the vision. The number 22 combines vision with action.   The number 33 offers guidance to the world.  The master numbers 11, 22, and 33 represent a triangle.   A triangle of enlightenment or illumination.

33
11 22

July 6, 1946 was George Bush’s birthday.   It can be reduced to the power number 33:
7/6/1946 => 7 + 6 = 13, 1946 => 1 + 9 + 4 + 6 = 20.       20 + 13 = 33 .. .. 11 + 22. George is a member of Skull and Bones (a spin-off of the Brotherhood) just like his father and grandfather.  Seems old Dubya is a master in more ways than just President of United States.  There is more to George’s name then meets the eye as you will soon find out.  First let’s look at what else the occult has to say about its ‘master number’.

• 11 is a “master number or “power number” as most numerologists will testify.  It is a number which cannot be reduced by adding the two digits.  11 is associated with someone who is on a higher plane of existence.    Someone who brings “mystical revelation”.   Someone who often feels slightly distant from the people surrounding him or her, and has trouble feeling any real empathy for them.   Also, this is sometimes the number of the matyr.

• The blue cord of the mason masters is large of 11 cm.

• The Hebrews concider it to be a bad number.

• The Number of the knowledge of God is 11.  According to Arabs, this one passing by 11 steps.

• In the Golden Dawn, There are also 11 steps, or degrees,. Aleister Crowley revered this number as well when he said that the whole object of magick was the 5 (black, yin, pentagonal) with 6 (white, yang, hexagonal) – thus making 11!

• The general number of magic or sorcery and magicians. The individual in confrontation with the world. The number of war and the battle with the demonic element (The images of the destruction played over and over again could certainly be considered mind-control-sorcery).

• The symbol of Martyrdom.

• Symbol of the interior flight, the rebellion and the mislaying which results from it.

• The trangression of the law is represented by 11 because of it exceeding the number ten by 1.  That is the one of the Decalogue.    According to Saint Augustin, it represents the sin.  The punishment of the wicked is asked in Psalm 11 (Vulgate numbering).   This symbolism is confirmed by theoretical speculations.   If you added all numbers from 1 to 11 they will equal 66.  And by multiplying 11 by 6 (the number of evil) you get 66.   If you added the two digits together it is reminiscent of the Roman number II (number of both the division and corruption).

• 11 is the number expressing more than human sin in general or cosmic. According to R. Allendy.

To to the Jews the number 11 is bad.   The number of trangression of the law, rebellion, war, sin, sorcery, martyrdom; all of which were displayed to the whole world on 9/11.

The Pythagorian Table is numbered 1 to 9 each place having certain letters of the alphabet associated with them.   The Chaldean Table works in a simialar way except it is numbered 1 to 8 and the letters associated with each number are differ as well.   You will find that there are many connections to the number 11 in birthdates, names and places and these charts.    Numerologists use these two methods for calculation with the Chaldean table being the oldest and most accurate.

PYTHAGOREAN CONVERSION TABLE

CHALDEAN CONVERSION TABLE

Numerologists use the above charts to calculate the number of names and birthdates.   Below are two examples:

The Pythagorean Method

S 1

+ +

E 5

+ +

P 7

+ +

T 2

+ +

E 5

+ +

M 4

+ +

B 2

+ +

E 5

+ +

R 9

= 40 => 4 + 0 = 4

The Chaldean Method

S 3

+ +

E 5

+ +

P 8

+ +

T 4

+ +

E 5

+ +

M 4

+ +

B 2

+ +

E 5

+ +

R 2

= 38 => 3 + 8 = 11

Using the Chaldean method “September” adds up to another 11.   These two charts are used by the Illuminati.  The Chaldean was probably used in the days of the Tower of Babel by Babylonian priests.

Take all the letters in “George W Bush” and add them up:

G + E + O + R + G + E (3 + 5 + 7 + 2 + 3 + 5) =	25
W ( 6 )	6
B + U + S + H ( 2 + 6 + 3 + 5 ) =	16
Sum——————————————–>	47 ( 4 + 7 = 11)

Surprised?  no?  Here's more: 

Flight 11 was the first to enter “New York City” (11 letters). There were 92 (9 + 2 = 11) souls on board, including the 11 crew members, when it slammed into the North Tower:

                 N + O + R + T + H
                 5 + 7 + 2 + 4 + 5 = 23
                                      +   => 47
                 T + O + W + E + R         4 + 7 = 11!
                 4 + 7 + 6 + 5 + 2 = 24

Flight 175 had 65 (6 + 5 = 11) on board, it struck the South Tower; each tower having 110 stories. 

Flight 77 (11 x 7) crashed into the Pentagon:

F + L + I + G + H + T     8 + 3 + 1 + 3 + 5 + 4 = 24 + 77 => 7 + 7 = 14 => 38 => 3 + 8 = 11
P + E + N + T + A + G + O + N   8 + 5 + 5 + 4 + 1 + 3 + 7 + 5 => 38 => 3 + 8 = 11

---

For thousands of years the global elite (members of the Brotherhood) have communicated via symbology.   Just like all the events listed on the “Table of Coincidence” which coincide with the astronomical alignments of 19.5 and 33 degrees the September 11th event was planned as well

There are many reasons for the attack, one is to bring America into war and another is to further the destruction of the economy.    As days pass we are getting closer and closer to Anti-Christ.  It can be stopped.   If YOU want it to.

When America goes to war it will be fighting a war which was planned along time ago.   One sure way to stop their plan is to show Military personnel who the true enemy is.   Then Military people wouldn’t carry out their plan.   All they do is make people suffer and fight wars in the name of their God, Satan.

Prophecy is nothing more then a collection of future events which are agreed upon by men.

George W. Bush’s birthday equals the master number 33, and it was Bush whose name equals the master number 11 who ordered all flags be flown at half-mast until September 22!   Sept. 22 is 11 days after the event.  It completed the triangle 11, 22, 33.

The number 9 is left out because it is sacred to the Illuminati.   5/5/1776 is when the Illuminati was founded.    5 + 1 + 1 + 7 + 7 + 6 => 27 = 2 + 7 = 9

See also here for 11:11 phenomenon

http://site.uri-geller.com/en/are_your_eyes_attracted_to_11_11

In the days following the September 11, 2001, terrorist attacks on the World Trade Center in New York City, the world was searching for answers to one question: “could it have been prevented?” In the absence of facts, many began looking for coincidences that could possibly give some insight. This chain could be the result of desperate folks grasping at straws, but is more likely an unfunny joke crafted by someone with too much free time.

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Bella Swan has always been a little bit different. Never one to run with the crowd, Bella never cared about fitting in with the trendy, plastic girls at her Phoenix, Arizona high school. When her mother remarried and Bella chooses to live with her father in the rainy little town of Forks, Washington, she didn’t expect much of anything to change. But things do change when she meets the mysterious and dazzlingly beautiful Edward Cullen. For Edward is nothing like any boy she’s ever met. He’s nothing like anyone she’s ever met, period. He’s intelligent and witty, and he seems to see straight into her soul. In no time at all, they are swept up in a passionate and decidedly unorthodox romance - unorthodox because Edward really isn’t like the other boys. He can run faster than a mountain lion. He can stop a moving car with his bare hands. Oh, and he hasn’t aged since 1918. Like all vampires, he’s immortal. That’s right - vampire. But he doesn’t have fangs - that’s just in the movies. And he doesn’t drink human blood, though Edward and his family are unique among vampires in that lifestyle choice. To Edward, Bella is that thing he has waited 90 years for - a soul mate. But the closer they get, the more Edward must struggle to resist the primal pull of her scent, which could send him into an uncontrollable frenzy. Somehow or other, they will have to manage their unmanageable love. But when unexpected visitors come to town and realize that there is a human among them Edward must fight to save Bella? A modern, visual, and visceral Romeo and Juliet story of the ultimate forbidden love affair - between vampire and mortal. Written by http://www.summit-ent.com/

Isabella Swan moves to gloomy Forks to live with her father. As she starts her junior year in high school she becomes fascinated by Edward Cullen who holds a dark secret which is only known by his family. Edward falls in love with Bella as well but knows the further they progress in their relationship the more he is putting Bella and those close to her at risk. Edward warns Bella that she should leave him but she refuses to listen and to understand why he is saying this. Bella learns his secret. He is a vampire, however she is not afraid of his blood-thirsty needs and the fact he could kill her at any moment. Bella is afraid of losing him, the love of her life. The thrill begins when a new vampire finds it a challenge to hunt Bella down for her irresistible blood. The game is on and James will not stop until she is killed. Written by courtney

Bella Swan is a clumsy, kind hearted teenager with a knack for getting into trouble. Edward Cullen is an intelligent, good looking vampire who is trying to hide his secret. Against all odds, the two fall in love but will a pack of blood thirsty trackers and the disapproval of their family and friends separate them?

James: Oh, still stubborn, aren’t we? Is that what makes you so special to Edward?

---

Isabella Swan: How old are you?
Edward Cullen: Seventeen.
Isabella Swan: How long have you been seventeen?
Edward Cullen: A while.

---

Isabella Swan: Clair de Lune is great.
Edward Cullen: [Edward spins Isabella around and she gives him a look] What?
Isabella Swan: I can’t dance
[laughs]
Isabella Swan: .
Edward Cullen: Hmm… Well, I could always make you.
Isabella Swan: I’m not scared of you.
Edward Cullen: [laughs] Well you really shouldn’t have said that.

---

[from trailer]
Emmett Cullen: This is *wrong*, Edward! She’s not one of us!

---

Jessica Stanley: Bella! Guess who just asked me to prom. I totally thought Mike was gonna ask you, actually. Um, it’s not gonna be weird though, right?
Isabella Swan: No, no. Zero weirdness. You guys are great together.
Jessica Stanley: I know, right?

---

James: Beautiful. Very visually dynamic. I chose my stage well.

---

Isabella Swan: Are you going to tell me how you stopped the van?
Edward Cullen: Yeah. Um… I had an adrenaline rush. It’s very common. You can Google it.

---

Edward Cullen: What did you expect? Coffins and dungeons and moats?
Isabella Swan: No, not the moats.
Edward Cullen: Not the moats.

---

Isabella Swan: Graduation caps?
Edward Cullen: Private joke. We matriculate a lot.

---

[from trailer]
Edward Cullen: Are you afraid?
Isabella Swan: I’m only afraid of losing you.

---

Edward Cullen: The hunt is his obsession. He’s never gonna stop!

---

Isabella Swan: [to Edward] I’d rather die than to stay away from you.

---

Edward Cullen: And so the lion fell in love with the lamb.
Isabella Swan: What a stupid lamb.
Edward Cullen: What a sick, masochistic lion.

---

Isabella Swan: Will you tell me the truth?
Edward Cullen: No, probably not.
[Bella turns away slighly angry]
Edward Cullen: I’d rather hear your theories.
Isabella Swan: I have considered radiocative spiders and kryptonite.
Edward Cullen: All superhero stuff right? But what if I’m not the hero? What if I am the bad guy?
Isabella Swan: You’re not.
[Edward smiles]

---

Edward Cullen: I only said it would be better if we weren’t friends, not that I didn’t want to be.
Isabella Swan: What does that mean?
Edward Cullen: It means if you’re smart… you’ll stay away from me.
Isabella Swan: Okay, let’s say for argument’s sake that I’m not smart.

---

Edward Cullen: That’s what you dream about? Being a monster?
Isabella Swan: I dream about being with you forever.

---

Isabella Swan: You know, your mood swings are kinda giving me whiplash.

---

Rosalie Hale: Here comes the human.
[Bella and Edward walk around the corner]
Esme Cullen: [Runs up to Bella] Bella! We’re making Italiano for you.
Isabella Swan: Okay.
Edward Cullen: Bella, this is Esme, my mother for all intents and purposes.
Isabella Swan: Buongiorno?
Esme Cullen: Molto Bene!
Dr. Carlisle Cullen: It gives us an excuse to use the kitchen for the first time.
Esme Cullen: I hope you’re hungry.
Isabella Swan: Yeah, absolutely!
Edward Cullen: She already ate.
Rosalie Hale: [Breaks the bowl she's holding] Perfect!
Isabella Swan: Yeah-it’s just that I know… I know you guys don’t eat.
Esme Cullen: Of course, that’s very considerate of you.
Edward Cullen: Just ignore Rosalie. I do.
Rosalie Hale: Yeah! Let’s just keep pretending like this isn’t dangerous for all of us.
Isabella Swan: I would never tell anybody anything.
Dr. Carlisle Cullen: She knows that.
Emmett Cullen: Yeah, well the problem is… you two have gone public now so…
Esme Cullen: Emmett!
Rosalie Hale: No, she should know. The entire family will be implicated if this ends badly.
Isabella Swan: Badly as in… I become the meal.
[Alice comes in through the window]

---

Edward Cullen: [to Bella] You are my life now.

---

Isabella Swan: [to Edward] How did you get over to me so fast?
Edward Cullen: [to Bella] I was standing right next to you, Bella.
Isabella Swan: No. You were next to your car, across the lot.
Edward Cullen: No, I wasn’t.
Isabella Swan: Yes, you were.
Edward Cullen: Bella, you hit your head. I think you’re confused.
Isabella Swan: I know what I saw.
Edward Cullen: And what exactly was that?
Isabella Swan: You stopped the van. You pushed it away with you hand.
Edward Cullen: Well, nobody’s going to believe you.
Isabella Swan: I wasn’t going to tell anybody. I just need to know the truth.
Edward Cullen: Can’t you just thank me and get over it?
Isabella Swan: Thank you.
Edward Cullen: You’re not going to let this go, are you?
Isabella Swan: No.
Edward Cullen: Well then I hope you enjoy disappointment.

---

Laurent: [to Cullens] I am Laurent, and this is Victoria, and James.
Dr. Carlisle Cullen: I’m Carlisle, this is my family.
[looks from side to side at family]
Laurent: So, could you use three more players?
Dr. Carlisle Cullen: [glances in Edward's direction] Sure, why not? A few of us were leaving, you can take their place. We’ll bat first.
[tosses baseball at Laurent]
Victoria: [catches ball in front of Laurent] I’m the one with the wicked curve ball.

---

Edward Cullen: [shuts car door] Carlisle, what’s going on?
Dr. Carlisle Cullen: [sighs] Waylon Forge was found in a boat out near his place, I just examined the body.
Isabella Swan: He died? How?
Dr. Carlisle Cullen: Animal attack
[looks at Edward]
Isabella Swan: [glances at Edward]
[to Carlisle]
Isabella Swan: Was it the same one that got that security guard down at Mason?
Dr. Carlisle Cullen: [sighs, then glances at Edward] Most likely.
Isabella Swan: It must getting closer to town then…
Dr. Carlisle Cullen: [cuts Bella off] Bella, you should go inside. Waylon was your father’s friend.
Isabella Swan: Okay.
[glances at Edward and walks up stairs]
Isabella Swan: [turns around to Carlisle then to Edward] Um, I’ll see you later.
[Carlisle turns to Edward]

---

Isabella Swan: Look, You gotta give me some answers.
Edward Cullen: Yes. No. To get to the other side. Uh, 1.77245…
Isabella Swan: I don’t need to know what the square root of pi is.
Edward Cullen: You knew that?

---

Billy Black: [to Bella] We came for your flat-screen. And because Jacob wouldn’t stop talking about seeing you again.
Jacob Black: Thanks, Dad. Nice.
Billy Black: I’m just keepin’ it real, son.

---

Eric Yorkie: Cute, Mike. Let a playa play!

---

Rosalie Hale: [after Edward asks her to put on Bella's coat to distract James] Why should I? What is she to me?
Dr. Carlisle Cullen: [Hands her the coat] Bella is with Edward. She’s a part of this family, and we protect our family.

---

Edward Cullen: I should go back there and rip those guys’ heads off.
Isabella Swan: Um… No, you shouldn’t.
Edward Cullen: You don’t know the vile, repulsive things they were thinking.
Isabella Swan: And you do?
Edward Cullen: It’s not hard to guess.
Edward Cullen: Can you talk about something else? Distract me so i won’t turn around.
Isabella Swan: You should put your seat belt on.
Edward Cullen: Haha… you should put your seat belt on!

---

Rosalie Hale: [after Emmett catches the baseball by climbing a tree] My monkey man!

---

Eric Yorkie: [to Bella] So I was wondering… if you have a- a da…
Mike Newton: [shakes wet hat over Bella's head] ’sup Arizona? How you likin the rain girl?
Eric Yorkie: Yeah, Mike, you’re real cute you know that?

---

Mike Newton: What’s sup, Arizona? How you likin’ the rain, girl?

---

Isabella Swan: Everyone’s staring.
Edward Cullen: No, not that guy. Oh wait, he looked.

---

Edward Cullen: I don’t have the strength to stay away from you anymore.
Isabella Swan: Then don’t.

---

Isabella Swan: Everybody’s staring.
Edward Cullen: Not that guy. No he just looked. Breaking all the rules now anyways.
[looks at Emmett, Rosalie, Jasper, and Alice]
Edward Cullen: Since I’m going to hell
[slips arm around Bella's shoulder]

---

Isabella Swan: Did you follow me?
Edward Cullen: I… I feel very protective of you.
Isabella Swan: So you followed me.
Edward Cullen: I was trying to keep a distance unless you needed my help and then I heard what those low-lives were thinking.
Isabella Swan: Wait. You say you heard what they were thinking?
Isabella Swan: So what you… you read minds?
Edward Cullen: I can read every mind in this room apart from yours. There’s… Money. Sex. Money. Sex. Cat… And then you, nothing. That’s very frustrating.
Isabella Swan: Is there something wrong with me?
Edward Cullen: See… I tell you I can read minds and you think there’s something wrong with you?

---

Isabella Swan: [Last lines] No one will surrender tonight, but I won’t give in. I know what I want.

---

Charlie Swan: Did he hurt you?
Isabella Swan: No.
Charlie Swan: Break up with you or something?
Isabella Swan: No, I-I broke up with him.
Charlie Swan: I thought you liked him?
Isabella Swan: Yea, that’s why - that’s why I have to leave. I don’t want this. I have to go home.
Charlie Swan: Home… Your mom is not even in Phoenix.
Isabella Swan: She’ll come home. I’ll call her from the road.
Charlie Swan: Your not going to drive home right now. You can sleep on it. If you still feel like going in the morning I’ll take you to the airport.
Isabella Swan: N-No I want to drive, it will give me more time to think. And if I get really tired I’ll pull into a motel I promise.
Charlie Swan: Look Bella, I know I’m not that much fun to be around but I can change that. We can do more stuff together.
Isabella Swan: Like what? Like watch baseball on the flat screen? Eat at the diner every night? Steak and cobbler. Dad that’s you, that’s not me.
Charlie Swan: Bella come on. I-I just got you back.
Isabella Swan: Yea, and you know if I don’t get out now I’ll just be stuck here like mom.

---

Edward Cullen: Hold on tight, spidermonkey.
[climbs up tree]
Edward Cullen: Do you trust me?
Isabella Swan: In theory…
Edward Cullen: Close your eyes.
[Jumps to next tree and climbs to top]
Edward Cullen: [Bella gasps] What?
Isabella Swan: This isn’t real. This kind of stuff just doesn’t exist.
Edward Cullen: It does in my world.

---

Isabella Swan: Badly as in… I become the meal.
[Alice comes in through the window]
Alice Cullen: Hi Bella!
[Walks up to Bella and hugs her]
Alice Cullen: Oh, you do smell good.
Edward Cullen: Alice, what are you-?
Alice Cullen: It’s okay. Bella and I are going to be great friends.
Dr. Carlisle Cullen: Sorry, Jasper’s our newest vegetarian. It’s still a little difficult for him.
Jasper Hale: Pleasure to meet you.
Alice Cullen: It’s okay Jasper, you won’t hurt her.
Edward Cullen: Alright, I’m going to take her on a tour of the rest of the house.
Alice Cullen: Well, I’ll see you soon.
Isabella Swan: Okay.
Dr. Carlisle Cullen: I think that went well.
Esme Cullen: [to Rosalie] Clean this up! Now!

---

Isabella Swan: [Voice-over] Death is peaceful - easy. Life is harder.

---

Victoria: I’m the one with the wicked curve ball.
Jasper Hale: Oh well I think we can handle that.

---

James: [Gesturing towards Bella's handheld camera] I borrowed this from your house. Hope you don’t mind.

---

Cora: [Handing a plate to the author of 'Twilight'] Here’s your veggie plate, Stephenie.

---

Isabella Swan: Who are they?
Angela Weber: The Cullens.
Jessica Stanley: They’re um, Dr. and Mrs. Cullen’s foster kids, they moved down here from Alaska like, a few years ago.
Angela Weber: They, kinda keep to themselves.
Jessica Stanley: Yeah ’cause they’re all together, like TOGETHER together. Uh, the blonde girl, that’s Rosalie, and the big dark-haired guy Emmett, they’re like a thing, I’m not even sure that’s legal.
Angela Weber: Jess, they’re not actually related.
Jessica Stanley: Yeah, but they live together it’s weird-and, okay, the little dark-haired girl is Alice, she’s REALLY weird, and, um, she’s with Jasper the blonde one who looks like he’s in pain.

---

Dr. Carlisle Cullen: [to Edward, when he is attacking James] Remember who you are.

---

Dr. Carlisle Cullen: [while Edward is sucking the venom and blood out of Bella] Edward, stop. Her blood is clean. You’re killing her. Stop. Find the will.

---

Angela Weber: Smile!
[camera clicks]
Isabella Swan: Okay.
Angela Weber: Sorry, I needed a candid for the feature
Eric Yorkie: The Feature’s dead Angela, don’t bring it up again!
Isabella Swan: It’s okay, I just…
Eric Yorkie: I-I got your back baby.
Angela Weber: I guess we’ll just run another editorial on… Teen Drinking…
Isabella Swan: You know, you could always go for… eating disorders? Speedo padding on the swim team.
Angela Weber: Actually, that’s a good one…
Jessica Stanley: Kirk right?
Angela Weber: [in unison] Kirk.
Jessica Stanley: That’s exactly what I thought.
Angela Weber: We’re talking “Olympic Sized”.
Jessica Stanley: There’s no way - he’s so skinny, it doesn’t make sense.
Angela Weber: Totally.

---

Eric Yorkie: Hey, Mikey - you met my home girl, Bella
Mike Newton: Oh, you-yo-your home girl?
Tyler Crowley: My girl.
[kissed Bella's cheek, and pulls Mike's chair out from under him]
Mike Newton: [chases Tyler through Cafeteria]
Jessica Stanley: Oh my god, it’s like, the first grade all over again, you’re the shiny new toy…

---

Edward Cullen: I’m the world’s most dangerous predator. Everything about me invites you in. My voice, my face, even my smell. As if I would need any of that. As if you could outrun me. As if you could fight me off. I’m designed to kill.

---

Rosalie Hale: Is she even Italian?
Emmett Cullen: Her name is Bella.
Rosalie Hale: Get a whiff of that.
Rosalie Hale: Here comes the human.

---

Isabella Swan: I can’t bring myself to regret the decisions that brought me to Forks. They also brought me to Edward.

---

Edward Cullen: I hate you for making me want you so much.

---

Jessica Stanley: Hey you’re from Arizona right?
Isabella Swan: Yeah.
Jessica Stanley: Aren’t people from Arizona supposed to be like, reall tan?
Isabella Swan: Yeah, maybe, that’s why they kicked me out.

---

Edward Cullen: I leave you alone for two minutes and the wolves descend.

---

Edward Cullen: [pushes microscope towards Bella] Ladies first.
Isabella Swan: You were gone.
Edward Cullen: Yeah, um, I was out of town for a couple of days, personal reasons.
Isabella Swan: [pushes microscope towards Edward] Uh, prophase.
Edward Cullen: Do you mind if I uh, look?
[Bella shakes her head]
Edward Cullen: It’s prophase.
Isabella Swan: Like I said.
Edward Cullen: So you enjoying the rain?
[Bella laughs]
Edward Cullen: What?
Isabella Swan: You’re asking me about the weather?
Edward Cullen: Yeah, I-I guess I am.
Isabella Swan: Well, I don’t really like the rain. Any cold, wet thing I don’t really…
Edward Cullen: [laughs]
Isabella Swan: What?
Edward Cullen: Nothing uh,
[laughs]
Edward Cullen: it’s uh, anaphase.
Isabella Swan: You mind if I check?
Edward Cullen: Sure.
Isabella Swan: Anaphase.
Edward Cullen: [smiles] Like I said.

---

Isabella Swan: I’d never given much though to how I would die. But dying in place of someone I love, seems like a good way to go. I can’t bring myself to regret the decisions that brought me face to face with death. They also brought me to Edward.

---

Edward Cullen: You don’t know how long I’ve waited for you.

---

Billy Black: I’m down with the kids.
Charlie Swan: [sarcastically] Oh yeah, you’re the bomb.

---

Angela Weber: Maybe he’ll adopt me.

---

Edward Cullen: Edible art?
[Bella knocks over the apple and Edward kicks it up and catches it]
Edward Cullen: Bella.
Isabella Swan: Thanks. You know your mood swings are kinda giving me whiplash.
Edward Cullen: I only said it’d be better if we weren’t friends, not that I didn’t wanna be.
Isabella Swan: What does that mean?
Edward Cullen: It means if you were smart, you’d stay away from me.
Isabella Swan: Okay well let’s say for argument sake that I’m not smart, would you tell me the truth?
Edward Cullen: No probably not.

---

Edward Cullen: Why didn’t you move with your mother and Phil?
Isabella Swan: Well, Phil’s a minor league baseball player, and uh, he travels a lot, and my mom s-stayed home with me, but I knew it made her unhappy, so I figured I’d stay with my dad for a while.
Edward Cullen: And now you’re unhappy.
Isabella Swan: …no.
Edward Cullen: I’m sorry, I’m just - I’m just trying to figure you out, you’re very difficult for me to read.
Isabella Swan: Hey did you get contacts?
Edward Cullen: No.
Isabella Swan: Your eyes were, black the last time I saw you, and now they’re like, golden brown…
Edward Cullen: Yeah I know it’s the uh, it’s the flourescents, um. Ugh.
[walks away]

---

Isabella Swan: Hey dad I have a date with Edward Cullen.
Charlie Swan: He’s a little old for ya, isn’t he?
Isabella Swan: No, uh, he’s a junior I’m a junior. I thought you liked the Cullens.
Charlie Swan: I thought you didn’t like any of the boys in town.
Isabella Swan: Edward doesn’t live in town, technically. He’s right outside.
Charlie Swan: He is?
Isabella Swan: Yeah he wanted to meet you, officially.
Charlie Swan: Alright,
[cocks gun]
Charlie Swan: bring him in.
Isabella Swan: Could you be nice? He is - he’s important.
[Charlie draws invisible circle around his head, as to be a halo]

---

Mike Newton: So, you and Cullen… I don’t like it. He looks at you like your something to eat.

---

Isabella Swan: Do you do this a lot?
Edward Cullen: Just the past couple of months. I like watching you sleep. I find it fascinating.

---

Isabella Swan: [freaking out] You can’t leave me!
Edward Cullen: Shh… Where else would I go?
[he leans in to kiss her forehead]

---

Isabella Swan: About three things I was absolutely positive. First, Edward was a vampire. Second, there was a part of him, and I didn’t know how dominate that part might be, that thirsted for my blood. And third, I was unconditionally and irrevocably in love with him.

---

[notices Mike Newton dancing against a tree]
Charlie Swan: Looks like the Newton boy’s got a big smile for ya’.

---

[Edward enters Bella's room via her window]
Isabella Swan: [flustered] Mom, can I talk to you later?
Renee Dwyer: Come on, we gotta talk boys! Are you being safe?
[Bella quickly hangs up the phone, embarrassed]

---

Jessica Stanley: You guys should keep Bella company. Umm… her date bailed.
Eric Yorkie: What date?

---

Isabella Swan: Hey, did you get contacts?
Edward Cullen: No.
Isabella Swan: Your eyes were… black the last time I saw you. And now they’re like… golden brown.
Edward Cullen: Yeah I know. It’s the uh… it’s the fluorescents… Um…
[walks away awkwardly]

---

Mike Newton: Look at you, huh?… You’re ALIVE!

---

Edward Cullen: What’s in Jacksonville?
Isabella Swan: How did you know about that?
Edward Cullen: You didn’t answer my question.
Isabella Swan: Well, you don’t answer any of mine so… I mean, you don’t even say hi to me.
Edward Cullen: [pause] Hi.

---

Edward Cullen: I don’t have the strength to stay away from you anymore.
Isabella Swan: Then don’t

---

Dr. Carlisle Cullen: [to Rosalie, after she is tagged "out"] “Nice kitty!”

---

Isabella Swan: You know everybody’s staring?
Edward Cullen: Not that guy
[points]
Edward Cullen: … uh… no he just looked.
Edward Cullen: I’m breaking all the rules now anyway. Since I’m going to hell…
[puts arm around Bella]

---

Edward Cullen: [to Bella before going into the prom after Jacob leaves] I leave you alone for two minutes and the wolves descend.

---

Mike Newton: You and Cullen huh?
[bella nods]
Mike Newton: I don’t like it. He looks at you like… you’re something to eat.

---

Isabella Swan: How did you get in here?
Edward Cullen: The window.
Isabella Swan: Do you do that a lot?
Edward Cullen: Just the past couple of months.

---

Jessica Stanley: Bella! Guess who just asked me to prom.
[looks at Edward when he walks away because he was talking to bella]
Jessica Stanley: I totally thought Mike was gonna ask you, actually. Um, it’s not gonna be weird though, right?
Isabella Swan: No, no. Zero weirdness. You guys are great together.
Jessica Stanley: I know, right?

---

Edward Cullen: Was that as weird for you as it was for me?
Isabella Swan: I don’t know.
[looks at the graduation caps on the wall]
Isabella Swan: Graduation caps?
Edward Cullen: Yeah private joke. We matriculate a lot.

---

Isabella Swan: [to Edward] You’re impossibly fast. And strong. Your skin is… pale white, and ice cold. your eyes change color. and sometimes you speak like like your from a different time. you never eat or drink any thing. you don’t go into the sunlight.
Isabella Swan: How old are you?
Edward Cullen: Seventeen.
Isabella Swan: How long have you been seventeen?
Edward Cullen: …a while.
Isabella Swan: I know what you are.
Edward Cullen: Say it, out loud say it.
Isabella Swan: Vampire…
Edward Cullen: Are you afraid?
Isabella Swan: …no.

---

Isabella Swan: Edible art.
[kicks up apple]
Isabella Swan: Hello. Thanks. You know, your mood swings are kinda giving me whiplash.
Edward Cullen: I said that it would be better if we weren’t friends no that i didn’t want to be.
Isabella Swan: What does that mean?
Edward Cullen: It means if you were smart you would stay away from me.
Isabella Swan: Okay lets say for argument sake that i wasn’t smart would you tell me the truth?
Edward Cullen: No, probably not.
Isabella Swan: [Bella turns away slightly angry]
Edward Cullen: I’d rather hear your theories.
Isabella Swan: I have considered radioactive spiders and kryptonite.
Edward Cullen: That’s all superhero stuff right? But what if I’m not the hero? What if I am the bad guy?
Isabella Swan: You’re not. i can see what you trying to put off but i can see it’s just to keep me away from you. It’s a mask.
Edward Cullen: [Edward looks weirded out]

---

Isabella Swan: Badly as in… I become a meal.
[Alice comes in through the window]
Alice Cullen: Hi Bella!
[Walks up to Bella and hugs her]
Alice Cullen: Oh, you do smell good.
Edward Cullen: Alice, what are you-?
Alice Cullen: It’s okay. Bella and I are going to be great friends.
Dr. Carlisle Cullen: Sorry, Jasper’s our newest vegetarian. It’s still a little difficult for him.
Jasper Hale: Pleasure to meet you.
Alice Cullen: It’s okay Jasper, you won’t hurt her.
Edward Cullen: Alright, I’m going to take you on a tour of the rest of the house.
Alice Cullen: Well, I’ll see you soon.
Isabella Swan: Okay.
Dr. Carlisle Cullen: I think that went well.
Esme Cullen: [to Rosalie] Clean this up! Now!

---

James: You’re alone… because you’re faster than the others. But not stronger…
Edward Cullen: I’m strong enough to kill you.

---

Edward Cullen: Uh, yeah this is my room.
Isabella Swan: …No bed?
Edward Cullen: Ah no i don’t, i don’t sleep.
Isabella Swan: Ever?
Edward Cullen: No, not at all.
Isabella Swan: Ok, hmmm, boy you have so much music, what were you listening to.
Edward Cullen: It’s Debussy.
Isabella Swan: Clair de Lune is great.
Edward Cullen: [Edward spins Isabella around and she gives him a look] What?
Isabella Swan: I can’t dance.
Edward Cullen: [laughs]
Isabella Swan: …
Edward Cullen: Hmm… Well, I could always make you.
Isabella Swan: I’m not scared of you.
Edward Cullen: [laughs] Well you really shouldn’t have said that.
Edward Cullen: [he jumps out his bedroom window and lands on a tree] You better hold on tight spidermonkey!
Edward Cullen: [he climbs up tree]
Edward Cullen: Do you trust me?
Isabella Swan: In theory.
Edward Cullen: Then close your eyes.
Edward Cullen: [Jumps to next tree and climbs to top]
Edward Cullen: [Bella gasps] What?
Isabella Swan: This isn’t real. This kind of stuff just doesn’t exist.
Edward Cullen: It does in my world.

---

Isabella Swan: [to Edward] Can I talk to you for a minute?
Edward Cullen: [Edward walks away for Carlisle and Rosalie cause he was talking to them and walks over to Bella] What?
Isabella Swan: [to Edward] How, how did you get over to me so fast?
Edward Cullen: I was standing right next to you Bella.
Isabella Swan: No. You were next to your car, across the lot.
Edward Cullen: No I wasn’t.
Isabella Swan: Yes you were.
Edward Cullen: Bella you hit your head. I think you’re confused.
Isabella Swan: I know what I saw.
Edward Cullen: And what exactly was that.
Isabella Swan: You- you stopped the van. You pushed it away with you hand.
Edward Cullen: Well, nobody’s going to believe you so.
Isabella Swan: I wasn’t going to tell anybody. I just need to know the truth.
Edward Cullen: Cant you just thank me and get over it.
Isabella Swan: Thank you.
Edward Cullen: You’re not going to let this go are you?
Isabella Swan: No.
Edward Cullen: Well then i hope you enjoy disappointment.

---

Laurent: [to Cullens] I am Laurent, and this is Victoria, and James.
Dr. Carlisle Cullen: I’m Carlisle, this is my family
Dr. Carlisle Cullen: [looks from side to side at family]
Laurent: So, could you use three more players?
[looks at Carlisle's face]
Laurent: Just one game.
Dr. Carlisle Cullen: [glances in Edward's direction] Sure, why not? A few of us were leaving, you can take there place. We’ll bat first.
Dr. Carlisle Cullen: [tosses baseball at Laurent]
Victoria: [catches ball in front of Laurent's face] I’m the one with the wicked curve ball.
Jasper Hale: Oh I think we can handle that.

---

Edward Cullen: Is it not enough to have a long and happy life with me?
Isabella Swan: Yeah, for now…

---

Edward Cullen: My family, were different from others of our kind we only drink animal blood, but it you, your sent its like a drug to me you, its like your my own personal brand of heroin.
Isabella Swan: Why did you hate me so much when we met.
Edward Cullen: I did, only because of wanting you so badly, i still don’t know if i can control myself.
Isabella Swan: I know you can.

---

Rosalie Hale: [after Edward asks her to put on Bella's coat to distract James] Why should I? What is she to me?
Dr. Carlisle Cullen: [Hands her the coat] Bella is with Edward. She’s a part of this family, and we protect our family. We protect our family.

---

Isabella Swan: Edward I said leave me alone.
Edward Cullen: Bella don’t do this please.
Isabella Swan: Its over get out.
Charlie Swan: Hey, hey, Bella whats gong on.
Isabella Swan: I just gotta get out of here I’m leaving now.
[shuts the door on charlies face]
Charlie Swan: [knocks on Bellas door] Bella.
Isabella Swan: [to Edward] What am I going to say to him I cant hurt him.
Charlie Swan: Bella whats going on.
Edward Cullen: You just have to. Ill be down in the truck.
Isabella Swan: [Bella comes out of the room]
Charlie Swan: Did he hurt you?
Isabella Swan: No.
Charlie Swan: Break up with you or something?
Isabella Swan: No, I-I broke up with him.
Charlie Swan: I thought you liked him?
Isabella Swan: Yea, that’s why - that’s why I have to leave. I don’t want this. I have to go home.
Charlie Swan: Home… Your mom is not even in Phoenix.
Isabella Swan: She’ll come home. I’ll call her from the road.
Charlie Swan: Your not going to drive home right now. You can sleep on it. If you still feel like going in the morning I’ll take you to the airport.
Isabella Swan: N-No I want to drive, it will give me more time to think. And if I get really tired I’ll pull into a motel I promise.
Charlie Swan: Look Bella, I know I’m not that much fun to be around but I can change that. We can do more stuff together.
Isabella Swan: Like what? Like watch baseball on the flat screen? Eat at the diner every night? Steak and cobbler. Dad that’s you, that’s not me.
Charlie Swan: Bella come on. I-I just got you back.
Isabella Swan: Yeah, and you know if I don’t get out now I’ll just be stuck here like mom.

---

Edward Cullen: Do you trust me?
Isabella Swan: In theory.

---

Edward Cullen: I can’t ever lose control with you.

---

Edward Cullen: Your scent, it’s like a drug to me. You’re like my own personal brand of heroin.

---

Isabella Swan: I’m here. I trust you.

---

Edward Cullen: What if I’m not the hero? What if I’m the bad guy?

---

Edward Cullen: I’m going to make it go away, Bella. I’m going to make it go away.

---

Edward Cullen: See? You’re dancing.

---

Edward Cullen: Edible art.
[kicks up apple]
Edward Cullen: Hello.
Isabella Swan: Thanks. You know, your mood swings are kinda giving me whiplash.
Edward Cullen: I said that it would be better if we weren’t friends no that I didn’t want to be.
Isabella Swan: What does that mean?
Edward Cullen: It means if you were smart you would stay away from me.
Isabella Swan: Okay lets say for argument sake that i wasn’t smart would you tell me the truth?
Edward Cullen: No, probably not.
[Bella turns away slightly angry]
Edward Cullen: I’d rather hear your theories.
Isabella Swan: I have considered radioactive spiders and kryptonite.
Edward Cullen: That’s all superhero stuff right? But what if I’m not the hero? What if I am the bad guy?
Isabella Swan: You’re not. i can see what you trying to put off but i can see it’s just to keep me away from you. It’s a mask.
[Edward looks weirded out]
Isabella Swan: Why don’t we just… hang out. A bunch of us are going to the beach come… I mean have fun.
Edward Cullen: [Edward has on his crooked smile] Which beach.
Isabella Swan: La Push.
Edward Cullen: Uh, I don’t know.
Isabella Swan: Is there something wrong with that beach?
Edward Cullen: [looks over his shoulder] Its just a little to crowded.

---

Isabella Swan: About three things I was absolutely positive: First, Edward was a vampire. Second, there was a part of him-and I didn’t know how dominant that part might be-that thirsted for my blood. And third, I was unconditionally and irrevocably in love with him.

---

Isabella Swan: [Edward jumps down off the roof of Bella's truck] Could you act human? Okay, I have neighbors.
Edward Cullen: I’m gonna take you to my place tomorrow.
[Pulls dent in Bella's truck back into correct place]
Isabella Swan: Thanks… Er, wait, like with yout family?
Edward Cullen: Yeah.
Edward Cullen: W-what if they don’t like me?
Edward Cullen: So you’re worried, not because you’ll be in a house full of vampires, but because you think they won’t approve of you?
[laughs]
Isabella Swan: [unsmiling] I’m glad I amuse you.

---

James: [catches Bella's scent from across the field] Ah… you brought a snack.

---

Edward Cullen: [to Bella as they sense the trackers arriving] Put your hair down.
Rosalie Hale: [scoffing] Like that’ll work I’d smell her from across the field.

---

Edward Cullen: Shh… Shh… I’m here.
Isabella Swan: We can’t be apart.
Edward Cullen: Where else would I go?

---

[as Rosalie smash hits the baseball at the same time the thunder crashes]
Isabella Swan: [to Esme] OK, now I see why you need the thunder. But it’s gotta be a home run, right?
Esme Cullen: [shakes her head] Edward’s very fast.

---

Jasper Hale: What is it? What do you see?
Alice Cullen: The tracker. He just changed course.
Jasper Hale: Where will it take him Alice?
[Grabs Alice a pen and paper]
Alice Cullen: Mirrors. A room full of mirrors.
[starts to sketch never looking down at the paper]
Isabella Swan: Edward said the visions weren’t always certain…
Jasper Hale: She see the course people are on while they’re on it. If they change their minds, the vision changes.

---

Edward Cullen: What’s in Jacksonville
Isabella Swan: How did you know about that?
Edward Cullen: You didn’t answer my question
Isabella Swan: Well, you don’t answer any of mine so… and, you don’t even say hi to me
Edward Cullen: Hi
Isabella Swan: Are you gonna tell me how you stopped the van?
Edward Cullen: Yeah. I had an adrenaline rush. It’s very common. You can google it
Isabella Swan: Floridians. That what’s in Jacksonvill…
Edward Cullen: At least would you watch where you walk?
Edward Cullen: Look, I’m sorry if I’m being rude all the time. I think it’s the best way.

---

Edward Cullen: Shall we?
Isabella Swan: You’re serious?
Edward Cullen: Oh, why not?
Isabella Swan: [sighs] Hmm.
Edward Cullen: See your dancing.
Isabella Swan: [giggles] At prom. Edward why did you save me? You should’ve just let the venom spread. I could be like you by now.
Edward Cullen: You dont know what your saying. You don’t want this.
Isabella Swan: I want YOU. Always.
Edward Cullen: I’m not gonna end your life for you.
Isabella Swan: I’m dying, already. Every second I get closer, older.
Edward Cullen: That’s the way it’s suppose to be.
Isabella Swan: Alice said she saw me like you. I heard her.
Edward Cullen: Her visions change.
Isabella Swan: Yeah, based on what people decide. I’ve decided.
Edward Cullen: [somewhat bitterly] So that’s what you dream about, becoming a monster.
Isabella Swan: I dream about being with you, forever.
Edward Cullen: Forever?
[Bella nods]
Edward Cullen: And are you ready right now?
Isabella Swan: [hesitant] Yes.
Edward Cullen: [sighs] Is it not enough, just to have a long and happy life with me?
Isabella Swan: [after a second of thought] Yeah. For now.
Isabella Swan: [voiceover] No one will surrender tonight, but I wont give in. I know what I want.

---

Isabella Swan: I know what you are. You’re impossibly fast and strong. Your skin is pale white and ice cold. Your eyes change color… and sometimes you speak like, like you’re from a different time. You never eat or drink anything. You don’t go out in the sunlight. How old are you?
Edward Cullen: Seventeen.
Isabella Swan: How long have you been seventeen?
Edward Cullen: A while.
Isabella Swan: I know what you are…
Edward Cullen: Say it, out loud, say it.
Isabella Swan: Vampire.
Edward Cullen: Are you afraid?
Isabella Swan: No.

---

Dr. Carlisle Cullen: You’ve got to make a choice, Edward, to prevent the change from happening.
Edward Cullen: no… NO!
Alice Cullen: It’s gonna happen, Edward. I’ve seen it.
Dr. Carlisle Cullen: It doesn’t have to be that way. She still has what she has.
Dr. Carlisle Cullen: [to Alice, about Bella's broken leg] Give me a hand… take your belt off.
[Alice takes her belt off]
Edward Cullen: Carlisle, what’s my other options?
Dr. Carlisle Cullen: [to Alice] tie it above my hand
[Alice ties it above his hand]
Edward Cullen: CARLISLE!
Dr. Carlisle Cullen: [to Alice] go Alice, go!
Dr. Carlisle Cullen: [to Edward] Try suck the venom out.
Edward Cullen: you know i won’t be able to stop!
Dr. Carlisle Cullen: Then find the will… or choose. She only has minutes left.
Edward Cullen: [to Bella] I’ll make it go away, Bella. I’ll make it go away.

---

Charlie Swan: …your hair’s longer
Isabella Swan: Hmm? I cut it since the last time I saw you.
Charlie Swan: Oh. I guess it grew out again.

---

Isabella Swan: It’s like diamonds… you’re beautiful.
Edward Cullen: Beautiful? This is the skin of a killer, Bella… I’m a killer.
Isabella Swan: I don’t believe that.
Edward Cullen: That’s because you believe only the lies… the camouflage. I’m the world’s most dangerous predator, Bella. Every thing about me invites you in. My voice, my face, even my smell. As if I would need any of that… as if you could out run me… as if you could fight me off. I’m designed to kill.
Isabella Swan: I don’t care.
Edward Cullen: I’ve killed people before.
Isabella Swan: It does not matter.
Edward Cullen: I wanted to kill you at first. I’ve never wanted a human’s blood so much, before.
Isabella Swan: I trust you.
Edward Cullen: Don’t.

---

Esme Cullen: [wraps her arm around Bella's shoulders] Bella, I’m glad you’re here. We need an umpire.
Emmett Cullen: [walking past, tossing a ball in his hands] She thinks we cheat.
Esme Cullen: I know you cheat.

---

Isabella Swan: So what are ‘Cold Ones’?
Jacob Black: It’s just a story, Bella.

---

Edward Cullen: What?
Isabella Swan: I can’t dance
Edward Cullen: Well, I could always make you
Isabella Swan: I’m not scared of you
Edward Cullen: You really shouldn’t have said that.

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These dress Looks Fabulous on AshLey Tisdale And Miley Cyrus…

A certified DiSnEy Princesses..

But Watch out….

It is MOre Fabulous on your Very Own…

~~~~~~A r K i P r i n C e s s~~~~~~

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at ngayun ko lang nadiscover…wow…ala mu.

ah..ok…

cge…

ideas are ideas….

According to the less alarming forecasts of the GIEC (Intergovernmental group on the evolution of the climate), the ocean level should rise from 20 to 90 cm during the 21st Century with a status quo by 50 cm (versus 10 cm in the 20th Century). As a solution to this alarming problem architect Vincent Callebaut came up with this ecotectural marvel that could serve as a luxurious future retreat for 50,000 inhabitants seeking refuge from rising waters due to global warming. He believes the world will be desperately seeking shelter from the devastations of climate change, and hopes the auto-sufficient amphibious city will serve as a luxurious solution. To bad that right now we are close to 7 billion people and this luxurious future retreat is just for 50,000 inhabitants ( just for rich people ).

Vincent Callebaut called this project “Lilypad“, but this ecotectural marvel is also called as “Floating Ecopolis for Climate Refugees”. The whole structure is covered in green walls and roofs, the top portion covered in grasses with the inner portion featuring a palm oasis, and the under portion serving as a bed for natural sea planktons and oceanic plants. Finally if you were already planning to reserve a place to this luxurious future retreat stay calm, because Vincent Callebaut hopes that “Floating Ecopolis for Climate Refugees” will make the transition from design to reality around the year 2100.

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The Real Jack Dawson

by Senan Molony

New research into the life of one of the least known but most intriguing of Titanic victims

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Ive been looking for this movie for so long…..

atlast….ive found it…

after all the searches that ive made in yahoo. and google…..

ive first watched it way back when i was in grade 4…

and i cant get of it..

i am really connected with the story for some reasons…

and i dont know why…

now i wanted to share it with you…

the parent trap!

Directed by
Nancy Meyers

Writing credits (WGA)
Erich Kästner		(book “Das Doppelte Lottchen”)
David Swift		(screenplay) and
Nancy Meyers		(screenplay) &
Charles Shyer		(screenplay)

Cast (in credits order) complete, awaiting verification

	Lindsay Lohan	…	Hallie Parker / Annie James
	Dennis Quaid	…	Nick Parker
	Natasha Richardson	…	Elizabeth James
	Elaine Hendrix	…	Meredith Blake
	Lisa Ann Walter	…	Chessy - Parker’s Housekeeper
	Simon Kunz	…	Martin - James’s Butler
	Polly Holliday	…	Marva Kulp, Sr.
	Maggie Wheeler	…	Marva Kulp, Jr.
	Ronnie Stevens	…	Grandpa Charles James
	Joanna Barnes	…	Vicki Blake - Meredith’s Mother
	Hallie Meyers-Shyer	…	Lindsay
	Maggie Emma Thomas	…	Zoe
	Courtney Woods	…	Nicole
	Katerina Graham	…	Jackie
	Michael Lohan	…	Lost Boy at Camp
	Rachel Sullivan	…	Navajo Bunk Girl
	Katie DeShan	…	Navajo Bunk Girl
	Brighton Hertford	…	Navajo Bunk Girl
	Jennifer Lin	…	Navajo Bunk Girl
	Amy Centner	…	Navajo Bunk Girl
	Mia Tramz	…	Navajo Bunk Girl
	Christina Toral	…	Cell Phone Girl
	Dana Ponder	…	Cell Phone Girl
	Brianne Mercier	…	Cell Phone Girl
	Danielle Sherman	…	Girl at Poker Game
	Natasha Melnick	…	Girl at Poker Game
	Amanda Hampton	…	Girl at Poker Game
	Lisa Iverson	…	Bugler
	Lisa Cloud	…	Camp Counselor
	Kellie Foster	…	Camp Counselor
	Heidi Boren	…	Camp Counselor
	Marissa Leigh	…	Fencing Girl
	Heather Wayrock	…	Fencing Girl
	John Atterbury	…	Gareth
	Hamish McColl	…	Photographer
	Vendela Kirsebom Thomessen	…	Bridal Gown Model (as Vendela K. Thomessen)
	Alex Cole	…	Richard (as Alexander Cole)
	J. Patrick McCormack	…	Les Blake
	William Akey	…	Bellhop with Flowers
	David Doty	…	Hotel Bartender
	Roshanna Baron	…	Lady at Pool
	Annie Meyers-Shyer	…	Towel Girl
	Brian Fenwick	…	Desk Clerk
	Jonneine Hellerstein	…	Ship Photographer
	Troy Christian	…	QE2 Dancer
	Denise Holland	…	QE2 Dancer
	Terry Kerr	…	Living Statue
	Bruce A. Block	…	Tourist (as Bruce Block)
rest of cast listed alphabetically:
	Chéri Ballinger	…	Blond camp girl (uncredited)
	Beau Holden	…	Valet (uncredited)
	Dina Lohan	…	Woman in Airport (uncredited)

Produced by
Bruce A. Block	….	co-producer
Julie B. Crane	….	associate producer
Charles Shyer	….	producer

Original Music by
Alan Silvestri

Cinematography by
Dean Cundey

Film Editing by
Stephen A. Rotter

Casting by
Ilene Starger

Production Design by
Dean Tavoularis

Art Direction by
Alex Tavoularis

Set Decoration by
Gary Fettis

Costume Design by
Penny Rose

Makeup Department
Karen Blynder	….	makeup department head
Brad Wilder	….	makeup artist (as Bradley Wilder)
Joy Zapata	….	hair stylist

Production Management
R. Anthony Brown	….	unit production manager
Robert Latham Brown	….	unit production manager
Paul Frift	….	unit production manager: London
Laurie MacDonald	….	production manager: C.I.S.

Second Unit Director or Assistant Director
Bruce A. Block	….	second unit director: UK
Joan Cunningham	….	second assistant director
Susan J. Hellmann	….	third assistant director (as Susan Hellmann)
John LeBlanc	….	second unit director: Napa
Foongy Lee	….	second second assistant director
Albert M. Shapiro	….	first assistant director (as Albert Shapiro)
Daniel Shepherd	….	third assistant director: London
Toby Sherborne	….	second assistant director: London
Charles Shyer	….	second unit director: USA

Art Department
Russell R. Anderson	….	lead man
Mychael Bates	….	property master
James R. Bayliss	….	set designer (as James Bayliss)
Bruce A. Block	….	storyboard artist (as Bruce Block)
Dennis Bosher	….	assistant art director: London
Marcia Beal Brazer	….	property buyer: East Coast
Steve Callas	….	construction coordinator
Francis N. ‘Lucky’ Costello	….	stand-by painter (as Frank ‘Lucky’ Costello)
John Fenner	….	art director: London
Peter Griffith	….	assistant property master
Kelly Hannafin	….	set designer
Sean Haworth	….	assistant art director
Heidi Hublou-Nunnally	….	set dresser (as Heidi Hublou)
Kurt V. Hulett	….	lead man (as Kurt Hulett)
Peter James	….	set decorator: London
Maurice Jones	….	property master: London
Douglas T. Madison	….	property master
Manu Poupard	….	chargehand stand-by props
Vic Simpson	….	construction coordinator: London (as Victor Simpson)
Bert Smith	….	assistant property master
Dianne Wager	….	set designer
Robert Webb	….	construction foreman
William G. West	….	construction accountant
Larry J. White II	….	set dresser (as Larry White)
Christopher Carlson	….	assistant decorator (uncredited)
William H. Phen Jr.	….	propmaker foreman (uncredited)
Roger Prater	….	greensman (uncredited)

Sound Department
Jeanette Browning	….	adr recordist
Mark Patrick Clark	….	boom operator
Jeannette Cremarosa	….	pdl
Andy D’Addario	….	sound re-recording mixer
Yann Delpuech	….	sound re-recording mixer: temp mix
Dennis Drummond	….	supervising sound editor
Kim Drummond	….	dialogue editor (as Kim Haves Drummond)
Patrick Drummond	….	sound supervisor
Richard Duarte	….	foley mixer
Linda Folk	….	adr editor
David Giammarco	….	dialogue editor
Joan Giammarco	….	adr editor
Galen Goodpaster	….	first assistant sound editor
Doc Kane	….	adr mixer
Jonathan Klein	….	foley editor
Andy Malcolm	….	foley artist
Cindy Marty	….	sound effects editor
Mel Metcalfe	….	sound re-recording mixer
Douglas Murray	….	adr recordist
Judy Nord	….	sound recordist
Peter Pav	….	sound production assistant
Thomas A. Payne	….	cable person
Michele Perrone	….	adr editor
Jeena M. Phelps	….	adr assistant (as Jeena Phelps)
Terry Porter	….	sound re-recording mixer
Sean Rush	….	sound mixer
Joe Schiff	….	adr assistant
Ken Weston	….	sound mixer: London
Kerry Dean Williams	….	adr editor
Thomas Wright	….	sound production assistant
Daniel Yale	….	foley editor
Mark Yardas	….	dialogue editor
Robin Zacha	….	sound librarian
Dean A. Zupancic	….	sound re-recording mixer (as Dean Zupancic)
Paul J. Zydel	….	adr mixer (as Paul Zydel)
Renee Tondelli	….	supervising adr editor (uncredited)

Special Effects by
Stuart Brisdon	….	special effects supervisor: London
Shawn Roberts	….	special effects (as Derrell Shawn Roberts)
Cliff Wenger	….	special effects coordinator
James Davis III	….	special effects technician (uncredited)

Visual Effects by
Jude Adamson	….	digital artist (as Judith Adamson)
David Wallace Allen	….	visual effects previsualization
Amir Bemanian	….	digital system technician: CIS Hollywood
Peter Brancaccio	….	digital assistant
Gayle Busby	….	visual effects producer
C. Marie Davis	….	visual effects executive producer: C.I.S.
Kira Edmunds	….	digital assistant
Larry Gaynor	….	digital rotoscoping and paint: CIS Hollywood
Gary Goldstein	….	digital rotoscoping and paint: CIS Hollywood
Jeff Heusser	….	digital compositing supervisor: CIS Hollywood
Fred Johnston	….	visual effects sync supervisor
Kenneth Jones	….	visual effects supervisor: C.I.S. (as Ken Jones)
Dawn Llewellyn	….	visual effects editor: C.I.S.
Thomas Mathai	….	digital system technician: CIS Hollywood
Suzanne Mitus-Uribe	….	digital artist: CIS Hollywood
Danny Mudgett	….	digital artist: CIS Hollywood
Gregory Oehler	….	digital artist: CIS Hollywood
Bob Peishel	….	digital system coordinator: CIS Hollywood
Landon Ruddel	….	visual effects crew coordinator (as Landen Ruddell)
Jim Rygiel	….	visual effects supervisor
Mark Sachse	….	digital system technician: CIS Hollywood
Daniel Aristoteles Collins	….	systems/operations: Rhythm & Hues (uncredited)
Doug Creel	….	CG software programmer: Boss Film Studios (uncredited)
Theresa Ellis	….	visual effects supervisor (uncredited)
Glenn Ramos	….	animator (uncredited)

Stunts
Marc Cass	….	stunt coordinator
Freddie Hice	….	stunt coordinator
Jennifer Caputo	….	stunt double (uncredited)
Colin C.L. Fong	….	stunts (uncredited)

Camera and Electrical Department
Michael Alexonis	….	second company grip
Rick A. Benedetto	….	rigging electrician (as Rick Benedetto)
Adam Biddle	….	camera focus: London
Fred Brown	….	best boy: London
John S. Campbell	….	second company grip: second unit
Steve Chandler	….	assistant chief lighting technician (as Steven Chandler)
Peter Davidian	….	rigging gaffer
Tommy Finch	….	chief lighting technician: London (as Tom Finch)
Robert Fisher	….	electrician (as Robert C. Fisher)
Chris Franco	….	rigging electrician
Gregory Irwin	….	first assistant camera
John LeBlanc	….	camera operator: Napa second unit
Frank Mathews	….	electrician (as Frank Matthews)
Jeff Matthews	….	rigging electrician
William T. McKane	….	rigging electrician (as William McKane)
Mark Emery Moore	….	Steadicam operator
Bill O’Drobinak	….	camera operator (as Billy O’Drobinak)
Angelo Orefice	….	electrician
Michael Orefice	….	chief lighting technician (as Michael Paul Orefice)
Vince Orefice	….	rigging electrician
James H. Pair III	….	rigging grip
Jesse Wayne Parker	….	key grip: second unit
Jerry Patton	….	film loader
Thomas P. Powell	….	rigging electrician (as Tom Powell)
C. Alan Rawlins	….	key grip
Rob Regan	….	electrician (as Robert Regan)
Rafael E. Sánchez	….	chief lighting technician: second unit
Todd Schlopy	….	camera operator: “b” camera
Lorey Sebastian	….	still photographer
Robert Sharman	….	additional video assist operator
Mark Soucie	….	electrician
Raymond Stella	….	director of photography: second unit
Joy R. Stone	….	second assistant camera
C. Ashley Sudge	….	dolly grip (as Charles Ashley Sudge)
Wayne Tidwell	….	video assist operator (as Wayne R. Tidwell)
Mark Tilley	….	still photographer: London
Anthony Wong	….	electrician
David Worley	….	camera operator: London
Don Yamasaki	….	electrician
Firooz Zahedi	….	photographer: end credits
Ron Goodman	….	camera operator: SpaceCam (uncredited)
R. Dana Harlow	….	grip (uncredited)
Scott Kidner	….	assistant chief lighting technician: second unit (uncredited)
Stephen Lee	….	video assist operator: London (uncredited)
Bob Leitelt	….	rigging key grip (uncredited)
David Norris	….	camera operator: Wescam camera (uncredited)
Michael C. Price	….	grip (uncredited)
Robert J. Reilly	….	rigging grip: Los Angeles (uncredited)
Charles Smith	….	rigging grip best boy (uncredited)
Mark Tillie	….	still photographer (uncredited)
Martyn Welland	….	electrician (uncredited)

Casting Department
Sarah Beardsall	….	casting: UK
Amy Jo Berman	….	casting associate
Elizabeth Boykewich	….	casting assistant
Barbara Harris	….	adr voice casting
Charlie Messenger	….	extras casting
Leann Emmert	….	casting assistant (uncredited)
Vanessa Portillo	….	extras casting (uncredited)

Costume and Wardrobe Department
Brad Anderson	….	set costumer
Carolyn Dessert	….	wardrobe supervisor
Julie Glick	….	set costumer
Yvonne Hobbs	….	set costumer: London
Mathew Hooey	….	costumer
Cherlyn Lanning	….	costumer
Brian Lawler	….	set costumer: London
Marina Marit	….	costumer
John Norster	….	assistant costume designer: London (as Timothy John Norster)
Janet Tebrooke	….	wardrobe supervisor: London
Vera Wang	….	costume designer: wedding gowns
Mei Lai Hippisley Coxe	….	assistant to costume designer (uncredited)
Tess Inman	….	costumer (uncredited)
Andrew Nelson	….	set costumer (uncredited)

Editorial Department
David Barrett	….	first assistant editor: London
Bob Berman	….	assistant editor
Laura Lee Bong	….	second assistant film editor (as Laura Bong)
James Durante	….	assistant editor: avid (as James D. Durante)
Rolf Fleischmann	….	first assistant film editor
Dale E. Grahn	….	color timer (as Dale Grahn)
Marisa Morabito	….	apprentice editor
Mary Beth Smith	….	negative cutter
Cort Wright	….	apprentice film editor

Music Department
David Bifano	….	music programmer
Lisa Brown	….	additional music consultant
Sandy DeCrescent	….	orchestra contractor
Nora Felder	….	additional music consultant
Bonnie Greenberg	….	music supervisor
Kenneth Karman	….	additional music editor
The Lovin’ Spoonful	….	music performers: “Do You Believe in Magic?”
Allan Mason	….	music supervisor
Kathy Nelson	….	executive in charge of music: The Walt Disney Motion Pictures Group
Andy Razaf	….	composer: song “In the Mood”
Jay B. Richardson	….	additional music editor (as Jay Richardson)
William Ross	….	orchestrator
Dennis S. Sands	….	score mixer (as Dennis Sands)
Dennis S. Sands	….	score recordist (as Dennis Sands)
Andrew Silver	….	music consultant
Andrew Silver	….	music editor
Alan Silvestri	….	conductor
Jacqueline Tager	….	assistant music editor

Transportation Department
Jan Dally	….	driver: Meyers/Shyer
Paul Grahame	….	driver: London, Meyers/Shyer
Wendy S. Hallin	….	transportation captain (as Wendy Hallin)
Stephen A. Latina	….	transportation captain
Barry Newell	….	unit transportation manager: London
Tom F. Thomas	….	transportation coordinator
John A. Brubaker	….	driver: set dressing (uncredited)
Ian Clarke	….	vehicle technician (uncredited)
Manny Demello	….	driver (uncredited)
Dana Schisler	….	driver (uncredited)
Sean Shepherd	….	driver (uncredited)

Other crew
Bob Anderson	….	fencing consultant
Toni Atterbury	….	unit publicist
Barbara Berkery	….	dialect coach
Jeff Bilger	….	production assistant
Mary Bowers	….	stand-in
Peter Brancaccio	….	on-set effects technician
Judith M. Brown	….	studio teacher: London
Jeanne Byrd	….	script supervisor
Nicolette Chaffey	….	dialect coach
Lindsay Challoner	….	additional double: Hallie/Annie
Tara Chang	….	fencing double
Clair Chrysler	….	stand-in
Alex Cole	….	production assistant (as Alexander Cole)
Simon Crook	….	assistant location manager: London
Michelle Cundey	….	script supervisor: second unit
Mark Davies	….	assistant: Dennis Quaid
Jim DeMarco	….	assistant accountant
Nicholas de Wolff	….	dialect coach
Jessica Drake	….	dialect coach
Frank J. Ellison	….	production accountant (as Frank Ellison)
Rory Enke	….	location manager
Suzanne McNeill Farwell	….	assistant: Nancy Meyers
Lorraine Fennell	….	production coordinator: London
Stephanie Fischer	….	additional double: Hallie/Annie
Melanie A. Gage	….	dance double: Natasha Richardson (as Melanie Gage)
Carol Gans	….	studio teacher
Eileen Godoy	….	production coordinator: C.I.S.
Michael Goosen	….	first assistant accountant
Fiona Gosden	….	production assistant: London
Marion Gray	….	production secretary: London
Linda Gregory	….	production accountant: London
Bill Hansard	….	projection effects (as Billy Hansard)
Thomas M. Harrigan	….	assistant location manager
Susan Hegarty	….	dialect coach
Tom Hoeck	….	medic
Beau Holden	….	assistant: Dennis Quaid
Amanda Holm	….	fencing double
Ozzy Inguanzo	….	production assistant
Mark Ivie	….	fencing assistant
Jeanefer Jean-Charles	….	handshake choreographer
Darren Jones	….	on-set effects technician
Suzanne Jones	….	production assistant: London
Jim Jost	….	production assistant
Paul Joyce	….	location consultant: London
Tracy Kelly	….	animal trainer
Max Kisbye	….	production assistant: Meyers/Shyer
Meti Kusari	….	craft service
Bryan Lamoreaux	….	production assistant
Adria Later	….	supervising studio teacher
Erin Mackey	….	double: “Hallie”/”Annie”
Jason D. McGatlin	….	production coordinator (as Jason McGatlin)
Annie Meyers-Shyer	….	production assistant: London
Angus More Gordon	….	location manager: London
Belita Moreno	….	acting coach: Lindsay Lohan
Boone Narr	….	animal supplier
Jack Norton	….	on-set effects technician
Shaun O’Banion	….	production assistant
John Panzarella	….	location manager
Regan Patno	….	dance double: Dennis Quaid
Tony Payne	….	production assistant: London
Randol Perelman-Taylor	….	production assistant
Lani Pollock	….	assistant: Charles Shyer
Patricia Poole	….	assistant production accountant: London
Harriet Preston	….	stand-in
Reid Reilich	….	craft service
Jonathan Robinson	….	on-set effects technician (as Jonathan B. Robertson)
Les Paul Robley	….	on-set effects technician
Denyse Rossi	….	payroll accountant
Matthew A. Rubin	….	production assistant
Kelly Safrit-Jones	….	assistant: Natasha Richardson (as Kelly Saffrit)
Mika Saito	….	assistant production coordinator
Bob Schoofs	….	stand-in
Barbara Schwartz	….	assistant: Bruce A. Block
Donny Sierer	….	on-set effects technician
Steven E. Simon	….	set production assistant (as Steve E. Simons)
Rebecca Stefan	….	production assistant
Ronald P. Tavalaro	….	projectionist
Leslie Thorson	….	assistant location manager
Aminta Townshend	….	assistant: Natasha Richardson, London
Lauren Walker	….	fencing double
Matt Walker	….	production assistant
Michael Weber	….	prank and poker consultant
Shawn Weber	….	animal trainer
Ronnie Wong	….	fencing double
John Gray Worrell	….	production assistant (as John G. Worrell)
Keith Young	….	choreographer
Ken Ziegler	….	on-set effects technician
Aria Noelle Curzon	….	adr voice (uncredited)
Brian Dettor	….	additional production assistant (uncredited)
Jessica Garvin	….	stand-in (uncredited)
Michael D. Gillis	….	production assistant (uncredited)
RuDee Lipscomb	….	adr artist (uncredited)
Brynn McQuade	….	set production assistant (uncredited)
Kathryn Moore	….	stand-in (uncredited)
Steve Salada	….	production secretary (uncredited)
Kevin Seldon	….	office intern (uncredited)
Tim Weske	….	sword trainer (uncredited)
Allison Wilke	….	assistant production coordinator: Napa (uncredited)
Robert ‘Bobby Z’ Zajonc	….	helicopter pilot (uncredited)

Thanks
Giorgio Armani	….	special thanks
Stacey Attanasio	….	special thanks
Willie Brown	….	special thanks (as Willie L. Brown)

Crew believed to be complete

This soundtrack is available from Amazon.com

Identical twins Hallie and Annie were separated at birth when their parents divorced. After the two meet at summer camp, they begin plotting to reunite their estranged parents. Written by Sally {biographies@hotmail.com}

Hallie Parker and Annie James. They look exactly alike and are sisters. It would be awesome for you to be a twin, but what is it like being a twin without even knowing it? That’s what it’s like for these girls. Hallie is a cool, laid-back gal from California. Annie James is a proper rose from London. Annie has never met her father, and Hallie has never met her mother. When they get thrown into the Isolation Cabin, they uncover the mystery behind the ripped picture. They realize that they are twin sisters seperated at birth by their divorced parents, and they decide to switch places to meet the parent that they’ve never met. They also decide to get them back together. But then something awful happens that will wreck everything: their father is engaged to a beautiful, selfish witch who’s only after their dad’s money. Written by Ally__bear

Summer camp in Maine, USA. Two young redheads, Hallie and Annie, coincidentally meet and discover that they look pretty (and) similar. Soon, their common history opens up when they are banned into the isolation cabin for unsocial behaviour. Being twin sisters, their parents separated them at birth and divorced also. So, Annie grew up in London, England, living with her mother Elizabeth, who is a wedding gown designer. Hallie lived with her father Nick, a vineyard-owner, in Napa Valley, California. Both sisters decide to switch sides, as Annie never had a father and Hallie never had a mother. All works well, until Nick decides to marry Meredith, a creepy but beautiful woman who is only after his money. Now, the girls decide to let the parents meet. Let the games begin. Written by Julian Reischl {julianreischl@mac.com}

Hallie Parker and Annie James are identical twins separated at a young age because of their parents’ divorce. unknowingly to their parents, the girls are sent to the same summer camp where they meet, discover the truth about themselves, and then plot with each other to switch places. Hallie meets her mother, and Annie meets her father for the first time in years. they then make a plan to set up their parents, which suddenly goes awry with an announcement from their father. the story goes through many different twists and turns, and is an amazing story from start to finish. Written by anonymous

What if you spent your whole life wishing for something you didn’t know you already had? Hallie Parker and Annie James are about to find out. Hallie is a cool girl from California. Annie is a fair rose from London. When the two accidentally meet at summer camp, they think they have nothing in common except…they’re identical twins! Now they’re up to their freckles in schemes and dreams to switch places, get their parents back together and have the family they’ve always wished for! Written by DisneyMadness.

Annie: Let me see… I know how to fence and you don’t… Or I have class and you don’t. Take your pick.
Hallie: Why I oughta!

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Hallie: I have a brilliant beyond brilliant idea!

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Annie as Hallie: I know what mystery my father sees in you.
Meredith Blake: You do?
Annie as Hallie: You’re young, beautiful, sexy, and hey the guy is only human, but if you ask me marriage is supposed to be based on more then just sex, right?

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Annie: That girl is without a doubt, the lowest, most awful creature to ever walk the planet!
Hallie: [watching from outside] Thank you, thank you very much.

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Annie: [Hallie just finished cutting Annie's hair to look like hers] This is so scary.
Hallie: Honey you never looked better.

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Grandpa Charles James: [Annie smells him] What are you doing?
Hallie as Annie: Making a memory! Years from now when I’m all grown up I’ll always remember my grandfather and how he always smelled of
[smells him again]
Hallie as Annie: peppermint and pipe tobacco.

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Hallie as Annie: [crying, seeing her mother for the first time] I’m sorry, it’s just I’ve missed you so much.
Elizabeth James: I know, it seems like it’s been forever.
Hallie as Annie: You have no idea.

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Annie as Hallie: [after a discussion about how Annie as Hallie seems different to Chessy] Chessy, I changed a lot over the summer, that’s all.
Chessy, the Parker’s Maid: OK, boy if I didn’t know any better I’d say it’s almost like you were… forget it, it’s impossible.
Annie as Hallie: Almost if I were who, Chessy?
Chessy, the Parker’s Maid: Nobody, nobody, forget I mentioned it.
Annie as Hallie: Almost if I were… Annie?
Chessy, the Parker’s Maid: You know about Annie?
Annie as Hallie: [dropping her "Hallie" accent] I… am Annie.

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Hallie as Annie: His and hers kids. No offense, Mom, but this arrangement really sucks.
Elizabeth James: I agree, it totally sucks.

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Annie: [Hallie is getting ready to cut Annie's hair] Don’t shut YOUR eyes!
Hallie: Okay, sorry. Got a little nervous!
Annie: YOU’RE nervous? An 11 year-old is cutting my hair!
Hallie: Hey, you sounded just like me!
Annie: Well, I’m supposed to, aren’t I?

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[last lines]
Hallie: We actually did it!

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Martin, the James’ Butler: Shall we review your mother’s list?
Annie: Mm-hmm.
Martin, the James’ Butler: Now, let’s see. Vitamins?
Annie: Check.
Martin, the James’ Butler: Minerals?
Annie: Check.
Martin, the James’ Butler: List of daily fruits and vegetables?
Annie: Check, check.
[Martin glances at Annie]
Annie: Check for fruits, check for vegetables. Go on.
Martin, the James’ Butler: Sunblock, lip balm, insect repellent, stationery, stamps, photographs of your mother, grandfather, and of course, your trusty butler, me.
Annie: Got it all, I think.
Martin, the James’ Butler: Oh, and here’s a little something from your grandfather.
[Holds up a deck of cards]
Martin, the James’ Butler: Spanking new deck of cards. Maybe you’ll actually find someone on this continent who can whip your tush at poker.
Annie: Well, I doubt it, but thanks, Martin.

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Hallie: [playing poker with Annie at camp] I’ll tell you what. I’ll make you a little deal. Loser jumps into the lake after the game.
Annie: Excellent.
Hallie: Butt naked.
Annie: Even more excellent. Start unzipping Parker. Straight, in diamonds.
Hallie: You’re good James, but, you’re just not good enough. In your honor, a royal flush.

---

Meredith Blake: You know, the way your father described you, I expected a little girl, but you are so grown-up.
Annie as Hallie: I’ll be twelve soon. How old are you?
Meredith Blake: Twenty-six.
Annie as Hallie: Only fifteen years older than me! How old are you again, Dad?
Nick Parker: Wow, suddenly you’re so interested in math!

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Annie: Any of your pictures ruined?
Hallie: Only the beautiful Leo DiCaprio…
Annie: Who?
Hallie: You’ve never heard of Leonardo DiCaprio? How far away is London anyway?

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Meredith Blake: The day we get married is the day I ship those brats off to Switzerland, get the picture? It’s me, or them. Take your pick.
Nick Parker: Them.
Meredith Blake: Excuse me?
Nick Parker: T-H-E-M. Them. Get the picture?

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Nick Parker: [hiking] I’m going to take the lead. You two help Meredith.
Meredith Blake: [looks at the girls] Sure you’ll help me. Right over a cliff you’ll help me.
Hallie: [whispering to Annie] Not a bad idea.
Annie: Yeah, see any cliffs?

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Marva Kulp, Sr.: Excuse me, girls. I just got to have a sculp of these gorgeous strawberries. Would you care for some dear?
Hallie: Oh, no thanks, can’t. I’m allergic.
Marva Kulp, Sr.: Oh, that’s too bad. How about you, dear, strawberries?
Annie: Oh sorry I wish I could, but I can’t, I’m allergic.
Marva Kulp, Sr.: Yes, you just told me that over here. How’d you get over there? Well, first day at camp you’ll have to excuse the old girl.
[Annie walks away]
Marva Kulp, Sr.: At least I’m not putting salt in the sugar shakers. Well, actually sugar in the salt shakers, but… now where did she get off to?

---

Annie: Need a hand, Mer?
Meredith Blake: Not from you, thank you. Don’t think I can see past those angelic faces. One more trick from you two, and I promise I’ll make your lives miserable from the day I say “I do.” Got it?
Hallie: Got it, Cruella.
Meredith Blake: What did you call me?
Hallie: Nothing. Nothing. Not a thing, Cruella. Oh, by the way, Mer. I think there’s something on your head.
[the lizard is on her head]

---

Nick Parker: You know, I may never be alone with you again. So about that day you packed, why’d you do it?
Elizabeth James: Oh, Nick. We were so young. We both had tempers, we said stupid things so I packed. Got on my very first 747, and you didn’t come after me.
Nick Parker: I didn’t know that you wanted me to.
Elizabeth James: Well, that really doesn’t matter anymore. So, let’s put on a good face for the girls and get the show on the road, huh?
Nick Parker: Yeah, sure. Let’s get the show on the road.

---

Meredith Blake: First change I make is to send that two-faced little brat off to boarding school in Timbuktu.
Richard, Meredith’s Assistant: Oof, Ice Woman!
Meredith Blake: Proud of it, babe!

---

Nick Parker: [after explaining to Elizabeth why they returned early from the camping trip] So, where’s Chessie? I’m starving.
Elizabeth James: Well, she and Martin went off to a picnic around noon. Yesterday.
Nick Parker: [Impersonating Cary Grant] Really. Who would have thought. My nanny, your butler.

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Elizabeth James: [thinking she is talking to her father, who has a newspaper up between them] Hello, you!
Hallie: [puts down newspaper. then] Hey Mom, did you know that the Concorde gets you here in half the time?
Elizabeth James: [flustered] Yes, I, I’ve heard that…
Annie: [after Hallie surprises Elizabeth and Annie by arriving in London and showing up at their home before Elizabeth and Annie do] What are you doing here?
Hallie: It took us abound 30 seconds after you guys left for us to realize we didn’t want to lose you two again.
Elizabeth James: We?
Nick Parker: [walking in from another room] We. I made the mistake of not coming after you once, Lizzie. I’m not going to do that again no matter how brave you are.
Elizabeth James: And I suppose you just expect me to go weak at the knees, and fall into your arms and cry hysterically. And say we’ll just figure this whole thing out. A bi-continental relationship with our daughters being raised here and there. And. And, you and I just picking up where we left off and growing old together. And. And. C’mon Nick what do you expect? To live happily ever after?
Nick Parker: Yes. To all of the above. Except you don’t have to cry hysterically.
Elizabeth James: [With tears in her eyes] Oh, yes I do.
[he kisses her]

---

Nick Parker: You know, sometime if we’re ever really alone maybe we could talk about what happened between us. You know it’s all a bit hazy to me now. It ended so fast.
Elizabeth James: It started so fast.
Nick Parker: Well, that part I remember perfectly.

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Elizabeth James: [after the limo pulls up to the end of an empty pier and everyone gets out] Where are we?
Nick Parker: This is where we’re eating?
Hallie: [Pointing to a 100+ foot yacht] No. Actually that’s where we’re eating.
Annie: She’s ours for the night.
Nick Parker: Wow. So, how exactly are we paying for this?
Annie: Well, we pooled our allowances.
Nick Parker: Yeah. Right. Annie?
Annie: Okay. Grandfather chipped in a bit.
Elizabeth James: Annie!
Annie: Okay. He chipped in a lot.

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Hallie as Annie: Seeing all these wedding dresses, doesn’t it make you think about the “f” word?
Elizabeth James: The “f” word?
Hallie as Annie: My father!

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Elizabeth James: [Hallie, as Annie, is underneath Elizabeth's covers struggling to tell her about the switch] Annie!
Hallie as Annie: That’s where I have to go! I have to go see Annie!
Elizabeth James: Oh, I see, and where might Annie be?
Hallie as Annie: In Napa, with her father Nick Parker.
Elizabeth James: You’re not Annie?
Elizabeth James: That would be correct.
Elizabeth James: You’re Hallie?
Hallie as Annie: I am. Annie and I met up at camp and, and we decided to switch places. I’m sorry, but I’ve never seen you and I’ve dreamt of meeting you my whole life and Annie felt the exact same way about Dad so, so we sort of just switched lives. I hope you’re not mad because I love you so much, and I just hope that one day you could love me as me, and not as Annie.
Elizabeth James: Oh darling, I’ve loved you your whole life.
Martin, the James’ Butler: [sobbing] I’ve never been so happy in my entire life.

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Annie: [Elizabeth and Hallie have arrived at the hotel to meet Nick and Elizabeth is drunk and Annie see her] She’s drunk! She’s never had more than one glass of wine her entire life and she chooses today to show up totally zonked!

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Elizabeth James: [walking down the hall in the hotel] Hallie Parker!
[both girls exit from rooms across the hall from each other]
Elizabeth James: Oh, don’t do this to me. I’m already seeing double.

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Hallie: Oh my God.
Annie: What?
Hallie: I have pierced ears.
Annie: No, no and no. Not happening. Sorry, wrong number. I won’t. I refuse.
Hallie: Then cutting your hair was a total waste. There’s no way I can go to camp with pierced ears and come home without them. I mean, come on. Get real.

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Nick Parker: I told Hallie.
Meredith Blake: You did? And?
Nick Parker: She went ballistic. She started yelling in French. I didn’t even know she spoke French.

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Hallie: [takes out a box of Oreos] Want one?
Annie: Oh, sure. I love Oreos. At home, I eat them with… I eat with peanut butter.
Hallie: You do? That is so weird.
[takes out a jar of peanut butter]
Hallie: So do I.
Annie: You’re kidding? Most people find that totally disgusting.
Hallie: I know. I don’t get it.
Annie: Me either.

---

Chessy, the Parker’s Maid: [just found out that the girls switched places and is crying] Can I hug her?

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Nick Parker: Hal, we gotta talk.
Annie as Hallie: Okay shoot.
Nick Parker: Honey, look… I want to know what you think about making Meredith part of the family?
Annie as Hallie: Part of our family?
Nick Parker: Yes.
Annie as Hallie: I think it’s an awesome idea. Inspired. Brilliant really.
Nick Parker: You do?
Annie as Hallie: Totally, it’s like a dream come true. I’ve always wanted a big sister.
Nick Parker: Honey, I’m afraid you’re kind of missing the point.
Annie as Hallie: No, I’m not. You’re gonna adopt Meredith. That is so sweet, Dad.
Nick Parker: I’m not going to adopt her. I’m going to MARRY her.
Annie as Hallie: [leaps from her spot] Marry her? That’s insane! How can you marry a woman young enough to be my big sister?
[she begins to rant, accidentally yelling in French]
Nick Parker: Hal, Hal, Hal.
[realizes]
Nick Parker: We’re you speaking French?
Annie as Hallie: Oh… I learned it at camp.
[takes a breath]
Nick Parker: Man, what has gotten into you?
Annie as Hallie: Nothing! It’s just… just… Dad, you can’t get married! It’ll totally ruin completely everything!
[she runs from the house]
Nick Parker: Hal!
[he looks to Chessy]
Chessy, the Parker’s Maid: Don’t look at me. I don’t know a thing.
[she closes the windows]

---

Annie: Hallie, what was your mother like?
Hallie: I never met her. She and my Dad split up when I was a baby, maybe even before, I’m not sure. He doesn’t really like to talk about her… but I know she was really beautiful.
Annie: How do you know that?
Hallie: Because my dad had this old picture of her hidden in his sock drawer and he caught me looking at it all the time so he gave it to me to keep. I’m really thirsty, you sure you don’t want to go to the canteen and get something to drink?
Annie: Will you stop thinking about your stomach at a time like this!
Hallie: At a time like what?
Annie: [as she and Hallie step back into the cabin] Don’t you realize what’s happening? Oh man, this is beyond coincidence, this is beyond imagination! I only have a mother, and you only have a father… You’ve never seen your Mom, and I’ve never seen my Dad. You have one old picture of your Mom, I have one old picture of my Dad but at least yours is probably a whole picture.
[Hallie races over to her trunk]
Annie: Mine’s a pathetic little thing, ripped right down the middle… What are you rummaging in your trunk for this time?
Hallie: [she finally faces Annie as she hold a picture to her chest] This. It’s the picture of my Mom. And it’s ripped too.
Annie: [knowing] Right down the middle?
Hallie: [nervously] Right down the middle.
Annie: [races over to her trunk and takes out a photo and holds it to her chest] This is so freaky. Okay. On the count of three, we’ll show them to each other, okay?
Hallie: Okay.
Annie: One…
Hallie: Two…
Annie: [together with Hallie] Three!
[they both gasp as they place the photo together and realize... ]
Hallie: That’s my Dad…
Annie: That’s my Mom…
[she hears the bell]
Annie: That’s the lunch bell.
Hallie: [as she wipes away her tears] I’m not so hungry anymore. So if your Mom is my Mom and my Dad is your Dad… and we’re both born on October 11th, then you and I are… like… sisters.
Annie: Sisters? Hallie, we’re like twins!
Hallie: Oh my god!
Annie: Oh my god!
[they hug]

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Annie: This is Martin, our butler
Hallie: [in shock] We have a butler?

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Martin, the James’ Butler: I found a stowaway in your suitcase.
[holds up Cuppy]
Hallie as Annie: [whispering] Oh my God. Cuppy.

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[Hallie is trying to convince Annie the proposed switch will work]
Hallie: Look, I can do you already.
[Hallie pulls her hair back and adopts a British accent]
Hallie: “Yes, you want to know the real difference between us? I have class and you don’t.” Come on, Anne. I gotta meet my ma.
[arranges her expression into a pout]

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Elizabeth James: [having drink with Meredith] Here’s to… here’s to you. May your life be far less complicated than mine.
Meredith Blake: Why thank you.

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Annie: Okay, this is Grandfather…
Hallie: He’s so cute! What do we call him?
Annie: Grandfather…
Hallie: Why didn’t I think of that?…

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Nick Parker: [about Meredith on the camping trip] I’m not marrying her because she’s Annie Oakley.
Hallie: Who’s Annie Oakley?

Administration Building, Treasure Island, California, USA

(Stratford Hotel Exterior)

California, USA

Camp Seeley - 250 N. Hwy 138, Crestline, California, USA

Lake Gregory, California, USA

London, England, UK

Long Beach, California, USA

(airport scene)

Los Angeles, California, USA

Napa Valley, California, USA

(Staglin Family Vineyard)

RMS Queen Mary - 1126 Queens Highway, Long Beach, California, USA

San Bernardino National Forest, California, USA

San Francisco, California, USA

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http://www.youtube.com/view_play_list?p=4F087738D09A7548

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