A/N: Hey! I'm back!

Okay, so this one will be Charlie and Renée's story, but I also had to work in the treaty with the wolves, Archie and Jess joining the Cullen family, and the general passing of time, so that should explain why we don't start out with them.

Also, this is officially where I cut this into two "episodes." That's why all the characters names will be capitalized.

And: I decided to make Charlie Spanish. I had always thought that Bella/Beau would be more interesting if they weren't white, so I made Beau only half-white by making Charlie Spanish. If that makes any sense at all.

I also added in Bonnie's story in the process. When I went in to edit it, I found it to be extremely short, so I decided to just cut it in. And I wanted to go into the relationship of Bonnie and George, and bring up female Embry's story in the process, and what everyone thought about that when Tiffany Call first came to town. It'll make more sense.

Also! Slight cursing in this one. (Oh Quilla IV and George…)

EXT. FOREST, HOQUAIM, WA, 1936 - DAY

The trees surround DR. CARINE CULLEN, EARNEST CULLEN, EDYTHE CULLEN, ELEANOR CULLEN, and ROYAL HALE as they each take down one deer in a herd. All their eyes are gold. Text on screen reads:

Hoquiam, WA

1936

ELDA BLACK, LUCY ULEY, and QUILLA ATEARA II, three middle-aged Native American women, stalk in the trees. Edythe turns to look at them.

EDYTHE
Carine...we have company.

Carine, Earnest, Royal, and Eleanor look up at Elda, Lucy, and Quilla II.

INT. FACTORY, 1944

FACTORY WORKERS, all women, are making several planes. Edythe and Eleanor are two of the workers. Text on screen reads:

1944

INT. LIVING ROOM, CULLEN HOUSE, AK, 1952

Two pale couches sit in the room, a TV in front of it. Carine, Earnest, and Royal all sit watching TV. Text on screen reads:

Alaska

1952

The doorbell RINGS. Carine gets up and answers it. MARIUS ARCHIBALD BRANDEN [aka ARCHIE CULLEN] and JESSAMINE WHITLOCK [aka JESSAMINE HALE] stand on the other side.

ARCHIE
Hi, Carine!

CARINE
Do I know you?

ARCHIE
Not yet. I'm Archie and this is my...girlfriend, Jessamine.

JESSAMINE
It's nice to meet you, ma'am.

CARINE
Yes, uh, come in, please.

Carine waves Archie and Jessamine in. She closes the door behind them.

JESSAMINE
We'd like your help.

CARINE
Our help with what?

Earnest and Royal walk up to Carine. Earnest puts his arm around her waist.

ARCHIE
Be vegetarian vampires. We want to learn how to have your people's restraint.

EARNEST
Well, we can certainly help you with that.

EXT. CULLEN HOUSE - DAY

Edythe and Eleanor walk up to the house and enter.

INT. LIVING ROOM

Carine, Earnest, Royal, Archie, and Jessamine all sit on the couches. Edythe and Eleanor enter.

EDYTHE
Why is all my stuff in the garage?

CARINE
Edythe, Eleanor, meet Archie and Jessamine. The two new members of our family.

EDYTHE
(to Archie)
Cool power.
(to Jessamine)
Cool backstory.
(to Carine)
So am I supposed to just live in the garage now?

ARCHIE
Your room had the best view.

Edythe smiles at Archie.

INT. CHURCH, LAS VEGAS, NV, EIGHTEEN YEARS AGO

The church is small, and the pews are empty. A MINISTER stands at the front, CHARLIE SWAN and RENÉE HIGGINBOTHAM [also known as RENÉE DWYER] in front of him. Charlie is a young, Spanish man with brown hair and eyes. Renée is a young woman with pale skin, brown hair, and blue eyes. They both wear street clothes. Text on screen reads:

Charlie & Renée Swan

Las Vegas, NV

eighteen years ago

MINISTER
You may now kiss the bride.

Charlie and Renée kiss quickly.

MINISTER (CONT'D)
Congratulations, Mr. and Mrs., uh...

CHARLIE
Swan. Mr. and Mrs. Swan.

INT. KITCHEN, CHARLIE'S HOUSE, FORKS, WA

The kitchen is small, with brown cabinets. A square table sits in the middle with four wood chairs. Renée stands on a chair in front of the cabinets, a paintbrush and bucket of yellow paint in her hands. She places the bucket on the counter, dips the brush in it, then starts painting the cabinets yellow. Charlie enters, in a deputy's uniform.

CHARLIE
Hey, honey. What are you doing?

RENÉE
We need to bring some light into this house. It's always so dark in here.

CHARLIE
Mmm. Yellow. Good choice.

RENÉE
I know, it's beautiful, isn't it? Also, there's a surprise for you on the table.

CHARLIE
Okay...

Charlie walks over to the kitchen table and picks up a positive pregnancy test.

CHARLIE (CONT'D)
Wait, seriously? You're pregnant?

RENÉE
Yup! Found out this morning.

Charlie and Renée smile at each other. Renée steps down from the chair.

RENÉE (CONT'D)
We're going to have a baby.

INT. LIVING ROOM, SIX MONTHS LATER

A rugged couch sits across from a TV, which is mounted above a fireplace. A coffee table sits in between them. Renée, who's far into her pregnancy, sits on the couch, sobbing. Text on screen reads:

six months later

Charlie walks in the room and sits next to her, putting his arm around her shoulders.

CHARLIE
Is everything all right?

RENÉE
My dad died.

CHARLIE
Oh, honey, I'm so sorry!

Renée sniffs.

RENÉE
We should name him after him.

CHARLIE
What?

RENÉE
The baby. If he's a boy, we should name him Beaufort, after my dad.

CHARLIE
That's a great idea. And a great name.

INT. BEAU'S ROOM, THREE MONTHS LATER

A crib is pushed up against one of the light blue walls. A rocking chair sits in one of the corners, checkered drapes brushing the arm. The drapes surround a singular window. A BABY BEAU lays in the arms of an exhausted Renée. Baby Beau is quite pale, with light blue eyes and a shadow of dark hair. Charlie stands next to Renée, smiling.

RENÉE
Aw, he's beautiful!

CHARLIE
Well, he is your son.

Renée laughs softly.

RENÉE
Baby Beaufort. Our baby Beau.

INT. FRONT ROOM, THREE MONTHS LATER

Renée holds a three-month-old Baby Beau in her arms. She holds a suitcase in her hand. Charlie stands across from her, crest-fallen. Text on screen reads:

three months later

CHARLIE
Please, just wait, stay.

RENÉE
No. Just let me go, Charlie.

Renée throws the front door open.

RENÉE (CONT'D)
It didn't work out, okay? I really, really hate Forks!

Renée walks out of the house. Charlie looks after her.

INT. KITCHEN, SIX MONTHS LATER

The cabinets are fully yellow now. Charlie sits at the kitchen table, his head in his hands. GEORGE ATEARA, a young Native American man, sits down in the chair next to him. He places a cup of coffee down in front of Charlie.

GEORGE
Are you going to be all right?

CHARLIE
I don't know. It's been six months. I know she's not coming back, but that means that Beaufort's not coming back, either.

GEORGE
Well, you could fight for custody in the divorce hearings.

CHARLIE
No. She needs him to take care of her.

GEORGE
He's a nine-month-old baby, I don't think he can take care of her.

CHARLIE
Well, you know what I mean.

GEORGE
Yeah, I do.

The doorbell RINGS. Charlie stands up and goes to answer it.

INT. FRONT ROOM

Charlie opens to the door. BONNIE BLACK, a young Native American woman with long black hair pulled into a braid, stands on the other side. She is also George's wife. She pushes a stroller with TWO BABY BOYS, who are also Native American, in it.

CHARLIE
Hey, Bonnie. Come on in.

Charlie lets Bonnie in.

BONNIE
Thanks, Charlie. How are you doing?

CHARLIE
I'm fine. Why does everyone keep asking me that?

BONNIE
Because we're your friends and we care about you. Is that so hard to believe?

CHARLIE
It is, actually.

INT. KITCHEN

George still sits at the table. Charlie and Bonnie enter, Bonnie pushing the stroller.

GEORGE
Hey, honey. How are they?

BONNIE
I cannot believe you left me with two life-sucking demon children.

CHARLIE
Aw, I'm sure they're not that bad.

BONNIE
I'm pretty convinced that they're the first humans who don't need sleep.

EXT. ATEARA HOUSE, FOUR YEARS LATER - NIGHT

It's pouring rain out. The house sits silent. A car pulls up to the house. Text on screen reads:

Bonnie Black

La Push, Quileute Nation

four years later

Bonnie gets out of the car, leaning on crutches and five months pregnant. She walks up to the house, struggling.

INT. LIVING ROOM, ATEARA HOUSE

The doorbell RINGS. QUILLA ATEARA IV goes to open it. Quilla IV is a young Native American woman who is heavily pregnant. Standing on the other side of the door is Bonnie.

QUILLA IV
Hey, Bonnie! How are you doing?

BONNIE
Oh, not so great. Can I come in?

QUILLA IV
Sure.

Quilla IV allows Bonnie into the house. She helps Bonnie sit down on the couch.

BONNIE
Quilla, I'm only five months pregnant, you're, what? Eight months? You don't need to help me.

QUILLA IV
Eight months this week. But you're going through so much more. I mean, with the baby, and George, and your legs... You're a strong woman.

BONNIE
Thanks.

QUILLA IV
But you can't keep it together for any longer. What's wrong?

BONNIE
(difficultly)
I...don't think...I want the baby...

QUILLA IV
(gently)
Why?

BONNIE
I don't think we can afford it. I mean, kids are expensive, and we already have the twins, and in a few weeks, we're going to have to start paying child support -

QUILLA IV
What do you mean "child support"?

BONNIE
George didn't tell you that part?

QUILLA IV
That his mistress is going to have his baby? No. Who is this bitch?

BONNIE
She just moved down here.

QUILLA IV
Tiffany Call? Ugh, man, that bastard.

BONNIE
Yeah, I know. Who's place is he crashing at now?

QUILLA IV
He didn't say. But if I had one guess, it'd be Charlie's place.

EXT. CHARLIE'S HOUSE - NIGHT [ESTABLISHING]

The house sits silent in the rain.

INT. BEAU'S ROOM

A crib is pushed up against one of the light blue walls. A rocking chair sits in one of the corners, checkered drapes brushing the arm. The drapes surround a singular window. YOUNG ADAM BLACK lays, sleeping, in the crib. Young Adam is a five-year-old Native American boy with black hair. Charlie and George watch him.

GEORGE
I can't believe Bonnie actually dropped him off here.

CHARLIE
I know. Oh, also, she said that Aaron is with Holly and Saul.

GEORGE
Wow, I can't believe she'd drop him off there instead of at Quilla's. Holly and Saul have Leo to take care of.

CHARLIE
Saul told me that Holly wants another kid. So, practice, I guess. Hey, what'd you do to make Bonnie throw you out? And then your own cousin throws you out? I mean, how do you piss-off Bonnie and Quilla?

GEORGE
They're both pregnant. To piss them off, you breathe.

CHARLIE
Okay, I'll admit that when Renée was pregnant with Beaufort, I slept on the couch a few times. But I was never thrown out.

GEORGE
I'll tell you what happened if we go into the hall.

CHARLIE
Okay...

Charlie and George leave the room.

INT. HALLWAY

George closes the door behind him and Charlie.

CHARLIE
What did you do?

GEORGE
I got my mistress pregnant.

CHARLIE
You what now?

GEORGE
You heard me. I mean, when you and Renée were still together, did you ever -

CHARLIE
Never! I loved my wife. Unlike you, apparently. (beat) Get out.

GEORGE
Charlie -

CHARLIE
Get. Out.

EXT. THE BLACKS' HOUSE - NIGHT [ESTABLISHING]

The rain continues. The small red house sits silent.

INT. LIVING ROOM/KITCHEN

The room is quite small, with a small kitchen at one end and a tattered couch with a TV in front of it at the other end. Bonnie sits on the couch, reading. Her crutches sit next to her. The doorbell RINGS. Bonnie answers it. George stands on the other side in the rain, completely soaked.

BONNIE
How dramatic of you. Showing up here in the rain.

GEORGE
I just came to apologize. You don't have to let me in.

A/N: Honestly, when writing this one, I felt like throwing up. How dare George do that to our beautiful Bonnie? (Yeah, I know I wrote it that way, but still.)

So, we know that Bonnie does in fact end up forgiving George and having the baby, since that's our Jules. I just wanted to explore what Bonnie would have been feeling in this situation, and that was the best way to do it.

Also, Quilla IV won't be showing up as a character anytime soon, possibly ever. However, she is Quilla the fifth's mom, and she does show up quite a bit.