TWINS
by
William Osborne & William Davies
Revisions by
Timothy Harris & Hershel Weingrod
and William Goldman
Re v. 04 /1 5/ 88 (B lu e)
Re v. 04 /2 2/ 88 (P in k)
Re v. 04 /2 7/ 88 (Y el lo w)
Re v. 04 /2 8/ 88 (G re en )
Re v. 05 /0 2/ 88 (G ol de nrod)
Re v. 05 /0 9/ 88 (B uf f)
Re v. 05 /2 5/ 88 (C he rr y)
Re v. 06 /1 6/ 88 (T an )
Re v. 06 /2 2/ 88 (S al mo n)
CONSOLIDATED FOURTH DRAFT
Re v. 07 /0 5/ 88 (W hi te )
Re v. 07 /0 5/ 88 PM ( Mi nt Grn)
Re v. 07 /2 5/ 88 (G ol de nrod) April 27, 1988
Rev. 4/28/88
TWINS
FADE IN:
1 LONG BASEMENT CORRIDOR 1
The CAMERA is MOVING SLOWLY DOWN a long basement corridor.
We hear a narrator (Werner) --
WERNER (V.O.)
On his 35th birthday, I decided
to tell Julius Benedict the truth
about himself...
2 CLOSE - LABORATORY HALL - DOORS - DAY (PERIOD) 2
HOLD ON sign: "Top Secret - Authorized Personnel Only."
WERNER (V.O.)
It wasn't that he was the product
of a scientific experiment.
3 INT. LABORATORY - DAY (PERIOD - 1952) 3
A white coated scientist (PROFESSOR WERNER) is studying a
bizarre piece of equipment that looks suspiciously like
a milkshake blender. With him is another scientist --
(this is TRAVEN -- already imperious, already a prick).
WERNER (V.O.)
An experiment designed to produce
a physically, mentally and
spiritually superior human being.
I explained that to him when he
was two years old.
4 INT. MEDICAL EXAM ROOM - HALF A DOZEN MEN - DAY (PERIOD) 4
Most of them young, 20s and 30s. They are being given a
medical examination by a group of doctors, including
Werner.
WERNER (V.O.)
And it wasn't the complexity of
Julius's parentage. He knew that
unlike other little boys, he
didn't have just one, but half
a dozen fathers, all very
distinguished men. *
TWINS - Rev. 4/22/88 2.
5 INT. HOSPITAL ROOM - CLOSE ON GORGEOUS WOMAN - DAY 5
(PERIOD)
Not your Hollywood type. This is obviously a lady of
character and talent. Her name we will come to learn is
MARY ANN BENEDICT. She is on a hospital bed and being
readied for surgery.
WERNER (V.O.)
Nor was it about the
extraordinary woman chosen to
be his mother...
*
6 INT. HOSPITAL HALLWAY OUTSIDE DELIVERY ROOM - (PERIOD) 6
Traven emerges, sadly shaking his head. Werner tries to
enter the room -- Traven won't permit it.
WERNER (V.O.)
Julius had long lived with the
tragic news that she died giving
birth to him.
7 OMITTED 7 *
& &
8 8 *
9 INT. HOSPITAL HALLWAY - DELIVERY ROOM - DAY (PERIOD) 9
As a nurse, parting the security guards, emerges and holds
up a plump, serene, smiling baby boy.
(CONTINUED)
TWINS - 4/14/88 3.
9 CONTINUED: 9
WERNER (V.O.)
What Julius didn't know, until
this very moment, was that, about
a minute after he was born...
Another nurse emerges from the delivery room, holding up
a second INFANT -- this one is SCREAMING with rage.
WERNER (V.O.)
His mother gave birth to another
baby...
10 INT. NURSERY - DAY (PERIOD) 10
The serene baby. Any mother's joy.
The angry baby. Fuming.
PULL BACK to reveal:
The two of them are in the same crib.
The leg of the angry baby. It suddenly lashes out,
connects with the rump of the serene baby:
The serene BABY. Starting to CRY.
The angry baby. All smiles now.
HOLD ON the two babies in their crib as the following
words fill the screen:
ARNOLD SCHWARZENEGGER DANNY DE VITO
TWINS
CUT TO:
11 INT. GREENHOUSE - CLOSEUP - JULIUS (35) - DAY 11
He looks up and stares dead AT the CAMERA --
JULIUS
(stunned)
I have a brother?!!!
CUT TO:
12 INT. GREENHOUSE - DAY 12
A greenhouse on the island.
(CONTINUED)
TWINS - Rev. 5/9/88 4. *
12 CONTINUED: 12
Werner, now 70, is bent and old. Julius, in peasant garb
is a marvelous-looking human being.
WERNER
(speaks with an
Austrian accent)
He was sent to an orphanage in
Los Angeles. At the same time I
brought you here to the island.
Julius isn't listening. His eyes shine.
JULIUS
(amazed)
I have a twin brother?!!
(for a moment,
chews on his right
thumbnail)
What's his name?
WERNER
Vincent.
JULIUS
(moved)
Vincent -- Every time I loved
something I called it Vincent --
I called my first computer
Vincent!
(suddenly spins;
starts off)
I have to find him!
A13 OMITTED A13
B13 EXT. ISLAND - CLIFFS - DAY B13
Julius strides along a windswept path, followed by
Werner. The ocean spread out below them is vast and
empty. This island is far from anywhere.
WERNER
(fretting terribly)
You've been here since you were a
baby -- you know nothing of
America --
JULIUS
I know it is the cradle of
democracy and the land of the
free; besides, I speak twelve
languages -- I'm sure I can get a
job.
(CONTINUED)
TWINS - Rev. 5/9/88 5. *
B13 CONTINUED: B13
WERNER
They're a simple people; rather
primitive, not like us.
JULIUS
My brother will look after me.
C13 OMITTED C13
13 INT. JULIUS'S HUT - DAY 13
It's a blend of modern technology and the tropical
environment -- floor-to-ceiling book-cases, computers, a
hammock shrouded in a mosquito net.
Julius is hurriedly packing a small leather suitcase,
watched by Werner.
Werner hands over a photograph: it's a picture of a
younger Werner, Traven, and the six fathers.
JULIUS
It's your only copy --
WERNER
-- My need for it is only
sentimental -- yours may be
practical --
Julius slips the photo into his suitcase.
JULIUS
Thank you -- I'll miss you.
WERNER
(holding back the
tears)
I'll miss you.
They hug as we --
CUT TO:
A14 EXT. TROPICAL ISLAND A14
The water's edge. Julius, Werner, an OLDER LADY, two
scientists and an ORIENTAL man are all saying goodbye.
Julius puts his suitcase into a small rowboat.
(CONTINUED)
TWINS - Rev. 5/9/88 6.
A14 CONTINUED: (A1) A14
*
OLD WOMAN *
(as Julius hugs her) *
It's sixty miles to the airport, *
Julius; be careful. *
Julius then bows to the Oriental, who bows back.
JULIUS
(in Japanese;
subtitled)
It was an honor to study under
you, Master.
Without warning, the Oriental tries to strike Julius in
the face with the side of his hand, but Julius blocks
the blow.
ORIENTAL
(in English)
Ahhh, always on guard. You have
learned well, Julius-san.
Julius gives a last hug to Werner.
JULIUS
(to Werner)
I was just thinking, maybe my
brother Vincent is married.
(CONTINUED)
TWINS - Rev. 5/25/88 A6A. *
A14 CONTINUED: A14
WERNER
And...?
JULIUS
Well, if a woman loved my brother
enough to marry him, she might
have a sister who'd feel the same
way about me. That often happens
with twins, you know.
WERNER
Julius -- please -- don't get
your hopes up. Your brother
doesn't even know you exist.
Julius gets in the boat and casts off. The boat takes off
like a streak. Julius, in perfect rhythm, increases the
pace. The boat is almost flying across the water.
JULIUS
(loudly as he
disappears in the
horizon)
Of course he does. I've always
known there was something missing
in my life! And deep down, I'm
sure Vincent feels the same way!
He's probably just like meeeee!
DISSOLVE TO:
14 INT. BEDROOM (L.A.) - DAY 14
VINCE BENEDICT lies in bed, looking extremely pleased
with himself. A SEXY YOUNG WOMAN is nestled asleep
against him. The digital bedside ALARM PURRS and starts
to PLAY MUSIC -- something romantic that Vince hums along
to.
VINCE
You sleep well, honey?
CARLA (SEXY YOUNG WOMAN)
Mmmm... like a baby.
VINCE
Me, too. I love this new
mattress. It's soft but it's hard
at the same time. And I love this
new clock.
Carla snuggles against Vince as he surveys the bedroom
like a house-proud new owner.
(CONTINUED)
TWINS - Rev. 5/25/88 B6A. *
14 CONTINUED: (A1) 14
VINCE
You've done a great job on this
room, Carla.
CARLA
You really think so? Even the
curtains?
VINCE
The curtains are the key to the
whole thing. They're colorful...
they're brilliant... they're...
great curtains.
CARLA
(melting)
You were great last night, Vince.
VINCE
(not disagreeing)
Naaaw...
(putting his arm
around her)
I think we're going to be very
happy here.
Suddenly we hear a DOOR downstairs as it OPENS, and a
man's voice drifts up the stairs:
(CONTINUED)
TWINS - Rev. 4/15/88 6A.
14 CONTINUED: 14
MAN (O.S.)
Honey! I'm home!
VINCE
(a bit surprised but
not panicked)
What's he doing back so early?
Vince jumps out of bed, starts pulling on his clothes
while Carla slips into a bathrobe.
MAN (O.S.)
Carla? You gonna cook me some
breakfast or what?
CARLA
Be right down, sweetheart!
Vince checks his appearance in a dresser mirror,
straightens his Armani suit, brushes his hair, pulls it
into a fashionable ponytail. He cuts a stylish figure.
Noticing an expensive gold lighter on the dresser top,
he covertly pockets it.
Carla pushes him towards the open French doors.
CARLA
Hurry up! I gotta make breakfast!
VINCE
You're wonderful, Carla. Your husband
doesn't deserve to kiss your feet.
TWINS - 4/14/88 7.
15 EXT. BALCONY - DAY 15
Vince steps out and jauntily climbs over the rail. It's
very clear he likes the danger, being on the edge. In
another life, he was probably Errol Flynn. Now, he gives
Carla an Errol Flynn smile --
-- and with that, he leaps into space!
CUT TO:
16 EXT. AL'S HOUSE - AWNING BELOW - DAY 16 *
As Vince gracefully lands, bounces off it onto the ground.
He bends, picks up a flower, puts it in the outside
pocket of his Armani suit, heads toward a new Mustang *
parked not far away.
CUT TO:
17 EXT. AL'S HOUSE - MUSTANG - DAY 17 *
As Vince gets in, starting to sing.
VINCE
(he's got a good
voice)
'Oh what a beautiful morning,
Oh what a beautiful day'...
Now he does something surprising -- not starting to drive,
we expect that. What we don't expect is his destination
-- because what he does is simply turn the nearest corner
and drive right back to the house he just snuck out of.
VINCE
(exiting the car,
still singing)
... 'everything's going my way'...
CUT TO:
18 INT. AL'S HOUSE - DAY 18 *
where Carla, in her robe, is working away starting to
make breakfast. Vince enters, gives her the sweetest
smile.
VINCE
Carla, what a joy to look at you.
(MORE)
(CONTINUED)
TWINS - Rev. 5/9/88 8. *
18 CONTINUED: 18
VINCE (CONT'D)
(as she gives him
a look)
Is my partner and best friend, Al
home from work yet? I am the
bringer of good tidings.
The kitchen door opens and AL GRECO enters. He is sing-
ing "Happy Birthday" and carries a wrapped gift held out
in front of him. He's dressed in overalls with an
insignia on his breast pocket that reads "AIRPORT
PARKING."
VINCE
Stop with that horrible song, you
know how I hate birthdays; they're
worse than Christmas.
Al presents him with the gift.
VINCE
(coy)
For me?
AL
Carla and I figured, since you
were always admiring mine, what
the hell...
(CONTINUED)
TWINS - Rev. 4/27/88 9.
18 CONTINUED: (2) 18
Vince struggles to contain his delight at this irony.
VINCE
A lighter, just like yours. I
don't know what to say, Al. I'm
all choked up.
The PHONE RINGS and Carla picks it up.
CARLA
(into phone)
Hello -- the Greco residence...
sure. Who may I say is calling...
Mr. Burt Klane? Vince, it's for
you --
Vince confidently picks up the receiver.
VINCE
(into phone)
Good morning, Mr. Klane. I hope
you're having a wonderful --
(cut off)
Yes -- no problem -- I have it.
Yes. Today. Of course. 'Bye.
Vince hangs up.
AL
What are you doing talking to a
loanshark?
VINCE
(excited)
That's part of my good news --
You know that money I picked up
from the Jaguar we boosted. Well, *
I put the money in the stock *
market. I got this incredible *
tip. *
*
CARLA
Oh no. *
VINCE
I can't lose. Ever hear of P.V.T. *
Industries? Probably not -- *
Secret takeover bid --
(CONTINUED)
TWINS - Rev. 4/27/88 10.
18 CONTINUED: (3) 18
AL
You put the money on a stock? *
VINCE
A very special stock -- and it was
such a sure thing -- I borrowed
another 20 grand from the Klane *
Brothers.
CARLA
(unbelieving)
You borrowed from a loan shark to
invest in the stock market?
VINCE
On margin -- And as of last night
I was ten thousand ahead. I'm *
going to make a fortune -- turn on
the T.V.
CUT TO:
19 OMITTED 19
20 INT. NEWSROOM - CLOSE - TV - DAY 20
Cable news -- stock report.
NEWSCASTER (V.O.)
... that Wall Street's suffering
its worst single-day's losses
since October '87. Hardest hit *
were Federated Broadcasting, down
$18, Waverton Data, down $24 and
P.V.T. Industries, down $32.
Analysts speculate that even blue
chip stocks will not remain immune
to...
21 INT. AL'S HOUSE- DAY 21
CLOSEUP ON the extremely worried face of Vince as he
takes in the bad news.
AL
You are having one shitty
birthday, Vince.
(CONTINUED)
TWINS - Rev. 4/27/88 11.
21 CONTINUED: 21
VINCE
I'm wiped out. I got to get some
money -- fast. *
AL
Well... '88 B.M.W. came in for
long term last night...
CARLA
Don't you think you're doing this
too often?
VINCE
I'm a desperate man. *
AL
Level three. Stall 25.
CUT TO:
22 OMITTED 22
thru thru
27 27
A28 EXT. AIRPORT PARKING STRUCTURE - ESTABLISHING - DAY A28
CUT TO:
B28 INT. AIRPORT PARKING STRUCTURE - DAY B28
CLOSEUP ON a large painted number 25 then PAN DOWN to
reveal a new BMW.
Vincent approaches the BMW and pretends to be searching
for his keys while he waits for another car to pull out
and drive away. The second it's gone, Vince deftly opens
the BMW door with a "slim-Jim." He gets behind the wheel,
hot wires the ignition and drives away. Vince is a pro.
C28 INT. BODY SHOP - DAY C28
The green BMW is already being repainted by some Men
wearing goggles and using spray guns. Vince comes out of
an office, counting a wad of bills, followed by the OWNER
of the chop shop.
(CONTINUED)
TWINS - Rev. 4/15/88 12/13.
C28 CONTINUED: C28
VINCE
This is only four thousand --
OWNER
We're in a recession --
Everything's tough -- you want to
try someone else -- no hard
feelings.
VINCE
(sourly)
Forget it.
OWNER
You okay, Vince? You seem a
little worried.
VINCE
Me? I laugh myself to sleep every
night, and I never sleep alone.
I'm doing great!
The Owner smiles and turns. Vince continues counting the
money, nervous as hell. Now --
CUT TO:
TWINS - Rev. 4/22/88 14.
28 EXT. AIRPLANE - DAY 28
Flying through clear, blue skies.
29 INT. AIRPLANE - ON STEWARDESS 29
Coming down the aisle, checking the passengers, as we
hear:
JULIUS (V.O.)
(singing)
'Put on your red dress, baby
'Cause we're going out tonight...'
A few passengers turn and look back at --
JULIUS
seated in the rear, still in his peasant garb, the bamboo
suitcase resting on his lap. He has his headphones on
and is singing along to the music, his eyes closed and
his head bobbing.
JULIUS
(singing)
'I better wear some boxing gloves,
In case some fool might want to
fight.'
The STEWARDESS removes his headphones and considers
Julius with amusement.
STEWARDESS
I knew you were trouble the second
I laid eyes on you.
Julius stares up at her, speechless and mesmerized.
JULIUS
(realizing)
Sorry -- I've never heard this
music before -- I love it. *
She sighs, leans over him, fastens his seat belt, while
Julius gazes down at her ample cleavage.
STEWARDESS
The captain wants us to buckle our
seat belts because we're expecting
a little turbulence.
JULIUS
(reading her name
tag)
Thank you, Betty Lou.
(CONTINUED)
TWINS - Rev. 4/27/88 15. *
29 CONTINUED: 29
STEWARDESS
I bet you're a football player.
JULIUS
Actually, I'm a horticultural
botanist, a mathematician, and a
philosopher.
STEWARDESS
Right. And I'm a brain surgeon.
As the Stewardess heads back up the aisle, a MAN jumps
up, grabs her around the neck with one arm and brandishes
a gun in his other hand.
HIJACKER (MAN)
(to passengers)
Nobody moves, or else we're gonna
have a serious draft in here.
(turns to another
stewardess)
Get the captain. I want to
discuss our final destination.
He continues maneuvering the Stewardess up the aisle.
His back is totally to Julius now.
JULIUS
turns to the terrified elderly woman beside him who's
clutching a hardcover Bible in her lap.
JULIUS
(whispers)
Excuse me, ma'am.
As he takes the book from her, quickly draws back his
arm --
CUT TO:
HIGHJACKER
The gun at the panicked Stewardess's head, he continues
slowly up the aisle, shouting for everyone to freeze, not
even to think about moving --
-- now a hardcover book comes rocketing through the air,
hits him in the back of the neck and he goes limp, fall-
ing across some seats, the gun dropping from his hand.
CUT TO:
TWINS - Rev. 4/27/88 16. *
29 CONTINUED: (2) 29
BUNCH OF PASSENGERS
grabbing him, all of them brave and heroic -- a lot of
commotion -- shouts of "I've got him," "Don't move," etc.
CUT TO:
HAND
retrieving the hardcover Bible from the floor and --
CUT TO:
OLD WOMAN
as Julius smiles reassuringly, returns her Bible to her,
sits back in his seat.
JULIUS
(gently; calming her)
His mischief shall return upon his
own hand, and his violent dealing
shall come down upon his own head
-- Psalm 7:16.
In front now, there is a lot of activity as various pass-
engers hold the Highjacker, almost arguing over who's in
control. Julius looks at them a moment, puts on his
headset, closes his eyes and is soon bopping away to the
music.
CUT TO:
30 EXT. LAX - FROM SKY 30
As the plane circles to land.
CUT TO:
31 OMITTED 31
32 EXT. LAX TERMINAL - LATE AFTERNOON 32
Julius exits the terminal surrounded by Orientals. He
makes his way to an airport shuttle bus.
33 EXT. HOLLYWOOD STREET - BAR - DAY 33
TWINS - Rev. 5/2/88 17.
34 INT. BAR - DAY 34
As Vince sidles into a booth, watched by a BARTENDER who
clearly dislikes him.
BARTENDER
It's him. He's back.
A pretty young cocktail waitress called MARNIE turns and
stares daggers at Vince. Marnie is a fireball of a girl,
all brass and sass on the outside and sweet as cotton
candy on the inside, sort of a Jean Harlow valley girl.
She approaches Vince, who greets her with effusive
warmth.
VINCE
Marnie! How are you? Is your *
sister around? *
Marnie pointedly scoops up the tip left by the previous
occupants of the booth.
*
Marnie starts to wipe down the table, spilling crumbs into
his lap.
MARNIE
You total Linda's car. You pawn *
her stereo. You declare us as *
dependents on your tax return!?
VINCE
What an amazing memory --
FEMALE (O.S.)
Vince! I knew you'd come back!
Marnie's sister, LINDA, also a cocktail waitress, slips
into the booth and gives Vince a big kiss. Linda,
although just as attractive as her younger sister, has a
completely different personality: she's trusting,
dependent, and legally blind when it comes to Vincent.
VINCE
(to Linda)
I am so sorry for all the
miserable things I've done to you.
LINDA
Like what?
MARNIE
Linda!
(CONTINUED)
TWINS - Rev. 5/2/88 18.
34 CONTINUED: 34
LINDA
(to Marnie)
I'm not going to give him any
money. Just take care of my
station for a minute.
Marnie exchanges an exasperated glance with the Bartender
and walks away. Linda distances herself a little from
Vince in the booth, not meeting his eyes.
VINCE
(emotionally)
I didn't come here for a loan,
sweetheart. I came to say
goodbye.
(beat) *
It's not safe for me here. People
are trying to kill me.
Vince starts to rise but Linda pulls him back down.
LINDA
What did you do, Vince?
VINCE
I got involved in the stock
market.
LINDA
(getting nervous)
I promised Marnie I wouldn't give
you money.
Vince takes Linda's hand between his and stares into her
eyes.
LINDA
Don't look at me like that...
Don't do that with your eyes... I
shouldn't even be here with you.
VINCE
(softly)
You are here and so am I,
Maybe millions of people go by,
But they all disappear from view,
And I only have eyes for you...
Linda. I only have eyes for you.
LINDA
(moved)
That is so beautiful. How do you
make up that stuff? You're such
a poet.
(CONTINUED)
TWINS - Rev. 5/2/88 19.
34 CONTINUED: (2) 34
VINCE
You inspire me.
*
CUT TO: *
35 OMITTED 35
36 INT. BAR - DAY 36
A man enters. He starts looking around, checking the
booths. He looks like a professional enforcer, which in
fact, he is. He is also the smallest of the Klane
brothers: BURT KLANE.
Vince ducks down under the table.
VINCE
(whispers)
It's the baby Klane -- I gotta
get the hell out.
Burt Klane strolls to the middle of the room, then suddenly
turns and faces Linda.
BURT KLANE
Where's the little shit?
LINDA
(very nervous)
You gotta be more specific,
considering our clientele.
BURT KLANE
Benedict.
LINDA
(laughs)
He wouldn't show his face around
here. Right, Marnie?
*
She looks down at --
*
VINCE
He silently starts to crawl away in the direction of the
back door.
MARNIE
(enjoying calling
him names)
Who, Vincent? *
(MORE)
(CONTINUED)
TWINS - Rev. 5/2/88 20.
36 CONTINUED: 36
MARNIE (CONT'D)
-- That weasel, that creep -- that
oily little slug -- that two-bit,
two-timing, waste of space -- that
pathetic, low-life pocket Romeo.
BURT KLANE
(cutting her off)
Okay -- enough.
CUT TO:
A37 EXT. BAR - BACK DOOR - DAY A37
The back door opens and Vince crawls out on hands and
knees. His journey abruptly ends as he now faces KLANE
#2 -- BOB -- considerably larger than his brother inside.
B37 INT. BAR - DAY B37
Vince is thrown in, forcefully, into a table. He crashes
onto the floor.
BOB KLANE
Look what I found crawling around
out back.
CUT TO:
C37 INT. BAR - DAY (LATER) C37
A booth at the back of the restaurant: Vince is seated
with the two Klane brothers. He hands over the money he
picked up from the BMW -- $4000. The smaller Klane counts
it quickly.
BURT KLANE
This is only four thousand --
VINCE
The rest is invested. We're gonna
make a fortune.
Bob suddenly punches Vince in the side knocking the breath
out of him.
BOB KLANE
(ominous)
Shut up.
(CONTINUED)
TWINS - Rev. 5/2/88 21/22.
C37 CONTINUED: C37
Linda comes over -- Very nervous, she looks around, then
hands over an envelope.
LINDA
I hope this helps -- Please don't
hurt him.
BURT KLANE
There you go --
(he counts Linda's
money)
-- Another thousand -- Okay -- This
nice lady just bought you a day
Vince -- I want it all -- Twenty-
thousand -- this time tomorrow. *
VINCE
Twenty -- ? But I just paid --
Just as he opens his mouth, Vince is elbowed again.
BURT KLANE
That's just the interest. The *
twenty's the principal. *
37 INT. BAR - NEAR DOOR - DAY (LITTLE LATER) 37
Linda is walking Vince out.
VINCE
That was the most wonderful
birthday present anybody ever gave
me --
LINDA
It's your birthday? Why didn't
you tell me?
VINCE
(suddenly honest)
I can't take the kindness. It
gives me the shakes.
LINDA
You'll tremble plenty before we're
through, Vince Benedict.
They kiss.
CUT TO:
TWINS - Rev. 4/27/88 23.
A38 EXT. GRAUMAN'S CHINESE THEATRE - MAGIC HOUR A38
Vince brushes himself off, hesitates a moment, pulling on
his left ear with his right hand.
Immediately behind him, facing the opposite direction, is
another man, also pulling on his left ear with his right
hand. It is Julius --
-- Their backs are to each other. Without ever catching
sight of one another, they move off, going their separate
ways. Now, from this --
CUT TO:
38 EXT. DOWNTOWN HOLLYWOOD STREET - NIGHT 38
Downtown Hollywood in all it's sleeze. There's a wax
museum and a scientology center and every fast food place
imaginable and people shouting as they sell things,
"flowers" and street food and there's a porno house *
showing Tight 'n Tender and there's young people dressed
like punks and old people boozed out and pimps and
druggies and guys slumped unconscious in the gutter and
crowds of tourists walking this way, that way, and there's
noise and litter and one more thing --
-- There's Julius, case in hand, staring around, taking it
all in. We're a long way from his island now. He studies
all the humanity swirling around him --
CUT TO:
CLOSEUP ON JULIUS
And you can see it on his face: He loves it.
JULIUS
(almost a whisper)
... How wonderful...
39 OMITTED 39
thru thru
43 43
44 EXT. HOLLYWOOD - NIGHT 44
Julius, eating a hot dog, is walking along a street in
Hollwyood. In his island peasant garb, he doesn't look
all that unusual considering his surroundings.
(CONTINUED)
TWINS - Rev. 5/2/88 24.
44 CONTINUED: 44
But Julius is pretty noticable no matter where he goes.
CUT TO:
TWO HELMETLESS MOTORCYCLISTS
watching Julius. More specifically, they are watching
the expensive-looking leather-edged suitcase he carries in
his hand. They look at the case a moment more, then
Biker #2 gets his MACHINE PURRING softly.
A45 EXT. WINDOW OF FREDERICK'S OF HOLLWYOOD - WINDOW - NIGHT A45
You never saw such lingerie.
PULL BACK to reveal:
Julius, staring at it, shaking his head.
JULIUS
(to himself)
What an amazing country.
CUT TO:
BIKER #1
ROARING up beside Julius, smiling ingratiatingly.
BIKER #1
Got a light, pal?
JULIUS
Sorry, but I don't smoke... pal?
Julius thinks he's found a friend.
BIKER #1
(indicating "Fredericks")
Looking for something for your
girl friend?
JULIUS
I... don't have a girl friend. Do
women really wear these things?
BIKER #1
If you're lucky.
(a beat)
You from out of town? *
(CONTINUED)
TWINS - Rev. 5/2/88 25.
A45 CONTINUED: A45
JULIUS
Yes, a small island in the South *
Pacific, about 300 nautical miles
south-southwest of Fiji...
Biker #2, bounds along, and when he reaches Julius he
grabs the handle of the leather case that Julius holds,
his plan quite obvious -- to steal the case and disappear
into the crowded street.
Not an original plan, certainly, but one that over and
over again, always works --
CUT TO:
CASE HANDLE
Julius's hand holds fast to it. Then --
CUT TO:
BIKER #2
As his mouth drops open as we --
CUT TO:
JULIUS
just sort of standing there, no big deal, not much effort
showing on his face as Biker #2 begins to slowly rise
into the air as he and his cycle are about to be parted
and then --
CUT TO:
CYCLIST #2
still holding to the case as his CYCLE ZOOMS away from
him and for a moment he is flat in mid-air, parallel to
the cement sidewalk and --
CUT TO:
RIDERLESS MOTORCYCLE
ROARING into the crowd and people shriek, dive out of
its way and --
(CONTINUED)
TWINS - 4/14/88 26.
A45 CONTINUED: (2) A45
CYCLIST #2
falling to the pavement, his head colliding hard and he's
out and --
CUT TO:
RIDERLESS CYCLE
ending its trip as it collides with a storefront and
collapses on its side, MOTOR still ROARING but no
movement anymore and --
CUT TO:
CYCLIST #1
stunned, going to his unconscious partner.
BIKER #1
(to Julius)
What the hell did you do?
Julius calmly kneels beside the still form. He puts
his case down, and his hands move expertly across the
prone figure.
JULIUS
I did nothing, the pavement was
his enemy.
CUT TO:
JULIUS
eyes almost closed as his skilled hands touch the guy a
moment more.
JULIUS
I would say -- a concussion -- a
mild shoulder separation, and ribs
four to seven are cracked.
Julius rises.
JULIUS
Get him to a hospital.
And now he picks up his case, starts to go; pauses.
(CONTINUED)
TWINS - 4/14/88 27.
A45 CONTINUED: (3) A45
JULIUS
And in the future, you should both
consider wearing helmets.
A sweet smile.
CUT TO:
45 OMITTED 45 *
thru thru
47 47 *
48 EXT. HOLLYWOOD STREET - NIGHT 48 *
Vince, approaching his car, sees a motorcycle COP putting
a ticket under his windshield wiper. Vince marches over,
examines the ticket.
VINCE
Fifty-three dollars? You gotta *
be kidding.
COP
Your vehicle's in a handicapped
zone.
Vince immediately hunches his shoulder and affects a
limp.
VINCE
So? Do I look normal to you?
COP
You don't have a 'handicapped'
sticker on your windshield.
(a beat)
Driver's license, please.
CUT TO:
CLOSEUP - VINCE'S HAND
It is being handcuffed to his car's door handle.
COP
You've got over 200 outstanding
parking tickets, Mr. Benedict.
And you just had your birthday?
Well, your driver's license just
expired -- Happy birthday. *
(CONTINUED)
TWINS - Rev. 4/27/88 28.
48 CONTINUED: 48
As we HOLD ON Vince's depressed face we FADE TO BLACK --
CUT TO:
A49 EXT. ORPHANAGE - DAY A49
Julius walks up the stairs leading to the front door.
49 EXT. ENCLOSED ORPHANAGE PLAYGROUND - DAY 49
Young boys in uniform are raucously enjoying their recess
under the supervision of several nuns in habits.
JULIUS (V.O.)
So, this is where my brother grew
up. I'm glad he had so many
friends to play with. *
50 INT. ORPHANAGE DORMITORY - DAY 50
An elderly MOTHER SUPERIOR looks dubiously at Julius as
he stares out the window down on the playground.
He turns and examines the dormitory which is lined with
metal cots. He points to a cot near the door and smiles
fondly.
JULIUS
And that's where he must have
slept.
MOTHER SUPERIOR
How did you know?
JULIUS
It's the one I would have chosen.
It's next to the fire
extinguisher. In case of a fire,
I could have given the alarm, and
saved the other orphans.
MOTHER SUPERIOR
We've only had one fire at St.
Charlotte's. Vince Benedict
started it, we like to think by
accident.
TWINS - Rev. 4/15/88 28A.
51 INT. MOTHER SUPERIOR'S OFFICE - DAY 51
The Mother Superior opens a file cabinet and begins
rummaging through it, watched by Julius.
JULIUS
Tell me about him. Was he a good
athlete? Did he like chess and
poetry?
(CONTINUED)
TWINS - Rev. 4/27/88 29.
51 CONTINUED: 51
MOTHER SUPERIOR
I'm certain that God had a purpose
when he created Vincent Benedict,
but it had nothing to do with
chess or poetry.
She locates a file, removes it; the only thing inside it
is a photograph, which falls to her desk.
MOTHER SUPERIOR
That's odd... the contents of his
file are missing.
Julius picks up the photo -- a 13-year-old boy leering up
at an attractive young nun.
JULIUS
This is him? He looks happy -- *
MOTHER SUPERIOR
(sighing)
He should -- that's Sister Maria, *
his biology teacher.
JULIUS
I always liked biology.
MOTHER SUPERIOR
So did Vincent. He disgraced
Sister Maria, who had to leave
the order. Then he stole all the
money from our library fund and
ran away.
CUT TO:
52 EXT. ORPHANAGE - FRONT DOOR - DAY 52
The Mother Superior is trying, tactfully, to close the
door on Julius.
JULIUS
But I have to find him. Where do
you think he might be?
MOTHER SUPERIOR
Jail. A man of his character
could only be in jail. You're
full of goodness, Julius -- I pray
that you never find him.
Sweet smile as the door is closed and we --
CUT TO:
TWINS - Rev. 4/27/88 30.
53 INT. LOS ANGELES JAIL - HOLDING CELL - DAY 53
A bunch of people are in the cell along with Vince. Most
noticable is an amazingly tall, slender, muscular black
man. We're talking a SEVEN FOOTER here. A bad tempered
Seven Footer.
SEVEN FOOTER
(to Vince who is
scowling at him)
What're you lookin' at?
VINCE
At you, you jerk.
The Seven Footer rises angrily to his full size. Vince
moves right in on him -- he may be going through a bad
patch, but make no mistake, Vince is tough.
VINCE
(to the others in
the cell)
Tyrone Davis, averaged 23 points,
eleven rebounds and four blocks a
game his senior year. First round
pick of the L.A. Clippers and now
look at him.
SEVEN FOOTER
(stunned by the
amount of
information)
Who're you?
VINCE
(as he gives
Tyrone a card)
World International Athletics *
Representation. Vincent Benedict
-- President. I coulda got you a
no-cut contract so you wouldn't
have to heist T.V. sets for a
living --
CUT TO:
GUARD
coming to the cell door.
GUARD
Benedict! Visitor.
(CONTINUED)
TWINS - 4/14/88 31.
53 CONTINUED: 53
VINCE
(moving away)
Call me when you get out, they're
always looking for centers in
Italy...
And as he goes --
CUT TO:
54 INT. JAIL - VISITING ROOM - DAY 54
Julius is already seated in one of the cubicles, separated
by a glass partition from the prisoner's side. This is
a big moment for Julius and he looks around as various
prisoners are brought in --
-- and as a look of pleasure comes across his face --
CUT TO:
GUARD
leading an attractive, powerful inmate into the room.
The guy is Julius's age.
CUT TO:
JULIUS
trying to fight his excitement, watching as the prisoner
moves toward him --
-- then past him.
Julius, confused, stares for a moment straight ahead
across the partition, and now he's more confused --
-- because Vince is sitting across from him, dubiously
studying him, arms crossed. There are phones on both
sides of the glass partition. The room, it should be
noted, is busy.
Julius makes a smile.
Vince just stares.
Julius mutters "excuse me" and gets up, goes to a nearby
GUARD.
(CONTINUED)
TWINS - 4/14/88 32.
54 CONTINUED: 54
JULIUS
(soft)
Excuse me, but I'm looking for
Vincent Benedict.
GUARD
(pointing to Vince)
You got 'im.
Julius turns, looks at Vince, and as he walks back to his
side of the cubicle and sits, he is overcome with the
wonder of it all.
JULIUS
(impassioned, but a
bit rambling; his
emotions are in
control)
Vincent... dearest Vincent... I
have rowed halfway across the
world -- no, wrong, I only rowed
one day but I came halfway across *
the world -- I know you don't know
who I am, but believe me when I
say I have been waiting for this *
moment all my life...
It's hard to tell what Vince is feeling but clearly the
look of dubiousness is gone. He picks up the phone on
his side, gestures for Julius to do the same. As Julius
does, Vince at last speaks:
VINCE
You gotta talk into the phone, *
asshole.
Julius is confused, momentarily.
JULIUS
(understands now --
into the phone)
Vincent...
CUT TO:
VINCE
listening, somewhat amazed. Who is this loony?
JULIUS (V.O.)
... Dearest Vincent...
Vince glances quickly around to see that no one is
listening.
(CONTINUED)
TWINS - Rev. 4/27/88 33.
54 CONTINUED: (2) 54
JULIUS (V.O.)
I know you don't know who I am,
but -- I came halfway across the
world --
CUT TO:
TWO OF THEM
VINCE
(cutting in)
-- Whoa. I still got another six
hours to pay the money back. You *
tell those crummy Klane brothers
that harassing a man when he's
already in the slammer is beneath
even them --
JULIUS
(overlapping --
they do this a lot)
-- I don't know any Klane
brothers. I'm your brother,
Julius.
VINCE
(stopped dead)
Huh? Again?
JULIUS
I don't know any Klane Brothers.
VINCE
(wary)
Yeah. Go on -- I got that part.
JULIUS
My name is Julius -- I'm your
twin brother.
VINCE
(laughing)
Obviously -- the minute I sat
down I felt like I was looking
in a mirror.
JULIUS
We're not identical twins.
VINCE
I wouldn't be too sure.
(CONTINUED)
TWINS - Rev. 4/27/88 34.
54 CONTINUED: (3) 54
JULIUS
(sad)
You don't believe a word I've
said, do you?
VINCE
-- That's right. I don't believe
a word you said. *
JULIUS
Vincent, I don't lie. I am your
brother. Let me help you get out *
of here.
VINCE
(now he's interested)
Oh... you want to help me get
outta here?
JULIUS
Yes.
VINCE
Well, money talks, bullshit walks.
JULIUS
How can bullshit walk? Is that
slang?
VINCE
(to himself)
I'm in fast company here --
(to Julius)
Listen, you get me outta here,
I'll be whatever you want, best
friend, brother, nephew, niece,
grandma...
Vince gets up --
VINCE
(to himself as he
leaves)
Just don't ask me to bend over --
CUT TO:
55 EXT. POLICE STATION - PARKING LOT - DAY 55
A bunch of impounded cars. Vince and Julius walk toward
a small building in the center.
(CONTINUED)
TWINS - Rev. 4/27/88 35.
55 CONTINUED: 55
VINCE
Listen, 'twinny,' I hope you
didn't blow your wad on those
tickets, 'cause it's gonna cost a
bunch more to release my car.
JULIUS
I have some more money --
VINCE
You do?
JULIUS
I am happy to help you, Vincent.
You're my brother. I love you.
VINCE
Julius -- look -- ease up on the
love talk or I'm gonna be
tossing my cookies, all right?
JULIUS
Tossing cookies, that is more
slang?
VINCE
Just gimme your wallet, okay?
As Julius sweetly hands it over --
56 OMITTED 56 *
56A EXT. POLICE IMPOUND OFFICE - DAY 56A *
As Julius counts out almost the last of his money to the
police attendant, who hands him a set of keys. Vince
grabs them and walks out of the building. Julius
follows.
57 EXT. IMPOUND PARKING LOT - DAY 57
JULIUS
I know what you're thinking?
VINCE
No, you don't.
JULIUS
You're thinking that this whole
twin business is what you call
'bullshit.'
(CONTINUED)
TWINS - Rev. 5/2/88 36.
57 CONTINUED: 57
This is exactly what Vince has been thinking.
VINCE
Actually, I was thinking I'm going
to need some more money -- to put
gas in my car --
JULIUS
You can take some more money --
VINCE
I can?
JULIUS
Sure...
VINCE
We're brothers -- right?
Julius tries to drape an arm around Vince's shoulder.
Vince gives him a look. Julius drops his arm.
TIME CUT TO:
A58 EXT. IMPOUND PARKING LOT - DAY A58
Vince and Julius are walking down a long line of cars.
VINCE
They arrest you, they put you *
behind bars, they fine you and *
then they hide your car. *
JULIUS
That's --
(points)
-- your car, isn't it?
CUT TO:
VINCE'S MUSTANG
Which is what Julius is pointing at.
VINCE
Yeah -- How'd you know that was
my car.
JULIUS
We're twins!
(CONTINUED)
TWINS - Rev. 4/27/88 37.
A58 CONTINUED: A58
Vince unlocks his side, gets in. Julius, smiling and
happy, starts to walk around to the other side.
JULIUS
(very happy)
I'm so excited -- we'll go to
museums together, discuss
philosophy together, read books
together -- play chess together --
VINCE
-- Get lost together --
And on that, he GUNS his CAR the hell away, leaving
Julius standing there.
CUT TO:
JULIUS
Deserted, alone in the sea of cars.
58 EXT. AIRPORT - PARKING LOT - DAY 58
As a gleaming new Cadillac rolls up to the ticket booth.
Al leans out from the booth, taking in the car and its
occupants -- two men, one in a Hawaiian shirt, one in a
tanktop, both wearing Ray-Bans. They look like they're
going on vacation.
(CONTINUED)
TWINS - Rev. 6/22/88 38.
58 CONTINUED: 58
AL
Hey, the new Sedan DeVille... Very
nice.
The driver, GARFIELD, just nods, holds out his hand for
the ticket.
AL
You guys must be going to Hawaii,
huh? Catch that good surf.
GARFIELD
Something like that.
The two men just stare straight ahead, uninterested in
conversation. Al hands the driver a ticket.
AL
There's plenty of space on level
four.
The Cadillac accelerates up the ramp.
59 INT. PARKING LOT - INSIDE CADILLAC - DAY 59
as it pulls into a parking spot in the enclosed lot.
Man #2, LARSON, opens an attache case, removes a
cassette, inserts it into the tape deck while the driver
wipes down the steering wheel, gearshift, etc. with a
cloth to remove their fingerprints.
OUTSIDE CADILLAC
as the men get out, lock the car, wipe off the door
handles, and then head for the elevator.
CUT TO:
A60 EXT. HOLLYWOOD OFFICE BUILDING - ESTABLISHING - DAY A60
B60 INT. VINCE'S BUILDING - HALLWAY - DAY B60
As Vince approaches a door on which a sign reads:
VINCENT BENEDICT, INC. *
SPORTS AGENT - ARTIST'S REPRESENTATIVE
IMPORT/EXPORT *
AUTOMOBILE SALES - RENTAL - LEASING *
WHOLESALE PATIO FURNITURE *
His door opens and out come two furniture MOVERS with a
desk.
(CONTINUED)
TWINS - Rev. 6/22/88 39. *
B60 CONTINUED: B60
VINCE
What're you doing with my desk?
MOVER
Taking back the furniture --
you're six months behind.
He opens a desk drawer, pulls out a razor and begins
shaving as he walks into his office.
60 INT. VINCE'S OFFICE 60
Almost nothing is left but the phone on the floor, with
Miss Busby, his secretary, standing by it. Vince is
stunned.
MISS BUSBY
I tried to stop them, Mr. Benedict --
VINCE
It was time to redecorate anyway.
The PHONE RINGS -- Miss Busby drops to her knees beside
it.
MISS BUSBY
(into phone)
Vincent Benedict, Incorporated --
Sports agent, artist's
representative -- import/export --
automobile sales, rentals, and
leasing -- wholesale patio
furniture -- How may I help you?
(listens briefly)
Oh, hi.
(to Vince)
It's Al.
As she hands him the phone.
VINCE
(taking it, talking
to her, sweetly)
Miss Busby -- Stacy -- this is a
transition period for the
corporation -- Why don't you take
a few days off.
MISS BUSBY
(a little lost)
... Aah -- all right. Whatever you
say, Mr. Benedict...
(MORE)
(CONTINUED)
TWINS - Rev. 6/22/88 39A.
60 CONTINUED: (A1) 60
MISS BUSBY (CONT'D)
(stops)
Oh, before I forget... Happy
birthday...
She hands him a gift-wrapped present which he opens.
(CONTINUED)
TWINS - Rev. 4/22/88 40.
60 CONTINUED: 60
VINCE
'Aqua-Velva' -- you shouldn't
have --
She takes her purse, smiles, goes. When he's alone,
into phone:
VINCE
I hope you got some good news, *
Al -- *
CUT TO:
61 INT. AL'S TICKET BOOTH - AL - DAY 61
On the phone in his ticket booth.
AL
(into phone)
Brand new Caddy on level four.
CUT TO:
62 INT. VINCE'S OFFICE - VINCE - DAY 62
VINCE
(thrilled)
Great, I'll be right over.
Vince drops to his knees in order to replace the phone
into its receiver. He then scrambles up, straightens his
suit, heads for the door, making sure his pony tail is
perfect.
CUT TO:
63 INT. VINCE'S OFFICE - HALLWAY - EMPTY CORRIDOR OUTSIDE 63
- DAY
As Vince exits, turns, quickly locks the door, turns back
into the corridor just in time for this --
-- A huge fist slams brutally into his stomach. Vince
gags, falls to his knees as we:
PULL BACK to reveal MORRIS KLANE, the biggest of them all,
standing over Vince.
MORRIS KLANE
Time's up, Vincent -- Got the
money?
(CONTINUED)
TWINS - Rev. 4/15/88 41.
63 CONTINUED: 63
He bends over, picks Vince up by the neck like a toy doll,
straightens him up briefly, then buries his fist into
Vince's gut. Vince goes down. Harder than last time. *
CUT TO:
VINCE
In agony, on his knees. It hurts to breath. He finally
manages to look up at the giant --
VINCE
(gasping)
Did you hit me yet? 'Cause I
didn't feel nothin'.
CUT TO:
MORRIS KLANE
He grabs Vince again.
MORRIS KLANE
You gotta understand something,
Benedict -- I like my work.
He pulls Vince groggily up and this time he's going for
Vince's face. He takes his time setting Vince up,
getting his chin at just the right angle. He's concen-
trating on his work, so he doesn't pay much attention to
the fact that the elevator door has opened behind.
Klane draws his fist back and is about to drive it into
Vince's face when he suddenly pauses; the expression on
his face, at first puzzled, becomes increasingly agonized
as we REVEAL that --
JULIUS
Behind him, is squeezing a pressure point on Klane's
neck, rendering him unable to punch out Vince. Julius
maneuvers the Klane off of Vince and forces him down
onto the floor.
JULIUS
(quietly)
These are most unfriendly acts you
are committing.
MORRIS KLANE
(totally surprised)
What?
(CONTINUED)
TWINS - Rev. 4/22/88 42.
63 CONTINUED: (2) 63
JULIUS
I don't know what the problem is,
but I'm sure it can be solved
without resorting to violence.
MORRIS KLANE
(absolutely in
agreement)
Okay, okay.
JULIUS
Good. *
Julius lets go of Klane, who gets to his feet, turns
around, and instantly lets fly with his fist at Julius's
face.
Here Julius effortlessly blocks the punch and goes right
on talking.
JULIUS
You moved too soon.
Klane spins and aims a karate kick at Julius's head.
Julius coolly ducks it and sends Klane crashing into a
wall.
JULIUS
An important rule in a crisis *
situation -- negotiate first,
attack last. You never
negotiated. You don't know what
kind of enemy I am.
Klane drags himself to his feet while trying to gauge what
he's up against.
MORRIS KLANE
Who are you?
JULIUS
Vincent's brother.
VINCE
(happily)
We're twins.
Klane isn't buying it. Seeing a fire axe inside a GLASS
CASE on the wall, he SMASHES through and grabs it.
MORRIS KLANE
You're firewood.
(CONTINUED)
TWINS - Rev. 4/22/88 43.
63 CONTINUED: (3) 63
JULIUS
You have no respect for logic -- *
Klane charges Julius, who sidesteps his blow. The axe is
is imbedded in the wall. As Julius grabs him.
JULIUS
-- And I have no respect for those
with no respect for logic. You're
a very stupid person.
CUT TO:
CLOSEUP - JULIUS
CUT TO:
VINCE
Watching as Julius picks up Klane with both hands and
lifts him a foot up into the air, holding him there for a
pause.
CUT TO:
VINCE
-- And this next is timed perfectly -- as he pushes the
elevator button and...
CUT TO:
ELEVATOR DOOR
slides open and...
CUT TO:
JULIUS
As he heaves Klane across the corridor into the open
elevator Klane crashes down hard just as the door slides
shut and...
CUT TO:
TWINS - Rev. 4/22/88 44.
63 CONTINUED: 63
VINCE
Shouting as the door closes on the crumpled Klane.
VINCE
Tell your brother 'He messes
with me, he messes with my whole
family!'
64 EXT. VINCE'S OFFICE - STREET - LATE AFTERNOON 64
Despite himself, Vince is definitely warming to Julius.
VINCE
(happy)
I like it when you hit people!
JULIUS
I hate violence.
VINCE
But you're so good at it. We
ought to go into business together.
You could be a boxer and I'll be
your manager.
JULIUS
I don't think I could fight for
money.
VINCE
No problem. You do the fighting,
I'll keep all the money.
JULIUS
(laughing)
I'm worried about you, Vincent.
*
They reach Vince's Mustang and get in.
JULIUS
How much money do you owe? Don't
lie -- we're twins, I can feel
your pain.
VINCE
(exploding)
Why do you keep saying that?
We're not twins, we're not
brothers, we're nothing, and
you're only in this car because I
could use a little protection
these days --
(CONTINUED)
TWINS - Rev. 4/27/88 45.
64 CONTINUED: 64
JULIUS
(closing his eyes)
Twenty thousand?
VINCE
(a beat; then,
quietly)
Due this morning.
*
CUT TO: *
AA65 INT. MUSTANG - DRIVING SHOT - LATE AFTERNOON AA65
*
Suddenly Vince bangs his forehead with the palm of his
hand.
VINCE
I don't know where my head is -- I
forgot I promised this friend of
mine -- Sammy -- I'd pick up his
car at the airport -- do me a big
favor, okay? Drive this car back
from the airport for me.
JULIUS
I'd love to.
Julius reaches into the glove compartment, takes out the
car manual, begins speed reading it, running his index
finger down the center of each page.
VINCE
What are you doing with that
finger?
JULIUS
Learning to drive.
Vince isn't sure what's going on at this point. Now
Julius studies Vince's shifting moves, the way his hands
work the steering wheel. Now he's back to the manual.
Now he's staring at Vince.
Vince and Julius's heads are both in motion now --
Julius's from the book to the wheel, Vince's from the
road to Julius's finger. As their heads keep turning --
CUT TO:
A65 OMITTED A65 *
TWINS - Rev. 4/27/88 46/47.
65 INT. PARKING LOT - DAY 65
Vince checks beneath the caddy's tires, then rises,
frustrated.
JULIUS
What's the matter?
VINCE
That dopey Sam -- He did it again.
Forgot to leave the keys... A lot
of handicapped kids are gonna be
really disappointed...
JULIUS
(moved)
Handicapped children?
(CONTINUED)
TWINS - 4/14/88 48.
65 CONTINUED: 65
VINCE
This car was supposed to be
auctioned off at their charity
drive tomorrow. Oh, well, let's
go eat.
JULIUS
Maybe we should try to open it
ourselves...
Vince raises his eyebrows in mock surprise.
VINCE
You think we should do a thing
like that?
JULIUS
Of course -- it's for the
children...
CUT TO:
CLOSEUP - SLIM JIM
Vince inserts it into the Cadillac's driver's-side *
window, watched by Julius.
VINCE
(feigning ignorance)
I saw a guy from the auto club do
this once...
The door locks suddenly pop up in unison.
VINCE
Whaddya know? Beginner's luck!
CUT TO:
VINCE
As he takes a breath, opens the door, scoots inside --
-- and the instant he does there is this terrible
shrieking SIREN sound --
-- Vince frantically scrambles around, lying on the car
seat, trying to make it stop but he can't --
-- and then two things happen:
(CONTINUED)
)O( TWINS - Rev. 7/5/88 49. *
65 CONTINUED: (2) 65
First, the car tilts and Vince is pitched unceremoniously
forward, landing on the floor of the car under the steer-
ing wheel. He scrambles back to the seat -- it's not easy
because of the angle.
Second, the SIREN STOPS. Vince looks out the car window.
CUT TO:
JULIUS
holding the rear of the car several feet up in the air.
JULIUS
When the back end is raised to an
angle greater than 45 degrees, a
mercury switch activates the
automatic cutoff system. The
alarm's computer thinks the car
is being towed away and shuts off.
VINCE
No shit...
It's beginning to dawn on Vince that there may be more to
Julius than meets the eye.
66 EXT. LOS ANGELES STREET - MAGIC HOUR 66
The Cadillac passes by, Vince at the wheel.
A pause.
Now the Mustang comes along, Julius at the wheel. He
drives terribly, stopping and starting -- jerking along.
Julius suddenly puts his foot on the gas and roars past
Vincent.
CUT TO:
A67 INT. JULIUS' CAR - MOVING - DUSK A67
Julius is speeding like a kid with a new toy. Suddenly
the CAR PHONE BEEPS. He locates the source of the sound,
and picks up the phone.
JULIUS
(into phone)
Vincent Benedict's car.
(a beat)
Vincent! Where are you?
(CONTINUED)
)T( TWINS - Rev. 7/5/88 PM 50. *
A67 CONTINUED: A67
VINCE (V.O.)
Ya see that little dot in your
rearview mirror? That's me.
JULIUS
(waving into mirror)
Hi, Vincent.
VINCE (V.O.)
There's a supermarket up ahead.
Take your foot off the gas and
very -- very -- very gently
put it on the brake.
JULIUS
The brake -- right.
CUT TO:
B67 EXT. SUPERMARKET PARKING LOT - DUSK B67
As Julius makes a sharp turn -- on two wheels -- into
the parking lot and comes to a dramatic squealing stop
that spins the car around 180 degrees.
Vince's car pulls in a moment later. He gets out, gazes
at the skid marks as a smiling Julius approaches.
JULIUS
The brakes worked just fine!
VINCE
Lemme tell you something about
America, Julius -- nobody likes
a smart-ass.
CUT TO:
67 INT. SUPERMARKET - NIGHT 67
Julius and Vince enter the supermarket.
CUT TO:
LINDA AND MARNIE
are pushing a cart down one of the other aisles. Linda
is filling it with birthday candles, cake mixes, etc.
(CONTINUED)
)T( TWINS - Rev. 7/5/88 PM 50A.
67 CONTINUED: (A1) 67
LINDA
(as she reaches
for some cake mix)
Angel's food or devil's food?
MARNIE
The answer's obvious.
LINDA
There's only one Vince Benedict.
He's a force of nature.
(CONTINUED)
)O( TWINS - Rev. 7/5/88 51. *
67 CONTINUED: 67
MARNIE
And that 'poetry' he pretends to
write. They're old song lyrics,
Linda.
Linda stops pushing the cart and looks at her.
LINDA
I know that -- Geez, you don't
think I know that -- ?
(soft)
It's so cute, the way he thinks
he's tricking me. Anyway, what's
wrong about other people's songs?
Some guys tell you dirty jokes.
It just proves that Vince has a
romantic soul.
CUT TO:
MAGAZINE RACK
Adjacent to the express checkout lane where Linda and
Marnie now join the line. Julius picks up a Playboy and
begins speed-reading it. His eyes widen at what he's
reading, and seeing, and when he reaches the centerfold
he audibly gasps.
MARNIE (O.S.)
Excuse me.
She reaches past Julius to take a copy of Cosmopolitan.
Julius drops the Playboy, which falls open on the ground,
with the centerfold revealed. Flustered and blushing, he
bends down to retrieve it, watched by Marnie, who can't
take her eyes off the sheer beauty of his physique.
MARNIE
(looking at the
centerfold)
She's not bad...
JULIUS
(embarrassed)
I'm sorry. I had no idea these
magazines had things like that...
inside them.
Julius tries to stuff the centerfold back into the maga-
zine, but only manages to crumple it. Linda and Marnie
exchange a look.
(CONTINUED)
)O( TWINS - Rev. 7/5/88 52.
67 CONTINUED: (2) 67
MARNIE
You didn't? Where've you been?
(gulping)
A desert island?
JULIUS
As a matter of fact, a small
tropical island, in the South
Pacific, about 300 nautical miles
south-southwest of Fiji. I only
got here yesterday, but already *
I've found my wonderful brother. *
*
MARNIE
Your brother?
VINCE (O.S.)
That's right...
They all turn and look at Vince, who's pulled his cart
up behind them.
JULIUS
(proudly)
My twin brother, Vincent.
Linda and Marnie, stunned, look from Vince to Julius.
VINCE
(to Linda)
God you look beautiful in this
light.
LINDA
Vince... ? I didn't know you had
a brother.
JULIUS
You all know each other?
VINCE
Julius, meet Linda and...
(sarcastic)
Her charming sister, Marnie.
JULIUS
(significant)
Sisters?
MARNIE
(to Julius)
Twins?
CUT TO:
A68 OMITTED A68
)O( TWINS - Rev. 7/5/88 52A-54. *
B68 OUTSIDE THE SUPERMARKET B68
The girls stand holding their bags while the brothers
are each in their cars.
VINCE
(waving)
Goodbye girls, see you soon.
And he guns off.
JULIUS
(waving)
Goodbye girls, see you soon.
And he guns off too -- only in his excitement he's gone
into reverse.
JULIUS
(embarrassed)
I've only been drivng for an hour.
Now he follows Vince.
MARNIE
Why do I think I'm going to see
him again?
(beat)
Like maybe tomorrow.
TWINS - Rev. 4/27/88 55/56.
68 EXT. VINCE'S HOME - NIGHT 68
Vince leads Julius from the garage to the front door.
Julius is carrying all the grocery bags.
JULIUS
Linda is your girl friend, isn't
she?
VINCE
Yeah. Kind of.
JULIUS
Is Marnie your girl friend, too?
VINCE
Marnie! Marnie hates my guts.
She seemed to like you.
JULIUS
(trying not to sound
too interested)
She hardly knows me.
A beat.
VINCE
That's the best way -- women love
men who are mysterious and devious.
It keeps them on their toes --
makes them excited you know what
I mean?
JULIUS
No.
VINCE
You do like women, don't you?
(CONTINUED)
TWINS - Rev. 4/15/88 56A.
68 CONTINUED: (A1) 68
JULIUS
Very much, they're... strange
and sensitive and they have
compassion. I have the highest
respect for women.
Vince listens to this earnest declaration and tries to
keep a straight face. Suddenly the truth dawns on him.
VINCE
Now correct me if I'm wrong.
You're a virgin, aren't you?
JULIUS
That's private.
(CONTINUED)
TWINS - Rev. 4/27/88 57.
68 CONTINUED: 68
Vince clocks Julius's reaction as he removes an eviction
notice from his front door.
VINCE
(to himself)
He's a 230-pound virgin. *
69 INT. VINCE'S HOUSE - NIGHT 69
It's a small one-bedroom decorated primarily with garden
furniture. As they come inside, Vince is confronted by
a reproachfully MEOWING CAT.
VINCE
(to cat)
Alright! Alright! I got your
food. Yes! 'Liver and Cheese,'
'Chicken Giblets,' all your
favorites, Julius.
JULIUS
You named your cat, Julius?
Vince freezes, realizing the implications.
A70 INT. VINCE'S KITCHEN - NIGHT A70
Vince is seasoning some containers of take-out food and
popping them in the microwave, while Julius strokes the
cat who shares his name.
VINCE
The secret to take-out veal
Parmesan is adding a little extra
cheese. I know you're probably
used to growing your own vegetables
and spearing fish in the lagoon,
but here on the mainland we just
nuke it!
The microwave ALARM sounds, and it pops open.
VINCE
Dinner is served!
70 INT. VINCE'S DINING ROOM - NIGHT 70
As Vince and Julius prepare to eat, they both turn their
plates counter-clockwise, then dab their lips with their
napkins. They both reach for the salt at the same moment.
(CONTINUED)
TWINS - Rev. 4/27/88 58.
70 CONTINUED: 70
They both freeze and stare at each other for a long beat.
Julius smiles and we --
CUT TO:
71 EXT. AIRPORT GARAGE - ESTABLISHING - NIGHT 71
72 INT. AIRPORT GARAGE - NIGHT 72
A man, pushing forty, appears, taking a keychain with a
caddy fob on it from his pocket. This is WEBSTER.
Dressed in businessman's clothing, he looks odd -- but not
necessarily frightening. He walks to the spot where the
car was.
CUT TO:
PARKING SPOT
It's definitely empty.
CUT TO:
WEBSTER
He looks at the Cadillac key. Clearly, he is not happy at
the turn of events.
CUT BACK TO:
73 INT. VINCE'S DINING ROOM - LATER 73
They've finished eating.
VINCE
(expansive)
So, let me get this right. One of *
our fathers was a famous football
player, another one was a physicist
at M.I.T. --
JULIUS
He won the Nobel Prize.
Vince, playing along, rolls his eyes.
(CONTINUED)
TWINS - Rev. 5/9/88 59.
73 CONTINUED: 73
VINCE
Naturally... so all of our dads
were these big shots and Mom was,
like, Superwoman, but she didn't
survive our delivery. I got sent
to an orphanage while you were
brought up in a tropical paradise
by this scientist you do research
for, but who doesn't actually pay
you because you don't need money.
(a beat)
Did I leave anything out?
Julius ignores Vince's cynicism.
JULIUS
I think it's important we try to
find our fathers.
VINCE
You mean, all those geniuses who
contributed to the...
(making a jerk-off
gesture)
... Sperm milkshake? *
JULIUS
Why are you being so immature
about this? *
Vince throws down his napkin.
VINCE
Do you know how many times I've
heard stories like this? It's
every orphan's fantasy: 'My real
Mom and Dad were rich and
beautiful, but there was a mix-up
at the hospital and I got switched
with another baby... But one day
there's going to be a knock at the
door and there they'll be with
open arms, crying... "My darling!
My treasure! We didn't know! How
can we make it up to you?"'
(a beat)
I'm telling you this for your own
good, Julius. It's a crock.
Vince goes over to a trunk, rummages in it, comes up with
a dusty mouldering folder from which he removes a yellow-
ing piece of paper.
(CONTINUED)
TWINS - Rev. 5/9/88 60.
73 CONTINUED: (2) 73
VINCE
I liberated this from my file at
the orphanage. Read it and weep.
Julius takes the paper and reads aloud.
JULIUS
Dear Sister Anderson, your request
for orphans benefits for Vincent
Benedict has been denied.
According to our files his mother
did not die during birth. We have
a current address for her at 172
Canyon Glen Drive, Los Angeles.
Vincent's case seems to be one of
simple abandonment and as such he
is inelligible for aid.
Vince snatches the paper back. Julius stares at him,
just stunned.
VINCE
That's right, Julius, she abandoned
me.
JULIUS
This letter was written thirty *
years ago. We were five years old *
-- Our mother... didn't die when
we were born...
(staring at Vince
now)
You've known all this time where
she was and you never contacted
her?
VINCE
(angry)
I don't know about your momma,
Miss Perfect of 1952, but my momma
was a slut, and if she's still
alive, I hope she's in a lot of
pain. She dumped me once -- no
way she gonna get a chance to do
it again --
JULIUS
Vincent, if they lied to us about
Momma for all these years, maybe
they lied to her, too. We must
find her, we must check this
address. *
(CONTINUED)
TWINS - Rev. 5/9/88 61.
73 CONTINUED: (3) 73
He can't hide the excitement.
VINCE
Julius -- slow down -- I've got no
time for this. You go hunt down *
Mom, I've got a cash flow problem *
to deal with.
Vince goes to the PHONE which is RINGING.
VINCE
(into phone)
What!
BURT KLANE (V.O.)
We haven't forgotten about you,
Benedict -- You better have our
money tomorrow morning. Or else.
VINCE
Or else what?
Suddenly, Vince's living room WINDOWS EXPLODE in a burst
of GUNFIRE. Vince and Julius hit the floor and try to
shield themselves from the SHATTERING GLASS. The sound
of a CAR SQUEALING away outside the window.
JULIUS
Everyone seems so angry in America.
74 EXT. AEROSPACE PLANT - ESTABLISHING - DAY 74
A sign in front reads: "SOUTHLAND AEROSPACE."
75 INT. AEROSPACE PLANT - CORRIDOR - DAY 75
The driver of the Cadillac (GARFIELD), and his partner
(LARSON), now dressed in suits and ties, walk along an
executive corridor toward the reception area.
GARFIELD
The tests on the lower temperature
gaskets look great.
LARSON
Looks like an easy weekend.
76 INT. RECEPTION AREA - DAY 76
As they head for Garfield's office, a SECRETARY tries to
hail them.
(CONTINUED)
TWINS - Rev. 4/27/88 62.
76 CONTINUED: 76
SECRETARY
(concerned)
Mr. Garfield, there's a... *
GARFIELD
(preoccupied)
Not now.
77 INT. GARFIELD'S OFFICE - DAY 77
As they enter they suddenly stop and stare as we... *
PULL BACK to reveal --
Webster, immaculate and well mannered, rising from a
chair.
GARFIELD
Who are you?
WEBSTER
(friendly)
I'm Webster, it's okay.
CUT TO:
GARFIELD
on the sound of the name. He looks at Larson. A beat. *
LARSON
(terribly upset)
Christ, man, you were never *
supposed to come here.
GARFIELD
(rattled)
The deal was we were never supposed
to meet. You're supposed to be...
WEBSTER
Driving that Cadillac to Texas?
(holds up his
gloved hands)
Got my driving gloves, got my
driving glasses, got my hat...
but no car.
GARFIELD *
The car was there! The merchandise
was in the trunk! Your instructions
were on the cassette!
(MORE)
(CONTINUED)
TWINS - Rev. 5/9/88 63.
77 CONTINUED: 77
LARSON (CONT'D)
(to Garfield)
He wants more money. That's what
this is about.
WEBSTER
Let me explain something to you.
I have a reputation to uphold.
People put their trust in me
because they know I always deliver
the goods and I always come back
with the money. This whole thing
is making me look very bad...
professionally.
GARFIELD
This is bullshit! The car was
there.
LARSEN
That's right. The parking
attendant thought we were off for
Hawaii.
WEBSTER
(a brief pause)
The parking attendant?
GARFIELD
He liked the car. We'd put on
those damn loud shirts so we'd
look like tourists --
LARSEN
He asked us if we were going
surfing. He was a jerk.
Webster suddenly gets to his feet, smiles. *
WEBSTER
You know, I just realized that in *
twenty years of service no other *
client has ever seen my face.
GARFIELD
(nervously) *
I don't think that's a problem.
Webster pulls out a silencer-equipped pistol and puts
a bullet in each of their foreheads. They lie very still
and very dead.
(CONTINUED)
TWINS - Rev. 5/9/88 63A.
77 CONTINUED: (2) 77
WEBSTER
Guess you're right. *
78 OMITTED 78
& &
79 79
TWINS - Rev. 4/27/88 64. *
80 INT. RECEPTION AREA - DAY 80
As Webster emerges from Garfield's office and then turns
back as if to say goodbye, watched by Garfield's
Secretary.
WEBSTER
Thanks for everything, guys. I'll
see what I can do about those
Laker tickets.
(a beat)
Yeah, I'll tell her.
Webster closes the door behind him, smiles charmingly
at Garfield's Secretary.
WEBSTER
They want you to hold their calls.
They're going to be working late.
CUT TO:
81 OMITTED 81
thru thru
87 87
A88 EXT. WINDING ROAD (BEL AIR) - DAY A88
As Julius jogs steadily uphill, checking the occasional
house number against the address on Vince's letter.
B88 EXT. STREET (BEL AIR ESTATE) - DAY B88
An imposing security gate stands wide open as several
cars roll through it and climb up the long driveway.
Julius, checking the address, sprints in after them just
before the gates close.
C88 EXT. BEL AIR ESTATE - DAY C88
As Julius jogs up to the front door. The circular
driveway is filled with cars. Adults and children are
visible on the grounds; it appears that a party is in
progress. Julius rings the doorbell, which is answered
by GRANGER, a man of about 60; he's dressed in swimming
trunks and sports an impressive physique. He's holding
the hand of a five-year-old GIRL.
Julius and Granger look at one another and, for a brief
moment, hesitate, as if each of them finds the other
vaguely familiar.
(CONTINUED)
TWINS - Rev. 4/27/88 65. *
C88 CONTINUED: C88
GRANGER
(after a beat)
Yes?
JULIUS
I'm terribly sorry to disturb your
party and I realize this might
sound strange, but I'm looking for
someone who lived here a long time
ago...
(finally)
Mary Anne Benedict.
Granger reacts; he's speechless. Julius hands him the
group photo of his mother, six fathers, Traven, and
Werner.
JULIUS
She was my mother.
Granger looks at the photo, then at Julius.
GRANGER
You're Mary Anne's son?
GIRL
(pointing at photo)
Isn't that you, Grandpa?
Julius gently takes the photo from the Girl, looks at the
face she pointed at, then at Granger. Now Julius is
speechless -- Granger is one of his fathers!
GRANGER
(to Girl)
Why don't you go help your grandma
with lunch, honey?
The little Girl disappears back inside. Granger, clearly
shaken, looks at Julius.
GRANGER
They told your mother that you
died at birth...
ON Julius's reaction, as we --
CUT TO:
D88 INT. GRANGER'S STUDY - DAY D88
Trophies, framed photos, other memorabilia of Granger's
illustrious football career adorn the walls.
(CONTINUED)
TWINS - Rev. 5/2/88 66.
D88 CONTINUED: D88
Julius studies them admiringly while Granger looks at the
group photo.
GRANGER
I guess you could say I'm your
father...
JULIUS
One of my fathers --
GRANGER
(wistfully studying
photo)
'Mary Anne Benedict'... I haven't
said her name aloud for over 30
years. She was the love of my
life.
(shaking his head)
The times I've wondered what would
have happened if I'd married her...
JULIUS
Why didn't you?
GRANGER
She turned me down. Said she was
afraid to have children. She took
it real hard when they told her
you died. She even stopped
painting. Did you know she
painted?
JULIUS
Until yesterday I didn't even know
she might still be alive... Who
told her we died?
GRANGER
'We'?
JULIUS
I have a twin brother, Vincent.
GRANGER
There's two of you? She never *
knew that, either.
This really gets to Granger -- the injustice of it all.
He points to Traven's face in the photo.
GRANGER
Mitchell Traven. He supervised
the experiment for the government.
(MORE)
(CONTINUED)
TWINS - Rev. 5/25/88 67/68.
D88 CONTINUED: (2) D88
GRANGER (CONT'D)
He's the one responsible for all
of this. He still runs the
genetics lab at Los Alamos, New
Mexico.
JULIUS
I'll go see him.
GRANGER
Watch out for him -- he's kind of
a dickhead, if you know what I
mean.
JULIUS
No, I don't -- but I'm learning.
CUT TO:
88 OMITTED 88
& &
89 89
90 EXT. CHOP SHOP - DAY 90
As the Cadillac enters through a gate and makes its way
past the hulks of dead cars towards the same body shop
we saw earlier.
91 INT. CHOP SHOP - INSIDE CADILLAC - DAY 91
As Vince cleans out the glove compartment, pocketing
some cigars and spare change. He pulls the cassette out
of the STEREO, glances at it, pops it back in, turns it
ON, and hears:
GARFIELD (V.O.)
Mr. Webster, I hope you're happy
with the vehicle we chose for your
little journey. When you get to
Houston, phone 713/555-0342 and *
ask for Beetroot McKinley. He
will arrange to trade you a
briefcase for the merchandise in
the trunk.
(CONTINUED)
TWINS - Rev. 4/27/88 69.
91 CONTINUED: 91
Vince stops the car dead, the Body Shop Owner comes up
to him.
BODY SHOP OWNER
New Caddy? Let's check it out.
As the chop shop Owner checks under the hood of the Caddy
-- Vince moves to the back of the car and pops open the
trunk.
The trunk is filled with a sleeping bag that might contain
a dead body. Vince unzips the bag, sees some kind of
giant engine part. He tries to lift it out -- It won't
budge.
Vince closes the trunk --
Vince looks at the Owner who's already counting out the
cash from his bankroll.
BODY SHOP OWNER
The car's okay -- I'll give you
three grand.
VINCE
(deciding and
getting in the car)
Sorry -- the car's been promised
for a kid's charity.
BODY SHOP OWNER
Okay, four grand.
As Vince starts to drive away:
BODY SHOP OWNER
(calling out)
Okay -- Six thousand -- that's
as high as I'm going...
CUT TO:
92 OMITTED 92 *
thru thru
98 98 *
99 INT. VINCE'S APARTMENT - DAY 99
A piece of paper by the phone on which Vince is writing.
It's got Beetroot McKinley's name and phone number on it.
And also one amount: $20,000. On the desk is a map with
Houston circled. Vince has just finished dialing. The
phone is picked up before the first ring is half over.
CUT TO:
TWINS - Rev. 4/27/88 70-76.
100 EXT. HOUSTON SKYSCRAPER - DAY 100
A sign on the top of the building reads: "McKinley
Aerospace."
VOICE (V.O.)
Beetroot McKinley talkin'.
CUT TO:
101 VINCE'S APARTMENT - CLOSEUP OF VINCE - DAY 101
He doesn't know whether to shit or wind his watch just
now -- God knows what he's into.
McKINLEY(V.O.)
Who's cloggin' up the line?
(CONTINUED)
TWINS - 4/14/88 77.
101 CONTINUED: 101
VINCE
(experimentally)
-- Uh... Webster -- calling from
California. I happen to have some
merchandise you might want --
CUT TO:
102 INT. McKINLEY'S OFFICE - DAY 102 *
A huge office in Houston. We are looking at the bottom
of a pair of fancy boots. It blocks the view for the
moment of the speaker, but we can see a briefcase on the
desk.
McKINLEY *
Well, bring it to me, son, and
let me enrich you.
VINCE (V.O.)
It's the amount of enrichment I
want to talk about.
Boots down now -- we are looking at a very rich, very
tough S.O.B.
McKINLEY
Don't try and renegotiate with Old
Beetroot, son --
CUT TO:
103 INT. VINCE'S APARTMENT - VINCE 103
Edgy. His pencil bounces up and down on the crucial
amount, the twenty thousand.
VINCE
Look, Beetroot -- if we can't
renegotiate we wither and die.
I'm not delivering any goddam
Cadillac without knowing for sure
I got twenty for my cut.
CUT TO:
104 INT. McKINLEY'S OFFICE 104
Beetroot. Exploding.
(CONTINUED)
TWINS - Rev. 5/9/88 78.
104 CONTINUED: 104
McKINLEY
Listen, you little shit-for-brains
peckerwood, you're out of your
goddam crazy diseased greedy mind!
We can see the briefcase now by the way -- it's open and
seems quite full of money.
CUT TO:
105 INT. VINCE'S APARTMENT - VINCE - DAY 105
clearing his throat, taken aback by the violence of
Beetroot's tone.
VINCE
I guess twenty seems a little high
to you. I'm a reasonable guy --
I'll take fifteen --
McKINLEY (V.O.)
Listen to me, you poor excuse for
a warmed over turd, a deal's a
deal --
VINCE
-- But --
CUT TO:
106 INT. McKINLEY'S OFFICE - CLOSEUP - McKINLEY - DAY 106
McKINLEY
Don't 'but' me, the deal is five --
VINCE (V.O.)
I can do better than five here.
McKINLEY
(on his feet -- in a
fury)
If you can do better than five
million dollars, take it! *
CUT TO:
107 INT. VINCE'S APARTMENT - VINCE - DAY 107
as the words "five million dollars" really sink in.
We are looking at what just might be the high moment of
his life.
(CONTINUED)
TWINS - Rev. 5/2/88 79/80.
107 CONTINUED: 107
VINCE
(hard to breathe)
F-five million dollars...
He writes down the proper amount now: $5,000,000. Then
he kisses the piece of paper.
VINCE
(into phone)
Beetroot?
McKINLEY (V.O.)
What?
VINCE
I'll see you in Houston -- after
all, fair is fair.
(staring at the
written $5,000,000)
I'll just have to find it in my
heart to live with your offer...
Vince hangs up, jumps up and screams with joy. He puts
the cassette in his pocket, crumples up the piece of
paper, and sky-hooks it into the waste basket.
VINCE
Five million dollars!
108 OMITTED 108
109 INT. AL'S HOUSE - DAY 109
Al and his wife Carla are tied to chairs in the dining
room. Webster sits between them, drinking a cup of
coffee and calmly loading his gun.
WEBSTER *
Your boss at the lot told me you *
were on duty when the Cadillac *
clocked in. Now what's his name? *
AL
Okay... His name is Vince Benedict.
Webster puts down the gun, jots down the name.
WEBSTER
That's certainly a beginning.
CARLA
(to Al)
I'm really disappointed in you --
ratting on your best friend.
(CONTINUED)
TWINS - Rev. 5/2/88 81.
109 CONTINUED: 109
WEBSTER
(to Carla)
My best friend who's been
screwing my wife for three years.
CARLA
You knew?
AL
All three years.
CARLA
(indicating Webster;
angry)
And you never told me until there
was a stranger listening? Shit,
what about my reputation?
WEBSTER
Where can I find Mister Benedict?
AL
I'm not saying.
WEBSTER
Let me get this right -- You're
protecting the weasel who's been *
screwing your wife for the past
three years.
AL
He's my friend.
WEBSTER
Well, I guess I'll have to beat
it out of you --
Webster suddenly kicks over the chair with Al on it.
Carla screams --
CARLA
Stop -- I'll tell -- He lives at
1622 Westridge Place -- He's got
an office at the corner of
Highland and Hollywood.
Webster writes it all down.
AL
Thanks for saving me.
CARLA
I always loved you, Al.
(MORE)
(CONTINUED)
TWINS - Rev. 4/27/88 82. *
109 CONTINUED: (2) 109
CARLA (CONT'D)
It's just I couldn't resist Vince.
It's those eyes -- he does this
thing with his eyes...
AL
I love you too, Carla.
WEBSTER
(getting up,
heading for the
door, shaking his
head)
No one's gonna believe this one.
CUT TO:
110 EXT. VINCE'S DRIVEWAY - DAY 110
As Vince comes out of his house, carrying a sleeping bag,
pillow, some clothing, a six-pack of soft drinks. On top
of the stack is a map of the Western U.S., which he's
studying while singing the song "Houston":
VINCE
(singing)
'Going back to Houston, Houston,
Houston...'
Vince tosses the items into the back seat of the Caddy,
just as Julius jogs up the driveway and collapses against
the Caddie door. He's red in the face, completely
drenched with sweat, gasping for breath, having run all
the way from Bel-Air.
VINCE
(startled)
Jesus!
JULIUS
(panting)
Vince, the most amazing thing has
happened.
VINCE
You scared the living shit out of
me --
JULIUS
I met one of our fathers. He told
me of a man in New Mexico who
probably knows where Momma is.
(CONTINUED)
TWINS - Rev. 4/27/88 83. *
110 CONTINUED: 110
VINCE
(patronizing)
Great.
Julius, in his fervor, grips Vince by the shoulders.
JULIUS
She didn't abandon you -- she
didn't even know you were born!
VINCE
(feigning concern)
Awww -- that's terrible.
Vince removes Julius's hands, slides him away from the
door, and opens it.
JULIUS
And she was told that I died!
VINCE
Look, Julius, I'm in kind of a
hurry. Sammy wants me to take
the car to Houston. Much bigger
bucks when you raffle for charity
in Houston.
Julius takes the map from Vince, looks at it.
JULIUS
(excited)
-- New Mexico is on the way to
Houston.
VINCE
(snatching back map)
A lot of places are on the way to
Houston. I'll be back in a few
days. Stay in my apartment. Run
up my phone bill. Throw wild
parties. Take advantage of me.
Vince gets in behind the wheel. Julius marches around
the car and gets into the passenger seat beside him.
JULIUS
Vincent, we have to go see this
man Traven in New Mexico!
VINCE
No we don't.
Julius slams his hand down on the top of the dash.
(CONTINUED)
TWINS - Rev. 5/2/88 84.
110 CONTINUED: (2) 110
JULIUS
Yes we do! And I'm coming with
you!
Vince, realizing that Julius won't be denied, tries a
new tack.
VINCE
You know -- you're right. This is
fate -- destiny -- But there's no
way I'm gonna drive for 1500 miles
with you smelling like that --
JULIUS
(calming down)
You're right -- I'll take a shower
-- be right back --
Julius leaps out of the car and bounds into Vince's
apartment. As soon as the door shuts behind him, Vince
hits the CADDY'S IGNITION and begins SQUEALING out of
the driveway in reverse... just as Linda and Marnie's
car pulls into it, blocking his path. Vince slams his
hands down onto the wheel in frustration.
Linda and Marnie get out of their car, singing "Happy
Birthday." Linda approaches Vince with a birthday
cake, complete with lit candles.
VINCE
(to himself)
Why does everybody have to like me
so much?
Vince gets out of the car and, although it kills him,
tries to put on a happy face for Linda.
LINDA
Happy birthday, Vince.
VINCE
Oh please -- It's not my birthday
anymore --
MARNIE
Happy birthday, Vince. Is Julius
around?
VINCE *
He's inside. *
*
Marnie walks into the house. *
Linda gazes at Vince's belongings in the Caddy.
(CONTINUED)
TWINS - Rev. 5/2/88 85. *
110 CONTINUED: (3) 110
LINDA
(crestfallen)
Where are you going?
VINCE
Nowhere --
LINDA
You were going somewhere -- you
weren't even going to say
goodbye --
Vince, knowing when he's beat, whispers conspiratorially.
VINCE
Okay, okay -- look, you can't tell
anybody this -- not even your
sister -- but I'm onto something
so huge it gives me a rash just
thinking about it.
LINDA
Like what?
VINCE
I got something in here --
(pats the trunk)
-- I don't even know what it is
-- that's worth a fortune!
LINDA
(shrieks)
A fortune! That's great!
An apartment door opens, revealing a FEMALE NEIGHBOR of
Vince's.
NEIGHBOR
Never sleep with that man. Never
loan him money. And never believe
a word he tells you -- that's
free advice.
She slams the door shut.
LINDA
Vince...?
VINCE
(as if innocent)
I borrowed a cup of sugar from
her once...
(CONTINUED)
TWINS - Rev. 5/9/88 86.
110 CONTINUED: (4) 110
LINDA
I'm coming with you. I'm not
letting you out of my sight.
VINCE
No you're not.
LINDA
I am because if you say 'no' one
more time --
(suddenly shouting)
-- I'll tell everybody you're
hiding a fortune in your --
VINCE
(a hand over her
mouth; he's
beaten and he
knows it)
Okay, okay. Just don't let on to
Julius. He thinks we're going
to look up our ancestors, like
in 'Roots' or something.
111 INT. VINCE'S APARTMENT - DAY 111
Marnie snoops around, examines the group photo lying on
top of Julius's suitcase. In the b.g. she can hear
Julius singing in the shower --
JULIUS (O.S.)
'Put on your red dress, baby,
'cause we're going out tonight...'
She puts the photo back as the sound of SHOWER STOPS.
Julius emerges from the bathroom, clutching a towel
around his waist, and freezes at the sight of Marnie.
JULIUS
(embarrassed)
Marnie -- excuse me -- I was just
taking a shower.
MARNIE
(holding up a box *
of cookies) *
I heard you singing -- I baked
some cookies for you.
An awkward silence. *
*
MARNIE *
I guess it was a dumb idea. *
(CONTINUED)
TWINS - Rev. 5/9/88 87.
111 CONTINUED: 111
JULIUS
Not at all -- I'm really looking *
forward to tasting them. *
(a beat) *
I should put on some clothes --
But I'm not sure...
MARNIE
Oh -- don't mind me.
She turns her back to him.
Julius realizes he has no clean shirt.
JULIUS
I hope Vince doesn't mind if I
borrow one of his shirts.
MARNIE
(while eyeing Julius
through her compact)
Just don't try wearing his pants.
They both turn as --
LINDA
throws open the door, with a big smile on her face.
LINDA
Guess what? Vince just invited
us all to go to New Mexico and
Texas.
Vince comes in behind Linda, trying to conceal his
exasperation.
JULIUS
That's a great idea, Vince.
CUT TO:
112 OMITTED 112
thru thru
A114 A114
114 EXT. VINCE'S NEIGHBORHOOD - DAY 114
The CAR, Vince at the wheel, ROARING away, the four of
them happily inside.
HOLD.
(CONTINUED)
TWINS - Rev. 5/9/88 87A. *
114 CONTINUED: 114
Now, from the opposite direction comes another car.
Webster is driving. He spots the address, turns in
and as he does --
CUT TO:
115 INT. VINCE'S LIVING ROOM - DAY 115
It's pretty much a shambles as Webster ransacks the
place. Frustrated, he moves out of the room as we --
CUT TO:
116 INT. VINCE'S BEDROOM - DAY 116
as Webster begins working it over. He lifts up the
mattress -- it's heavy -- pushes it to the floor and
knocks the wastebasket over.
CUT TO:
CLOSEUP - VINCE'S CRUMPLED PIECE OF PAPER
As Webster unfolds it, reads Beetroot McKinley's name,
phone number, and the sum "5 million dollars." Vince's
CAT appears at Webster's feet, MEOWING. He reaches down
and strokes it.
A117 INT. VINCE'S KITCHEN - DAY A117
Webster is feeding the cat when he hears a sudden,
VIOLENT POUNDING at the front door.
BURT KLANE (O.S.)
Open up, Benedict! I know you're
in there!
WEBSTER
(to cat)
Your owner seems to be a very
popular fellow these days.
CUT TO:
117 INT. VINCE'S FRONT DOOR - DAY 117
As it crashes open, revealing Burt Klane and his two
large brothers, Bob and Morris.
(CONTINUED)
TWINS - Rev. 5/9/88 87B. *
117 CONTINUED: 117
Morris has his elbow in a sling and a bandage on his
head, courtesy of Julius. They spread out... and then
freeze at the sound of RUNNING WATER from the kitchen
tap.
A118 INT. VINCE'S KITCHEN - DAY A118
As the Klanes burst inside and see Webster turn off the
tap and begin drying his hands. He's friendly,
solicitous, definitely non-threatening.
WEBSTER
Howdy.
BURT KLANE
Who are you?
WEBSTER
It's not really important, is it?
I wanted to feed the cat before I
left.
Webster starts for the door. Morris (the really big one)
blocks the doorway, cutting Webster off.
BURT KLANE
I asked you a question.
Webster shrugs, exhales.
WEBSTER
Who are you?
BOB
(helping out)
We're the Klane brothers. That's
Burt and Morris -- I'm Bob.
WEBSTER
Interesting genetic pool. You're
looking for Vince Benedict, right?
The brothers all nod.
WEBSTER
Am I Vince Benedict?
Morris stares hard at him, shakes his head.
WEBSTER
So what's the difference who I am?
(CONTINUED)
TWINS - Rev. 5/9/88 88/89. *
A118 CONTINUED: A118
BURT KLANE
Hit him, Bob.
Bob steps forward. Before he can do anything, Webster
pulls out his GUN and SHOOTS him in the foot. Then
Webster turns and SHOOTS Burt in the foot. The two
brothers crumble to the floor, screaming in agony.
WEBSTER
(to Morris)
Your brothers seem to have a
problem with their feet.
(dangerously to
Morris)
It could be contagious.
Morris immediately backs away and lets Webster pass by.
WEBSTER
(polite, as he
leaves)
Have a good, good day.
118 OMITTED 118
119 EXT. HIGHWAY - NIGHT 119
A sign reads: WELCOME TO ARIZONA. The CADDY ROARS
by.
CUT TO:
)J( TWINS - Rev. 6/16/88 90.
120 INT. CAR - NIGHT 120
Linda, in the front seat, has her head resting on Vince's
shoulder.
Marnie has her head on Julius's shoulder as well. She
seems peacefully asleep while Julius sits carefully not
daring to move. As Marnie cuddles closer to him, her
short skirt rides even higher up her thighs. Julius sighs
deeply. His biceps bulge and one of the shirt sleeves
tears apart at the seams.
Vince watches through the rearview mirror, knows what's
going on. Or rather, what isn't going on, yet. He drives
on through the night.
CUT TO:
A121 EXT. HIGHWAY - NIGHT A121
The car speeds by.
121 EXT. GAS STATION - DAWN 121
The car is being serviced. Linda and Marnie are stretch-
ing their legs.
LINDA
Did Julius like the cookies?
Marnie shrugs.
MARNIE
I'm not sure... he said they'd
provide one hundred percent of
the average daily requirement of
fourteen source vitamins in a
high-fiber form that's an
integral part of a properly
balanced diet.
Linda looks at her. A beat.
LINDA
I think that's good.
MARNIE
I really hope so.
122 OMITTED 122 *
)J( TWINS - Rev. 6/16/88 90A/91.
A123 INT. GAS STATION - CONVENIENCE STORE - DAWN A123
Vince picks out a T-shirt from the racks for Julius.
VINCE
This ought to fit you.
Julius removes the shirt he borrowed from Vince, who
pretends to be horrified at the sight of Julius's huge
muscles.
VINCE
Whoa -- get away from that window!
There's women and children out
there!
(staring at him)
What is wrong with you?
JULIUS
What?
VINCE
You allergic to something?
JULIUS
No. Why?
VINCE
What are those bumps doing all
over your body? You're all
swelled up. You look like you're
about to explode.
(CONTINUED)
TWINS - Rev. 6/22/88 92.
A123 CONTINUED: A123
JULIUS
(finally getting it)
We can't all be born beautiful
like you, Vince. Some of us --
Julius puts on the T-shirt and looks at himself in a
mirror. Emblazoned across its front is a Hells Angel
Death head and the motto: BORN TO BE BAD.
VINCE
-- Are just born to be bad. It's
you, Julius. Oooh, you are so
scary...
B123 EXT. GAS STATION B123
Linda and Marnie watch by the car as the boys emerge from
the shop. They stare at the T-shirt on Julius.
MARNIE
Julius...
As he walks past, Julius slaps her five.
JULIUS
Let's rock and roll.
He opens the car door and climbs in.
VINCE
(to the girls)
It's his first T-shirt.
123 EXT. ROAD - DAY 123
The car driving along. Day now. Spectacular scenery.
CUT TO:
124 OMITTED 124
A125 EXT. SANTA FE - MOTEL - DAY A125 *
As Vince pulls the car to a stop in front of the motel. *
Linda and Marnie get out, followed by Julius, who starts *
to get into the front seat beside Vince. Marnie touches *
his hand. *
MARNIE
Good luck. *
(CONTINUED)
TWINS - Rev. 6/22/88 A92A. *
A125 CONTINUED: A125
JULIUS
Thank you.
MARNIE
See you later.
Julius, blushing, climbs into the front seat while Vince
leers out the window at Linda.
VINCE
See if you can get us a room with
a king-sized bed, okay?
Linda smiles at him, and winks. Julius, misunderstanding
the sleeping arrangements, leans out the window.
JULIUS
(to Linda or to
Vince)
That's not necessary. I always
sleep on the floor.
Vince looks askance at Julius, then pulls the car away.
HOLD ON Linda and Marnie, gazing curiously after them.
CUT TO:
TWINS - Rev. 5/25/88 92A.
125 EXT. LOS ALAMOS - DAY 125
The Caddy drives through this mysterious town in the
mountains of New Mexico.
126 EXT. LAB BUILDING - DAY 126
Julius and Vince have parked the car and are walking to
a research building. Vince is trying to humor Julius who
is full of a quiet confidence.
VINCE
Now promise me something.
(MORE)
(CONTINUED)
TWINS - Rev. 5/2/88 93.
126 CONTINUED: 126
VINCE (CONT'D)
If this professor Traven says he's
never heard of Mom, and us twins,
and all our dads, and the
experiment, I don't want you to be
upset.
(a beat)
-- Because this is entirely
possible.
JULIUS
You still think I'm making it all
up, don't you?
CUT TO:
A127 INT. LAB BUILDING CORRIDOR - DAY A127
As TRAVEN, now a tanned, fit 70-year-old, stands framed
in his office doorway, looking coldly out at Vince and
Julius. He looks like more of a prick than ever.
TRAVEN
I don't know who you are and I *
don't know what you're talking *
about. Now get the hell out of *
here before I call security.
Traven slams the door shut in their faces.
VINCE
(vindicated)
Well, that's that. On to Houston.
He leads a stunned Julius down the corridor, towards
several armed security guards.
JULIUS
He's lying!
VINCE
Keep your voice down. This place
is crawling with security -- *
JULIUS
For the first time in my life, I
am --
(looking for the
word)
-- pissed off!
(CONTINUED)
TWINS - Rev. 5/2/88 94.
A127 CONTINUED: A127
VINCE
Don't do this to me. I got a
car to deliver. The last thing I
need is a detour in the slammer --
Julius furiously stops and turns around.
JULIUS
I'm going to make him tell us
the truth...
VINCE
No...
CUT TO:
127 INT. TRAVEN'S OFFICE - DAY 127
Traven looks up from some papers on his work table as --
HIS OFFICE DOOR
comes flying off its hinges and crashes to the floor.
JULIUS
marches inside, towards a startled Traven, as Vince tries
to restrain him.
*
Julius shrugs Vince aside, approaches Traven and shoves *
the group photo into his face. *
JULIUS
(indicating photo)
That's our mother -- those are our
six fathers -- that's Werner --
and that's you! Start talking!
Traven decides, turns to Vince.
TRAVEN
You turned out just like I thought
you would, Vincent. What did you
do, escape from prison?
Vince stops dead, shell-shocked.
VINCE
... How did you know my name?
(CONTINUED)
TWINS - Rev. 4/28/88 95.
127 CONTINUED: 127
TRAVEN
(reptilian smile)
I named you.
Vince's jaw drops as he realizes -- *
VINCE *
Holy shit. It's all true. *
CUT TO:
128 INT. BASEMENT HALLWAY - DAY 128
As CAMERA MOVES SLOWLY DOWN it, we realize this is a
reprise of our film's opening location.
LABORATORY DOOR
Chained and padlocked. Traven unlocks it, pulls off the
chains.
129 INT. LAB - DAY 129
The very same one we saw in our opening, now covered in
dust and cobwebs. Julius and Vince take it all in;
they're numb, while Traven seems in control again.
TRAVEN
This room was sealed as soon as
your mother gave birth.
JULIUS
approaches a delivery table, touches it gently, looks
back at Traven.
TRAVEN
You came out first, of course...
(indicating Vince)
We weren't expecting him.
VINCE
gazes at the "blender" we saw Traven demonstrating in
1953.
VINCE
(awestruck)
This must be where you made the
milkshake...
(CONTINUED)
TWINS - Rev. 5/2/88 96.
129 CONTINUED: 129
TRAVEN
gazes contemptuously at Vince.
TRAVEN
We weren't making milkshakes.
(indicating Julius)
We were making the most fully-
developed human the world has ever
seen.
Vince is not unhappy at this information.
VINCE
But instead of just one perfect
kid, Mom had two of us -- way to
go, Mom.
TRAVEN
Wrong. The embryo split in two,
but it didn't split equally. All *
the purity and strength went into
Julius. All the crap that was
left over went into what you see
in the mirror every morning.
VINCE
(stunned)
Whoa -- I'm the crap?
JULIUS
It's not true, Vince.
VINCE
No, I want to hear this.
(to Traven)
I'm left-over crap? I'm no good?
JULIUS
He's wrong.
Angry tears well up in Vince's eyes.
TRAVEN
Just look at him --
VINCE
You tellin' me I'm a side
effect!?!
(CONTINUED)
TWINS - Rev. 5/2/88 97.
129 CONTINUED: (2) 129
TRAVEN
(dismissive)
You haven't got the brainpower to
understand this -- Vincent, and I
haven't got the time -- show's
over.
He turns to go.
Julius grabs Traven, slams him up against the wall.
JULIUS
(at boiling point)
Tell us where our mother is... *
dickhead!
TRAVEN
(terrified)
Whispering Pines... it's an
artists colony... two hundred
miles north of Santa Fe.
JULIUS
If you're lying to me.
(the famous snarl)
I'll be back.
Julius tosses him aside.
CUT TO:
130 EXT. LAB PARKING LOT (LOS ALAMOS) - DAY 130
Vince is sitting in the car, slumped over the wheel.
VINCE
My life just got flushed down the
toilet.
JULIUS
You're wrong, Vincent. Your
life's just about to begin.
VINCE
I'm genetic garbage.
Julius shakes his head.
(CONTINUED)
TWINS - Rev. 5/9/88 97A.
130 CONTINUED: (A1) 130
JULIUS
Vincent, we're twins. *
Vince looks at his brother.
VINCE
(patronizing) *
I know this is a touchy subject *
for you, Julius. But the fact is, *
we don't look the same -- we don't *
act the same, we don't talk the *
same -- we don't dress the same. *
JULIUS
I know.
VINCE
(angry)
So how come if we're the same,
we're so damn different. *
JULIUS
We had six fathers, Vince. We're
different parts of a lot of
different people.
Vince is starting to get interested again.
VINCE
Yeah?
JULIUS
And remember, I was taken to a
beautiful island, protected,
educated, loved, given every
opportunity to grow, to dream, to
create. But you had none of that.
Vince remembers. All the bravado about loving being an
orphan has gone now.
JULIUS
You had nobody. Nobody to love
you, nobody to trust you, nobody
to encourage you. All life taught
you was that the only person you
could count on was yourself.
Tears begin to well up in Vince's eyes.
(CONTINUED)
TWINS - Rev. 5/9/88 98.
130 CONTINUED: 130
JULIUS
You're the missing part of my
life and I'm the missing part
of your life. And when we find
our mother we can fill the
missing part of hers. We won't
be alone anymore, Vince.
(a beat)
We can be a family.
Vince looks at his brother. A beat.
VINCE
A family? You really think so?
(CONTINUED)
TWINS - Rev. 4/22/88 98A.
130 CONTINUED: (2) 130
Julius nods. Vince thinks about it some more.
VINCE
With like Thanksgiving dinner?
And Christmas trees...
JULIUS
... and a real home where you'll
always be welcome.
VINCE
Always?
JULIUS
Even when you've been bad.
Vince begins to brighten.
CUT TO:
131 EXT. DOWNTOWN SANTA FE - ESTABLISHING - DAY 131
132 INT. CLOTHING STORE (SANTA FE) - DAY 132
As Vince ushers Julius through the door.
JULIUS
Is this necessary?
VINCE
I'm not introducing you to my
mother dressed like some
goatsherder from Albania. You
need some new clothes.
A SALES CLERK approaches Vince.
SALES CLERK
Can I help you, sir?
(CONTINUED)
TWINS - Rev. 4/28/88 99.
132 CONTINUED: 132
VINCE
Do I look like I need help?
(indicating Julius)
Here's the problem.
(looking around)
Maybe I'll try on a couple of
things myself.
133 EXT. CLOTHING STORE - LATER 133
As Vince and Julius emerge, dressed in identical outfits;
each in his own way looks like a male model from an
Italian fashion magazine.
JULIUS
Do I look okay?
VINCE
You look better, put it that way.
We got to do something about the
way you walk. You're moving a
tad stiff, Jules. Ever see *
Frankenstein?
JULIUS
I read the book.
VINCE
That's not gonna help. You got to
walk like you're moving in time to
music. I'm not talking about
military marches now, I mean
Aretha Franklin, Otis Redding,
Wilson Pickett, Archie Bell and
the Drells and a couple of white *
guys. *
Julius doesn't have a clue. Vince dons sunglasses and
demonstrates a soulful strut.
VINCE
Like this... You just got to try
to be cool, you know? Try these
on.
Indicating glasses.
Julius puts on sunglasses, snaps his fingers, tries to
ape Vince's moves while Vince appraises him.
JULIUS *
Am I cool now? -- *
VINCE *
Mr. Ice. *
TWINS - Rev. 4/28/88 100.
134 EXT. PARK (SANTA FE) - DAY 134
Linda and Marnie look up in amazement as Vince and Julius
bop down the pavement towards them.
MARNIE/LINDA
Wow!
JULIUS
(excited)
We know where to find our momma!
VINCE
Everything Julius said was true.
I'm the product of geniuses!
LINDA
I always knew that.
VINCE
Of course, but it's nice to make
it official.
*
JULIUS *
Tommorrow we're going to finally
meet our mother.
VINCE *
And tonight we celebrate!
135 INT. VINCE AND JULIUS'S MOTEL ROOM - NIGHT 135
Vince is finishing dressing, making sure he looks partic-
ularly fantastic. Julius hangs back; something is
bothering him.
*
JULIUS
(embarrassed; a burst)
Vince, you've got to help me --
I've never been out on a date
before... what should I do?
VINCE
Talk to her, buy her some drinks,
dance with her. Girls like to
dance.
Julius looks at his brother.
(CONTINUED)
TWINS - Rev. 4/22/88 100A.
135 CONTINUED: (A1) 135
JULIUS
Dance?
VINCE
I guess you haven't done that
before either.
(CONTINUED)
TWINS - Rev. 5/9/88 101.
135 CONTINUED: 135
Julius shakes his head.
VINCE
Well -- forget all that disco
shit, everyone's seen it. When I
really want to romance a girl, I
waltz with her.
JULIUS
You dance with them? *
VINCE
It turns them to putty in your
hands.
CUT TO:
VINCE
He shoves a chair out of the way, making a little room.
VINCE
Okay, come here, put your feet by
my feet --
JULIUS
(coming over)
-- Thank you for this, Vince --
VINCE
(a pained look on
his face)
-- I said put your feet by my feet
not on my feet! --
Julius looks at his brother, then self-consciously takes
his hands.
VINCE
I'll lead, you follow. Okay, one,
two, three, turn...
(AD LIB as follows)
... put your arm here -- you're
breaking my fingers -- you're not
wrestling a boar 300 miles south
southwest of Fiji -- don't clench
your teeth --
Vince begins to take Julius through the steps slowly at
first, then as Julius gains confidence they begin to
sail round the room, and we --
CUT TO:
TWINS - Rev. 5/9/88 102. *
136 INT. DADDY'S GIRL - NIGHT 136
Julius and Marnie in the middle of the large dance floor
in a large club -- and Julius is waltzing magnificently.
Marnie, thrilled, stays with him step for step as we --
PULL BACK to reveal --
Vince and Linda, waltzing brilliantly, too. The four of
them have the whole floor to themselves as other dancers
ring the area, watching and shouting encouragement.
The SONG ENDS -- Everyone applauds -- Our two couples head
over to their table.
VINCE
(to Julius)
Well, you've learned to waltz.
Now it's time to introduce you to
the wonderful world of getting
shit-faced.
CUT TO:
A137 INT. DADDY'S GIRL - BOOTH A137
Vince, Linda, Julius and Marnie are seated at a table
covered with quite a few empty beer bottles. They are
all a little drunk.
JULIUS
Did you know they had beer in
ancient Egypt?
MARNIE
Er... no...
JULIUS
Actually it was invented by the
Assyrians, but the Eygptians were
the first people to perfect the
malt fermentation process.
LINDA
You sure know a lot about beer.
MARNIE
He knows a lot about everything.
Julius polishes off the bottle, belches.
(CONTINUED)
)J( TWINS - Rev. 6/16/88 103. *
A137 CONTINUED: A137
JULIUS
But it's all from books. Until
tonight I never had a beer. All
theory, no practice -- the story
of my life!
VINCE
Well, we're going to change all
that -- aren't we, Marnie?
Julius, embarrassed, looks over at Marnie, who's smiling
sweetly at him.
JULIUS
Can I ask you a question?
MARNIE
Anything...
JULIUS
Am I shit-faced yet?
Linda, surprised, does a spit-take with her beer.
MARNIE
(laughing)
You're getting there.
Vince gets to his feet.
VINCE
Please excuse me -- my back teeth
are floating.
Vince exits. Julius looks at Marnie, blushes, gets to
his feet.
JULIUS
I better see if mine are, too.
Julius takes off after Vince.
CUT TO:
B137 INT. DADDY'S GIRL - MEN'S ROOM - NIGHT B137
As Vince and Julius approach the urinals. The both si-
multaneously flush before unzipping. Julius smiles.
JULIUS
You do that too, huh?
(CONTINUED)
)J( TWINS - Rev. 6/16/88 104. *
B137 CONTINUED: B137
VINCE
(lying)
Not all the time.
(a beat)
Listen, Marnie's got the hots for
you. Tonight could be your lucky
night...
JULIUS
I don't think she really likes me.
VINCE
Piece of cake. You're nervous
'cause it's your first time.
Perfectly natural.
JULIUS
Were you nervous?
VINCE
I was twelve and she was a nun --
that's real pressure.
They both finish at the urinals and begin washing at the
sink.
VINCE
I got to admit it, Jules -- since
I met you, life is getting better
all the time.
Julius, a little smashed, can't hide his feelings. He
grips Vince by the shoulders.
JULIUS
For me, too, Vince! Sometimes I'm
so happy, I want to pick you up
and hug you!
Julius starts to do so, just as another man enters.
VINCE
Hey, cut it out! Not in here!
Julius releases Vince, who clocks the other man's
reaction.
VINCE
(to Julius)
Go easy on the beer, okay?
137 OMITTED 137
)J( TWINS - Rev. 6/16/88 104A.
138 INT. McKINLEY'S OFFICE - NIGHT 138
BEETROOT
Lookin' forward to it.
As Beetroot hangs up, the CAMERA SLOWLY PANS to reveal he
is not alone. In the b.g. is a very hard-looking man,
Beetroot's bodyguard. And standing close to the desk
is WEBSTER.
BEETROOT
(to Webster)
Sorry, Webster, looks like I'm
doin' business with someone else.
WEBSTER
(nods)
I'd do the same thing. You want
the delivery, it's not your
problem who delivers.
(handing him a
card)
If you ever need me, my answering
service forwards all messages.
And he's gone.
BEETROOT
(handing card to
bodyguard)
Put this in my personal file.
(staring at the
door)
God, I love a professional...
139 OMITTED 139 *
& &
140 140
TWINS - Rev. 5/2/88 105.
141 INT. DADDY'S GIRL - BOOTH - NIGHT 141
Linda and Marnie, both a little tipsy. Linda suddenly
freezes at the sight of Morris Klane scoping the room.
Morris is still wearing a bandage from his beating by
Julius.
LINDA
Did you tell anybody we were
coming to Santa Fe?
MARNIE
(unconcerned)
Well, I phoned work and told them
we wouldn't be coming in for a few
days... Oh, I forgot to tell
you -- we've been fired.
LINDA
(tight-lipped)
Let's go to the ladies' room.
MARNIE
But we just went.
Linda takes Marnie by the hand, just as --
BURT AND BOB KLANE
each with a cast on his foot, each supported by a crutch,
force them back into the booth.
BURT KLANE
Hello, girls -- Do you mind if we
sit down and enjoy the music with
you?
CUT TO:
VINCE AND JULIUS
approach the table. Burt and Bob open their jackets,
revealing they have guns on the girls. Morris Klane
appears behind Vince and Julius.
BURT KLANE
This has gone way past a simple
case of loan deliquency.
BOB KLANE
We don't like getting shot. *
VINCE
What are you talking about? We
didn't shoot anybody.
(CONTINUED)
TWINS - Rev. 5/9/88 106.
141 CONTINUED: 141
BURT KLANE
It's no way to do business.
JULIUS
What do you want?
BURT KLANE
We want to take Vince out to the
parking lot and kill him.
A long beat.
VINCE
That's kind of drastic, don't you
think?
Morris grabs Vince roughly by the arm.
MORRIS KLANE
Let's go.
JULIUS
(ominous)
Don't touch him.
BURT KLANE
(suddenly rough) *
This is not your problem -- you *
don't want me to hurt these lovely
ladies, do you?
He pushes his gun into Marnie's side.
MARNIE
(cries out)
-- Ow!
JULIUS
You moved too soon...
BURT KLANE
What?
JULIUS
The second rule in a crisis
situation:
MORRIS KLANE
(wary)
He's starting that funny talk
again...
(CONTINUED)
TWINS - Rev. 5/9/88 107. *
141 CONTINUED: (2) 141
JULIUS
If you choose to bluff, you must
be prepared to have your bluff
called.
BURT KLANE
This is no bluff -- Asshole --
Burt gives a small head signal and two very large men
stand up from a nearby table. They each grab one of
Julius's arms.
BURT KLANE
Meet my cousins.
(to the Klanes)
Get these jerks outside.
Just then, so sudden and quick that it's over as soon as
it begins, Julius double kicks the seated Burt and Bob in
the head. They're out cold before they realize they've
been attacked.
Without stopping, Julius whips his arms together in front
of him bringing Sam and Dave into painful contact with
each others' head. They, too, are now out cold.
Vince uses this opportunity to stomp, with all his might,
on the toe of Morris who's busy watching Julius dismantle
his relatives. Morris screams and lets go of Vince, who
runs to the nearby pool table, grabs a cue and slams it
over the head of the now hobbling Morris. All five
Klanes are out cold.
VINCE
How many of those... rules do you
have?
JULIUS
Quite a few. They were formulated
by a Kendo swordsman in the 17th
century, but their philosophical
underpinnings can be applied to
many other areas of life.
VINCE
I bet.
A142 OMITTED A142
thru thru
143 A143
B143 EXT. SANTA FE MOTEL - ESTABLISHING - NIGHT B143
)O( TWINS - Rev. 7/5/88 108. *
143 INT. MOTEL ROOM - NIGHT 143
Julius is unpacking his suitcase on one of the beds --
arranging his books on the bedside table, hanging his
clothes on hangars. Vince watches him, glances at
his watch, and begins to edge towards the door.
VINCE
Uh... we got cable TV, a fully
stocked bar, free ice -- we're
in great shape.
JULIUS
Where you going?
VINCE
I thought I'd just go and tuck
Linda in for the night.
Vince picks up one of Julius' heavy tomes.
VINCE
Maybe read her a bedtime story.
(with a wink)
Don't wait up for me.
Julius looks fondly at his brother as he sees him to
the door.
JULIUS
What a day, Vincent, we visited
our birth place. We bought new
clothes. We danced the waltz.
We get into a fight -- We've got
this great room.
(heart-felt)
It just doesn't get any better
than this.
Vince gives Julius a sly look as he lets himself out of
the room.
VINCE
Oh yes it does.
TIME CUT TO:
CLOSE - A TV SCREEN
showing a clip of the "3 Stooges" at their moronic best.
JULIUS
sits watching the TV, nodding in amusement, laughing,
slapping his knee in pleasure.
(CONTINUED)
)O( TWINS - Rev. 7/5/88 108A. *
143 CONTINUED: (A1) 143
He returns his attention to the book he's been reading
-- something the size of a dictionary -- but can't help
returning his gaze to the TV.
He freezes at the sound of a KNOCK at the DOOR. Embar-
rassed by what he's been watching, he quickly turns off
the TV, and goes to answer the door, still holding the
book.
JULIUS
(calling out)
You forgot your key -- I know.
Lucky I waited up.
Julius opens the door, revealing Marnie, who walks in
right past him.
(CONTINUED)
TWINS - Rev. 4/28/88 109.
143 CONTINUED: 143 *
JULIUS *
Hi. *
MARNIE
Hi -- Vince and Linda want to be *
alone, so I'm afraid I'm going to
stay here. Which bed should I
take?
JULIUS
(stunned)
Either... I always sleep on the
floor.
Watched by Julius, Marnie pulls the curtains shut, kills
the overhead lights, all the while providing him with
glimpses of various parts of her anatomy. She gets into
one of the beds, turns off the bedside lamp.
MARNIE
Good night.
JULIUS
Good night.
Julius puts the blanket and pillow from the other bed
onto the floor between the two beds, then shuts off the
other lamp.
Silence...
MARNIE
This mattress is awful.
Getting out of bed, she pulls the blanket and pillow
with her as she steps over Julius, who tries not to look
up, and gets into the other bed.
MARNIE
Sorry. Good night.
JULIUS
Good night.
Silence...
MARNIE
This mattress is just as bad as
the other one.
She gets out, again dragging the blanket and pillow,
puts them down on the floor next to Julius. She crawls
under the blanket, turns her back to him.
(CONTINUED)
)O( TWINS - Rev. 7/5/88 110.
143 CONTINUED: (2) 143
MARNIE
This is better... Good night.
JULIUS
Good night.
Silence. Marnie shivers, chattering her teeth.
JULIUS
Are you cold?
MARNIE
It's alright.
JULIUS
No, please, take my shirt. I'm *
baking.
Julius strips it off and hands it to her. She puts it
on and pulls the blanket over her shoulder. Again she
shivers.
JULIUS
You still cold?
MARNIE
Just my legs.
Julius lies there, thinking about it.
JULIUS
Well, I could give you my...
MARNIE
(sitting up)
Thanks.
Julius reaches under the blanket, removes his bottoms and
passes them over. Marnie puts them on under her blanket.
JULIUS
Anything else?
MARNIE
I'd love a glass of water.
JULIUS
(realizes that he's
now nude)
Right.
He wraps his blanket around his waist, goes into the
bathroom, comes out with a glass of water. He hands it
to her.
(CONTINUED)
TWINS - Rev. 4/28/88 111.
143 CONTINUED: (3) 143 *
MARNIE
Thanks.
She spills the water all over her top and bedding.
MARNIE
Oh, great!
She starts stripping off everything she's wearing. Julius
averts his eyes.
MARNIE
Do you mind if I share your
blanket? -- Mine's all wet.
JULIUS
(gulps)
No -- that would be okay.
They both lie down under his blanket. Silence...
MARNIE
Could we switch sides? I like to
sleep on the left.
JULIUS
Sure.
She starts to roll over Julius, then pauses directly
above him and looks him dead in the eye.
MARNIE
Can I ask you something for a
change?
JULIUS
Anything.
MARNIE
Do you like me? I mean, even a
little bit?
JULIUS
I... I'm crazy about you, Marnie.
But there's something about me
you ought to know.
Marnie tenses, expecting the worst.
MARNIE
What?
JULIUS
(looking away)
I'm a virgin.
(CONTINUED)
TWINS - Rev. 5/9/88 112.
143 CONTINUED: (4) 143
Marnie glances heavenward, and silently mouths the words
"thank you." She smiles down at Julius and starts very
gently kissing him.
CUT TO:
144 OMITTED 144
& &
145 145
146 INT. VINCE AND LINDA'S HOTEL ROOM - NIGHT 146
Linda, dressed in a negligee, comes out of the bathroom
area. Vince, wearing pajamas, is on the floor, legs
curled under the bed, doing sit-ups.
VINCE
(under his breath;
counting)
-- Eighteen -- nineteen --
LINDA
You sick or something?
VINCE
Julius gave me a few pointers --
(counting)
-- Seventy-five -- seventy-six --
I don't need to exercise, but
Mom's gonna see me for the first *
time in thirty-five years, I wanna
look my best.
LINDA
She'll love you whatever you
look like.
VINCE
I know she will -- I have that
effect on people --
(counting)
-- One hundred and forty-three -- *
one forty-four -- *
(beat)
-- I just hope she's not too
disappointed in Julius -- he can't
help how weird he seems at the
start --
(CONTINUED)
)T( TWINS - Rev. 7/5/88 PM 113. *
146 CONTINUED: 146
LINDA
I think you're nervous.
VINCE
Hey -- I sleep great every
night --
(beat; softer)
-- what if she's disappointed
in me?
LINDA
(pats the bed)
C'mere.
VINCE
(final sit-up)
Five hundred.
(gets up)
Don't want to overdo.
He goes into her arms.
LINDA
If she's disappointed in you, then
she's a fake -- who could want
more from a son?
VINCE
(thinking about it)
You're right.
(a beat)
I couldn't do this without you,
Linda.
LINDA
I know. That's why, when we get
back, I think we should move in
together.
VINCE
(threatened)
Whoa! Move in together?
LINDA
I'm not saying we have to get
married or anything, and it's not
about me wanting to keep an eye on
you, either.
(warmly)
I just want to live with you.
VINCE
I'm no good at playing house --
I'm grouchy in the morning, cranky
in the afternoon, moody at night --
(CONTINUED)
)T( TWINS - Rev. 7/5/88 PM 113A. *
146 CONTINUED: (2) 146
LINDA
I promise not to try and make you
happy unless you want me to.
Vince is clearly unnerved by the twin emotional demands
of Linda and meeting his mother.
VINCE
Why don't we sleep on this, okay?
I mean, I've got a big day
tomorrow.
(shifting gears)
It's gonna be great -- taking my
best girl to meet my mom.
LINDA
Am I really your best girl?
VINCE
There's nobody else, Linda, not
anymore.
LINDA
There better not be, because...
(quoting)
'I only have eyes for you...'
They kiss.
CUT TO:
TWINS - Rev. 4/28/88 114-116.
*
147 INT. JULIUS AND MARNIE'S MOTEL ROOM - NIGHT (LATER) 147
They're both gazing up at the ceiling, bathed in after-
glow. Marnie has obviously just had the sexual experience
of her life. Julius is equally dazed and happy.
MARNIE
Are you sure you've never done
this before?
JULIUS
I think I would have remembered...
They start to kiss and we start to hear four RAUCOUS
VOICES singing a great old ROCK SONG a capella.
CUT TO:
A148 EXT. NEW MEXICO LANDSCAPE - DAY A148
It's our heroes singing. The Cadillac is moving quickly
through the extraordinary landscape.
CUT TO:
B148 EXT. SMALL INDIAN VILLAGE (NEW MEXICO) - DAY B148
The Caddy pulls up by a roadside flower stand.
(CONTINUED)
TWINS - Rev. 4/22/88 117. *
B148 CONTINUED: B148
LINDA
Let's get her some flowers.
VINCE
Good idea. One bunch from me,
one from Jules.
MARNIE
And one from us --
Julius smiles happily at Vince's thoughtfulness.
148 EXT. WHISPERING PINES - DAY 148
In the mountains, which dramatically tower over a lovely,
wide park-like area with a large adobe building and a few
smaller satellite huts.
The car drives up a long, dusty driveway to the entrance,
which is protected by high gates. Our principals exit
the car.
They approach the fortress-like gated entrance, gazing
around at the magnificent scenery. Both men carry flowers
and seem self-conscious about the prospect of finally
meeting their mother.
JULIUS
It's very beautiful, isn't it,
Vince?
VINCE
Not to mention valuable -- real
estate like this must be worth a
fortune.
JULIUS
(a rebuke)
You mustn't always think of money.
VINCE
(innocent)
You got me wrong -- I'm just
saying it's nice Mom's loaded --
that's a worry she won't have to
have in her old age.
Julius smiles at Vince and rings the bell. A MALE
CUSTODIAN answers the door -- friendly but very firm.
CUSTODIAN
Can I help you?
(CONTINUED)
TWINS - Rev. 5/2/88 118.
148 CONTINUED: 148
JULIUS
We'd like to see Miss Mary Anne
Benedict, please.
CUSTODIAN
I'm afraid that's not possible.
As he starts to close the door, Vince takes charge.
VINCE
We've come a long way. I can
assure you she's going to be very
happy to see us.
CUSTODIAN
I suggest you write a letter to
the Benedict Foundation stating
your business.
The Custodian politely closes the door in their faces.
VINCE *
A foundation?
CUT TO:
A149 EXT. WHISPERING PINES - OUTER GARDEN WALL - DAY A149
Our principals circle the wall, try a locked door to no
avail. They'll have to go over. Julius boosts Marnie
over the wall. Linda boosts Vince over.
CUT TO:
B149 OMITTED B149
C149 EXT. WHISPERING PINES - INNER GARDEN - DAY C149
Our principals take in the scene -- a large, enclosed
garden, with pathways, shady trees, all very lovely, with
a great view of the sun setting against the surrounding
mountains.
Their attention is drawn to -- A PAINTER working at an
easel. Several young artists are gathered around her,
admiringly. This is happening underneath a beautiful old
tree and the sight is just lovely.
CUT TO:
(CONTINUED)
TWINS - Rev. 5/2/88 119.
C149 CONTINUED: C149
THE QUARTER
They stand still watching.
JULIUS
(indicating the
bucolic scene)
You think it's her? I do.
VINCE
Gotta be.
(as they still
stare)
Well, don't just stand there.
LINDA
Introduce yourselves. *
As they take a step in the direction of the painter.
WOMAN (O.S.)
(sharp and loud)
Hey!
CUT TO:
FEMALE GARDNER
on her knees. She's in work clothes, smudged, hair in
a bandana. Maybe 60, there's something terribly appealing
about her. She's her own woman. She gets up from her
knees now as they approach -- but not before we note the
quality of her gardening -- it's the size Julius had
back on the island.
GARDENER
Should you be here?
VINCE
(tries to joke)
That depends on how you feel
personally about trespassing.
GARDNER
(umamused; to
Julius about Vince)
Is he always funny like that?
JULIUS
(very politely)
We'd like to see Mary Ann
Benedict please; is she here?
(CONTINUED)
TWINS - Rev. 4/28/88 120. *
C149 CONTINUED: (2) C149
GARDENER
'Course she's here --
(shakes her head)
-- climbing over the wall like
that, I should call the police --
VINCE
Please don't do that -- look --
this isn't one of your average
everyday situations -- she's our
mother is the thing.
JULIUS
We're her sons.
VINCE
Twin sons.
GARDENER
-- You're comedians --
VINCE
We're kind of a surprise.
GARDENER
(takes off her
gardening gloves)
I'll bet you are -- follow me.
She leads them towards the painter who glances up from
her easel.
VINCE
(whispering to
Julius)
We were right --
JULIUS
(softly)
-- It is her --
Now the Gardener leads them past the painter.
JULIUS
(confused)
We thought that that woman --
VINCE
-- Is Mary Ann?
GARDENER
No -- This is an artist's colony;
there's a lot of painters.
(CONTINUED)
TWINS - Rev. 4/28/88 120A. *
C149 CONTINUED: (2A) C149
VINCE
This is some chunk of real estate
-- Mom owns it all, I guess.
They are heading toward a door in the garden wall.
GARDENER
You can't really own something
like that view over there, or that
sunset, can you?
VINCE
(a believer)
No, of course not.
JULIUS
(to Linda and
Marnie)
I can't wait to meet her.
GARDENER
This way, please.
The Gardener ushers them towards a door in the garden
wall. She opens it, politely stands back, letting them
go through it. They turn back to look at her.
GARDENER
Mary Anne Benedict never
understood why people wanted to
buy her paintings. But for a
brief period they were considered
valuable. She used the money to
buy Whispering Pines so that young
artists would have a place to
work.
(CONTINUED)
TWINS - Rev. 4/22/88 121. *
C149 CONTINUED: (3) C149
VINCE
She's not famous anymore?
GARDENER
She never wanted to be famous.
She just wanted to be left alone.
JULIUS
May I ask you a question?
(a beat, concerned)
Why do you keep referring to her
in the past tense?
GARDENER
Because she passed away, some time
ago.
VINCE AND JULIUS
They look like they've been kicked in the stomach.
VINCE
But -- but you said she was here --
GARDENER
She is -- I meant her spirit. Her
spirit is always here.
(a beat)
Excuse me.
The Gardener gently closes the door in their faces.
ANOTHER ANGLE - VINCE AND JULIUS
They haven't moved. Linda and Marnie try to console them.
Julius still doesn't move. Vince shakes Linda off and
stomps away.
149 OMITTED 149
& &
150 150
A151 EXT. WHIPSERING PINES -FRONT ENTRYWAY - DAY A151
Vince, out in front, hurls his flowers to the ground,
kicks them, then hurries toward the Caddy. Julius, still
carrying his bouquet, picks up Vince's flowers, then
places the two bouquets into a niche in the wall. Marnie
joins him and adds her flowers.
(CONTINUED)
TWINS - Rev. 4/28/88 122.
A151 CONTINUED: A151
The sound of the Caddy's HORN HONKING.
VINCE
(behind the wheel)
Can we get the hell out of here?
CUT TO:
151 EXT. WHISPERING PINES - INNER GARDEN - DAY 151
The Gardener is back at work, staking up her tomatoes, as
the female Painter approaches her.
PAINTER
What was that all about?
GARDENER
These real estate developers won't
be happy until they turn this
place into a golf course.
PAINTER
Now they're climbing over the
walls?
GARDENER
They're shameless. They'll try
anything.
(bitterly amused)
Those men claimed to be my twin
sons, if you can believe that. It
was really quite disturbing.
PAINTER
Oh, Mary Anne, I am sorry...
GARDENER (MARY ANNE)
It's alright... You get over things. *
(with a sigh)
I did have a child once, but he died *
at birth...
CUT TO:
152 OMITTED 152
153 EXT. ROADSIDE DINER (NEW MEXICO) - LATE AFTERNOON 153
Julius, Vince, Linda and Marnie are quietly sitting at a
roadside table, eating some junk food.
(CONTINUED)
TWINS - Rev. 6/22/88 123.
153 CONTINUED: 153
LINDA
You ought to be so proud of your
mother, Vince. She donated her
house and her land and all her
paintings to help young artists.
VINCE
Do I look like a young artist to
you, Linda?
MARNIE
(gently)
Vince, all she meant was --
VINCE
(picking a fight)
I know what she meant. And I know
why she's here, too. It's got
nothing to do with my mother and
everything to do with money.
LINDA
You know that's not true.
VINCE
(hard)
Bull-shit.
Julius, who's been quiet and distant throughout, suddenly
intercedes.
JULIUS
Take it easy, Vincent. It's not
her fault.
VINCE
You hear that, everybody? The *
creature from the black lagoon *
just put in his two bits. I *
should have my head examined for
listening to you in the first place
-- deal-of-a-lifetime opportunity
and I'm driving around looking for
a dead mother.
JULIUS
(very sad)
All I wanted was to make us into a
family.
VINCE
(stands up)
Family, my butt. There's no family
here. There's just me and three
losers -- I'm leaving.
(CONTINUED)
TWINS - Rev. 6/22/88 124. *
153 CONTINUED: (2) 153
Vince storms off, gets into the Caddy and squeals away,
throwing Julius's suitcase out the window as he goes.
Linda and Marnie take off after him.
LINDA
Vince -- quit acting crazy --
MARNIE
(stunned)
He dumped us in the middle of
New Mexico.
JULIUS
We'll be fine. And maybe he'll
be better off alone.
LINDA
You don't know -- he's got
something worth maybe millions
in that trunk -- he could get
himself killed delivering it.
JULIUS
He's been getting out of trouble
all his life, he's good at it.
MARNIE
He may need you.
JULIUS
(voice flat, dead)
I don't know much anymore -- on
the island I was smart. Here,
I've only made things worse.
MARNIE
Don't you realize you could make
things a lot worse if you don't
do something.
(gently; close
beside him now)
Julius -- you're still very
smart it's just you're not
thinking so well right now --
on account of what you found out
at Whispering Pines -- but you're
not alone, you know -- I mean,
you live long enough, everyone's
mother dies...
No reaction from Julius. It's impossible to tell what
he's thinking.
CUT TO:
TWINS - Rev. 5/9/88 124A.
154 INT. CADDY - VINCE - DUSK 154
in the Cadillac. He's driving very fast and is on the
car phone.
VINCE
Okay, Beetroot -- It's time. I'll
be there tomorrow -- where do we
meet and trade?
CUT TO:
TWINS - Rev. 5/2/88 125.
155 OMITTED 155
thru thru
169 169
A170 EXT. SANTA FE AIRPORT - MAGIC HOUR A170
Julius is saying goodbye to Linda and Marnie. He's
carrying his leather suitcase.
JULIUS
(to Linda)
Don't worry, Linda. I found him
once, I'll find him again.
MARNIE
Be careful... *
Julius gives Marnie a rather chaste kiss.
JULIUS
He turns away.
CUT TO:
MARNIE
watching.
CUT TO:
JULIUS
spinning back, grabbing her up, folding her into his
arms, planting a world-class kiss on her mouth. HOLD
ON the two of them.
*
He puts on his sunglasses and strides into the airport.
CUT TO:
AA170 EXT. JULIUS'S PLANE AA170
Taking off in the New Mexico sunset.
DISSOLVE TO:
B170 EXT. HOUSTON - ESTABLISHING - CRACK OF DAWN B170
CUT TO:
TWINS - Rev. 5/9/88 125A.
C170 EXT. CADILLAC (HOUSTON) - DAY C170
The Cadillac driving into town.
D170 INT. CADILLAC (HOUSTON) - CLOSEUP ON VINCE - DAY D170
He's real serious.
CUT TO:
E170 EXT. HOUSTON AIRPORT - DAWN E170
With planes landing in the early morning behind him, we
see --
CLOSEUP OF JULIUS
standing -- waiting -- trying to pick up the scent...
DISSOLVE TO:
F170 EXT. DOWNTOWN HOUSTON - DAY F170
Julius strides purposefully along, carrying his suitcase.
He reaches a sign-posted intersection, looks in all di-
rections, chooses one, begins to move. As he does, a
CREEP starts walking along with him, eyeing his suitcase,
just like the Biker did when Julius first arrived in
Hollywood.
CREEP
(holds up cigarette)
Got a light, pal? *
Julius, without breaking stride, turns his head, looks
at the Creep.
JULIUS
(scary)
Don't fuck with me... pal.
The Creep falls back.
G170 EXT. WAREHOUSE (HOUSTON) - ESTABLISHING - DAY G170
Vince pulls up in the Caddy.
DISSOLVE TO:
TWINS - Rev. 5/9/88 126.
170 INT. WAREHOUSE (HOUSTON) - DAY 170
He drives inside a large warehouse, parks, gets out and
looks warily around. He opens the trunk, unzips the
sleeping bag, revealing the merchandise.
BEETROOT (O.S.)
Step away from that car, Mr.
Benedict.
Vince turns to see Beetroot coming out of the warehouse,
accompanied by his BODYGUARD carrying an attache case and
holding a gun. The Bodyguard pats Vince down.
VINCE
I thought we had a deal here.
The Bodyguard ignores him, checks out the trunk.
BODYGUARD
(to Beetroot)
This is it.
VINCE
This is what?
BEETROOT
(to Vince)
You come here alone, unarmed?
You're just a fool who stole a
car, aren't you? It's a new, low- *
cost fuel-injection system for *
jet engines -- worth a fortune to *
the company that brings it to the *
market first. *
(ruthlessly; to *
Bodyguard)
What are you waiting for?
Vince closes his eyes, waiting for the bullet that he
knows is coming. When he opens his eyes the Bodyguard
is holding the attache case open to show him the five
million dollars.
VINCE
Five million dollars --
BODYGUARD
(sarcastic)
You wanna count it?
VINCE
I trust you.
(CONTINUED)
TWINS - Rev. 5/9/88 127.
170 CONTINUED: 170
Vince takes the case, gazes at the money, snaps it shut.
He can't believe he's pulled it off. Beetroot and the
Bodyguard get into the Cadillac.
The Caddy speeds away while Vince clutches the attache
case to his chest and does a little dance of triumph.
The big score at last! TWO SHOTS RING out. Vince freezes
and sees --
171 EXT. CADDY AT WAREHOUSE - DAY 171
The Cadillac suddenly CRASHES against the side of another
warehouse. It's HORN is BLARING.
WEBSTER
emerges from the shadows with a powerful pump action *
shotgun. He opens the Caddy and pushes the dead *
Bodyguard off the horn.
Beetroot has a hole in his head, as well.
Webster turns and gazes back toward Vince who is sprinting
for safety. Webster calmly goes after him, reloading his
rifle.
172 INT. WAREHOUSE - DAY 172
It's filled with forklifts, cranes and various forms of
heavy machinery. Webster enters and looks cautiously
around.
WEBSTER
(calling out)
All I want is the money, Benedict.
Just give me what's mine and you
can go back to stealing cars and
screwing your best friend's wife.
VINCE
hiding behind some machinery, scurries deeper into the
bowels of the warehouse.
WEBSTER
moves forward, stalking him.
(CONTINUED)
TWINS - Rev. 5/9/88 128.
172 CONTINUED: 172
VINCE
crawling along the ground. He spots an open window up
ahead at the end of the warehouse. Nearer, to his right,
is another window, closed.
Vince picks up a piece of pipe, aims, fires it at the
closed window and as it breaks the glass --
CUT TO:
WEBSTER
FIRING at the sound. He can't see Vince but he pours
his fire at the window Vince broke -- large chunks of the *
BUILDING EXPLODE off wherever Webster fires. *
WEBSTER
Pack it in, Vince, you're only
wasting time -- I don't give a
damn about you, just the money --
He's reloaded during this -- moving forward as we...
CUT TO:
VINCE
crouched near the open window, glancing back at Webster
who has no idea where he is. Noiselessly, he slides out
of the open window, briefcase in hand, starts to run
away --
CUT TO:
WEBSTER
moving in on the shattered window. A bit irritated.
WEBSTER
Vince, if you don't cut this
horseshit I may have to hurt
you.
JULIUS
(over)
Leave my brother alone!
As Webster whirls, looks around --
CUT TO:
TWINS - Rev. 5/2/88 129/130.
A173 EXT. WAREHOUSE - DAY A173
Vince, outside, really chugging away now, doing his best
Carl Lewis imitation.
CUT TO:
B173 INT. WAREHOUSE - DAY B173
Julius looking down at Webster from the floor above. His
hands are held high. In one of them is a briefcase.
JULIUS
I've got the money.
WEBSTER
(gun trained on
Julius)
Well don't be shy --
(gesturing)
-- come on down.
CUT TO:
TWINS - Rev. 4/28/88 131. *
C173 EXT. WAREHOUSE - DAY C173
As Vince puts distance between himself and the warehouse.
Suddenly he stops, as if he's heard or "felt" something.
He shakes the feeling off, resumes running... and then
stops again, shuts his eyes tightly, trying to deny
what's happening to him.
VINCE
No way... this is bullshit...
(eyes snapping open)
Julius, you putz.
Vince turns and runs back towards the warehouse.
CUT TO:
D173 INT. WAREHOUSE - DAY D173
as Julius gracefully shinnies down a cable, lands near
Webster. He tosses the suitcase to the ground, backs
away. Webster approaches. Julius' hands, as before,
are held high over his head.
WEBSTER
Just exactly who are you?
JULIUS
Vincent's twin brother -- we're
in this together.
WEBSTER
Keep your hands that way.
JULIUS
Don't be nervous -- I hate
violence and I never carry guns.
E173 EXT. WAREHOUSE - DAY E173
Vince peering in through the window he jumped out of,
takes in the scene.
VINCE
(muttering)
Goddam ESP-psycho-voodoo bullshit...
F173 INT. WAREHOUSE - BACK TO WEBSTER - DAY F173
Opening Julius' suitcase. He pulls out Julius' old
clothes, tosses them aside, then removes some books,
books, and more books.
(CONTINUED)
TWINS - Rev. 4/28/88 132. *
F173 CONTINUED: F173
WEBSTER
(disgusted)
'Shakespeare's Collected Works'?...
'The Mind of Confucius'?...
'Advanced Quantum Mechanics'?...
What is this shit?
JULIUS
I needed something to read on
the airplane.
WEBSTER
(raising rifle)
Yeah, well your flying days are
over...
CUT TO:
SUITCASE WITH THE MONEY
flying through the air, landing near Webster's feet.
VINCE (O.S.)
Put the goddam gun away -- you're
a multimillionaire.
CUT TO:
VINCE
hands held high, appears, stands beside Julius.
WEBSTER
He covers them both, kneels, opens Vince's suitcase,
glances at the money inside.
VINCE AND JULIUS
both with their hands up, look at one another and
begin arguing.
VINCE
I am never going to forgive you
for this.
JULIUS
You were going to get killed.
I tried to distract him so
you could escape.
(CONTINUED)
TWINS - Rev. 5/9/88 133. *
F173 CONTINUED: (2) F173
VINCE
I had escaped. I was on my way
to Brazil -- when I felt you.
JULIUS
So, why didn't you go?
VINCE
Because, thanks to you, I'm now
not only a godamn psychic, I've
got this disease called a
conscience!
JULIUS
Nobody ever said being good was
easy.
Webster uneasily monitors their argument.
VINCE
How am I going to survive out
there? What are my friends
going to think?
JULIUS
(smiling)
You haven't got any friends.
WEBSTER
Just what are you two talking
about?
VINCE
(to Webster)
Butt out, okay? This is family
stuff, we're squabbling, it's
personal, just take the money and
go sit in the lap of luxury
somewhere. Try Brazil.
WEBSTER
(cocking his shotgun)
I doesn't work like that, you
might talk to people --
(aiming the rifle
now)
Who wants it first.
JULIUS
Shoot him. This whole thing is
his fault.
WEBSTER
Whatever you want.
(CONTINUED)
TWINS - Rev. 5/9/88 134. *
F173 CONTINUED: (3) F173
VINCE
-- Hold it, don't I get a say in
this?
Webster points the shotgun at Vince, starts to squeeze
the trigger when --
JULIUS
pulls a gun from his sleeve and blows Webster's weapon
out of his hands. Webster screams in pain, clutching
his hand, dancing around.
VINCE
(amazed)
You can be an irritating pain --
but sometimes you come in handy.
-- Where'd you get the gun?
JULIUS
From the dead man in the car.
VINCE
(to Webster)
You should have checked if he had
a gun, chump.
WEBSTER
He said he didn't believe in
them.
JULIUS
(proudly)
I lied.
VINCE
(teasing)
Ooooh -- you lied?
JULIUS
I had to.
Vince beams with deep fraternal pride. Then he turns to
Webster and snatches the case back.
VINCE
Looks like you messed with the
wrong people, wise guy.
Webster shrugs and takes out a cigarette.
(CONTINUED)
TWINS - Rev. 5/9/88 135. *
F173 CONTINUED: (4) F173
WEBSTER
You got lucky.
He lights it with his lighter. Suddenly Julius smells
something. Bad.
WEBSTER
(smiling)
But your luck just ran out.
A stream of gas is pouring out of the drums that Webster
punctured whilst he was shooting at Vince. It runs in a
broad stream across the warehouse floor, right beneath
Julius and Vince's feet. Webster is holding his
cigarette out, ready to drop it in the fuel and incin-
erate them.
WEBSTER
Drop the gun and give me back the
case, or we're gonna have
ourselves some barbecued Benedict.
Julius drops the gun and Vince slowly hands back the
case. Webster smiles and backs off down the stream of
gas, still holding out the cigarette. He stops at the
very edge of the building.
WEBSTER
Well, I guess this is goodbye.
He raises the cigarette, ready to throw it.
JULIUS
Wait a minute.
Webster looks up.
JULIUS
You've forgotten something.
Webster grips the case tighter.
WEBSTER
I don't think so.
Julius nods.
JULIUS
The third rule in a crisis
situation.
Julian leans calmly against the warehouse wall, supported
by one arm.
(CONTINUED)
TWINS - Rev. 5/9/88 136. *
F173 CONTINUED: (5) F173
WEBSTER
The third rule?
Julius's hand has pressed a button in a metal cage.
JULIUS
(smiling)
Duck.
Suddenly the load hanging from the boom of a nearby crane
smashes into Webster's back, and then dumps on him,
burying him in rubble.
VINCE
(even more amazed)
Duck?
(can't believe it)
Duck? You are developing real
style, Julius.
JULIUS
drapes his arm around Vince as they walk towards the
unharmed attache case full of money.
JULIUS
You came back for me.
VINCE
Yeah, yeah, yeah.
JULIUS
I always knew you would.
VINCE
You're my brother, right?
(as Julius smiles)
We're family, right?
JULIUS
Thank you, Vincent.
VINCE
(with a gleam)
We're a rich family, right?
Both reach for the attache case at the same time.
JULIUS
We're a good family. I'm sorry,
Vince, but we have to return the
money.
(CONTINUED)
TWINS - Rev. 5/9/88 137.
F173 CONTINUED: (6) F173
VINCE
Return the money?!? Are you
nuts?!? This is dirty money, *
Julius -- it doesn't belong to
anybody --
JULIUS
-- Including us -- think how much *
better you'll feel when it's out
of our lives --
VINCE
(almost jumping
up and down)
-- I won't -- I won't feel one bit
better -- I'll never feel better,
not if I live to be... oh no -- *
As the sound of POLICE SIRENS get LOUDER we --
FADE TO BLACK.
173 OMITTED 173
thru thru
176 176
FADE IN:
A177 CLOSE - NEWSPAPER - FRONT PAGE A177
A large photo of Vince and Julius being handed a check,
with an accompanying headline that reads:
"LONG LOST TWINS RECEIVE REWARD
RETURN CASH, STOLEN ENGINE"
CAMERA PULLS BACK to reveal we are --
B177 EXT. WHISPERING PINES - INNER GARDEN - DAWN B177
Mary Anne Benedict, seated at a breakfast table, stares
at the newspaper in astonishment. It's being held in
front of her by the Painter from the earlier scene, who
gently places the newspaper into Mary Anne's hands.
PAINTER
I think you'd better read this...
DISSOLVE TO:
TWINS - Rev. 5/9/88 137A.
C177 INT. TRAVEN'S OFFICE (LOS ALAMOS) - MORNING C177
Traven is reading a newspaper with his feet up on the
desk. It has the same headline and photo.
MARY ANNE (O.S.) *
You stole my family, you lying
son of a bitch!
Traven looks up just as Mary Anne's fist comes crashing
into his face and sends him flying.
DISSOLVE TO:
)T( TWINS - Rev. 7/5/88 PM 138. *
D177 OMITTED D177
E177 INT. LINDA'S APARTMENT BUILDING - DAY E177
As Linda comes through the door, gets her mail from the
mailbox. She turns and comes face-to-face with Vince,
standing there with a contrite look on his face.
VINCE
Linda, I --
LINDA
What the hell are you doing here?
VINCE
You wouldn't answer my calls or
my letters, so I... Look, I made
a terrible mistake and I apologize
and I want to tell you that I'm
a changed man.
Linda is almost buying it, but then --
LINDA
How did you get in here?
VINCE
Well, there was a window in the
back that --
LINDA
(resigned again)
Typical.
She walks past him, approaches her door, puts in the
key. Vince follows, speaking softly, his sincerity
absolutely genuine.
VINCE
All I ask is for another chance.
I know I probably don't deserve
it, but --
LINDA
You're right, you don't deserve
it.
She opens her door, walks in, and slams it in his face.
F177 INT. LINDA'S APARTMENT - DAY F177
She sighs, turns from the door, and sees --
(CONTINUED)
)T( TWINS - Rev. 7/5/88 PM 138A. *
F177 CONTINUED: F177
ROSES
Dozens of them -- everywhere -- all over her apartment --
beautifully arranged -- in gorgeous vases.
ON LINDA
Taking it all in, her resistance melting. She turns,
flings open the door, looks out -- no sign of Vince...
until CAMERA TILTS DOWN to reveal Vince on his knees.
VINCE
I had to break into your apartment,
but --
LINDA
Vince, they're beautiful.
VINCE
So, do you forgive me?
Linda hesitates.
LINDA
Yes, but...
VINCE
But?
Vince looks at her, understands.
VINCE
You mean, that matter we talked
about once and never really
resolved.
LINDA
(feigning
ignorance)
What matter is that?
VINCE
The matter of you and me living
together.
LINDA
(haltingly)
What about it?
Vince gets to his feet.
VINCE
Your place or mine?
They rush into each other's arms.
)T( TWINS - Rev. 7/5/88 PM 138B.
177 INT. VINCE'S OFFICES - NIGHT 177
CLOSE A NEON SIGN
It reads: "The Benedict Corporation." CAMERA PULLS BACK
to reveal we are -- inside Vince's office. *
The offices have been redecorated -- they look serious,
professional, and are filled with computer terminals and
other high-tech equipment.
Julius is sorting through a stack of mail while Vince
talks to a prospective client on the phone. Both of
them are wearing suits and ties.
VINCE
(into phone)
What do we do? Most people on this
planet cause problems -- the Benedict
Corporation solves them. We're a
consulting firm -- a think-tank --
sort of like the Rand Corporation
-- only smarter!
(a beat)
Tuesday at three. See you then.
Vince hangs up the phone, loosens his tie. Julius
excitedly holds up a stack of letters.
JULIUS
Look at this, Vince -- proposals
from the Red Cross, UNICEF, the
World Health Organization -- we
should only have clients who do
humanitarian work.
VINCE
Just as long as they pay -- we're
not running a charity, you know.
The sound of FOOTSTEPS down the corridor, then a
tentative KNOCK at the DOOR.
VINCE
Come in!
THE DOOR
As it opens, revealing Mary Anne Benedict, not looking at
all like the gardener they met in Whispering Pines.
VINCE AND JULIUS
Confused, just look at her for a moment.
(CONTINUED)
)O( TWINS - Rev. 7/5/88 139/139A.*
177 CONTINUED: 177
MARY ANNE
Clearly overwhelmed, struggles to find the appropriate
words.
MARY ANNE
It's so incredible I'm not even
sure which one of you is which.
VINCE AND JULIUS
Look at one another, then at Mary Anne, realizing at
the same time that she's their mother!
THREE OF THEM
Staring at each other in silence, until --
MARY ANNE
You see, I didn't believe you, I
mean who would believe a story like
your story -- crazy -- They lied to
me all these years... And they lied
to you... But you found one another
... And you found me... Please --
God -- one of you say something.
VINCE
(softly)
Momma?
Mary Anne nods.
JULIUS
(softly)
Mamma?
She nods again.
VINCE
(anguished wail)
MOMMA!
They both run to Mary Anne and hug her for all she's
worth. They're laughing, crying, holding each other.
Slowly, we...
DISSOLVE TO:
)U( TWINS - Rev. 7/25/88 140. *
JULIUS
Watching them. Now there are tears on his face, too.
He goes to them, gently puts his arms around them, lifts
them both up in to the air, cradling them.
They're laughing. They're crying. They're holding each
other.
No words are necessary.
Slowly...
DISSOLVE TO:
178 OMITTED 178
thru thru
180 180
FADE IN:
181 CLOSE ON WERNER 181
Smiling happily. PULL BACK to reveal we are --
EXT. GRIFFITH PARK - DAY
In front of the merry-go-round. Werner purchases a hand-
ful of tickets from the vendor, hands one each to Mary
Anne, Linda and Marnie.
MARY ANNE
I just can't get over how alike
they are...
The three women all turn and gaze affectionately back
at --
VINCE AND JULIUS
Walking along the path behind them. We assume it's them
the women were discussing, until we notice that each of
them is pushing a double-stroller with identical twin
babies inside! It's the twin children that are the
source of the women's wonder, and Vince and Julius' as
well.
Vince and Julius both yawn simultaneously.
JULIUS
They kepp you up all night again,
too?
(CONTINUED)
)U( TWINS - Rev. 7/25/88 141. *
181 CONTINUED: 181
VINCE
Sceaming in stereo.
They both stop the strollers, look down lovingly at their
kids, begin fondling them. Vince and Julius, simultan-
eously flip identical baby rattles and shake them at
their twins.
JULIUS
(to baby #1)
I think you need your diaper
changed.
(to baby #2)
What a surprise -- so do you.
Vince becomes aware of the condition of his kids'
diapers.
VINCE
(checks his babies)
Not you, too -- It's not a
competition, you know.
They both start pushing their strollers again.
JULIUS
Just think what we'd be like if
we'd been raised together.
VINCE
Now that's a scary thought.
They both yawn simultaneously once again.
TIME CUT TO:
182 EXT. GRIFFITH PARK MERRY-GO-ROUND - LATER 182
Vince and Julius are sitting on adjoining horses. Linda
and Marnie hand their sons up to them, watched proudly
by Mary Anne.
The merry-go-round starts moving, and the last image we
see is of Vince and Julius on the horses, holding their
twin sons. As they move PAST US, END CREDITS BEGIN TO
ROLL.
FADE OUT.
THE END
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