William Osborne & William Davies
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
1 LONG BASEMENT CORRIDOR 1
The CAMERA is MOVING SLOWLY DOWN a long basement corridor.
We hear a narrator (Werner) --
On his 35th birthday, I decided
to tell Julius Benedict the truth
2 CLOSE - LABORATORY HALL - DOORS - DAY (PERIOD) 2
HOLD ON sign: "Top Secret - Authorized Personnel Only."
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).
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
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
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.
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.
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.
TWINS - 4/14/88 3.
9 CONTINUED: 9
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.
His mother gave birth to another
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
11 INT. GREENHOUSE - CLOSEUP - JULIUS (35) - DAY 11
He looks up and stares dead AT the CAMERA --
I have a brother?!!!
12 INT. GREENHOUSE - DAY 12
A greenhouse on the island.
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.
(speaks with an
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.
I have a twin brother?!!
(for a moment,
chews on his right
What's his name?
Vincent -- Every time I loved
something I called it Vincent --
I called my first computer
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.
You've been here since you were a
baby -- you know nothing of
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
TWINS - Rev. 5/9/88 5. *
B13 CONTINUED: B13
They're a simple people; rather
primitive, not like us.
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.
It's your only copy --
-- My need for it is only
sentimental -- yours may be
Julius slips the photo into his suitcase.
Thank you -- I'll miss you.
(holding back the
I'll miss you.
They hug as we --
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.
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.
It was an honor to study under
Without warning, the Oriental tries to strike Julius in
the face with the side of his hand, but Julius blocks
Ahhh, always on guard. You have
learned well, Julius-san.
Julius gives a last hug to Werner.
I was just thinking, maybe my
brother Vincent is married.
TWINS - Rev. 5/25/88 A6A. *
A14 CONTINUED: A14
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.
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.
(loudly as he
disappears in the
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!
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
You sleep well, honey?
CARLA (SEXY YOUNG WOMAN)
Mmmm... like a baby.
Me, too. I love this new
mattress. It's soft but it's hard
at the same time. And I love this
Carla snuggles against Vince as he surveys the bedroom
like a house-proud new owner.
TWINS - Rev. 5/25/88 B6A. *
14 CONTINUED: (A1) 14
You've done a great job on this
You really think so? Even the
The curtains are the key to the
whole thing. They're colorful...
they're brilliant... they're...
You were great last night, Vince.
(putting his arm
I think we're going to be very
Suddenly we hear a DOOR downstairs as it OPENS, and a
man's voice drifts up the stairs:
TWINS - Rev. 4/15/88 6A.
14 CONTINUED: 14
Honey! I'm home!
(a bit surprised but
What's he doing back so early?
Vince jumps out of bed, starts pulling on his clothes
while Carla slips into a bathrobe.
Carla? You gonna cook me some
breakfast or what?
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.
Hurry up! I gotta make breakfast!
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!
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.
17 EXT. AL'S HOUSE - MUSTANG - DAY 17 *
As Vince gets in, starting to sing.
(he's got a good
'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.
(exiting the car,
... 'everything's going my way'...
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
Carla, what a joy to look at you.
TWINS - Rev. 5/9/88 8. *
18 CONTINUED: 18
(as she gives him
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
Stop with that horrible song, you
know how I hate birthdays; they're
worse than Christmas.
Al presents him with the gift.
Carla and I figured, since you
were always admiring mine, what
TWINS - Rev. 4/27/88 9.
18 CONTINUED: (2) 18
Vince struggles to contain his delight at this irony.
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.
Hello -- the Greco residence...
sure. Who may I say is calling...
Mr. Burt Klane? Vince, it's for
Vince confidently picks up the receiver.
Good morning, Mr. Klane. I hope
you're having a wonderful --
Yes -- no problem -- I have it.
Yes. Today. Of course. 'Bye.
Vince hangs up.
What are you doing talking to a
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 *
Oh no. *
I can't lose. Ever hear of P.V.T. *
Industries? Probably not -- *
Secret takeover bid --
TWINS - Rev. 4/27/88 10.
18 CONTINUED: (3) 18
You put the money on a stock? *
A very special stock -- and it was
such a sure thing -- I borrowed
another 20 grand from the Klane *
You borrowed from a loan shark to
invest in the stock market?
On margin -- And as of last night
I was ten thousand ahead. I'm *
going to make a fortune -- turn on
19 OMITTED 19
20 INT. NEWSROOM - CLOSE - TV - DAY 20
Cable news -- stock report.
... 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
21 INT. AL'S HOUSE- DAY 21
CLOSEUP ON the extremely worried face of Vince as he
takes in the bad news.
You are having one shitty
TWINS - Rev. 4/27/88 11.
21 CONTINUED: 21
I'm wiped out. I got to get some
money -- fast. *
Well... '88 B.M.W. came in for
long term last night...
Don't you think you're doing this
I'm a desperate man. *
Level three. Stall 25.
22 OMITTED 22
A28 EXT. AIRPORT PARKING STRUCTURE - ESTABLISHING - DAY A28
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.
TWINS - Rev. 4/15/88 12/13.
C28 CONTINUED: C28
This is only four thousand --
We're in a recession --
Everything's tough -- you want to
try someone else -- no hard
You okay, Vince? You seem a
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 --
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
'Put on your red dress, baby
'Cause we're going out tonight...'
A few passengers turn and look back at --
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.
'I better wear some boxing gloves,
In case some fool might want to
The STEWARDESS removes his headphones and considers
Julius with amusement.
I knew you were trouble the second
I laid eyes on you.
Julius stares up at her, speechless and mesmerized.
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.
The captain wants us to buckle our
seat belts because we're expecting
a little turbulence.
(reading her name
Thank you, Betty Lou.
TWINS - Rev. 4/27/88 15. *
29 CONTINUED: 29
I bet you're a football player.
Actually, I'm a horticultural
botanist, a mathematician, and a
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.
Nobody moves, or else we're gonna
have a serious draft in here.
(turns to another
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.
turns to the terrified elderly woman beside him who's
clutching a hardcover Bible in her lap.
Excuse me, ma'am.
As he takes the book from her, quickly draws back his
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.
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.
retrieving the hardcover Bible from the floor and --
as Julius smiles reassuringly, returns her Bible to her,
sits back in his seat.
(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
30 EXT. LAX - FROM SKY 30
As the plane circles to land.
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.
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
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
You total Linda's car. You pawn *
her stereo. You declare us as *
dependents on your tax return!?
What an amazing memory --
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.
I am so sorry for all the
miserable things I've done to you.
TWINS - Rev. 5/2/88 18.
34 CONTINUED: 34
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.
I didn't come here for a loan,
sweetheart. I came to say
It's not safe for me here. People
are trying to kill me.
Vince starts to rise but Linda pulls him back down.
What did you do, Vince?
I got involved in the stock
I promised Marnie I wouldn't give
Vince takes Linda's hand between his and stares into her
Don't look at me like that...
Don't do that with your eyes... I
shouldn't even be here with you.
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.
That is so beautiful. How do you
make up that stuff? You're such
TWINS - Rev. 5/2/88 19.
34 CONTINUED: (2) 34
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.
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.
Where's the little shit?
You gotta be more specific,
considering our clientele.
He wouldn't show his face around
here. Right, Marnie?
She looks down at --
He silently starts to crawl away in the direction of the
Who, Vincent? *
TWINS - Rev. 5/2/88 20.
36 CONTINUED: 36
-- That weasel, that creep -- that
oily little slug -- that two-bit,
two-timing, waste of space -- that
pathetic, low-life pocket Romeo.
(cutting her off)
Okay -- enough.
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.
Look what I found crawling around
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
This is only four thousand --
The rest is invested. We're gonna
make a fortune.
Bob suddenly punches Vince in the side knocking the breath
out of him.
TWINS - Rev. 5/2/88 21/22.
C37 CONTINUED: C37
Linda comes over -- Very nervous, she looks around, then
hands over an envelope.
I hope this helps -- Please don't
There you go --
(he counts Linda's
-- Another thousand -- Okay -- This
nice lady just bought you a day
Vince -- I want it all -- Twenty-
thousand -- this time tomorrow. *
Twenty -- ? But I just paid --
Just as he opens his mouth, Vince is elbowed again.
That's just the interest. The *
twenty's the principal. *
37 INT. BAR - NEAR DOOR - DAY (LITTLE LATER) 37
Linda is walking Vince out.
That was the most wonderful
birthday present anybody ever gave
It's your birthday? Why didn't
you tell me?
I can't take the kindness. It
gives me the shakes.
You'll tremble plenty before we're
through, Vince Benedict.
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 --
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 --
CLOSEUP ON JULIUS
And you can see it on his face: He loves it.
(almost a whisper)
... How wonderful...
39 OMITTED 39
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.
TWINS - Rev. 5/2/88 24.
44 CONTINUED: 44
But Julius is pretty noticable no matter where he goes.
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.
What an amazing country.
ROARING up beside Julius, smiling ingratiatingly.
Got a light, pal?
Sorry, but I don't smoke... pal?
Julius thinks he's found a friend.
Looking for something for your
I... don't have a girl friend. Do
women really wear these things?
If you're lucky.
You from out of town? *
TWINS - Rev. 5/2/88 25.
A45 CONTINUED: A45
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 --
Julius's hand holds fast to it. Then --
As his mouth drops open as we --
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 --
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 --
ROARING into the crowd and people shriek, dive out of
its way and --
TWINS - 4/14/88 26.
A45 CONTINUED: (2) A45
falling to the pavement, his head colliding hard and he's
out and --
ending its trip as it collides with a storefront and
collapses on its side, MOTOR still ROARING but no
movement anymore and --
stunned, going to his unconscious partner.
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
I did nothing, the pavement was
eyes almost closed as his skilled hands touch the guy a
I would say -- a concussion -- a
mild shoulder separation, and ribs
four to seven are cracked.
Get him to a hospital.
And now he picks up his case, starts to go; pauses.
TWINS - 4/14/88 27.
A45 CONTINUED: (3) A45
And in the future, you should both
consider wearing helmets.
A sweet smile.
45 OMITTED 45 *
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.
Fifty-three dollars? You gotta *
Your vehicle's in a handicapped
Vince immediately hunches his shoulder and affects a
So? Do I look normal to you?
You don't have a 'handicapped'
sticker on your windshield.
Driver's license, please.
CLOSEUP - VINCE'S HAND
It is being handcuffed to his car's door handle.
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. *
TWINS - Rev. 4/27/88 28.
48 CONTINUED: 48
As we HOLD ON Vince's depressed face we FADE TO BLACK --
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.
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
And that's where he must have
How did you know?
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.
We've only had one fire at St.
Charlotte's. Vince Benedict
started it, we like to think by
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.
Tell me about him. Was he a good
athlete? Did he like chess and
TWINS - Rev. 4/27/88 29.
51 CONTINUED: 51
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.
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.
This is him? He looks happy -- *
He should -- that's Sister Maria, *
his biology teacher.
I always liked biology.
So did Vincent. He disgraced
Sister Maria, who had to leave
the order. Then he stole all the
money from our library fund and
52 EXT. ORPHANAGE - FRONT DOOR - DAY 52
The Mother Superior is trying, tactfully, to close the
door on Julius.
But I have to find him. Where do
you think he might be?
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 --
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
(to Vince who is
scowling at him)
What're you lookin' at?
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.
(to the others in
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.
(stunned by the
(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
coming to the cell door.
TWINS - 4/14/88 31.
53 CONTINUED: 53
Call me when you get out, they're
always looking for centers in
And as he goes --
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 --
leading an attractive, powerful inmate into the room.
The guy is Julius's age.
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
TWINS - 4/14/88 32.
54 CONTINUED: 54
Excuse me, but I'm looking for
(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.
(impassioned, but a
bit rambling; his
emotions are in
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:
You gotta talk into the phone, *
Julius is confused, momentarily.
(understands now --
into the phone)
listening, somewhat amazed. Who is this loony?
... Dearest Vincent...
Vince glances quickly around to see that no one is
TWINS - Rev. 4/27/88 33.
54 CONTINUED: (2) 54
I know you don't know who I am,
but -- I came halfway across the
TWO OF THEM
-- 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 --
they do this a lot)
-- I don't know any Klane
brothers. I'm your brother,
I don't know any Klane Brothers.
Yeah. Go on -- I got that part.
My name is Julius -- I'm your
Obviously -- the minute I sat
down I felt like I was looking
in a mirror.
We're not identical twins.
I wouldn't be too sure.
TWINS - Rev. 4/27/88 34.
54 CONTINUED: (3) 54
You don't believe a word I've
said, do you?
-- That's right. I don't believe
a word you said. *
Vincent, I don't lie. I am your
brother. Let me help you get out *
(now he's interested)
Oh... you want to help me get
Well, money talks, bullshit walks.
How can bullshit walk? Is that
I'm in fast company here --
Listen, you get me outta here,
I'll be whatever you want, best
friend, brother, nephew, niece,
Vince gets up --
(to himself as he
Just don't ask me to bend over --
55 EXT. POLICE STATION - PARKING LOT - DAY 55
A bunch of impounded cars. Vince and Julius walk toward
a small building in the center.
TWINS - Rev. 4/27/88 35.
55 CONTINUED: 55
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.
I have some more money --
I am happy to help you, Vincent.
You're my brother. I love you.
Julius -- look -- ease up on the
love talk or I'm gonna be
tossing my cookies, all right?
Tossing cookies, that is more
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
57 EXT. IMPOUND PARKING LOT - DAY 57
I know what you're thinking?
No, you don't.
You're thinking that this whole
twin business is what you call
TWINS - Rev. 5/2/88 36.
57 CONTINUED: 57
This is exactly what Vince has been thinking.
Actually, I was thinking I'm going
to need some more money -- to put
gas in my car --
You can take some more money --
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.
They arrest you, they put you *
behind bars, they fine you and *
then they hide your car. *
-- your car, isn't it?
Which is what Julius is pointing at.
Yeah -- How'd you know that was
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.
I'm so excited -- we'll go to
museums together, discuss
philosophy together, read books
together -- play chess together --
-- Get lost together --
And on that, he GUNS his CAR the hell away, leaving
Julius standing there.
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.
TWINS - Rev. 6/22/88 38.
58 CONTINUED: 58
Hey, the new Sedan DeVille... Very
The driver, GARFIELD, just nods, holds out his hand for
You guys must be going to Hawaii,
huh? Catch that good surf.
Something like that.
The two men just stare straight ahead, uninterested in
conversation. Al hands the driver a ticket.
There's plenty of space on level
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.
as the men get out, lock the car, wipe off the door
handles, and then head for the elevator.
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
AUTOMOBILE SALES - RENTAL - LEASING *
WHOLESALE PATIO FURNITURE *
His door opens and out come two furniture MOVERS with a
TWINS - Rev. 6/22/88 39. *
B60 CONTINUED: B60
What're you doing with my desk?
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
I tried to stop them, Mr. Benedict --
It was time to redecorate anyway.
The PHONE RINGS -- Miss Busby drops to her knees beside
Vincent Benedict, Incorporated --
Sports agent, artist's
representative -- import/export --
automobile sales, rentals, and
leasing -- wholesale patio
furniture -- How may I help you?
As she hands him the phone.
(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.
(a little lost)
... Aah -- all right. Whatever you
say, Mr. Benedict...
TWINS - Rev. 6/22/88 39A.
60 CONTINUED: (A1) 60
MISS BUSBY (CONT'D)
Oh, before I forget... Happy
She hands him a gift-wrapped present which he opens.
TWINS - Rev. 4/22/88 40.
60 CONTINUED: 60
'Aqua-Velva' -- you shouldn't
She takes her purse, smiles, goes. When he's alone,
I hope you got some good news, *
Al -- *
61 INT. AL'S TICKET BOOTH - AL - DAY 61
On the phone in his ticket booth.
Brand new Caddy on level four.
62 INT. VINCE'S OFFICE - VINCE - DAY 62
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
63 INT. VINCE'S OFFICE - HALLWAY - EMPTY CORRIDOR OUTSIDE 63
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.
Time's up, Vincent -- Got the
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. *
In agony, on his knees. It hurts to breath. He finally
manages to look up at the giant --
Did you hit me yet? 'Cause I
didn't feel nothin'.
He grabs Vince again.
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 --
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.
These are most unfriendly acts you
TWINS - Rev. 4/22/88 42.
63 CONTINUED: (2) 63
I don't know what the problem is,
but I'm sure it can be solved
without resorting to violence.
Julius lets go of Klane, who gets to his feet, turns
around, and instantly lets fly with his fist at Julius's
Here Julius effortlessly blocks the punch and goes right
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
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.
Who are you?
Klane isn't buying it. Seeing a fire axe inside a GLASS
CASE on the wall, he SMASHES through and grabs it.
TWINS - Rev. 4/22/88 43.
63 CONTINUED: (3) 63
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.
-- And I have no respect for those
with no respect for logic. You're
a very stupid person.
CLOSEUP - JULIUS
Watching as Julius picks up Klane with both hands and
lifts him a foot up into the air, holding him there for a
-- And this next is timed perfectly -- as he pushes the
elevator button and...
slides open and...
As he heaves Klane across the corridor into the open
elevator Klane crashes down hard just as the door slides
TWINS - Rev. 4/22/88 44.
63 CONTINUED: 63
Shouting as the door closes on the crumpled Klane.
Tell your brother 'He messes
with me, he messes with my whole
64 EXT. VINCE'S OFFICE - STREET - LATE AFTERNOON 64
Despite himself, Vince is definitely warming to Julius.
I like it when you hit people!
I hate violence.
But you're so good at it. We
ought to go into business together.
You could be a boxer and I'll be
I don't think I could fight for
No problem. You do the fighting,
I'll keep all the money.
I'm worried about you, Vincent.
They reach Vince's Mustang and get in.
How much money do you owe? Don't
lie -- we're twins, I can feel
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 --
TWINS - Rev. 4/27/88 45.
64 CONTINUED: 64
(closing his eyes)
(a beat; then,
Due this morning.
CUT TO: *
AA65 INT. MUSTANG - DRIVING SHOT - LATE AFTERNOON AA65
Suddenly Vince bangs his forehead with the palm of his
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.
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.
What are you doing with that
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 --
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,
What's the matter?
That dopey Sam -- He did it again.
Forgot to leave the keys... A lot
of handicapped kids are gonna be
TWINS - 4/14/88 48.
65 CONTINUED: 65
This car was supposed to be
auctioned off at their charity
drive tomorrow. Oh, well, let's
Maybe we should try to open it
Vince raises his eyebrows in mock surprise.
You think we should do a thing
Of course -- it's for the
CLOSEUP - SLIM JIM
Vince inserts it into the Cadillac's driver's-side *
window, watched by Julius.
I saw a guy from the auto club do
The door locks suddenly pop up in unison.
Whaddya know? Beginner's luck!
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:
)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.
holding the rear of the car several feet up in the air.
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.
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.
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
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.
Vincent Benedict's car.
Vincent! Where are you?
)T( TWINS - Rev. 7/5/88 PM 50. *
A67 CONTINUED: A67
Ya see that little dot in your
rearview mirror? That's me.
(waving into mirror)
There's a supermarket up ahead.
Take your foot off the gas and
very -- very -- very gently
put it on the brake.
The brake -- right.
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.
The brakes worked just fine!
Lemme tell you something about
America, Julius -- nobody likes
67 INT. SUPERMARKET - NIGHT 67
Julius and Vince enter the supermarket.
LINDA AND MARNIE
are pushing a cart down one of the other aisles. Linda
is filling it with birthday candles, cake mixes, etc.
)T( TWINS - Rev. 7/5/88 PM 50A.
67 CONTINUED: (A1) 67
(as she reaches
for some cake mix)
Angel's food or devil's food?
The answer's obvious.
There's only one Vince Benedict.
He's a force of nature.
)O( TWINS - Rev. 7/5/88 51. *
67 CONTINUED: 67
And that 'poetry' he pretends to
write. They're old song lyrics,
Linda stops pushing the cart and looks at her.
I know that -- Geez, you don't
think I know that -- ?
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
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.
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.
(looking at the
She's not bad...
I'm sorry. I had no idea these
magazines had things like that...
Julius tries to stuff the centerfold back into the maga-
zine, but only manages to crumple it. Linda and Marnie
exchange a look.
)O( TWINS - Rev. 7/5/88 52.
67 CONTINUED: (2) 67
You didn't? Where've you been?
A desert island?
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. *
They all turn and look at Vince, who's pulled his cart
up behind them.
My twin brother, Vincent.
Linda and Marnie, stunned, look from Vince to Julius.
God you look beautiful in this
Vince... ? I didn't know you had
You all know each other?
Julius, meet Linda and...
Her charming sister, Marnie.
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.
Goodbye girls, see you soon.
And he guns off.
Goodbye girls, see you soon.
And he guns off too -- only in his excitement he's gone
I've only been drivng for an hour.
Now he follows Vince.
Why do I think I'm going to see
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.
Linda is your girl friend, isn't
Yeah. Kind of.
Is Marnie your girl friend, too?
Marnie! Marnie hates my guts.
She seemed to like you.
(trying not to sound
She hardly knows me.
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
You do like women, don't you?
TWINS - Rev. 4/15/88 56A.
68 CONTINUED: (A1) 68
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.
Now correct me if I'm wrong.
You're a virgin, aren't you?
TWINS - Rev. 4/27/88 57.
68 CONTINUED: 68
Vince clocks Julius's reaction as he removes an eviction
notice from his front door.
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.
Alright! Alright! I got your
food. Yes! 'Liver and Cheese,'
'Chicken Giblets,' all your
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.
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
The microwave ALARM sounds, and it pops open.
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.
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 --
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
It's definitely empty.
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.
So, let me get this right. One of *
our fathers was a famous football
player, another one was a physicist
at M.I.T. --
He won the Nobel Prize.
Vince, playing along, rolls his eyes.
TWINS - Rev. 5/9/88 59.
73 CONTINUED: 73
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.
Did I leave anything out?
Julius ignores Vince's cynicism.
I think it's important we try to
find our fathers.
You mean, all those geniuses who
contributed to the...
(making a jerk-off
... Sperm milkshake? *
Why are you being so immature
about this? *
Vince throws down his napkin.
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?"'
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.
TWINS - Rev. 5/9/88 60.
73 CONTINUED: (2) 73
I liberated this from my file at
the orphanage. Read it and weep.
Julius takes the paper and reads aloud.
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,
That's right, Julius, she abandoned
This letter was written thirty *
years ago. We were five years old *
-- Our mother... didn't die when
we were born...
(staring at Vince
You've known all this time where
she was and you never contacted
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 --
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
TWINS - Rev. 5/9/88 61.
73 CONTINUED: (3) 73
He can't hide the excitement.
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.
BURT KLANE (V.O.)
We haven't forgotten about you,
Benedict -- You better have our
money tomorrow morning. Or else.
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.
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.
The tests on the lower temperature
gaskets look great.
Looks like an easy weekend.
76 INT. RECEPTION AREA - DAY 76
As they head for Garfield's office, a SECRETARY tries to
TWINS - Rev. 4/27/88 62.
76 CONTINUED: 76
Mr. Garfield, there's a... *
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
Who are you?
I'm Webster, it's okay.
on the sound of the name. He looks at Larson. A beat. *
Christ, man, you were never *
supposed to come here.
The deal was we were never supposed
to meet. You're supposed to be...
Driving that Cadillac to Texas?
(holds up his
Got my driving gloves, got my
driving glasses, got my hat...
but no car.
The car was there! The merchandise
was in the trunk! Your instructions
were on the cassette!
TWINS - Rev. 5/9/88 63.
77 CONTINUED: 77
He wants more money. That's what
this is about.
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...
This is bullshit! The car was
That's right. The parking
attendant thought we were off for
(a brief pause)
The parking attendant?
He liked the car. We'd put on
those damn loud shirts so we'd
look like tourists --
He asked us if we were going
surfing. He was a jerk.
Webster suddenly gets to his feet, smiles. *
You know, I just realized that in *
twenty years of service no other *
client has ever seen my face.
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.
TWINS - Rev. 5/9/88 63A.
77 CONTINUED: (2) 77
Guess you're right. *
78 OMITTED 78
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
Thanks for everything, guys. I'll
see what I can do about those
Yeah, I'll tell her.
Webster closes the door behind him, smiles charmingly
at Garfield's Secretary.
They want you to hold their calls.
They're going to be working late.
81 OMITTED 81
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
TWINS - Rev. 4/27/88 65. *
C88 CONTINUED: C88
(after a beat)
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
Mary Anne Benedict.
Granger reacts; he's speechless. Julius hands him the
group photo of his mother, six fathers, Traven, and
She was my mother.
Granger looks at the photo, then at Julius.
You're Mary Anne's son?
(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!
Why don't you go help your grandma
with lunch, honey?
The little Girl disappears back inside. Granger, clearly
shaken, looks at Julius.
They told your mother that you
died at birth...
ON Julius's reaction, as we --
D88 INT. GRANGER'S STUDY - DAY D88
Trophies, framed photos, other memorabilia of Granger's
illustrious football career adorn the walls.
TWINS - Rev. 5/2/88 66.
D88 CONTINUED: D88
Julius studies them admiringly while Granger looks at the
I guess you could say I'm your
One of my fathers --
'Mary Anne Benedict'... I haven't
said her name aloud for over 30
years. She was the love of my
(shaking his head)
The times I've wondered what would
have happened if I'd married her...
Why didn't you?
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
Until yesterday I didn't even know
she might still be alive... Who
told her we died?
I have a twin brother, Vincent.
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.
Mitchell Traven. He supervised
the experiment for the government.
TWINS - Rev. 5/25/88 67/68.
D88 CONTINUED: (2) D88
He's the one responsible for all
of this. He still runs the
genetics lab at Los Alamos, New
I'll go see him.
Watch out for him -- he's kind of
a dickhead, if you know what I
No, I don't -- but I'm learning.
88 OMITTED 88
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:
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
TWINS - Rev. 4/27/88 69.
91 CONTINUED: 91
Vince stops the car dead, the Body Shop Owner comes up
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
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
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
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
Okay -- Six thousand -- that's
as high as I'm going...
92 OMITTED 92 *
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.
TWINS - Rev. 4/27/88 70-76.
100 EXT. HOUSTON SKYSCRAPER - DAY 100
A sign on the top of the building reads: "McKinley
Beetroot McKinley talkin'.
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.
Who's cloggin' up the line?
TWINS - 4/14/88 77.
101 CONTINUED: 101
-- Uh... Webster -- calling from
California. I happen to have some
merchandise you might want --
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
Well, bring it to me, son, and
let me enrich you.
It's the amount of enrichment I
want to talk about.
Boots down now -- we are looking at a very rich, very
Don't try and renegotiate with Old
Beetroot, son --
103 INT. VINCE'S APARTMENT - VINCE 103
Edgy. His pencil bounces up and down on the crucial
amount, the twenty thousand.
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.
104 INT. McKINLEY'S OFFICE 104
TWINS - Rev. 5/9/88 78.
104 CONTINUED: 104
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.
105 INT. VINCE'S APARTMENT - VINCE - DAY 105
clearing his throat, taken aback by the violence of
I guess twenty seems a little high
to you. I'm a reasonable guy --
I'll take fifteen --
Listen to me, you poor excuse for
a warmed over turd, a deal's a
-- But --
106 INT. McKINLEY'S OFFICE - CLOSEUP - McKINLEY - DAY 106
Don't 'but' me, the deal is five --
I can do better than five here.
(on his feet -- in a
If you can do better than five
million dollars, take it! *
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
TWINS - Rev. 5/2/88 79/80.
107 CONTINUED: 107
(hard to breathe)
F-five million dollars...
He writes down the proper amount now: $5,000,000. Then
he kisses the piece of paper.
I'll see you in Houston -- after
all, fair is fair.
(staring at the
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.
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.
Your boss at the lot told me you *
were on duty when the Cadillac *
clocked in. Now what's his name? *
Okay... His name is Vince Benedict.
Webster puts down the gun, jots down the name.
That's certainly a beginning.
I'm really disappointed in you --
ratting on your best friend.
TWINS - Rev. 5/2/88 81.
109 CONTINUED: 109
My best friend who's been
screwing my wife for three years.
All three years.
And you never told me until there
was a stranger listening? Shit,
what about my reputation?
Where can I find Mister Benedict?
I'm not saying.
Let me get this right -- You're
protecting the weasel who's been *
screwing your wife for the past
He's my friend.
Well, I guess I'll have to beat
it out of you --
Webster suddenly kicks over the chair with Al on it.
Carla screams --
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.
Thanks for saving me.
I always loved you, Al.
TWINS - Rev. 4/27/88 82. *
109 CONTINUED: (2) 109
It's just I couldn't resist Vince.
It's those eyes -- he does this
thing with his eyes...
I love you too, Carla.
heading for the
door, shaking his
No one's gonna believe this one.
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":
'Going back to 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, the most amazing thing has
You scared the living shit out of
I met one of our fathers. He told
me of a man in New Mexico who
probably knows where Momma is.
TWINS - Rev. 4/27/88 83. *
110 CONTINUED: 110
Julius, in his fervor, grips Vince by the shoulders.
She didn't abandon you -- she
didn't even know you were born!
Awww -- that's terrible.
Vince removes Julius's hands, slides him away from the
door, and opens it.
And she was told that I died!
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
Julius takes the map from Vince, looks at it.
-- New Mexico is on the way to
(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.
Vincent, we have to go see this
man Traven in New Mexico!
No we don't.
Julius slams his hand down on the top of the dash.
TWINS - Rev. 5/2/88 84.
110 CONTINUED: (2) 110
Yes we do! And I'm coming with
Vince, realizing that Julius won't be denied, tries a
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 --
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.
Why does everybody have to like me
Vince gets out of the car and, although it kills him,
tries to put on a happy face for Linda.
Happy birthday, Vince.
Oh please -- It's not my birthday
Happy birthday, Vince. Is Julius
He's inside. *
Marnie walks into the house. *
Linda gazes at Vince's belongings in the Caddy.
TWINS - Rev. 5/2/88 85. *
110 CONTINUED: (3) 110
Where are you going?
You were going somewhere -- you
weren't even going to say
Vince, knowing when he's beat, whispers conspiratorially.
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.
I got something in here --
(pats the trunk)
-- I don't even know what it is
-- that's worth a fortune!
A fortune! That's great!
An apartment door opens, revealing a FEMALE NEIGHBOR of
Never sleep with that man. Never
loan him money. And never believe
a word he tells you -- that's
She slams the door shut.
(as if innocent)
I borrowed a cup of sugar from
TWINS - Rev. 5/9/88 86.
110 CONTINUED: (4) 110
I'm coming with you. I'm not
letting you out of my sight.
No you're not.
I am because if you say 'no' one
more time --
-- I'll tell everybody you're
hiding a fortune in your --
(a hand over her
beaten and he
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 --
'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.
Marnie -- excuse me -- I was just
taking a shower.
(holding up a box *
of cookies) *
I heard you singing -- I baked
some cookies for you.
An awkward silence. *
I guess it was a dumb idea. *
TWINS - Rev. 5/9/88 87.
111 CONTINUED: 111
Not at all -- I'm really looking *
forward to tasting them. *
(a beat) *
I should put on some clothes --
But I'm not sure...
Oh -- don't mind me.
She turns her back to him.
Julius realizes he has no clean shirt.
I hope Vince doesn't mind if I
borrow one of his shirts.
(while eyeing Julius
through her compact)
Just don't try wearing his pants.
They both turn as --
throws open the door, with a big smile on her face.
Guess what? Vince just invited
us all to go to New Mexico and
Vince comes in behind Linda, trying to conceal his
That's a great idea, Vince.
112 OMITTED 112
114 EXT. VINCE'S NEIGHBORHOOD - DAY 114
The CAR, Vince at the wheel, ROARING away, the four of
them happily inside.
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 --
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 --
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.
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
Your owner seems to be a very
popular fellow these days.
117 INT. VINCE'S FRONT DOOR - DAY 117
As it crashes open, revealing Burt Klane and his two
large brothers, Bob and Morris.
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
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.
Who are you?
It's not really important, is it?
I wanted to feed the cat before I
Webster starts for the door. Morris (the really big one)
blocks the doorway, cutting Webster off.
I asked you a question.
Webster shrugs, exhales.
Who are you?
We're the Klane brothers. That's
Burt and Morris -- I'm Bob.
Interesting genetic pool. You're
looking for Vince Benedict, right?
The brothers all nod.
Am I Vince Benedict?
Morris stares hard at him, shakes his head.
So what's the difference who I am?
TWINS - Rev. 5/9/88 88/89. *
A118 CONTINUED: A118
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.
Your brothers seem to have a
problem with their feet.
It could be contagious.
Morris immediately backs away and lets Webster pass by.
(polite, as he
Have a good, good day.
118 OMITTED 118
119 EXT. HIGHWAY - NIGHT 119
A sign reads: WELCOME TO ARIZONA. The CADDY ROARS
)J( TWINS - Rev. 6/16/88 90.
120 INT. CAR - NIGHT 120
Linda, in the front seat, has her head resting on Vince's
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.
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.
Did Julius like the cookies?
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
Linda looks at her. A beat.
I think that's good.
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.
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
Whoa -- get away from that window!
There's women and children out
(staring at him)
What is wrong with you?
You allergic to something?
What are those bumps doing all
over your body? You're all
swelled up. You look like you're
about to explode.
TWINS - Rev. 6/22/88 92.
A123 CONTINUED: A123
(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.
-- Are just born to be bad. It's
you, Julius. Oooh, you are so
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.
As he walks past, Julius slaps her five.
Let's rock and roll.
He opens the car door and climbs in.
(to the girls)
It's his first T-shirt.
123 EXT. ROAD - DAY 123
The car driving along. Day now. Spectacular scenery.
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. *
Good luck. *
TWINS - Rev. 6/22/88 A92A. *
A125 CONTINUED: A125
See you later.
Julius, blushing, climbs into the front seat while Vince
leers out the window at Linda.
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.
(to Linda or to
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.
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.
Now promise me something.
TWINS - Rev. 5/2/88 93.
126 CONTINUED: 126
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
-- Because this is entirely
You still think I'm making it all
up, don't you?
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.
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.
Well, that's that. On to Houston.
He leads a stunned Julius down the corridor, towards
several armed security guards.
Keep your voice down. This place
is crawling with security -- *
For the first time in my life, I
(looking for the
-- pissed off!
TWINS - Rev. 5/2/88 94.
A127 CONTINUED: A127
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.
I'm going to make him tell us
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.
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. *
That's our mother -- those are our
six fathers -- that's Werner --
and that's you! Start talking!
Traven decides, turns to Vince.
You turned out just like I thought
you would, Vincent. What did you
do, escape from prison?
Vince stops dead, shell-shocked.
... How did you know my name?
TWINS - Rev. 4/28/88 95.
127 CONTINUED: 127
I named you.
Vince's jaw drops as he realizes -- *
Holy shit. It's all true. *
128 INT. BASEMENT HALLWAY - DAY 128
As CAMERA MOVES SLOWLY DOWN it, we realize this is a
reprise of our film's opening location.
Chained and padlocked. Traven unlocks it, pulls off the
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.
This room was sealed as soon as
your mother gave birth.
approaches a delivery table, touches it gently, looks
back at Traven.
You came out first, of course...
We weren't expecting him.
gazes at the "blender" we saw Traven demonstrating in
This must be where you made the
TWINS - Rev. 5/2/88 96.
129 CONTINUED: 129
gazes contemptuously at Vince.
We weren't making milkshakes.
We were making the most fully-
developed human the world has ever
Vince is not unhappy at this information.
But instead of just one perfect
kid, Mom had two of us -- way to
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.
Whoa -- I'm the crap?
It's not true, Vince.
No, I want to hear this.
I'm left-over crap? I'm no good?
Angry tears well up in Vince's eyes.
Just look at him --
You tellin' me I'm a side
TWINS - Rev. 5/2/88 97.
129 CONTINUED: (2) 129
You haven't got the brainpower to
understand this -- Vincent, and I
haven't got the time -- show's
He turns to go.
Julius grabs Traven, slams him up against the wall.
(at boiling point)
Tell us where our mother is... *
Whispering Pines... it's an
artists colony... two hundred
miles north of Santa Fe.
If you're lying to me.
(the famous snarl)
I'll be back.
Julius tosses him aside.
130 EXT. LAB PARKING LOT (LOS ALAMOS) - DAY 130
Vince is sitting in the car, slumped over the wheel.
My life just got flushed down the
You're wrong, Vincent. Your
life's just about to begin.
I'm genetic garbage.
Julius shakes his head.
TWINS - Rev. 5/9/88 97A.
130 CONTINUED: (A1) 130
Vincent, we're twins. *
Vince looks at his brother.
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. *
So how come if we're the same,
we're so damn different. *
We had six fathers, Vince. We're
different parts of a lot of
Vince is starting to get interested again.
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.
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.
TWINS - Rev. 5/9/88 98.
130 CONTINUED: 130
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.
We can be a family.
Vince looks at his brother. A beat.
A family? You really think so?
TWINS - Rev. 4/22/88 98A.
130 CONTINUED: (2) 130
Julius nods. Vince thinks about it some more.
With like Thanksgiving dinner?
And Christmas trees...
... and a real home where you'll
always be welcome.
Even when you've been bad.
Vince begins to brighten.
131 EXT. DOWNTOWN SANTA FE - ESTABLISHING - DAY 131
132 INT. CLOTHING STORE (SANTA FE) - DAY 132
As Vince ushers Julius through the door.
Is this necessary?
I'm not introducing you to my
mother dressed like some
goatsherder from Albania. You
need some new clothes.
A SALES CLERK approaches Vince.
Can I help you, sir?
TWINS - Rev. 4/28/88 99.
132 CONTINUED: 132
Do I look like I need help?
Here's the problem.
Maybe I'll try on a couple of
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.
Do I look okay?
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 *
I read the book.
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 *
Julius doesn't have a clue. Vince dons sunglasses and
demonstrates a soulful strut.
Like this... You just got to try
to be cool, you know? Try these
Julius puts on sunglasses, snaps his fingers, tries to
ape Vince's moves while Vince appraises him.
Am I cool now? -- *
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.
We know where to find our momma!
Everything Julius said was true.
I'm the product of geniuses!
I always knew that.
Of course, but it's nice to make
Tommorrow we're going to finally
meet our mother.
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
(embarrassed; a burst)
Vince, you've got to help me --
I've never been out on a date
before... what should I do?
Talk to her, buy her some drinks,
dance with her. Girls like to
Julius looks at his brother.
TWINS - Rev. 4/22/88 100A.
135 CONTINUED: (A1) 135
I guess you haven't done that
TWINS - Rev. 5/9/88 101.
135 CONTINUED: 135
Julius shakes his head.
Well -- forget all that disco
shit, everyone's seen it. When I
really want to romance a girl, I
waltz with her.
You dance with them? *
It turns them to putty in your
He shoves a chair out of the way, making a little room.
Okay, come here, put your feet by
my feet --
-- Thank you for this, Vince --
(a pained look on
-- I said put your feet by my feet
not on my feet! --
Julius looks at his brother, then self-consciously takes
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 --
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.
Well, you've learned to waltz.
Now it's time to introduce you to
the wonderful world of getting
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.
Did you know they had beer in
Actually it was invented by the
Assyrians, but the Eygptians were
the first people to perfect the
malt fermentation process.
You sure know a lot about beer.
He knows a lot about everything.
Julius polishes off the bottle, belches.
)J( TWINS - Rev. 6/16/88 103. *
A137 CONTINUED: A137
But it's all from books. Until
tonight I never had a beer. All
theory, no practice -- the story
of my life!
Well, we're going to change all
that -- aren't we, Marnie?
Julius, embarrassed, looks over at Marnie, who's smiling
sweetly at him.
Can I ask you a question?
Am I shit-faced yet?
Linda, surprised, does a spit-take with her beer.
You're getting there.
Vince gets to his feet.
Please excuse me -- my back teeth
Vince exits. Julius looks at Marnie, blushes, gets to
I better see if mine are, too.
Julius takes off after Vince.
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.
You do that too, huh?
)J( TWINS - Rev. 6/16/88 104. *
B137 CONTINUED: B137
Not all the time.
Listen, Marnie's got the hots for
you. Tonight could be your lucky
I don't think she really likes me.
Piece of cake. You're nervous
'cause it's your first time.
Were you nervous?
I was twelve and she was a nun --
that's real pressure.
They both finish at the urinals and begin washing at the
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.
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.
Hey, cut it out! Not in here!
Julius releases Vince, who clocks the other man's
Go easy on the beer, okay?
137 OMITTED 137
)J( TWINS - Rev. 6/16/88 104A.
138 INT. McKINLEY'S OFFICE - NIGHT 138
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
Sorry, Webster, looks like I'm
doin' business with someone else.
I'd do the same thing. You want
the delivery, it's not your
problem who delivers.
(handing him a
If you ever need me, my answering
service forwards all messages.
And he's gone.
(handing card to
Put this in my personal file.
(staring at the
God, I love a professional...
139 OMITTED 139 *
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
Did you tell anybody we were
coming to Santa Fe?
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.
Let's go to the ladies' room.
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.
Hello, girls -- Do you mind if we
sit down and enjoy the music with
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.
This has gone way past a simple
case of loan deliquency.
We don't like getting shot. *
What are you talking about? We
didn't shoot anybody.
TWINS - Rev. 5/9/88 106.
141 CONTINUED: 141
It's no way to do business.
What do you want?
We want to take Vince out to the
parking lot and kill him.
A long beat.
That's kind of drastic, don't you
Morris grabs Vince roughly by the arm.
Don't touch him.
(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.
You moved too soon...
The second rule in a crisis
He's starting that funny talk
TWINS - Rev. 5/9/88 107. *
141 CONTINUED: (2) 141
If you choose to bluff, you must
be prepared to have your bluff
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
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
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.
How many of those... rules do you
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.
A142 OMITTED A142
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.
Uh... we got cable TV, a fully
stocked bar, free ice -- we're
in great shape.
Where you going?
I thought I'd just go and tuck
Linda in for the night.
Vince picks up one of Julius' heavy tomes.
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
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.
It just doesn't get any better
Vince gives Julius a sly look as he lets himself out of
Oh yes it does.
TIME CUT TO:
CLOSE - A TV SCREEN
showing a clip of the "3 Stooges" at their moronic best.
sits watching the TV, nodding in amusement, laughing,
slapping his knee in pleasure.
)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
You forgot your key -- I know.
Lucky I waited up.
Julius opens the door, revealing Marnie, who walks in
right past him.
TWINS - Rev. 4/28/88 109.
143 CONTINUED: 143 *
Hi -- Vince and Linda want to be *
alone, so I'm afraid I'm going to
stay here. Which bed should I
Either... I always sleep on the
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.
Julius puts the blanket and pillow from the other bed
onto the floor between the two beds, then shuts off the
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.
Sorry. Good night.
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.
)O( TWINS - Rev. 7/5/88 110.
143 CONTINUED: (2) 143
This is better... Good night.
Silence. Marnie shivers, chattering her teeth.
Are you cold?
No, please, take my shirt. I'm *
Julius strips it off and hands it to her. She puts it
on and pulls the blanket over her shoulder. Again she
You still cold?
Just my legs.
Julius lies there, thinking about it.
Well, I could give you my...
Julius reaches under the blanket, removes his bottoms and
passes them over. Marnie puts them on under her blanket.
I'd love a glass of water.
(realizes that he's
He wraps his blanket around his waist, goes into the
bathroom, comes out with a glass of water. He hands it
TWINS - Rev. 4/28/88 111.
143 CONTINUED: (3) 143 *
She spills the water all over her top and bedding.
She starts stripping off everything she's wearing. Julius
averts his eyes.
Do you mind if I share your
blanket? -- Mine's all wet.
No -- that would be okay.
They both lie down under his blanket. Silence...
Could we switch sides? I like to
sleep on the left.
She starts to roll over Julius, then pauses directly
above him and looks him dead in the eye.
Can I ask you something for a
Do you like me? I mean, even a
I... I'm crazy about you, Marnie.
But there's something about me
you ought to know.
Marnie tenses, expecting the worst.
I'm a virgin.
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.
144 OMITTED 144
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.
(under his breath;
-- Eighteen -- nineteen --
You sick or something?
Julius gave me a few pointers --
-- 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.
She'll love you whatever you
I know she will -- I have that
effect on people --
-- One hundred and forty-three -- *
one forty-four -- *
-- I just hope she's not too
disappointed in Julius -- he can't
help how weird he seems at the
)T( TWINS - Rev. 7/5/88 PM 113. *
146 CONTINUED: 146
I think you're nervous.
Hey -- I sleep great every
-- what if she's disappointed
(pats the bed)
Don't want to overdo.
He goes into her arms.
If she's disappointed in you, then
she's a fake -- who could want
more from a son?
(thinking about it)
I couldn't do this without you,
I know. That's why, when we get
back, I think we should move in
Whoa! Move in together?
I'm not saying we have to get
married or anything, and it's not
about me wanting to keep an eye on
I just want to live with you.
I'm no good at playing house --
I'm grouchy in the morning, cranky
in the afternoon, moody at night --
)T( TWINS - Rev. 7/5/88 PM 113A. *
146 CONTINUED: (2) 146
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.
Why don't we sleep on this, okay?
I mean, I've got a big day
It's gonna be great -- taking my
best girl to meet my mom.
Am I really your best girl?
There's nobody else, Linda, not
There better not be, because...
'I only have eyes for you...'
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.
Are you sure you've never done
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.
A148 EXT. NEW MEXICO LANDSCAPE - DAY A148
It's our heroes singing. The Cadillac is moving quickly
through the extraordinary landscape.
B148 EXT. SMALL INDIAN VILLAGE (NEW MEXICO) - DAY B148
The Caddy pulls up by a roadside flower stand.
TWINS - Rev. 4/22/88 117. *
B148 CONTINUED: B148
Let's get her some flowers.
Good idea. One bunch from me,
one from Jules.
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
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.
It's very beautiful, isn't it,
Not to mention valuable -- real
estate like this must be worth a
You mustn't always think of money.
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.
Can I help you?
TWINS - Rev. 5/2/88 118.
148 CONTINUED: 148
We'd like to see Miss Mary Anne
I'm afraid that's not possible.
As he starts to close the door, Vince takes charge.
We've come a long way. I can
assure you she's going to be very
happy to see us.
I suggest you write a letter to
the Benedict Foundation stating
The Custodian politely closes the door in their faces.
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.
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
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.
TWINS - Rev. 5/2/88 119.
C149 CONTINUED: C149
They stand still watching.
You think it's her? I do.
(as they still
Well, don't just stand there.
Introduce yourselves. *
As they take a step in the direction of the painter.
(sharp and loud)
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.
Should you be here?
(tries to joke)
That depends on how you feel
personally about trespassing.
Julius about Vince)
Is he always funny like that?
We'd like to see Mary Ann
Benedict please; is she here?
TWINS - Rev. 4/28/88 120. *
C149 CONTINUED: (2) C149
'Course she's here --
(shakes her head)
-- climbing over the wall like
that, I should call the police --
Please don't do that -- look --
this isn't one of your average
everyday situations -- she's our
mother is the thing.
We're her sons.
-- You're comedians --
We're kind of a surprise.
(takes off her
I'll bet you are -- follow me.
She leads them towards the painter who glances up from
We were right --
-- It is her --
Now the Gardener leads them past the painter.
We thought that that woman --
-- Is Mary Ann?
No -- This is an artist's colony;
there's a lot of painters.
TWINS - Rev. 4/28/88 120A. *
C149 CONTINUED: (2A) C149
This is some chunk of real estate
-- Mom owns it all, I guess.
They are heading toward a door in the garden wall.
You can't really own something
like that view over there, or that
sunset, can you?
No, of course not.
(to Linda and
I can't wait to meet her.
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.
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
TWINS - Rev. 4/22/88 121. *
C149 CONTINUED: (3) C149
She's not famous anymore?
She never wanted to be famous.
She just wanted to be left alone.
May I ask you a question?
(a beat, concerned)
Why do you keep referring to her
in the past tense?
Because she passed away, some time
VINCE AND JULIUS
They look like they've been kicked in the stomach.
But -- but you said she was here --
She is -- I meant her spirit. Her
spirit is always here.
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
149 OMITTED 149
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.
TWINS - Rev. 4/28/88 122.
A151 CONTINUED: A151
The sound of the Caddy's HORN HONKING.
(behind the wheel)
Can we get the hell out of here?
151 EXT. WHISPERING PINES - INNER GARDEN - DAY 151
The Gardener is back at work, staking up her tomatoes, as
the female Painter approaches her.
What was that all about?
These real estate developers won't
be happy until they turn this
place into a golf course.
Now they're climbing over the
They're shameless. They'll try
Those men claimed to be my twin
sons, if you can believe that. It
was really quite disturbing.
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 *
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.
TWINS - Rev. 6/22/88 123.
153 CONTINUED: 153
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.
Do I look like a young artist to
Vince, all she meant was --
(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.
You know that's not true.
Julius, who's been quiet and distant throughout, suddenly
Take it easy, Vincent. It's not
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.
All I wanted was to make us into a
Family, my butt. There's no family
here. There's just me and three
losers -- I'm leaving.
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.
Vince -- quit acting crazy --
He dumped us in the middle of
We'll be fine. And maybe he'll
be better off alone.
You don't know -- he's got
something worth maybe millions
in that trunk -- he could get
himself killed delivering it.
He's been getting out of trouble
all his life, he's good at it.
He may need you.
(voice flat, dead)
I don't know much anymore -- on
the island I was smart. Here,
I've only made things worse.
Don't you realize you could make
things a lot worse if you don't
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
No reaction from Julius. It's impossible to tell what
TWINS - Rev. 5/9/88 124A.
154 INT. CADDY - VINCE - DUSK 154
in the Cadillac. He's driving very fast and is on the
Okay, Beetroot -- It's time. I'll
be there tomorrow -- where do we
meet and trade?
TWINS - Rev. 5/2/88 125.
155 OMITTED 155
A170 EXT. SANTA FE AIRPORT - MAGIC HOUR A170
Julius is saying goodbye to Linda and Marnie. He's
carrying his leather suitcase.
Don't worry, Linda. I found him
once, I'll find him again.
Be careful... *
Julius gives Marnie a rather chaste kiss.
He turns away.
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.
AA170 EXT. JULIUS'S PLANE AA170
Taking off in the New Mexico sunset.
B170 EXT. HOUSTON - ESTABLISHING - CRACK OF DAWN B170
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.
E170 EXT. HOUSTON AIRPORT - DAWN E170
With planes landing in the early morning behind him, we
CLOSEUP OF JULIUS
standing -- waiting -- trying to pick up the scent...
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
(holds up cigarette)
Got a light, pal? *
Julius, without breaking stride, turns his head, looks
at the Creep.
Don't fuck with me... pal.
The Creep falls back.
G170 EXT. WAREHOUSE (HOUSTON) - ESTABLISHING - DAY G170
Vince pulls up in the Caddy.
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.
Step away from that car, Mr.
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.
I thought we had a deal here.
The Bodyguard ignores him, checks out the trunk.
This is it.
This is what?
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 *
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
Five million dollars --
You wanna count it?
I trust you.
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.
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
172 INT. WAREHOUSE - DAY 172
It's filled with forklifts, cranes and various forms of
heavy machinery. Webster enters and looks cautiously
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.
hiding behind some machinery, scurries deeper into the
bowels of the warehouse.
moves forward, stalking him.
TWINS - Rev. 5/9/88 128.
172 CONTINUED: 172
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 --
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. *
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...
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
moving in on the shattered window. A bit irritated.
Vince, if you don't cut this
horseshit I may have to hurt
Leave my brother alone!
As Webster whirls, looks around --
TWINS - Rev. 5/2/88 129/130.
A173 EXT. WAREHOUSE - DAY A173
Vince, outside, really chugging away now, doing his best
Carl Lewis imitation.
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.
I've got the money.
(gun trained on
Well don't be shy --
-- come on down.
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.
No way... this is bullshit...
(eyes snapping open)
Julius, you putz.
Vince turns and runs back towards the warehouse.
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.
Just exactly who are you?
Vincent's twin brother -- we're
in this together.
Keep your hands that way.
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.
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.
TWINS - Rev. 4/28/88 132. *
F173 CONTINUED: F173
'Shakespeare's Collected Works'?...
'The Mind of Confucius'?...
'Advanced Quantum Mechanics'?...
What is this shit?
I needed something to read on
Yeah, well your flying days are
SUITCASE WITH THE MONEY
flying through the air, landing near Webster's feet.
Put the goddam gun away -- you're
hands held high, appears, stands beside Julius.
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
I am never going to forgive you
You were going to get killed.
I tried to distract him so
you could escape.
TWINS - Rev. 5/9/88 133. *
F173 CONTINUED: (2) F173
I had escaped. I was on my way
to Brazil -- when I felt you.
So, why didn't you go?
Because, thanks to you, I'm now
not only a godamn psychic, I've
got this disease called a
Nobody ever said being good was
Webster uneasily monitors their argument.
How am I going to survive out
there? What are my friends
going to think?
You haven't got any friends.
Just what are you two talking
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.
(cocking his shotgun)
I doesn't work like that, you
might talk to people --
(aiming the rifle
Who wants it first.
Shoot him. This whole thing is
Whatever you want.
TWINS - Rev. 5/9/88 134. *
F173 CONTINUED: (3) F173
-- Hold it, don't I get a say in
Webster points the shotgun at Vince, starts to squeeze
the trigger when --
pulls a gun from his sleeve and blows Webster's weapon
out of his hands. Webster screams in pain, clutching
his hand, dancing around.
You can be an irritating pain --
but sometimes you come in handy.
-- Where'd you get the gun?
From the dead man in the car.
You should have checked if he had
a gun, chump.
He said he didn't believe in
Ooooh -- you lied?
I had to.
Vince beams with deep fraternal pride. Then he turns to
Webster and snatches the case back.
Looks like you messed with the
wrong people, wise guy.
Webster shrugs and takes out a cigarette.
TWINS - Rev. 5/9/88 135. *
F173 CONTINUED: (4) F173
You got lucky.
He lights it with his lighter. Suddenly Julius smells
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-
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.
Well, I guess this is goodbye.
He raises the cigarette, ready to throw it.
Wait a minute.
Webster looks up.
You've forgotten something.
Webster grips the case tighter.
I don't think so.
The third rule in a crisis
Julian leans calmly against the warehouse wall, supported
by one arm.
TWINS - Rev. 5/9/88 136. *
F173 CONTINUED: (5) F173
The third rule?
Julius's hand has pressed a button in a metal cage.
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.
(even more amazed)
(can't believe it)
Duck? You are developing real
drapes his arm around Vince as they walk towards the
unharmed attache case full of money.
You came back for me.
Yeah, yeah, yeah.
I always knew you would.
You're my brother, right?
(as Julius smiles)
We're family, right?
Thank you, Vincent.
(with a gleam)
We're a rich family, right?
Both reach for the attache case at the same time.
We're a good family. I'm sorry,
Vince, but we have to return the
TWINS - Rev. 5/9/88 137.
F173 CONTINUED: (6) F173
Return the money?!? Are you
nuts?!? This is dirty money, *
Julius -- it doesn't belong to
-- Including us -- think how much *
better you'll feel when it's out
of our lives --
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
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.
I think you'd better read this...
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.
)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.
Linda, I --
What the hell are you doing here?
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 --
How did you get in here?
Well, there was a window in the
back that --
She walks past him, approaches her door, puts in the
key. Vince follows, speaking softly, his sincerity
All I ask is for another chance.
I know I probably don't deserve
it, but --
You're right, you don't deserve
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 --
)T( TWINS - Rev. 7/5/88 PM 138A. *
F177 CONTINUED: F177
Dozens of them -- everywhere -- all over her apartment --
beautifully arranged -- in gorgeous vases.
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.
I had to break into your apartment,
Vince, they're beautiful.
So, do you forgive me?
Vince looks at her, understands.
You mean, that matter we talked
about once and never really
What matter is that?
The matter of you and me living
What about it?
Vince gets to his feet.
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.
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!
Tuesday at three. See you then.
Vince hangs up the phone, loosens his tie. Julius
excitedly holds up a stack of letters.
Look at this, Vince -- proposals
from the Red Cross, UNICEF, the
World Health Organization -- we
should only have clients who do
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.
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.
)O( TWINS - Rev. 7/5/88 139/139A.*
177 CONTINUED: 177
Clearly overwhelmed, struggles to find the appropriate
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 --
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.
Mary Anne nods.
She nods again.
They both run to Mary Anne and hug her for all she's
worth. They're laughing, crying, holding each other.
)U( TWINS - Rev. 7/25/88 140. *
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
No words are necessary.
178 OMITTED 178
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.
I just can't get over how alike
The three women all turn and gaze affectionately back
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
Vince and Julius both yawn simultaneously.
They kepp you up all night again,
)U( TWINS - Rev. 7/25/88 141. *
181 CONTINUED: 181
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
(to baby #1)
I think you need your diaper
(to baby #2)
What a surprise -- so do you.
Vince becomes aware of the condition of his kids'
(checks his babies)
Not you, too -- It's not a
competition, you know.
They both start pushing their strollers again.
Just think what we'd be like if
we'd been raised together.
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