Twins Movie Quotes

They continued standing there, looking like a pair of horror movie twins, one dark, one light.

The cradle rocks above an abyss, and common sense tells us that our existence is but a brief crack of light between two eternities of darkness. Although the two are identical twins, man, as a rule, views the prenatal abyss with more calm than the one he is heading for (at some forty-five hundred heartbeats an hour). I know, however, of a young chronophobiac who experienced something like panic when looking for the first time at homemade movies that had been taken a few weeks before his birth. He saw a world that was practically unchanged-the same house, the same people- and then realized that he did not exist there at all and that nobody mourned his absence. He caught a glimpse of his mother waving from an upstairs window, and that unfamiliar gesture disturbed him, as if it were some mysterious farewell. But what particularly frightened him was the sight of a brand-new baby carriage standing there on the porch, with the smug, encroaching air of a coffin; even that was empty, as if, in the reverse course of events, his very bones had disintegrated.

Back in the main corridor—what Luke now understood to be the residents’ wing—the little girls, Gerda and Greta, were standing and watching with wide, frightened eyes. They were holding hands and clutching dolls as identical as they were. They reminded Luke of twins in some old horror movie.

She was born under the sign of Gemini. And that stands for the good and evil twin. Dr. Jekyll and Mr. Hyde both hiding and residing inside her heart. Her good twin was not bad at all. But her evil twin was even better, and showed up to be way too fatal!

They reminded Luke of twins in some old horror movie.

...normally I consider nostalgia to be a toxic impulse. It is the twinned, yearning delusion that (a) the past was better (it wasn´t) and (b) it can be recaptured (it can´t) that leads at best to bad art, movie versions of old TV shows, and sad dads watching Fox news. At worst it leads to revisionist, extremist politics, fundamentalist terrorism, and the victory-in Appalachia in particular-of a narcissist Manhattan cartoon maybe-millionaire and cramped-up city creep who, if he ever did go up to Rocky Top in real life, would never come down again.

I submit that the real reason we criticized and disliked Lynch's Laura's muddy bothness is that it required of us an empathetic confrontation with the exact same muddy bothness in ourselves and our intimates that makes the real world of moral selves so tense and uncomfortable, a bothness we go to the movies to get a couple hours' fucking relief from.

I tried to book two rooms at the same hotel, or at least a room with two beds, or even a room with a twin or queen bed, but the only ones available are singles, and even they were hard to find. Apparently some new Nicholas Sparks movie is being filmed here, and that ‘Zac Teflon’ boy from those high school movies is in town.

Whenever I get gloomy with the state of the world, I think about the arrivals gate at Heathrow Airport. General opinion's starting to make out that we live in a world of hatred and greed, but I don't see that. It seems to me that love is everywhere. Often it's not particularly dignified or newsworthy, but it's always there - fathers and sons, mothers and daughters, husbands and wives, boyfriends, girlfriends, old friends. When the planes hit the Twin Towers, as far as I know none of the phone calls from the people on board were messages of hate or revenge - they were all messages of love. If you look for it, I've got a sneaky feeling you'll find that love actually is all around.

I'm trained as an architect; writing is like architecture. In buildings, there are design motifs that occur again and again, that repeat -- patterns, curves. These motifs help us feel comfortable in a physical space. And the same works in writing, I've found. For me, the way words, punctuation and paragraphs fall on the page is important as well -- the graphic design of the language. That was why the words and thoughts of Estha and Rahel, the twins, were so playful on the page ... I was being creative with their design. Words were broken apart, and then sometimes fused together. "Later" became "Lay. Ter." "An owl" became "A Nowl." "Sour metal smell" became "sourmetal smell." Repetition I love, and used because it made me feel safe. Repeated words and phrases have a rocking feeling, like a lullaby. They help take away the shock of the plot -- death, lives destroyed or the horror of the settings -- a crazy, chaotic, emotional house, the sinister movie theater.

They should." "Should be like a wood bee," she said. It was a private joke, a mocking appreciation of the slipperiness of even the simplest hope, a nonce catchphrase like so many others lifted from favorite movies or TV shows that served as a rote substitute for conversation and bound them like shut-in twins, each other's best and, most often, only audience.

Both of the twins exhibited a sort of prized Wisconsin Aryan-ness that excused them from blame for almost any caper. they looked liked the protagonists from a Disney movie but behaved like After School Specials.

I laughed too, but not at the hateful jokes made on my people.I laughed because, except that she was white, the big movie star looked just like my mother. Except that she lived in a big mansion with thousands servants. she lived just like my mother. And it was funny to think of the whitefolks' not knowing that the woman they were adoring could be my mother's twin, except that she was white and my mother was prettier. Much prettier.

Now normally I consider nostalgia to be a toxic impulse. It is the twinned, yearning delusion that (a) the past was better (it wasn’t) and (b) it can be recaptured (it can’t) that leads at best to bad art, movie versions of old TV shows, and sad dads watching Fox News. At worst it leads to revisionist, extremist politics, fundamentalist terrorism, and the victory—in Appalachia in particular—of a narcissist Manhattan cartoon maybe-millionaire

What was Ursa doing?” “She was watching TV in the living room. There was a movie on—that one where the twins meet at camp.” “Parent Trap.” “Ursa liked that movie.

They were holding hands and clutching dolls as identical as they were. They reminded Luke of twins in some old horror movie.

Sure, some movies don’t work. Some fail in their intent. But anyone who says they hated a movie is treating a voluntarily shared human experience like a bad Red-Eye out of LAX. The departure is delayed for hours, there’s turbulence that scares even the flight attendants, the guy across from you vomits, they can’t serve any food and the booze runs out, you’re seated next to twin babies with the colic, and you land too late for your meeting in the city. You can hate that. But hating a movie misses the damn point. Would you say you hated the seventh birthday party of your girlfriend’s niece or a ball game that went eleven innings and ended 1–0? You hate cake and extra baseball for your money? Hate should be saved for fascism and steamed broccoli that’s gone cold.

Gerda and Greta, were standing and watching with wide, frightened eyes. They were holding hands and cluthing dolls as identical as they were. They reminded Luke of twins in some old horror movie

Gerda and Greta, were standing and watching with wide, frightened eyes. They were holding hands and clutching dolls as identical as they were. They reminded Luke of twins in some old horror movie.

Bette Davis lived long enough to hear the Kim Carnes song, 'Bette Davis Eyes'. The lyrics to that song were not very interesting. But the fact of the song was the proof of an acknowledgement that in the twentieth century we lived through an age of immense romantic personalities larger than life, yet models for it, too - for good or ill. Like twin moons, promising a struggle and an embrace, the Davis eyes would survive her - and us. Kim Carnes has hardly had a consistent career, but that one song - sluggish yet surging, druggy and dreamy - became an instant classic. It's like the sigh of the islanders when they behold their Kong. And I suspect it made the real eyes smile, whatever else was on their mind.

Are you really okay with the Shining Twins mentoring you?" she asks. She means Akiko and Noriko. I told her the nickname a while ago. She'd never seen the movie. We watched it together in Japanese, which was somehow even more terrifying. She had to sleep with a night-light on for a month. I'm not sure she's forgiven me yet.

Now normally I consider nostalgia to be a toxic impulse. It is the twinned, yearning delusion that (a) the past was better (it wasn’t) and (b) it can be recaptured (it can’t) that leads at best to bad art, movie versions of old TV shows, and sad dads watching Fox News. At worst it leads to revisionist, extremist politics, fundamentalist terrorism,

I turn to Peter and say, “I can’t believe you did this.” “I baked that cake myself,” he brags. “Box, but still.” He takes off his jacket and pulls a lighter out of his jacket pocket and starts lighting the candles. Gabe pulls out a lit candle and helps him. Then Peter hops his butt on the table and sits down, his legs hanging off the edge. “Come on.” I look around. “Um…” That’s when I hear the opening notes of “If You Were Here” by the Thompson Twins. My hands fly to my cheeks. I can’t believe it. Peter’s recreating the end scene from Sixteen Candles, when Molly Ringwald and Jake Ryan sit on a table with a birthday cake in between them. When we watched the movie a few months ago, I said it was the most romantic thing I’d ever seen. And now he’s doing it for me. “Hurry up and get up there before all the candles melt, Lara Jean,” Chris calls out. Darrell and Gabe help hoist me onto the table, careful not to set my dress on fire. Peter says, “Okay, now you look at me adoringly, and I lean forward like this.” Chris comes forward and puffs out my skirt a bit. “Roll up your sleeve a little higher,” she instructs Peter, looking from her phone to us. Peter obeys, and she nods. “Looks good, looks good.” Then she runs back to her spot and starts to snap. It takes no effort on my part at all to look at Peter adoringly tonight. When I blow out the candles and make my wish, I wish that I will always feel for Peter the way I do right now.

about her powers when she’s in real combat where she doesn’t trust the opponent,” I point out. “She doesn’t trust anyone but us,” Kai dutifully reminds us. “I expected more of a challenge from Lilith,” Jude says, not acknowledging our conversation. “Clearly, since you covered your eyes like a little bitch boy in a horror movie,” the twins state in unison. Jude cuts a glare toward their smirking faces, as they fist bump each other and waggle their eyebrows. “Seeing Death cower in fear was more entertaining than the fight. I hope you do it again, considering I’m greedy and enjoyed that immensely,” the embodiment of Greed tells us. “I was embarrassed for you,” the other twin says with a shudder, proving, possibly for the first time, that they don’t have one coherent mind they share. “Have some pride,” the embodiment of Pride adds. My lips twitch when I worry Jude’s head is going to blow off his shoulders with the visible fury that is

We walk inside, and I stop short. Our booth, the one we always sit in, has pale pink balloons tied around it. There’s a round cake in the center of the table, tons of candles, pink frosting with sprinkles and Happy Birthday, Lara Jean scrawled in white frosting. Suddenly I see people’s heads pop up from under the booths and from behind menus--all of our friends, still in their prom finery: Lucas, Gabe, Gabe’s date Keisha, Darrell, Pammy, Chris. “Surprise!” everyone screams. I spin around. “Oh my God, Peter!” He’s still grinning. He looks at his watch. “It’s midnight. Happy birthday, Lara Jean.” I leap up and hug him. “This is just exactly what I wanted to do on my prom night birthday and I didn’t even know it.” Then I let go of him and run over to the booth. Everyone gets out and hugs me. “I didn’t even know people knew it was my birthday tomorrow! I mean today!” I say. “Of course we knew it was your birthday,” Lucas says. Darrell says, “My boy’s been planning this for weeks.” “It was so endearing,” Pammy says. “We called me to ask what kind of pan he should use for the cake.” Chris says, “He called me, too. I was like, how the hell should I know?” “And you!” I hit Chris on the arm. “I thought you were leaving to go clubbing!” “I still might after I steal some fries. My night’s just getting started, babe.” She pulls me in for a hug and gives me a kiss on the cheek. “Happy birthday, girl.” I turn to Peter and say, “I can’t believe you did this.” “I baked that cake myself,” he brags. “Box, but still.” He takes off his jacket and pulls a lighter out of his jacket pocket and starts lighting the candles. Gabe pulls out a lit candle and helps him. Then Peter hops his butt on the table and sits down, his legs hanging off the edge. “Come on.” I look around. “Um…” That’s when I hear the opening notes of “If You Were Here” by the Thompson Twins. My hands fly to my cheeks. I can’t believe it. Peter’s recreating the end scene from Sixteen Candles, when Molly Ringwald and Jake Ryan sit on a table with a birthday cake in between them. When we watched the movie a few months ago, I said it was the most romantic thing I’d ever seen. And now he’s doing it for me.

L.A. Burning is a great ride, a blast of adrenaline, a lightning-paced insider's tour of the movie business with a memorable heroine in the driver's seat. Cody Bonner is a true original--we're rooting for her from page one, and she holds us in suspense to the very end. Excellent. --JOSEPH FINDER, New York Times bestselling author of House on Fire. Some books stay with you long after you finish them, and I can’t get Cody Bonner’s voice out of my head. Tough, resourceful, and hell-bent on revenge for the death of her twin sister, she leads us on a thrilling yet heartbreaking journey through some of LA’s most glittering—and meanest—streets. Unforgettable, original, and highly recommended. —HILARY DAVIDSON, bestselling author of Her Last Breath

What are we going to do?” Alex whispered to her brother. “Let me handle this,” Conner said. “I saw this in a movie once. Just go with it.” “Invitations, please,” the guard said. “Our parents have our invitations, but they’re already inside,” Conner said. “And who are your parents?” asked the guard snootily. “Who are our parents?” yelled Conner, causing a bigger scene than they had already. “You mean, you don’t know who we are?” All the guards and guests looked among one another. “Conner, calm down!” Alex said. What was he thinking? “This man doesn’t know who our parents are, Alex!” Conner continued. “I’ll have you know that our parents invented wishing wells! How dare you show us any disrespect!” Alex wanted to slap him. She looked apologetically at the people around them. They all scowled in the twins’ direction, except for the guard with the thin beard. He was actually smirking at them with gentleness in his eyes. “I’m afraid you two have to leave now,” said the guard collecting the invitations. “Leave? You’re making the heirs to the wishing-well fortune leave?” Conner exclaimed loudly enough for everyone to hear. “Conner. Just. Shut. Up,” Alex whispered directly into his ear. “Is there a problem?” the guard with the thin beard asked as he approached the twins. “Not at all!” Alex said, and began backing up, forcing Conner to move with her. “They don’t have an invitation,” the other guard said. “We were just leaving!” Alex said. “Sorry for the confusion.” “Nonsense,” the guard with the thin beard said. “I just saw your parents inside the palace. Why don’t I take you to them?” Alex and Conner froze. “You did?” Conner said, and then quickly remembered that he had to keep up with his own lie. “I mean, of course you did!” He threw a dirty look to the other guard. “Come with me, and I’ll take you straight to your parents,” the guard with the thin beard said. Before they knew it, Alex and Conner were being escorted into the palace.

I Can't Make You Love Me.' Bonnie Raitt." "Oh,Fiorella." I glared at him a little as I climbed down. "Was that delightful list for your benefit or mine?" Frankie grabbed my hand and, when I didn't pull away fast enough, tugged me onto his lap,where he wrapped his arms so tightly around me that I couldn't escape. Sometimes his strength still surprises me.He tickled my cheek with his nose. "Don't hate me just because I'm hateful." "I never do." Here's the thing. Frankie's taken a lot of hits in his life. He never stays down for long. "Excuse me!" The mannequin's evil twin was glaring down at us fro her sky-high bootie-heeled heights. Her NM badge told us her name was Victoria. "You cannot do that here!" she snapped. "Do what?" Frankie returned, matching lockjaw snooty for lockjaw snooty. She opened and closed her mouth, then hissed, "Canoodle!" I felt Frankie's hiccup of amusement. "Were we canoodling, snookums?" he asked me. "I rather thought we were about to copulate like bunnies." I couldn't help it; I laughed out loud. Victoria's mouth thinned into a pale line. The whole thing might have ended with our being escorted out the store's hallowed doors by security. Sadie, as she so often did, momentarily saved us from ourselves. She stomped out of the dressing room and planted herself in front of us. Ignoring the angry salesgirl completely, she muttered, "I look like a carved pumpkin!" Frankie took in the skirt, layered shirts, and jacket. "You do not, but I might have been having an overly Michael Kors moment. This will not do for a date.Take it off." He nudged me, then added, "Right here.Every last stitch of it." As soon as Sadie was back in her own clothing and coat-which got an unwilling frown of respect from Victoria; apparently even Neiman Maruc doesn't carry that line-we moved on. Sadie did better in Frankie's second choice-a lip-printed sweater dress from Betsey Johnson,but wouldn't buy it. "We're just going to a movie!" she protested. "Besides,Jared's not...not..." She gestured down at her lippy hips. "He's practical and sensible and quiet." "Oh,my God!" Frankie slapped both palms to the side of his face,and turned to me. "Sadie has a date with a Prius!" He had to invoke the sanctity of Truth or Dare before he could even get her into Urban Outfitters. "Sometimes I love you less than other times," she grumbled as he filled her arms with his last choices. "No,you don't," he said cheerfully, and sent her off to change.

Hi, Jake,” Casey said, glancing at me with a questioning look. “Hey,” he said and cleared his throat. “I, uh, I wanted to ask you something.” “Okay?” “This weekend some friends and I were planning on seeing a movie…on Saturday…because we don’t have a game.” I’d never seen Jake so nervous before. I watched in fascination as he struggled to form his words. At the same time, I realized he had believed Casey’s explanation about the note, after all. “Do you want to come?” he asked her. And then he blinked as if he’d just realized Brie and I were there. Admittedly, that hurt me a little, but I didn’t let it show. “All of you, I mean. As a group.” His eyes returned to Casey as if she were the only one he really wanted to ask. “Sure,” Casey gulped, her eyes darting back towards Brie and myself. “That is, I think I’m free. Ali? Brie? Do you think you can make it?” Brie shared a look with

Seriously. What’s with the face?” Jordan asked. “You’re scaring my cabernets with that scowl.” “I’m just working through some stuff,” he said vaguely. Jordan raised an eyebrow, studying him. “Prison stuff?” “More like post-prison stuff. Nothing we need to talk about.” The last thing he needed his super-perfect twin sister with her super-perfect FBI boyfriend knowing was that he was in another dispute, of sorts, with the U.S. Attorney’s Office. He was cranky enough about the situation without Jordan laying into him about it. He’d left prison several weeks ago and was supposed to be moving on with his life, yet the vestiges of the place still clung to him. Like bad BO. He picked up four of the wine bottles Jordan had unpacked. “Where do you want these?” She pointed. “In the empty bin over there, with the other cabernets.” She looked over when Kyle came back to the bar. “So what kind of post-prison stuff?” Now he was getting suspicious. “What’s with the twenty questions?” “Sue me for trying to open a dialogue here. Geez. I’ve just been a little worried about you, since I’ve heard that it can sometimes be difficult for ex-inmates to reenter normal life.” Kyle shot her a look as he grabbed more wine bottles. “Where, exactly, did you hear that? Siblings of Ex-Cons Anonymous?” Jordan glared. “Yes, we have weekly meetings at the YMCA,” she retorted. Then she waved her hand vaguely. “I don’t know, it’s just…something I saw on TV this past weekend.” Ah. Kyle suddenly had a sneaking suspicion about the cause of his sister’s concern. “Jordo…by any chance were you watching The Shawshank Redemption again?” “Pfft. No.” She saw his knowing expression and caved. “Fine. I was flipping through the channels and it was on TNT. You try turning that movie off.” She looked at him matter-of-factly. “It’s very compelling.

What was it about the I'll kill the bitch guy that cracked our audience up so much? Simple, everyone in the theatre had seen that guy before. I had seen that guy. And when we stepped outside the theatre into the Scottsdale shopping center where the Carson Twin Cinema was located, we might see that guy again. But what really cracked us up was we had never seen that guy in a Hollywood movie.

THE MOVING PICTURE GIRLS SERIES By LAURA LEE HOPE Author of "The Bobbsey Twins Series." 12mo. BOUND IN CLOTH. ILLUSTRATED. UNIFORM STYLE OF BINDING The adventures of Ruth and Alice DeVere. Their father, a widower, is an actor who has taken up work for the "movies." Both girls wish to aid him in his work and visit various localities to act in all sorts of pictures. THE MOVING PICTURE GIRLS Or First Appearance in Photo Dramas. Having lost his voice, the father of the girls goes into the movies and the girls follow. Tells how many "parlor dramas" are filmed. THE MOVING PICTURE GIRLS AT OAK FARM Or Queer Happenings While Taking

By our seventh anniversary, we had five kids and weren’t done yet. Raven was blessed with easy pregnancies and could run around until the moment of delivery. Oh, and did those deliveries become legend. When River was born, the whole crew was laughing their asses off in the waiting room because of Raven’s profanity-laced rants. Our twins came two years later. During their deliveries, a drinking game started with the crew and club guys. Every time Raven screamed a cuss word, Tucker told the guys at the bar and they’d take a shot of whiskey. Half of the guys were wasted by the time Savannah was born. As Avery joined her sister, the other half of the bar was just as drunk off their asses. The obstetrician nearly begged Raven to use pain meds. She refused of course. No one was telling her what to do. For Maverick’s birth, the hospital moved Raven to a room at the end of the hall and kept the other laboring mothers as far away as possible. Another change the third time around was how Raven refused to allow the club guys free fun based on her laboring pains. To play the drinking game, they had to donate a hundred dollars into the kids’ college fund. We figured at least one of our kids would want to do the education thing. The guys donated the money and got ready for Raven to let loose. In her laboring room, she even allowed a mic connected to overhead speakers at the bar. Despite knowing they were all listening, my woman didn’t disappoint. One particular favorite was motherfucking crustacean cunt. When Maverick’s head crowded, she also sounded a little bit like a graboid from Tremors. Hell, I think she did that on purpose because we’d watched the movie the night before. Raven was a born entertainer. That night, we added a few thousand dollars to the kids’ college fund, the guys had a blast getting wasted to Raven’s profanity, and I welcomed my second son. Unlike his angelic brother, Maverick peed on me an hour after birth. I knew that boy was going to be a handful.

Best kiss award for my new Lifetime movie.

The Exotic Erotic Cirque Without moving a single muscle, I sat mesmerized in my seat. At that tender age, I had never observed anything like it. This fervent performance was thirty years before Cirque De Soleil’s human circus made its mark in our popular culture. It was also precisely thirty-two years prior to the last movie Stanley Kubrick directed, “Eyes Wide Shut.” The exotic erotic cirque was already playing at Sfera Mascherata di San Valentino di Conte Mario Conti, and I had the opportunity to witness this spectacular extravaganza first hand. At 2:00 A.M., the night was young. My partners in crime, exploring the upstairs, were The Raven King and The Twins (Oscar and Devaj).

You said something I have always thought,” Bill said to me when I arrived on the set of Pocket Rockets, somewhere in the endless suburb that is greater Atlanta. “Sure, some movies don’t work. Some fail in their intent. But anyone who says they hated a movie is treating a voluntarily shared human experience like a bad Red-Eye out of LAX. The departure is delayed for hours, there’s turbulence that scares even the flight attendants, the guy across from you vomits, they can’t serve any food and the booze runs out, you’re seated next to twin babies with the colic, and you land too late for your meeting in the city. You can hate that. But hating a movie misses the damn point. Would you say you hated the seventh birthday party of your girlfriend’s niece or a ball game that went eleven innings and ended 1–0? You hate cake and extra baseball for your money? Hate should be saved for fascism and steamed broccoli that’s gone cold. The worst anyone—especially we who take Fountainfn1—should ever say about someone else’s movie is Well, it was not for me, but, actually, I found it quite good. Damn a film with faint praise, but never, ever say you hate a movie. Anyone who uses the h-word around me is done. Gone. Of course, I wrote and directed Albatross. I may be a bit sensitive.

I watched the Irish twins silently interact with one another and felt as if I were watching a Charlie Chaplin movie. It was a reminder of how Gabby and I used to communicate without words, only with looks. I wondered if Ryan and Hailey knew how lucky they were to be so close. I also wondered if they knew how cursed they were.

the Westlander Theater. I'd never been to the Westlander, but I knew what and where it was—and I was very soon going to visit it for the first time. The Westlander was a burlesque house, but it was to the burlesque circuit about what Spike Jones is to classical music, or one pair of bloomers is to the Arabian Nights. On occasion newcomers to the game got their start at the Westlander, but usually the game was almost over before an act hit the small theater on Los Angeles Street. I headed for Los Angeles Street. The Westlander was showing a twin movie bill—Dope Hell of the Sadistic Nudists, and a film about a real negative thinker, I Even Went Wrong Wrong.

Even for Terminator 2, perennially in my DVD player, which is the finest film ever fucking made, and one of the best feminist movies of all time.

The Los Angeles Times reported that one early contender to helm the sequel was none other than filmmaker David Lynch! This was years before he would perfect his surrealistic imagery with the likes of Twin Peaks. At this point in his career, Lynch was still a fresh commodity in Hollywood, having only helmed the bizarre midnight movie Eraserhead and unsettling biopic The Elephant Man. The degree to which Lynch was connected to Halloween II remains a mystery. Carpenter would ultimately choose Harvard grad Rick Rosenthal to direct the film. This was to be his first feature directing experience.

In the action movie Broken Arrow, a character says, “You’re out of your mind.” The other replies: “Yeah, ain’t it cool?” This is the contemporary Nietzschean spirit. Yet today we have the sense that it has also outworn its welcome. Complaints about our degraded and degrading “mass culture” multiply, even as almost against their will our educational institutions and entertainment and news media find themselves returning repeatedly to those same themes. These include not just violence and sex as expressions of vitality, but all the assumptions of historical pessimism that underpin cultural pessimism: the “failure” of modern democracy, the loss of identity in mass society, the threat of corporate capitalism and the computerized police state, the life-threatening dangers of too much technology and science (in industry and the economy) or too little (in medicine and health), and a constantly “vanishing” middle class. From universities and public policy institutes to daytime talk shows, we are the heirs to the modern idea of decline in its strange twin form.

As children, Grace and I liked to pretend our life was a movie projected onto a giant screen before an audience who watched, rapt, as we ate our pork chops and finished our homework and went to sleep side by side in our twin beds, Grace rising to shut the closet door if I left it open. Gradually, mysteriously, that fantasy evolved into a vocation--I came to imagine my future not in terms of anything I might do or accomplish, but the notoriety that would follow.

Frankie spun around, and couldn’t believe his tired eyes. Standing there – like a cowboy in the old Western movies Frankie’s dad often fell asleep in front of – was none other than Drew Bird. The Guard With The Scar had moved next to the Close-But-Not-Close-Enough-Emperor, and Frankie saw him translate Drew’s question. The toffee-toothed figure on the stage grinned as he replied. ‘He wants to know what game you suggest,’ said Ping, her voice weak. Instantly, Drew Bird produced the old dirty bottle from behind his back; the exact one that had been tossed into the South China Sea on behalf of Alfie Fish, found by Oscar Bugg on a war-torn Japanese beach in 1945, and then brought to Frankie Fish in Australia by the mystery-hunting Texan twins – and then half-filled with river water just days earlier. If Drew was feeling nervous, he certainly didn’t show it. Arms folded, head tilted to one side, Drew asked his next question, which made Frankie gasp in shock. ‘Do you know anything about bottle-flipping, Close-But-Not-Quite-Emperor dude?

Ed. Note: if this were a movie, OMINOUS BLACK CAR MUSIC would start here

this were a movie, OMINOUS BLACK CAR MUSIC would start here

The actors who played the Weasley twins only auditioned for the role because they wanted to take the day off school.