1. PICTURES
K. Currie
kevancurrie@Thirteenpictures.co.uk

2. THE TIME:
THE PLACE:
THE PRINCIPAL CHARACTERS
k. currie London 2005
K. CURRIE 2005

3. EXT/DAY. The opening bars of the title music lead us through
Highgate cemetery.
At speed until we reach the destination, the burial of a
character whom we shall meet during the course of the picture.
One by one we are circling this small group of people paying
their last respects. They are all dressed in black, it is raining
heavily and overcast, the clergyman is in mid speech whilst
being sheltered by a boy with a large umbrella.
We see a selection of stills. They are primarily portraits, many
of them in quick succession, interspersed with opening titles
before we cut to;
EXT/DAY. We see an establishing shot of the driveway of a
large hotel.
This is a still shot before it becomes animated with various
vehicles and their owners alighting, dressed for an occasion, a
wedding, milling about.
CUT
INT/DAY. Inside the house.
We are roaming amongst the guests, hand held, settling upon
the bride who is being attended to by bridesmaids and kids as
she captures the attention of a man with a camera, roaming
amongst the guests. She leaves the circle of her attendants
and walks toward him.
Bride
(Strong Dutch/German accent)
Don’t I know you?
Man
Hi, I’m Your photographer, for the day. PETER.
Bride
I know I booked you. I’m LOTTE. The bride for
the day! It’s hardly the cover of Vogue but it is
my day, and your agent told us if I could manage
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4. to get you, that you would make me very happy.
For the day.
Photographer
Thank you. And your husbands a very generous
man.
Bride
He’s not my husband yet. Your worth it. The
opportunity to work with a top creative artist is
hard to resist. Do you do movies too?
Photographer
Yeah m.t.v.’s, d.v.d.’s, c.c.t.v.’s, Anything you
want.
Bride
Oh I want everything.
Photographer
Do you now.
(she laughs)
When would you like it?
Bride
What a question1 It’s my wedding day!
Photographer
Well I’m sure you’ll have it all later then.
Bride
Are you sure? I’ll have it later? What if I want it
before? Can you do it now?
Take some pictures. Come.
Do you want to come? I’ll show you where we
can go.
(she walks away beckoning him to follow her. He looks around
him and follows her.)
cut
2

5. INT/DAY.
Inside the hotel. A changing room.
Bride
We’ll have to be quick. There’ll be more time
after the ceremony. How do you want me?
Photographer
Come as you are.
We see a selection of stills of the moment
Bride
Will you make me? I’ve seen you before. Have
you noticed me? Tell me what you like. I’ll do
whatever you tell me to. Do you like my dress?
(he nods yes)
on or off?
Photographer
It’s YOUR wedding day, what do YOU want?
He is still photographing her, as we see the stills
Bride
I’m so naughty aren’t I? Do you like me?
Photographer
Yes please.
(He grabs her arm and pulls her toward him. She is taller than
him)
Bride
Do you like big girls like me?
Photographer
I like all shapes and sizes.
(he kisses her, hard on the mouth.)
Do you still want me to take your photo?
Bride
Do you want me to take my dress off?
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6. (he lifts her dress to her waist still kissing her.)
Bride
Your very naughty. I bet you make lots of girls
happy..
(He enters her)
I want to come. Make me come. Ooh make me
come. I want to suck you when you’ve come. Oh
make me happy. Make me come. What do you
want me to do? Tell me, oh tell me..,
She comes, as the roar of an unseen jet nearly deafens us as
we ;
Cut. To;
ETX/NIGHT. Ariel shot of London.
It’s Around twilight as we are taking in the sights of the City as
the titles roll.
cut
INT/NIGHT.
A London airport. Inside the terminal. Wife, husband and two
young children are waiting to meet her mother. As she steps
forward, porter in tow with sizeable luggage for a long
weekend, she greets the Boy's first, then the Daughter then
her Son In Law. PETER. The photographer.
cut
EXT/NIGHT.
E.S. of same car going home. Still over opening titles.
cut
INT/NIGHT.
Inside the car.
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7. mary
Can't be soon enough for me. There's a constant
layer over everything. And the noise! If it's not
the roar of moving traffic it's the deafening music
or angry voices of stationary cars. Terrorist
attacks, transportation delays, Road rage.. Next
time you visit it probably won't be to this town.
mother
It's no good for the boys is it?
Husband shakes his head.
Still, won't be long 'till your in the home MARY
wants. Be patient it's no good fretting.
(The car screeches to a halt due to the car in front.)
Be careful PETER. Remember you've got the
boy's in the back.
(He looks at his wife. She mouths sshh and smiles)
cut.
EXT/DAY. The family house.
Everybody in the front garden about to leave for the flea
market after breakfast, kid's running about chasing the dog.
peter
C'mon now put the dog in the car Paul. Peter
open the gate. Come on now lets go, chop chop.
(Paul opens the gate before the dog goes inside the car. The
dog runs outside, nearly into the road as a DOUBLE DECKER
bus is passing braking suddenly to avoid the dog. The
MOTHER gets out of the car in alarm as the boy's run to the
DOG, It's tail between its leg's being pulled inside by the boys.
peter
Why wont you listen to what I'm telling you? Put
the dog IN the car, THEN open the gate.
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8. mother
It's not the boy's fault. The dog should be on a
lead.
His wife puts her arms around his neck and kisses him on the
cheek.
mary
Let's just go now everybody in the car.
(we are still focused on the husband grinding his teeth, where
we:
cut.
EXT/DAY.
Various still scenes of Camden market. Maybe interspersed
with C.c.tv.
EXT/DAY. Moving shots.
Same place. Wife and mother pause as the boy's and their
father continue walking through the market. The women are
looking up at an insert of a Gypsy caravan.
cut
INT/DAY. Inside the caravan. Three of them.
wife
Don’t you read palms? It’s more romantic.
gypsy
I can my dear, but now I work with cards for
depth. Do you understand my pretty one? The
hands can be deceptive, but the cards never lie.
mother
It's all a load of twaddle anyway, I don’t know
why..
wife
MOTHER!
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9. gypsy
If you choose to ignore the readings that's up to
you, but please don’t insult me. You are very
lucky to have this lovely daughter. Her ‘father’
must have been a good looking man.., Now, shall
we proceed?
cut
EXT/DAY. The family at the flea market Sitting outside a cafe.
Eating ice creams.
mother
Well.. They give me the creeps those Gypsies.
That LOTTE’S got gypsy in her.
mary
Wouldn't surprise me, she's probably had
everything else.. She's coming to supper tonight
you can discuss it with her..
mother
If I want to see my son I have to see his floozies
too. She must think she'll succeed where the
others have failed. They don’t know my Paul.
mary
(Gets up to leave.)
Well don't worry, Peter will divert her attention for
you won't you Peter?
Peter
Yeah, anything I can do to help..
mary
I'm sure yeah.. Dog's can't resist bitches can
they? Her idiot husband couldn’t anyway.
mother
JEAN! The boy's.. Husband? She’s separated
though?
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10. (She nods no as her mother puts her hand to her mouth with
shock as MARY walks off. Peter walks through the shot
smiling, and address’ the boys.)
Peter
Well I'M having more ice cream. You two can't
'cos you've got no money. Cos’ well.., LIFE'S a
bitch.., then you die!
EXT/DAY.
MARY outside of the gypsy caravan looking around.
cut
INT/DAY.
Inside the caravan.
gypsy
No. It wasn't her manner, that means nothing to
me. It was her aura. As soon as she walked
through the door.., I'm sorry I shouldn’t be..,
mary
Please. There's something wrong. I know there
is. Maybe there’s something I can do. I don’t
have to tell her but I've got to know...Please tell
me. What did you see?
gypsy
You've got the sight. Did you know that?
(MARY shrugs and looks away.)
I could be wrong..
mary
You said the cards never lie. Look she's not my
natural mother. She's a good woman she.., I've
got to know.
gypsy
I know that but nevertheless It will upset you.
You must not say a word to her. It will come to
pass very soon. ..,
8

11. mary
What? What did you see?
gypsy
What you would call.., An accident. My dear,
you know don't you? You can't change it, It's her
destiny. Please don't upset yourself.
(She clasps her hands.)
She will feel little or no pain.
mary
(Exasperated.) Er.. How? Erm..,
gypsy
It's unusual for me to see something so.. so un
clearly, so I double checked for myself, though I
knew you would return. But then so did you. It
will be an incident, with a bus. A big what do you
call them.., a bus, double decker. Though her
demise will be through natural causes, not her
injury. Most probably a heart attack. Though a
foreigner is involved somehow its not very
clear..,
Maybe a woman. With a veil of some sort..,
(MARY begins to sob.)
Mary
A terrorist!
Gypsy
Come along, be strong. I wouldn't have told
anyone else. Does she live with you?
(MARY nods no.)
I'm sorry my lovely. You have a long and
beautiful life ahead of you…,
cut
INT/DAY.
In a moving car. Peter and Mary. Kid's and Mother in the back.
9

12. Mary
Will you Kid's please be quiet? Just for once.
mother
Don't snap MARY, they're only being children.
It's that Gypsy's fault, she got you all worked up.
Don't pay her any mind. I'll put them to bed
tonight. You relax. PETER can make the supper
can't you PETER?
Peter and Mary look at each other.
cut
INT/NIGHT. Supper at the house.
MOTHER, PETER, MARY, her brother PAUL and girl friend ,
LOTTE , the Bride from The Wedding,
Who is playing with the BOYS.
mary
C'mon boy's leave LOTTE alone, It's time for bed
now. PETER could you clear the table please?
Peter
Would you relax?
Lotte
I'll help.
Paul
You'll do no such thing. We're guests.
(She begins to collect the plates.)
fade down and up to;
A little later. Peter Paul and Lotte.
Paul
Everywhere we went. She couldn't even go for a
piss on her own. They'd follow her. I had to go
with her. It's a pain in the arse.
Peter
The price of beauty, or something..,
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13. Paul
Nah, it doesn’t’ happen everywhere just there.
Tahiti's the coolest Place a la Mondo. She can
walk around starker’s there, nobody gives a shit.
Lotte
People are so friendly.. It’s normal to be naked
there. I’d love to live there, if I could.
peter
Could I come?
Paul
You'd love it man. Everywhere you look there's
gorgeous Fuck’ng babes. Far as the eyes can
see.
peter
Garden of Eden just made for three.
Paul
Absolutely. You just have to reach out and grab
them. like peaches from a tree, it's unbelievable.
Lotte
We met some, some friends who are living in a
London bus It’s surreal.., but so.., exiting!
You’d love it Peter.., Not with your false friends,
with their fake bodies.
With your camera.
Are you still taking pictures?
I hope so.
(MARY and her MOTHER come in with coffee.
Paul
Singing
‘Their all going on a summer holiday. Doing
things they always wanted too..,
Mary
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14. (Upset with Double Decker Bus talk.)
Could you two please help clear the table instead
of just.. drinking please?
(She rushes off back into the kitchen as the men look at each
other, as the other women follow her concerned.)
Paul
Got the rags up has she?
(PETER shrugs as Paul goes to change the music.)
Peter
Public transport issue I think..,
Paul
Don’t you get fucked off with all this domesticity
shit?
Peter
Not as much as Lotte. How’s the hubby?
Paul
Relaxed. He gets what he wants out of it. So
does she! Except kids. She cant have ‘em, He
doesn’t want ‘em. Different strokes.., Got any
new sounds? Something soft and sexy?
(LOTTE has returned bending over PETER wiping the table
as PAUL is changing the music PETER is lost in LOTTE, or
would like to be, who is acknowledging him.)
peter
Soft and sexy? Yeah. Lot's..,
MARY comes back and breaks the spell as we;
cut
INT/NIGHT.
Later, PETER and MARY in their bed.
peter
I'm sorry I just think its a ridiculous idea.
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15. jean
Because it’s really to much of an inconvenience
for you. After all she's done for us. The fact that
my Mother's life is at stake is neither here nor..
peter
Which is it? Is it Your mothers’ insomnia, or the
imminent terrorist attack on West Hampstead.
At our house, during your period?
(She starts to get out of bed.)
O.K. Lets get your mother up! Book her in to an
hotel. That won't alarm her. It's only a quarter to
two. Tell her you had a bad dream. She's used to
it by now...
Mary
Stop it! Stop being so.., so melodramatic.. I’m
not menstruating.., You insensitive twat! I’m
pregnant.
(She finishes fiddling with the Phone. And turns off the light.
Leaving the screen in total darkness)
peter
But Darling that’s wonderful..,
Mary
Fuck off.
Peter
Did you get the fathers name this time?
Mary
Stop it. And you can forget about THAT! I've set
the alarm for 5.30.
peter
5.30? On a Sunday morning? Its two thirty now.
What can we do until then?
cut
13

16. INT/NIGHT. Still in moonlight the shot travel’s downstairs.
slowly passing by the drawing room. Where the wind is
wafting through the open window, through which comes
the sound of children playing and a dog barking, As we
look outside, in the middle of the night,..,
EXT/NIGHT. On a busy road.
The MOTHER is sleepwalking along the main road outside the
house, in her night dress, arms outstretched like in the movies.
The BOY'S are running around her bouncing a ball. The DOG
is barking, jumping up at her and knocks her into the road, as
a bus is approaching we;
fade down and up to;
INT/NIGHT. Back to the present. The bedroom.
Mary is upright in bed, sweating, having just screamed herself
awake. PETER is comforting her sleepily until she lies back
down again, as he says;
peter
Dreams are not reality.
He turns over and says under his breath;
Most of the time.
cut
INT/DAY. From the earlier scene AFTER the wedding
LOTTE is straddling an unseen PAUL, Naked, except for her
headdress. A veil.
LOTTE
I’m a married woman now, I’m going on my
honeymoon tonight, I hope I don’t get pregnant
before I go, you’re a very naughty boy, you don’t
even know me, my name, or any.., thing.., Oh..,
make me come, ooh, I have to go now, ooh,
ooh..,
This goes on, and on, in stills, and moving
pictures, till they finish.
14

17. Where she climbs off .
Cut
INT/NIGHT. Back to the present. Inside the house.
LOTTE getting out of bed, in the guest room.
She gets to the bedroom door opening it, just as the MOTHER
is leaving the bathroom turning off the light clocking the
strumpet frowningly as she closes her bedroom door.
LOTTE goes into the Bathroom.
A hand held is roaming the upstairs landing, until we hear
some sort of movement, as wide awake, in the half light, the
MOTHER in her night dress move's away from the bedroom.
Closing the door silently behind her. Still roving, we are filled
trepidation as from the bottom of the stairs the DOG jerks
awake as if being intruded upon. The toilet LOTTE flushes and
MOTHER makes a u-turn from the bathroom Where she has
been checking on LOTTE and makes her way swiftly back
toward her room, momentarily being startled by the light
shining off the DOG'S eyes, she loses her footing and tumbles
down the stairs. The DOG yelps and moves quickly away from
her flight path.
She arrives motionless at the bottom of the stairs, seen from
the top as MARY followed by PETER, alight from their
bedroom, MARY is shouting:
Mother, Mother,
They move from their room down the stairs. MARY is quite
hysterical shouting at PETER to get an ambulance. She holds
her Mother's head wiping the tiny trickles of blood dripping
from her Mothers mouth.
We are slowly tracking back upstairs as MARY looks up at the
shot telling the BOY'S Who are now either side of LOTTE, to
go back to their room.
15

18. The LOTTE and the BOY'S feet move away until we are
focused on a small toy they were looking for, which is a scale
model replica of a red DOUBLE DECKER London bus,
On Its roof, leaning against a wall with its wheels still turning.
As into the shot come LOTTE’S feet, joined by PAUL as they
exit the shot as after which the mothers feet, in her fluffy
slippers slowly walk through the shot and out, from right to left,
and through the wall;
Where we will slowly dissolve;
Over a V.O. of PETER speaking on the phone to the
Emergency services as we have begun to;
End titles
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