dreams incubation

Case-study from script to film experience: “The Locationist”

Film number: 3 (I started it first and it was the 3rd I finished)
Status: Produced (2020)
Released: 2021
Creator: Georgia Mihalcea
Genre: comedy-drama, dramedy
Film duration: 37 minutes
Format: medium length, featurette
Making-of documentary duration: 72 minutes
Film language: English (with Romanian and French subtitles)
Making-of documentary language: Romanian (with English subtitles)
Official selection: “Best producer for a short film” Film Festival of Indie Producers in Romania (IPIFF 2021, 15th Edition)
Actors: Marcela Motoc, Mirela Crețan, Ela Gavrilă, Bianca Codroiu
Reviews on IMDB here
Expenses (film only, self-financed, 4 producers): 25.000 Euros
Production Value (film): 55.000 Euros
Watching link on VoD for $9,88: The Locationist (film & making-of)

THE LOCATIONIST from Films by Georgia on Vimeo.

Notes about the format of The Locationist’s script and development vision: The initial script had 15 pages and got selected for the 3-days script developing program Midpoint Intensive Bucharest. It was a classic short. But as the pandemic kicked in and I am 40, I realized I have to change my strategy of breaking through as a filmmaker. So, I changed the format into a stand-alone featurette that can also work as a proof of concept for an episodic series, having in mind to uplift my skills and to show my capabilities also for longer formats.

On this route, it ended up a 21-page script that became a 38-minute film doubled by a bonus feature – a 72-minutes making-of documentary made in reality tv style for a more relaxing experience for the viewer. Two stories that intertwine, complete each other, and meet in a 2-hour experience meant to help us feel hope and the joy of life :)

My goal as an independent filmmaker and producer was to show that we can move well very fast and with small teams on a nano budget.

The script below is the blue version (4 out of 6), during the production we’ve inserted two more unplanned scenes and developed more the third secondary role. It is a bit cluttered as I needed more details for myself, as I also directed and produced it.

Notes from the production of The Locationist drama-comedy
4 days of production
11-15 team members, depending on the day
21 pages script
5 script versions
2 cameras (Sony FX9, Cooke lenses), used only on complicated scenes
3 characters on screen, 2 characters off-screen
2 picture vehicles
22 scenes: 20 exterior, 2 interior, 6 dialogue
2 locations
5 shooting settings
444 takes
15 hours of raw footage
1,5 T storage
1,5 months of pre-production (spread over a period of 4 months)
Sponsors and supporters: logistics company Route 66 Spedition from Constanța; Dr. Simina Maria Sapatinas, Maria and Ștefan Cristea, Cristi Bostănescu, Charles J. Fiesel, Leanca Anatoly, Lara Sweets (Laura Ciuhu), Hotel Unique (Andreea Nicu), BCS Imobiliare (Bianca Codroiu).

SYNOPSIS “THE LOCATIONIST”: She’s the drop that spills the glass.
Sometimes to get everything you must pay for everything/give everything.
When Nina suddenly appears on a woman’s property, a house suitable for the absurd film production she’s working on, she is just the drop that spills the glass. Greeted with the mace of the owner’s rage, two completely different realities collide. That of people who have nothing and that of people who have everything. Apparently, at least. To save her unstable and supper stressful job, Nina has to get the house, but for that, she has to overcome the woman’s blind rage, and this is not a mission for everyone. If there is anyone who can turn the wheel of fortune, then Nina is definitely that person. But even she is surprised by the turn of events.

VIEWERS REVIEWS HEADLINES ABOUT “THE LOCATIONIST”
“An exceptional dramedy that will leave no one unaffected.”
“Original and ….it makes you think”
“A dramedy that makes you breathe life and live it to its fullest!”
“Smart, fresh, and crazily genuine!”
“A film of feelings.”
“Funny, fresh, and feminine.”

SCRIPT SCORECARD ON “SHORE SCRIPTS” INTL CONTEST: 8,20/10
Plot: 8.50/10
Characters: 8.00/10
Format: 9.00/10
Originality: 8.50/10
Style: 8.50/10
Dialogue: 8.50/10
Pacing: 8.00/10
Current Market Potential: 7.00/10
Hook: 7.50/10

Note:

“THE LOCATIONIST” – MOVIE SCRIPT

1. EXT/INT. LAKE SHORE/NINA’S CAR – MORNING

A rainbow gypsy-style skirt waving in the blue sky.
A red high-heels shoe in the grass.
A honey-yellow retro pickup truck. Windows open. NINA’s sleepy legs hanging outside the car. One red shoe on.
The car’s packed with suitcases of various sizes and colors, mixed clothes hung around, plates, spoons and forks, boxes with various papers, the big wooden icon with Jesus saving the doubtful Peter from waters, whatever survived a good life that went downhill.

How we did the skirt scene

NINA jumps in the driver’s chair. She’s in her mid 40’s with dark long hair.
Looks straight ahead confused and decomposed, awaken from a too little sleep that had nothing to do with resting.

A beautiful landscape unravels ahead. The sounds of this peaceful morning in the middle of nowhere absorb her, emptying her mind of all thoughts and worries. She’s fully connected with nature and her higher self. Or, just lost somewhere in between?

She suddenly throws her shoe out of her foot, grabs a small shovel, jumps out, and runs barefoot towards some bushes in her tight sluttish dress.

How we did the shoe scene

How we did Nina’s waking up scene

NINA pees. It feels so good. While she covers it with her small shovel, we better see the depth of life’s harassment on her face. She walks back to the car while stretching her arms and legs, looking at the sky, and saying “Good morning” to nature. On her way back to the car, she picks up from the grass her skirt and the shoes. Stops for a moment in the sun. She loves it.

A portable sink in the grass. NINA washes her face and body parts.

Nina’s morning ritual. She jumps in her “terrace”, the ladle of the pick-up truck, where a cactus in a pot is a happy resident. Unfolds a small table and a chair from where a beauty bag pops up. Makes herself an instant coffee in a disposable glass, makes a cigarette from a tobacco bag, smokes, enjoys her today spectacular view, refreshes her make-up, drinks her coffee, getting lost from time to time in the beauty of the surroundings.

Nina jumps out. Wraps her stuff. Picks up her bag and the instant camera shuts the doors. She looks one more time in the lateral mirror of the car.

She takes out her dark long hair wig and throws it in. A totally different look unravels a different Nina.

Nina leaves shaking her hair in the air. She’s like a soap ball, with each step she’s a second away from falling apart, making you wonder what keeps her together.

2. EXT. LAKE SHORE/WILD ROAD-GATE – DAY

NINA comes out from a bush of groves with a printed map in her hand into the edge of a mystic lake. She is mesmerized. This magic lake calls her or reminds her of something she lived in a distant past or of something she never lived.

The pain in the gut brings her back into her skin. She takes out a small bottle from her bag, swallows a pill, breathes, and moves on.

Nina spots a gate and walks towards it, passing by fishing boats, wooden pontoons, and wild birds flying on the lake.

She tries to open the gate. She turns the padlock on all sides. It’s fake. Pulls it softly, the gate opens and a beautiful old garden opens up depicted by a long row of
stairs. Nina steps in curious.

3. EXT. VILLA/FRONT YARD – DAY

At the end of the stairs, NINA finds a villa with a waterless pool surrounded by a big yard, once a nice house, now a Cinderella.

Nina sizes up the property with the curiosity of a detective. Stops. Takes a picture of the house. The instant photo between her fingertips slowly comes to life showing the house in a beautiful cinematic light. She looks at the picture and then back at the house. Gets very excited and heads towards the main door.

Nina passes by the living’s bubble of glass, looking inside and knocking on its windows. Distracted by her reflection, she starts arranging her hair.

4. EXT/INT. VILLA/DOORWAY-BUBBLE – DAY

The door opens unexpectedly. An ANGRY WOMAN with a weary face and an exasperated look pops up in the doorway.

NINA turns around, totally surprised by this abrupt and unexpected appearance. She discretely sizes the woman, trying and failing to preserve a normal face. Her eyes get stuck on the woman’s hair that looks like a clogged wig as if it belongs to another head. On a better day she might be quite a beautiful woman, but today she is a mess.

ANGRY WOMAN
Who the hell are you? Get the fuck
out of my property!
NINA
Hello! My name is —
ANGRY WOMAN
I don’t give a shit about your
name. Fuck off!
NINA
Film locations. It’s what I do.
Your very nice house caught my eye
for a movie we —
ANGRY WOMAN
Read my lips! L-e-a-v-e!
NINA
Listen ma’am, I am not a trouble
maker. Just —
ANGRY WOMAN
You don’t get it. I’m not
interested! That’s it! I’ll call
the cops!

The ANGRY WOMAN takes a smartphone out of her pocket and with trembling hands tries and fails to open it, let alone call someone. She’s furious like a speeding car swerving off course.

NINA
What’s wrong with you? Can’t you
just have a normal conversation?
ANGRY WOMAN
(spitting her fury in her
face)
Normal? You come here, spy me, my
house, my life and expect normal?
What’s wrong with YOU!?
NINA
What? I don’t even know who you
are! I am just searching for a film
location.
ANGRY WOMAN
Film?

The ANGRY WOMAN shuts the door in her face.
NINA remains motionless. What was that?
THE ANGRY WOMAN pops up on another side of the house, opening the bubble’s door.

ANGRY WOMAN (CONT’D)
Take a real job!

NINA turns around surprised, not knowing where she came from.

ANGRY WOMAN (CONT’D)
A woman at your age…Pff!

NINA rushes to her. The ANGRY WOMAN shuts the bubble’s door in her face.
NINA notices a wedding photograph on a coffee table.

NINA
(pointing to it)
Is that you? You were so beautiful!
What happened?

Intrigued, the ANGRY WOMAN turns around to see what NINA’s talking about.

ANGRY WOMAN
(opening the door in Nina’s face)
Bitches like you happened!
(shutting the door)
Get lost!

NINA is puzzled.
The ANGRY WOMAN grabs the photo and storms away.

A delirious piece of music starts playing in Nina’s head that proves to be NINA’s mobile ringing. Her hand slips into her crowded bag. She gets it out and looks at it.
ON PHONE’S SCREEN: “VIKA (PRODUCER) is VIDEO CALLING.”
She mutes it. Takes out the alcohol small bottle from her pocket and drinks a long shot. There’s a small chewing gum package stuck to it. Takes one and starts chewing nervously, looking around disoriented.
VIKA, the producer, calls again.
NINA spots a thin tree and slowly moves away from the house, covering the phone with her palm.

5. EXT/INT. VILLA/TREE-BUBBLE – DAY

NINA comes and hides under the tree. She closes her eyes and breathes deeply a couple of times, doing some yoga moves with her hands, changing her mood.
On her way down in the grass, she answers the phone with enthusiasm and confidence.

NINA
Hei! What’s up?
VIKA
Don’t hey me, girl! I’ve been
waiting for your call since…
forever? Did you get the ugly
house? Tell me you’re on it!
NINA
Everything is fine.
VIKA
What does that mean?
NINA
(turning to the house)
Got it. It’s ours.

NINA notices through the window the ANGRY WOMAN crying hard in the living.

VIKA
Brilliant! I knew it! You always
find the one. Leave the contract to
the office by the end of the day.

NINA puts the phone down in the grass and gets up, trying to stay under the radar.

VIKA (CONT’D)
And hey! hey! hey! Access for a
team scout.

NINA climbs on an earth bump at the base of the tree.

VIKA (O.S.) (CONT’D)
First thing in the morning! We’re
on fire!

NINA stares through the tree branches at the ANGRY WOMAN in the bubble who’s crying her heart out.

NINA
(to herself)
We are always on fire.

Inside the bubble, the ANGRY WOMAN shouts her pain out in a mute hilarious scream from the depth of her heart.

VIKA (O.S.)
Is that your… ass I’m talking to?

CLICK! NINA takes a picture of the woman.

VIKA (CONT’D)
Is it clear?
(waiting)
Nina!?

A hilarious photo of the ANGRY WOMAN at her worst emerges from the instant camera between NINA’s fingers.

VIKA (O.S.) (CONT’D)
Hellooo! Nina, are we on the same
page here? Jesus Christ! When will
this thing end?

Nina picks up the phone from the grass.

VIKA (CONT’D)
What went so wrong with you?
NINA
Yes, of course. Don’t worry.
VIKA
(yells her frustrations)
Ahhhh…

6. INT/EXT. VILLA/BUBBLE – DAY

The ANGRY WOMAN holds her head in her palms and cries, leaned by a pillar in the bubble. NINA puts on her sunglasses, comes like a rabbit at the bubble, looks inside, takes the chewing gum out of her mouth, and discretely sticks the photo on the bubble’s window, with the image facing the interior. NINA backs off and fades around the corner.

7. EXT/INT. VILLA/SIDE WINDOW – DAY

NINA comes under the window on her tiptoes. Lights one of her natural cigarettes.
The sound of Angry Woman crying cuts her moment of silence. Nina looks inside.
The smoke wafts into the house. She cuts the air with her hands. Looks at her. She remains at the window staring like a fly at the ANGRY WOMAN.

8. INT/EXT. VILLA/BUBBLE – DAY

A recent poster with the ANGRY WOMAN and her husband during an exotic vacation hangs on a wall. He sits on a big stone to look taller. They smile in such an American style way that is so unnatural that you can hear the “Cheers” behind it.

The ANGRY WOMAN blows her nose on her shirt, washes her eyes with her palms, wipes her mouth with the sleeve. While she’s coming to her senses, she notices something in the window. She can’t figure out what it is. She gets up and gets closer, bumping into some shit on the floor. Sits down on an object on the chair. She doesn’t care. Stares at the hilarious photo of her with a conflicting face. Out of nowhere, she bursts out laughing like a lunatic.
NINA runs from the side window.

9. EXT/INT. VILLA/DOORWAY – DAY

The ANGRY WOMAN sticks her head out through the bubble’s door, looking around.
NINA sits at the other corner of the house, leaning by the wall, biting her nails.
The ANGRY WOMAN opens the main door, almost snatching it.
The ANGRY WOMAN looks left. Looks right and sees NINA’s head
around the corner watching her back.

NINA
Hi!?

The ANGRY WOMAN slightly smiles but stops in the middle.
NINA gets closer, slowly, not knowing what to expect.
NINA comes slowly towards the door. The ANGRY WOMAN pops in.

ANGRY WOMAN
How much? If I let you shoot in my
house.
NINA
Well… passion from dusk to dawn!
Pure art. The Romanian way led by
an Indian director.
ANGRY WOMAN
(shutting the door)
I don’t need this shit!
NINA
(talking at the door)
It gets funnier! I promise.
(turning around disarmed)
And the truth is Cookienstein will
fire me if I don’t pull this out.

The ANGRY WOMAN leans her back on the door, gazing at the wedding photo she left on the bar. They were so young, happy, and hopeful. They are standing back to back, each on her side of the door.

ANGRY WOMAN
Any well-known actors, at least?
NINA
Like who?
ANGRY WOMAN
Kirk Douglas?
NINA
Oh! Mr. Kirk! He left the zombi
world during the pandemic. Not sure
why he died, though. Age… and its
side effects, most probably.
ANGRY WOMAN
Age…

SPLASH!
NINA twitches.
The ANGRY WOMAN kills a fly on the wall with visible pleasure.

ANGRY WOMAN (CONT’D)
What about some sexy Hollywoodeans?

NINA searches in her bag, among her passport, empty wallet and a night thief, she finds what is she looking for. Her “Journey on” essential oil.

NINA
Hot Romanians only. Peanuts is our middle name.
(excited)
This is the movie of a first-time
director, a breed no one ever gives
money to, helped by a too
passionate crew to ever get rich.
The reasons I returned to Romania, I suppose.

ANGRY WOMAN
Hot and moneyless enthusiasts
always on the verge of a breakdown?

NINA pours some drops of the essential oil on her wrists.

NINA
(inhaling)
Yes.
Whatever goes against the
corporatist governments’ propaganda
and the suits who make this world go crazy.
ANGRY WOMAN
(hitting the door)
Hey! That’s me. I’m the suit!

NINA twitches.

ANGRY WOMAN (CONT’D)
Are you saying my work is not
relevant or good enough?

NINA lets her head fall into her chest.

NINA
Not for me. And not for all the
hard-working people down the
hierarchy who are living smaller
and smaller lives
(drinking)
walking in smaller and smaller circles
(drinking)
because of the smaller and smaller wages.
(putting the bottle down)
Pure slavery, if we were, to be honest…
ANGRY WOMAN
Let’s not be so honest. What’s that smell?
NINA
I was living a perfectly
unaccomplished life that made a lot
of sense on a sunny island… until
the winds changed.
ANGRY WOMAN
(getting down along the door)
Love brought me to Romania.
(at the wedding photo)
I fell in love with a bastard with a stupid name.
(beat)
What’s the difference between
expats and immigrants? Both are nomads.
NINA
Pilgrims.
ANGRY WOMAN
Always on the road with our roots
floating flat somewhere in the air.
NINA
El camino de vida.
ANGRY WOMAN
A Spanish island…
NINA
The most beautiful of all.
ANGRY WOMAN
What did you mean? Are you homeless
or something?
NINA
Not in general. From time to time.
(putting her stuff in the bag)
The price for following the heart
and making stupid mistakes… I guess.

The ANGRY WOMAN jumps from the door and rips the wedding photo apart. Breaks his face into smaller and smaller pieces.
NINA puts the drink bottle in and gazes with a hand in the open bag.

NINA (CONT’D)
Why were you crying?
ANGRY WOMAN
God damn it! Where did you come from?

The ANGRY WOMAN opens the door. NINA collapses on her back. Stuff in her bag goes over. Falls on a man’s hat. It flattens.
The ANGRY WOMAN doesn’t care. Leaves the door open and heads towards the living room. NINA puts herself together up, shaking the dust off her clothes. The ANGRY WOMAN starts arranging shit on the couch.

ANGRY WOMAN (CONT’D)
Sorry.
NINA
Don’t worry. I survived.
(to the hat)
It didn’t.

NINA sees some potatoes on the kitchen countertop and steals one.
She closes the door carefully.

10. INT. VILLA/BUBBLE – DAY

NINA follows the ANGRY WOMAN in the living room like walking on glass. Looks around. Many places once filled with stuff are empty, the remained things are randomly scattered everywhere. She holds the man’s hat in her hand.

ANGRY WOMAN
(at the hat)
God knows why he left that piece of
shit behind. Squarehead!

NINA lets the man’s hat fall on the couch.

ANGRY WOMAN (CONT’D)
Do you really find my house nice?
On the outside, I mean.
NINA
Well…the film likes it!
ANGRY WOMAN
It’s ugly like
(at the exotic photo on the wall)
Eniel.
(at Nina)
You can say it.
NINA
Well…
ANGRY WOMAN
(throwing the hat at it)
Crétin.

NINA twitches and gets out of her way.

ANGRY WOMAN (CONT’D)
He built it. I hated it.
From the first brick, I hated it so
much. I don’t know why.
NINA
Vous-Êtes français?
ANGRY WOMAN
Je ne sais pas…

The ANGRY WOMAN sees the hilarious photo of her in the bubble’s window and stops, staring at it.

ANGRY WOMAN (CONT’D)
Maybe because it mirrored some deep
truths I wasn’t willing to see.

(looking at the hilarious picture)
Or, maybe my truths?

NINA sees some cookies on a plate and tastes one, but…huh, she puts it back, it tastes like shit.

NINA
What happened?
ANGRY WOMAN
The classic story.
(at Eniel)
That ass face gaslighted me.
NINA
What’s that?
ANGRY WOMAN
(wrapping some books)
Gaslight? When someone looks normal
and makes everything feel normal
until one day when he disappears
without notice or a trace. It’s
what bastards do.
NINA
Ohh…
ANGRY WOMAN
Exactement. Ohh!

The ANGRY WOMAN looks around disoriented. NINA feels the same.

ANGRY WOMAN (CONT’D)
(arranging randomly shit on the couch)
After 9 years of marriage. Happy
for some months. Boring for years.
Then just sexless. Like all the
marriages I know.
(wrapping it)
Sorry, if you’re a married exception.

NINA spots an old edition of “The Story of San Michele” by Axel Munthe on a chair. The same book we saw in her car. Takes it. Flipps its pages.

NINA
Not my piece of pie. I escaped that
cage a long time ago.
(lost on a page)
Too long to remember.

The ANGRY WOMAN stops with some books in her hand.

ANGRY WOMAN
I guess this psychopathic end was
natural for such a pretender.
NINA
(putting the book back)
I can’t imagine how hard this is
for you. No closure? Not even a
conversation?

ANGRY WOMAN
Having an honest one-on-one
conversation is too emotionally
consuming. Who does it anymore?
Noone I know!

ANGRY WOMAN leaves. NINA remains thinking about it.

NINA
So, we just vanish from each
other’s lives.

The ANGRY WOMAN spots some shit on the carpet. Moves to it.

ANGRY WOMAN
(cleaning it hard in her knees)
Wordless when it comes to shit that
matters and full of shit when it
comes to everything else.

NINA spots an old bottle of wine with a corkscrew stuck in it and comes to the ANGRY WOMAN with two dusty glasses.

ANGRY WOMAN (CONT’D)
(hitting it hard with her fists)
Like this mother fucker.

The bottle of wine falls slowly on the carpet from NINA’s hand who gets down on her knees facing the ANGRY WOMAN. The ANGRY WOMAN takes it.

ANGRY WOMAN (CONT’D)
(struggling to open it)
You wake up together, have
breakfast, make plans, the same
plans as always, kiss goodbye, and,
after a day of wasting your life on
a stressful job
(pulling hysterically)
when you finally come back home
(pulling it out)
BANG!

NINA twitches.
The ANGRY WOMAN pours the drink.

ANGRY WOMAN (CONT’D)
It’s just you left and the smell of
a past that died when you were not watching.
(raising the glass)
Cheers!
NINA
It’s so… depressing.
ANGRY WOMAN
(changing her mood)
Fuck it! I’m Lina.
(drinking to the bottom)
I’m an alcoholic and my life
is full of shit.

The ANGRY WOMAN pours herself another glass.

NINA
Lina?
(laughing)
I’m Nina. I’m a loser by all books
and shit is my specialty.

The two women get up while laughing.

ANGRY WOMAN
Let the shit turn into luck!
NINA
During our lifetimes!

They burst out laughing and drink it to the bottom.

ANGRY WOMAN
Hey! Let’s cook something. I bet
you’re hungry.
NINA
(showing the potatoes )
French fries?
ANGRY WOMAN
You stole my potatoes?
NINA
Not all!

11. EXT. VILLA/IN THE POOL – LATER

NINA and the ANGRY WOMAN share the bottle of wine and laugh out loud while taking French fries from time to time from the poster showing Lina and Eniel on vacation.

ANGRY WOMAN
Tell me! What’s this film of yours
about?
NINA
Oh…that…
(passionate)
Bibi, an eccentric lady, living in
your house and having the ugliest
small dog you’ve ever seen dressed
in superhero from Monday to Sunday,
makes a living from targeting
emotional flat couples to–
ANGRY WOMAN
(laughing out loud)
A superhero ugly tiny dog?
(sneaking money into
Nina’s pocket)
Who had this idiotic idea?
NINA
Good question!
ANGRY WOMAN
The house is all yours. Your hot
Romanians can tear it down. I’ll
sell it anyway.
NINA
You know what? You’re right. I’ll
hook them with you. This is…
ANGRY WOMAN
…not your story?
NINA
I don’t know.
ANGRY WOMAN
No one knows shit. That much I know.
NINA
We are in a very strange place.

12. EXT. LAKE SHORE/NINA’S CAR – SUNSET

NINA reaches her car. Opens the doors. Puts her stuff in. Sends an SMS to VIKA-the Producer with the phone number of the Cinderella villa (which it’s my number :))

NINA’s mobile rings immediately. She answers.

VIKA
Nina, you’re so so so fireable!
What’s that message about?
NINA
Vika…

VIKA
Cookienstein wants us to fly to a
midget island no one heard about. A
place called Sal. Sal from salt in
Cabo Verde. Green Head, if you
wonder what that means.
The perfect place for Bibi to find
herself after she leaves the ugly
house, he says.

COOKIENSTEIN speaks out loud in the background in the film location from where the VIKA calls.

COOKIENSTEIN (O.S.)
Action!

NINA moves things around in the car, prepares for leaving.

VIKA
(changing tone)
Wanna know why? Because it’s the
land of Caesaria Evora, the
barefoot singer. Remember Evora? We
were so young back then!
COOKIENSTEIN (O.S.)
(yelling)
Cut! Who’s the idiot chatting on my
set? Where’s that damn producer?

NINA closes the doors, gets in the driver’s seat, and looks at the phone.

PRODUCER
(whispering)
How does that have anything to do
with Bibi and this stupid script?
This movie goes South with the
speed of light!
(looking closely)
Where the hell are you?

NINA throws the phone on the window. It falls on the grass.

PRODUCER (CONT’D)
You’re not leaving again, are you?

NINA looks around lost in her thoughts or just lost. After a while, she comes to her senses and arranges her stuff. She finds the money she never had, the money Angry Woman put in her pocket. She looks at the Jesus & Peter icon as if it is the only friend she has and starts crying.

She wipes her tears. Breathes deeply. Starts the engine.

NINA drives away.

In the back of the pickup truck, the ANGRY WOMAN smiles at the sky, with new clothes, better hair, and a backpack between her knees.

ANGRY WOMAN
(turning to Nina)
Ugly house, hah?

The car stops. NINA looks surprised in the rearview mirror.

ANGRY WOMAN (CONT’D)
This isn’t my story, either.

The two women give each other a long look.
NINA subtly moves her eyes, looking into the camera.
They move on.
The car becomes smaller and smaller in the unknown.

THE END.

The Locationist: film & making-of
And this is the film on-screen :)

THE LOCATIONIST from Films by Georgia on Vimeo.

Excerpt from the film production documentary

Watching link for the “The Locationist” dramedy film and making-of documentary.