Fragile (short)

7/30/2019 Fragile (short)

1/21

FRAGILE

A Short Screenplay by

ERIC MARAN

Revised 6-Dec-2008blindpictures, inc

(604) 375-5363

[email protected]

COPYRIGHT (C) 2008 blindpictures, inc. All Rights Reserved.


2/21


3/21

WHITE Revision - 12-7-08 2.

2 CONTINUED: 2

FRIENDLYThanks. That's life, I guess. Youclearly know as well as I do.

Kathleen nods solemnly. There's an silence between them.

FRIENDLY (CONT'D)You have kids?

KATHLEENA daughter. She's 20.

FRIENDLYI've got a boy and a girl - 10 and 13.

KATHLEENFun.

FRIENDLY

Not the word I would've used...

They share a smile. He reaches into his wallet and stands.He walks to her and hands her a photo. He sits at the tablebeside hers.

KATHLEENAww, cute.

FRIENDLYThey take after their mother.

She chuckles and hands him back the photo, then bravely takesanother sip of coffee. He looks down at her ID bracelet.

FRIENDLY (CONT'D)What are you in for?

KATHLEENKidney failure. But that's life, right?

FRIENDLYNo one in the family is compatible?

KATHLEENNo.

FRIENDLY

How long have you been waiting?

KATHLEEN(thinks about it)

Almost two years.

FRIENDLYYou on dialysis?

(CONTINUED)


4/21


2 CONTINUED: (2) 2

KATHLEENYeah, it's awful.

FRIENDLYWhat kind? Hemo?

Kathleen pauses, confused by his sudden knowledge.

KATHLEENYeah.

FRIENDLYStage four or five?

KATHLEEN(hesitantly)

Five.

Friendly's personality has shifted - he looks at her with

intent. He leans in towards her, glancing over his shoulder.

FRIENDLYWhat would you be willing to pay toget better?

The question is deafening. She tries to read him. Friendlyis ALL BUSINESS. She just sits there, speechless.

3 INT. UPPER CLASS HOUSE -- MORNING (PRESENT) 3

The morning sun spills in through the windows, but despiteits warmth, the house feels cold - empty living room, emptybedrooms, empty hallway.

Then the SOUND OF PUKING.

4 INT. UPPER CLASS HOUSE, BATHROOM -- MORNING (PRESENT) 4

Kathleen throws up in the toilet. She clutches her side inpain as she stands. She rinses her mouth and pops a pill.She changes a BLOODY BANDAGE from her side with a fresh one.

JENNIFER (O.S.)Mom? You home?

Kathleen pulls her shirt over the new bandage and checksherself in the mirror.

5 INT. UPPER CLASS HOUSE, KITCHEN -- DAY (PRESENT) 5

Kathleen walks in as JENNIFER, 21, pulls groceries from thebags on the counter. Kathleen moves to help.

JENNIFERNah-ahh. You're recovering. Move.

(CONTINUED)


5/21


5 CONTINUED: 5

Jennifer gently pushes past her. Kathleen beams as shewatches her.

KATHLEENThanks. This is great.

Kathleen reaches to help but Jennifer smacks her hand away.

JENNIFERThought you could use a refill. Andwhile you're stuck here recovering, Ifigured you could bake me something.

KATHLEENAh, an ulterior motive. Now I know.

JENNIFERNow you know.

Kathleen smiles. Jennifer hands her veggies for the fridge.

KATHLEENI missed you.

JENNIFER(skirting)

How've you been feeling?

KATHLEENBetter. Like 30 percent.

JENNIFERMinus painkillers?

KATHLEEN(grins, thinking)

Hmm, like 15%.

Jennifer shakes her head.

JENNIFERAddict.

KATHLEENHow's school?

JENNIFER

Good.

KATHLEENHow's James?

JENNIFERHe's good, too.

(CONTINUED)


6/21


5 CONTINUED: (2) 5

KATHLEENYou should both come by for dinner.

JENNIFERMaybe once you're better.

KATHLEENI feel fine.

JENNIFERMom, that's not the point.

KATHLEENThat's your father talking.

JENNIFERBut he's right.

KATHLEEN

No. He's not.

JENNIFERI can't get into it. I don't havetime. I've got to get to class.

Jennifer picks her keys up off of the counter and walks outof the kitchen.

KATHLEEN(calling after her)

Love you.

JENNIFER (O.S.)

Love you, too.

A defeated Kathleen watches Jennifer leave. She folds thepaper grocery bag in half.

6 INT. UPPER CLASS HOUSE, LIVING ROOM -- EVENING (PAST) 6

The front doors swing open. DANIEL, handsome but stoic, 58,escorts Kathleen inside by the hand. Her eyes are closed.He takes her coat.

DANIELOkay, open them.

She does. Her eyes go wide. A smile crosses her face.

KATHLEENYou did all of this?

The table is set for dinner. A LARGE BOUQUET OF FLOWERSsits as the centerpiece. Dinner and flowers. He smiles.


7/21


7 INT. UPPER CLASS HOUSE, DINING ROOM -- EVENING (PAST) 7

Kathleen and Daniel are half-way through dinner.

KATHLEEN

This is really... amazing.

Daniel smiles. He refills his glass with wine, then leansto fill hers.

KATHLEEN (CONT'D)Oh no... I'm okay.

He's oblivious. He tops off her glass and returns to hisfood. A moment, then:

KATHLEEN (CONT'D)Are you going to ask?

Daniel's smile fades. He puts his fork down.

DANIELI just wanted to do something nice-

KATHLEEN-I know, I just thought you'd want toknow-

Kathleen starts to fidgets with her ID BRACELET.

DANIEL-I do. But I didn't want to get intoit tonight. I had a long day and-

KATHLEEN-You had a long day? I was in thehospital all night.

DANIELWhat do you think all this was for?!

KATHLEENI know. I'm sorry. But I really thinkwe need to talk about it.

DANIELWe will. Just not now. I just want

to sit, have a few glasses of wine...

Daniel continues to eat. There's a strained silence, then:

KATHLEENIt's moved to the last stage.

Daniel looks at her, nods, then tries to continue eating.He puts his fork down, avoiding eye contact.

(CONTINUED)


8/21

BLUE Revision - 12-8-08 7.

7 CONTINUED: 7

KATHLEEN (CONT'D)Daniel...

He shakes his head, pausing, then puts down his fork. Hestands, grabbing his glass of wine and the bottle, and storms

out of the room.

Kathleen sits alone at the table, surrounded by half-eatendinner - upset, scared and guilt-ridden.

8 OMITTED 8

9 EXT. UPPER CLASS HOUSE, PATIO -- DUSK (PAST) 9

Kathleen paces on the patio, staring down at a BUSINESS CARDin her hand. The only thing printed on it is a phone number.

She dials the number, glancing back through the glass doorsas the phone rings in her ear.

KATHLEEN (INTO PHONE)Hi, it's Kathleen Foster. We met inthe- yeah, hi... I'd like to find outa bit more about what we talked about...

She scribbles on the back of the business card.

KATHLEEN (CONT'D)Yes, Tuesday's fine. Thank you.

She hangs up and looks to the house. Daniel stands inside,still wearing his coat. He looks down at the business cardin her hand.

10 INT. UPPER CLASS HOUSE, LIVING ROOM -- EVENING (PAST) 10

Tears stream down Kathleen's face as she and Daniel argueintensely. We don't hear any of what is said.

The SOUND OF KNOCKING:

11 INT. UPPER CLASS HOUSE, FOYER -- DAY (PRESENT) 11

Kathleen opens the front doors revealing CARTER, 45, a tough-looking man with weary eyes.

KATHLEEN

Mr. Carter...

(CONTINUED)


9/21


11 CONTINUED: 11

CARTERJust Carter.

Kathleen steps aside, letting him in.

CARTER (CONT'D)Thanks. Smells like fresh coffee.

12 INT. HOTEL ROOM -- AFTERNOON (PAST) 12

Kathleen sits at a small table in the luxurious hotel room.She pulls a few STACKS OF CASH out of her PURSE and countsthem. She stuffs them into a MANILLA ENVELOPE.

13 INT. HOTEL ROOM -- NIGHT (PAST) 13

Kathleen sits on the edge of the bed, breathing nervously.She jumps as her cell phone rings. She answers it.

KATHLEEN (INTO PHONE)Hello?

FRIENDLY (V.O.)We're here.

KATHLEEN (INTO PHONE)Okay. I'm in room-

A knock on the ADJACENT DOOR brings Kathleen to her feet.She brings her phone up to speak, but the call is gone. Shegrabs the envelope off of the dresser.

She approaches the door, and cautiously opens it. A serious

black man, DEL, 35, guards the door. Friendly stands insidewith another man, JAMES, 32.

FRIENDLYHi, Kathleen. Can I get you to leaveyour cellphone in your room?

Kathleen puts her phone on the dresser and enters the room.

14 INT. ADJACENT HOTEL ROOM -- NIGHT (PAST) 14

Del shuts the door behind her and takes the envelope. Hehands it to Friendly, then systematically searches Kathleen.

Friendly counts the money briefly as James unzips a LEATHERBAG on the bed, pulling out a SMALL KIT.

Del finishes the search and steps back, directing Kathleentowards James.

FRIENDLYHave a seat, please.

(CONTINUED)


10/21


14 CONTINUED: 14

Kathleen sits, glancing down at the BLOOD-TESTING KIT thatis set-up on the bed. Without missing a beat, James swabsthe inside of her arm and inserts the needle. The tube startsto fill with BLOOD.

15 INT. UPPER CLASS HOUSE, LIVING ROOM -- DAY (PRESENT) 15

Carter stands at the mantle, studying a FAMILY PHOTO.Kathleen walks in with coffee on a tray.

CARTERThat your husband?

KATHLEENUh, yes, it is.

CARTERPretty daughter.

His tone is off-putting.

KATHLEENJennifer. You have any kids?

CARTERMe? Nope. Never met the right woman,I guess.

He laughs awkwardly and sits. She hands him a cup of coffee.He adds a huge spoonful of sugar and takes a swig.

She watches him anxiously. It takes him a moment, but hepicks up on it. He puts down his coffee.

CARTER (CONT'D)Okay. Listen. When you first hiredme, I didn't think I was going to findanything. Honestly, I kinda thoughtyou were full of shit... there wasn'tmuch to go on..... But.

KATHLEENYou found her.

He looks back at her hopeful expression. He nods.

16 INT. UPPER CLASS HOUSE, SPARE BEDROOM -- EVENING (PAST) 16

Kathleen sits in a chair beside a DIALYSIS MACHINE. Shewinces as she slips a needle into her arm, trembling.

KATHLEEN(calling out)

Daniel?


11/21

BLUE Revision - 12-8-08 10.*

17 INT. UPPER CLASS HOUSE, STAIRS -- EVENING (PAST) 17

Daniel sits on the stairs, listening to her voice. Heleans his head against the banister. He looks genuinelyhurt by her cries, but he doesn't move.

KATHLEEN (O.S.)(calling out)

Daniel?! Can you give me a hand?

He clenches his eyes shut for a moment, then stands and walksup the stairs, away from her.

18 INT. UPPER CLASS HOUSE, HALLWAY -- NIGHT (PAST) 18

Kathleen walks down the hall, slowing at the bedroom.

19 INT. UPPER CLASS HOUSE, BEDROOM -- NIGHT (PAST) 19

A HALF-PACKED SUITCASE sits on the bed. Daniel looks up ather as she enters, then continues to pack.

KATHLEENWhat is this?

DANIELI was hoping to be done before youfinished.

KATHLEENAnd what? Just be gone?

DANIEL

I can't stand here and complacentlylet you go through with this. They'refucking criminals, Kathleen. They'regoing to take your money... our money,and leave you to die.

KATHLEENI'm already dying, Daniel, whether youaccept it or not... This is the onlychance I have.

DANIELOh, bullshit. There are other ways.Safe ways. Ways that don't eat up a

huge portion of our savings. You don'tknow where this kidney is coming from,you don't know who the doctor is...

He zips up his suitcase up.

KATHLEENPlease...

DANIELI can't...

(CONTINUED)


12/21


19 CONTINUED: 19

Kathleen's CELL PHONE RINGS from her pocket. She pulls itout, checks call display. She looks up at Daniel guiltily.

KATHLEENI'm doing this us.

DANIELAre you?

The phone keeps ringing. Daniel watches, waits. Kathleenanswers the phone. Daniel picks up his bag.

KATHLEEN(wiping her tears)

Hello?

She clenches her eyes shut as Daniel pushes past her.

FRIENDLY (V.O.)

Kathleen. Great news. We've found amatch.

She smiles, briefly elated. She turns, watching Danieldisappear down the hall, emotions mixing.

FRIENDLY (V.O.) (CONT'D)Are you ready to do this?

Kathleen hesitates, then:

KATHLEENYes.

20 EXT. UPPER CLASS HOUSE -- DAY (PRESENT) 20

Kathleen and Carter walk out to their parked cars.

CARTERFollow me. I'll drive slow.

21 INT. MERCEDES, PARKED -- DAY (PRESENT) 21

Kathleen shuts the door. She feels something against herarm and looks - a bit of blood has soaked through the bandageinto her shirt.

KATHLEEN

Dammit.

She looks up - Carter's car is already pulling from the curb.She pulls her coat over the bloody spot and starts the car.


13/21


22 INT. HOTEL ROOM -- NIGHT (PAST) 22

Kathleen stands at the window, staring out at the skyscrapersof the city. Her cell phone rings on the bed behind her.She turns and looks at it, but doesn't move.

Ring. Ring. Ring.

She hesitates, but rushes for it at the last minute.

KATHLEEN (INTO PHONE)Yes?

23 EXT. HOTEL -- NIGHT (PAST) 23

Kathleen walks out of the front doors of the hotel in yogapants, carring another MANILLA ENVELOPE. Her embarrassedeyes watch the DOORMEN for responses but there isn't any.

She walks to a waiting SUV. The DRIVER opens the back door.

24 INT. SUV, PARKED -- NIGHT (PAST) 24

The driver shuts the door and climbs in, turning to her.She hands him the ENVELOPE. He quickly counts it, then tossesa PLASTIC BAG onto the back seat.

DRIVERPut that on.

She opens it and pulls out a BLACK BLINDFOLD. She looks upat him nervously. He stares back coldly. She puts it on.

25 INT. MERCEDES, MOVING -- DAY (PRESENT) 25

Kathleen stares ahead, her nerves grow as she drives. Shelooks out at Carter's car, keeping a close distance. Theneighborhood around them gets SEEDIER as they drive.

26 INT. SUV, MOVING -- NIGHT (PAST) 26

Kathleen breathes heavily, gripping the edge of her shirt.The driver glances up at her in the rear-view mirror.


14/21

BLUE Revision - 12-8-08 13.*

27 INT. MERCEDES, MOVING -- DAY (PRESENT) 27

She continues driving, following Carter across a SMALL BRIDGEinto an INDUSTRIAL AREA.

28 INT. SUV, MOVING -- NIGHT (PAST) 28

Kathleen feels the bump of the bridge as they cross it.Then the weight of the vehicle shifts as it turns and slows.She carefully slips the blindfold off of one eye.

She stares out at the building they're pulling up to, thenquickly pulls the blindfold back into place.

29 EXT. ABANDONED CLINIC -- DAY (PRESENT) 29

Kathleen shuts her car door and walks into the gravelledparking lot. She stares up at the OMINOUS BUILDING. Thewindows have been smashed in and boarded back up. The walls

are decorated with slander - "Murderers," "Choose Life".

Carter approaches her, studying her reaction.

KATHLEENThis is it.

She takes a deep breath and approaches the door.

30 INT. ABANDONED CLINIC, EMPTY ROOM -- DAY (PRESENT) 30

Dirty sunlight spills into the ugly, empty shell. Kathleenwalks around the room. Carter watches her wander her memoriesof the place. She steps out into:

31 INT. ABANDONED CLINIC, HALLWAY -- DAY (PRESENT) 31

Carter follows her. There's two doors along one wall. Sheexplores the first, then slides along to the second. Sheloses her breath briefly, getting caught up in emotion.

KATHLEENI want to see them.

She looks up at him. He exhales disapprovingly.

CARTER(sighs)

Okay.

He turns and walks through the doorway. Kathleen glancesback to the room, then follows him out.

31A INT. ABANDONED CLINIC, SMALL ROOM -- NIGHT (PAST) 31A

Kathleen stirs nervously, still blindfolded. She tilts herhead up as someone enters.

(CONTINUED)


15/21

BLUE Revision - 12-8-08 13A.*

31A CONTINUED: 31A

DOCTORI'm sorry I can't take the blindfoldoff. I'm sure you can appreciate ourneed to be cautious.

She nods.

DOCTOR (CONT'D)I'm going to walk you through theprocedure. Just a routine kidneytransplant-

KATHLEENIs the donor here now?

DOCTOR(hesitantly)

Yes, but-

KATHLEENCan I meet them?

DOCTORI'm afraid not. It's not a good idea.

Kathleen's face reflects her disappointment.


16/21


32 EXT. APARTMENT BUILDING -- AFTERNOON (PRESENT) 32

Kathleen's Mercedes pulls up behind Carter's car.

33 INT. MERCEDES, PARKED -- AFTERNOON (PRESENT) 33

Kathleen looks up at the looming, institution-lookingapartment building across the street. She deliberates for amoment, then climbs out of the car.


Carter opens his door and walks swiftly towards Kathleen,cutting her off from the building.

CARTERYou sure you wanna do this?

Kathleen nods. He studies her - she's not changing her mind.

CARTER (CONT'D)Apartment 1107. Good luck.

She reaches into her purse and pulls out a CHECK, handing itto him. He swiftly pockets it. She extends her hand.

KATHLEENThank you.

CARTERNo problem.

He shakes it. He steps aside and she crosses the street.

He watches her a moment before leaving.

Kathleen walks to the front door and is about to buzz, butstops. Her hand hovers, hesitating.

Then, she BUZZES.

35 INT. ABANDONED CLINIC, HALLWAY -- NIGHT (PAST) 35

The door opens a crack and Kathleen peeks out. Temporarylights give the hallway a sickly look.

Kathleen watches the doctor exit the second door and disappeardown the hall. Kathleen slips from the room.

She slides cautiously down the wall towards the second door.Her pulse pounds in her ears as she opens it. Kathleen'sjaw drops as she sees:

A blindfolded YOUNG SPANISH GIRL, maybe 17. Her hair isgreasy and her clothes are cheap. She tilts her head up.

(CONTINUED)


17/21


35 CONTINUED: 35

Kathleen jumps as the back door opens. A THUG tosses hiscigarette butt then sees her standing at the open door. Hecharges, drawing a PISTOL. He yells at her in RUSSIAN.

Kathleen raises her hands, squeezing her eyes shut. The

thug slams the door and pushes her face against the wall.

The doctor bursts into the hall, sees Kathleen, blindfoldoff, and pulls his surgical mask over his face.

DOCTORStop. That's not necessary!

The thug spits RUSSIAN at the doctor then pulls anotherBLINDFOLD tightly over her eyes.


The front door is opened by a YOUNG SPANISH BOY, 12.

KATHLEENIs your mom home?

YOUNG BOY(shakes head)

My Tia.

He turns around and TIA, 45, approaches quickly, annoyed.

TIA Luis!

She looks up at Kathleen and smiles politely.

TIA (CONT'D)(broken English)

Hello.

KATHLEENHi. I- I knew your niece.

Tia looks at her for a second, smiles politely, then down tothe boy. He TRANSLATES to her in SPANISH. Her polite smilesslips slightly.

TIAAna?.. Please.

Tia motions for Kathleen to enter. The boy holds the dooropen. Kathleen looks down at him as she passes.

YOUNG BOYShe doesn't speak very much English.

(CONTINUED)


18/21


36 CONTINUED: 36

KATHLEEN(gently)

I see that.

Kathleen follows her down the hallway. The boy shuts the

door behind them.


Kathleen, now dressed in an operating gown, is guided downthe hallway by a nurse. She breathes heavily.

38 INT. APARTMENT BUILDING, HALLWAY -- AFTERNOON (PRESENT) 38

Tia leads Kathleen down the hallway towards a door.


Kathleen is pushed into the doorway into:

40 INT. ABANDONED CLINIC, OPERATING ROOM -- NIGHT (PAST) 40

A fully functional but makeshift operating room. A SURGICALTEAM prepares around the young girl (ANA). A SECOND SURGICALTEAM prepares Kathleen, strapping her to the operating table.

41 INT. APARTMENT -- AFTERNOON (PRESENT) 41

Tia steps into the apartment. Kathleen follows her.


The ANESTHESIOLOGIST walks over to her, inserting a needle

into the IV stream.

ANESTHESIOLOGISTThis is going to be cold. Take a deepbreath then count back from 20.

Kathleen breathes deeply, then starts to count.

KATHLEEN20, 19, 18.

She trails off as the room starts to swim. Her eyes shutsoftly as she goes under. Ana is already unconscious. Thedoctor unties Ana's gown, revealing her side.


Kathleen walks towards something in the middle of the livingroom, her eyes widen. Her hand covers her mouth in shock.

A BABY GIRL - stirring contently in a CRIB.

A HEART MONITOR rings out - FLATLINING:


19/21



The surgical team around Ana work frantically to revive her.The doctor looks concerned, but stays focused on the OPENINCISION in Kathleen's side and the KIDNEY in his hands.

Ana stares ahead with glazed eyes. Her LAST BREATH fades inthe oxygen mask. The HEART MONITOR is shut off.


Kathleen sits in a chair opposite Tia and the boy. There'sa heavy, solemn air to the room. Then:

KATHLEEN(re: baby)

How old is she?

The boy nervously TRANSLATES for Tia.

YOUNG BOY (TRANSLATING)8 months.

A strained silence. Kathleen takes a deep breath, lookingup at the sad faces that watch her cautiously.

KATHLEENTell her, I heard about what happened...to your sister, Ana...

Kathleen fights her emotions. Tia looks away, rubbing theboy's head as he translates.

KATHLEEN (CONT'D)I'm really sorry.

Tia nods, then speaks softly.

YOUNG BOY (TRANSLATING)She said she was only going to be gonefor one month.

Tia's hands start to tremble as she talks about Ana.

YOUNG BOY (TRANSLATING) (CONT'D)For work.

(she pauses)

One month. Five thousand dollars.

Kathleen feels sick when she hears the amount. A tear runsdown Tia's cheek. She stares down at her fidgeting hands.

(CONTINUED)


20/21


45 CONTINUED: 45

YOUNG BOY (TRANSLATING) (CONT'D)She shouldn't have gone. I told hernot to go.

Kathleen watches the woman with watery sympathy. Tia sobs.

YOUNG BOY (TRANSLATING) (CONT'D)I told her not to go.

The young boy holds Tia's hand as she cries, trying to consoleher. Kathleen fights hard not to follow her lead.

KATHLEENIs there anything... can I do anything?

The boy translates. Tia glances up at Kathleen briefly,shakes her head. She wipes at the tears but they keep coming.

KATHLEEN (CONT'D)

Please. Let me help.

The boy translates again. Tia shakes her head again, digginginto her pocket for a kleenex. Kathleen reaches for herPURSE, suddenly hit by a spark of inspiration.

She pulls out her CHECKBOOK and starts to write. The boywatches her, not sure what to do with himself.

KATHLEEN (CONT'D)Here.

Kathleen tears out the check and hands it to Tia.

TIANo.

KATHLEENPlease. Take it. I want to help.

Kathleen holds it out. Tia pushes it away, sobbing harder.

TIANo!

Kathleen sits in shock, check in hand, out of ideas.

YOUNG BOY (TRANSLATING)

She did this for money.

Tia stands suddenly.

YOUNG BOY (TRANSLATING) (CONT'D)And now she's dead!

(CONTINUED)


21/21


45 CONTINUED: (2) 45

Kathleen watches helplessly as Tia leaves the room in tears.The boy looks shyly at Kathleen. They sit in awkward silenceas Tia's sobs drift into the other room. A door slams.

The boys eyes move down. Kathleen follows them to her side,to her BLOODY SHIRT. She pulls her coat to cover it. Theboy stares at her.

46 EXT. APARTMENT BUILDING -- DUSK (PRESENT) 46

Kathleen bursts from the front door and speeds across thegrass into the street, completely lost in thought.

A CAR screeches to a stop, slamming on the HORN. Kathleenjumps, pulled from her trance. She waves an apology andrushes to her car.

47 INT. MERCEDES, PARKED -- DUSK (PRESENT) 47

She slams the door and digs frantically in her purse for her

keys. She slides it into the ignition and starts to cry.The IMAGES hit her hard - the YOUNG GIRL, her BABY lying inits crib. Tears stream down Kathleen's cheeks.

Her hands grind the steering wheel, her knuckles turn white.In a fit she tears off her EXPENSIVE WATCH and throws itangrily into her PURSE. Then shoves her DESIGNER PURSE offof the seat and onto the floor.

Her eyes fall to the logo on the steering wheel. She clawsat it, tries to pull it off, then slams her fist down on it.

HONK!

She jumps at the sound and looks around, embarrassed. Shedrops her head into her hands, squeezing her eyes shut.

She inhales deeply, holding it.

Then suddenly, a BLAST OF ORANGE LIGHT hits her from above.She exhales, opening her eyes, glancing up at the light.

A STREETLAMP has turned on, bathing the car in AMBER. Shestares at it a moment, blinking rapidly at it's brightness.

She sits for a moment. Her heavy, watery eyes stare ahead,lost deep inside herself.

She starts the car.

SMASH CUT TO BLACK.

THE END.

Documents

Fragile (short)