FRAGILE

A Short Screenplay by ERIC MARAN

blindpictures, inc (604) 375-5363 eric@blindpictures.com

Revised 6-Dec-2008

COPYRIGHT (C) 2008 blindpictures, inc.

All Rights Reserved.

WHITE Revision - 12-7-08

1.

INT. HOSPITAL, ROOM -- NIGHT (PAST) A dark hospital room. KATHLEEN FOSTER, 55, sits in bed, staring ahead with exhausted eyes. After a moment, she slips out of bed.

INT. HOSPITAL, CAFETERIA -- NIGHT (PAST) The lights are low. The kitchen is closed. empty. Except for one. The tables are

Kathleen sits alone in her hospital gown, fidgeting with her ID bracelet. She blows cool air at her steaming vendingmachine coffee and flips the page of a heavily worn book. Behind her, a MAN enters the room and walks to the vending machine. Kathleen tenses as the machine clunks away. The man moves to a table a few rows back and sits. Kathleen glances over and breathes a soft sigh of relief. The man, late 40s, has a FRIENDLY demeanor. FRIENDLY (off of her look) Oh, I'm sorry, I didn't see you there. Do you mind if I sit for a bit? KATHLEEN Nope. FRIENDLY I just needed to escape that room... Kathleen turns back to her book, she takes a sip of her coffee and makes a face. Friendly notices. FRIENDLY (CONT'D) You'll get used to it. KATHLEEN I hope not. Friendly scans the room. FRIENDLY Yeah. I hear that. I feel like I've been living here lately. My wife and I are doing the cancer thing. Well, she's doing the cancer thing. I'm doing the waiting and praying thing. KATHLEEN I'm sorry.

(CONTINUED)

WHITE Revision - 12-7-08 2 CONTINUED: FRIENDLY Thanks. That's life, I guess. clearly know as well as I do. Kathleen nods solemnly. You

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There's an silence between them.

FRIENDLY (CONT'D) You have kids? A daughter. KATHLEEN She's 20.

FRIENDLY I've got a boy and a girl - 10 and 13. KATHLEEN Fun. 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 table beside hers. KATHLEEN Aww, cute. FRIENDLY They take after their mother. She chuckles and hands him back the photo, then bravely takes another sip of coffee. He looks down at her ID bracelet. FRIENDLY (CONT'D) What are you in for? KATHLEEN Kidney failure. But that's life, right? FRIENDLY No one in the family is compatible? KATHLEEN No. FRIENDLY How long have you been waiting? KATHLEEN (thinks about it) Almost two years. FRIENDLY You on dialysis?

(CONTINUED)

WHITE Revision - 12-7-08 2 CONTINUED: (2) KATHLEEN Yeah, it's awful. What kind? FRIENDLY Hemo?

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Kathleen pauses, confused by his sudden knowledge. KATHLEEN Yeah. FRIENDLY Stage 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. FRIENDLY What would you be willing to pay to get better? The question is deafening. She tries to read him. is ALL BUSINESS. She just sits there, speechless. 3 INT. UPPER CLASS HOUSE -- MORNING (PRESENT) The morning sun spills in through the windows, but despite its warmth, the house feels cold - empty living room, empty bedrooms, empty hallway. Then the SOUND OF PUKING. 4 INT. UPPER CLASS HOUSE, BATHROOM -- MORNING (PRESENT) Kathleen throws up in the toilet. She clutches her side in pain as she stands. She rinses her mouth and pops a pill. She changes a BLOODY BANDAGE from her side with a fresh one. Mom? JENNIFER You home? (O.S.) 4 Friendly 3

Kathleen pulls her shirt over the new bandage and checks herself in the mirror. 5 INT. UPPER CLASS HOUSE, KITCHEN -- DAY (PRESENT) Kathleen walks in as JENNIFER, 21, pulls groceries from the bags on the counter. Kathleen moves to help. Nah-ahh. JENNIFER You're recovering. Move. 5

(CONTINUED)

WHITE Revision - 12-7-08 5 CONTINUED: Jennifer gently pushes past her. watches her. Thanks. KATHLEEN This is great. Kathleen beams as she

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Kathleen reaches to help but Jennifer smacks her hand away. JENNIFER Thought you could use a refill. And while you're stuck here recovering, I figured you could bake me something. KATHLEEN Ah, an ulterior motive. JENNIFER Now you know. Kathleen smiles. Jennifer hands her veggies for the fridge. Now I know.

KATHLEEN I missed you. JENNIFER (skirting) How've you been feeling? Better. KATHLEEN Like 30 percent.

JENNIFER Minus painkillers? KATHLEEN (grins, thinking) Hmm, like 15%. Jennifer shakes her head. JENNIFER Addict. KATHLEEN How's school? JENNIFER Good. KATHLEEN How's James? JENNIFER He's good, too.

(CONTINUED)

WHITE Revision - 12-7-08 5 CONTINUED: (2) KATHLEEN You should both come by for dinner. JENNIFER Maybe once you're better. KATHLEEN I feel fine. JENNIFER Mom, that's not the point. KATHLEEN That's your father talking. JENNIFER But he's right. No. KATHLEEN He's not.

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JENNIFER I can't get into it. I don't have time. I've got to get to class. Jennifer picks her keys up off of the counter and walks out of the kitchen. KATHLEEN (calling after her) Love you. JENNIFER (O.S.) Love you, too. A defeated Kathleen watches Jennifer leave. paper grocery bag in half. 6 She folds the 6

INT. UPPER CLASS HOUSE, LIVING ROOM -- EVENING (PAST) The front doors swing open. DANIEL, handsome but stoic, 58, escorts Kathleen inside by the hand. Her eyes are closed. He takes her coat. DANIEL Okay, open them. She does. Her eyes go wide. A smile crosses her face.

KATHLEEN You did all of this? The table is set for dinner. A LARGE BOUQUET OF FLOWERS sits as the centerpiece. Dinner and flowers. He smiles.

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INT. UPPER CLASS HOUSE, DINING ROOM -- EVENING (PAST) Kathleen and Daniel are half-way through dinner. KATHLEEN This is really... amazing. Daniel smiles. to fill hers. He refills his glass with wine, then leans

KATHLEEN (CONT'D) Oh no... I'm okay. He's oblivious. He tops off her glass and returns to his food. A moment, then: KATHLEEN (CONT'D) Are you going to ask? Daniel's smile fades. He puts his fork down.

DANIEL I just wanted to do something niceKATHLEEN -I know, I just thought you'd want to knowKathleen starts to fidgets with her ID BRACELET. DANIEL -I do. But I didn't want to get into it tonight. I had a long day andKATHLEEN -You had a long day? I was in the hospital all night. DANIEL What do you think all this was for?! KATHLEEN I know. I'm sorry. But I really think we need to talk about it. DANIEL We 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:

KATHLEEN It'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)

BLUE Revision - 12-8-08 7 CONTINUED: KATHLEEN (CONT'D) Daniel...

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He shakes his head, pausing, then puts down his fork. He stands, grabbing his glass of wine and the bottle, and storms out of the room. Kathleen sits alone at the table, surrounded by half-eaten dinner - upset, scared and guilt-ridden. 8 9 OMITTED EXT. UPPER CLASS HOUSE, PATIO -- DUSK (PAST) Kathleen paces on the patio, staring down at a BUSINESS CARD in her hand. The only thing printed on it is a phone number. She dials the number, glancing back through the glass doors as the phone rings in her ear. KATHLEEN (INTO PHONE) Hi, it's Kathleen Foster. We met in the- yeah, hi... I'd like to find out a 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 card in her hand. 10 INT. UPPER CLASS HOUSE, LIVING ROOM -- EVENING (PAST) Tears stream down Kathleen's face as she and Daniel argue intensely. We don't hear any of what is said. The SOUND OF KNOCKING: 11 INT. UPPER CLASS HOUSE, FOYER -- DAY (PRESENT) Kathleen opens the front doors revealing CARTER, 45, a toughlooking man with weary eyes. KATHLEEN Mr. Carter... 11 10 8 9 * *

(CONTINUED)

BLUE Revision - 12-8-08 11 CONTINUED: CARTER Just Carter. Kathleen steps aside, letting him in. Thanks. 12 CARTER (CONT'D) Smells like fresh coffee.

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INT. HOTEL ROOM -- AFTERNOON (PAST) Kathleen sits at a small table in the luxurious hotel room. She pulls a few STACKS OF CASH out of her PURSE and counts them. She stuffs them into a MANILLA ENVELOPE.

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INT. HOTEL ROOM -- NIGHT (PAST) 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. Okay. KATHLEEN (INTO PHONE) I'm in room-

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A knock on the ADJACENT DOOR brings Kathleen to her feet. She brings her phone up to speak, but the call is gone. She grabs 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 inside with another man, JAMES, 32. FRIENDLY Hi, Kathleen. Can I get you to leave your cellphone in your room? Kathleen puts her phone on the dresser and enters the room. 14 INT. ADJACENT HOTEL ROOM -- NIGHT (PAST) Del shuts the door behind her and takes the envelope. He hands it to Friendly, then systematically searches Kathleen. Friendly counts the money briefly as James unzips a LEATHER BAG on the bed, pulling out a SMALL KIT. Del finishes the search and steps back, directing Kathleen towards James. FRIENDLY Have a seat, please. 14

(CONTINUED)

WHITE Revision - 12-7-08 14 CONTINUED:

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Kathleen sits, glancing down at the BLOOD-TESTING KIT that is set-up on the bed. Without missing a beat, James swabs the inside of her arm and inserts the needle. The tube starts to fill with BLOOD. 15 INT. UPPER CLASS HOUSE, LIVING ROOM -- DAY (PRESENT) Carter stands at the mantle, studying a FAMILY PHOTO. Kathleen walks in with coffee on a tray. CARTER That your husband? KATHLEEN Uh, yes, it is. CARTER Pretty daughter. His tone is off-putting. Jennifer. Me? Nope. I guess. KATHLEEN You have any kids? CARTER Never met the right woman, 15

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 he picks up on it. He puts down his coffee. CARTER (CONT'D) Okay. Listen. When you first hired me, I didn't think I was going to find anything. Honestly, I kinda thought you were full of shit... there wasn't much to go on..... But. KATHLEEN You found her. He looks back at her hopeful expression. 16 He nods. 16

INT. UPPER CLASS HOUSE, SPARE BEDROOM -- EVENING (PAST) Kathleen sits in a chair beside a DIALYSIS MACHINE. She winces as she slips a needle into her arm, trembling. KATHLEEN (calling out) Daniel?

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INT. UPPER CLASS HOUSE, STAIRS -- EVENING (PAST) Daniel sits on the stairs, listening to her voice. He leans his head against the banister. He looks genuinely hurt 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 walks up the stairs, away from her.

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INT. UPPER CLASS HOUSE, HALLWAY -- NIGHT (PAST) Kathleen walks down the hall, slowing at the bedroom.

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INT. UPPER CLASS HOUSE, BEDROOM -- NIGHT (PAST) A HALF-PACKED SUITCASE sits on the bed. Daniel looks up at her as she enters, then continues to pack. KATHLEEN What is this? DANIEL I was hoping to be done before you finished. And what? KATHLEEN Just be gone?

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DANIEL I can't stand here and complacently let you go through with this. They're fucking criminals, Kathleen. They're going to take your money... our money, and leave you to die. KATHLEEN I'm already dying, Daniel, whether you accept it or not... This is the only chance I have. DANIEL Oh, bullshit. There are other ways. Safe ways. Ways that don't eat up a huge portion of our savings. You don't know where this kidney is coming from, you don't know who the doctor is... He zips up his suitcase up. KATHLEEN Please... DANIEL I can't... (CONTINUED)

BLUE Revision - 12-8-08 19 CONTINUED:

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Kathleen's CELL PHONE RINGS from her pocket. She pulls it out, checks call display. She looks up at Daniel guiltily. KATHLEEN I'm doing this us. DANIEL Are you? The phone keeps ringing. Daniel watches, waits. answers the phone. Daniel picks up his bag. KATHLEEN (wiping her tears) Hello? She clenches her eyes shut as Daniel pushes past her. Kathleen. match. FRIENDLY (V.O.) Great news. We've found a Kathleen

* * * *

She smiles, briefly elated. She turns, watching Daniel disappear down the hall, emotions mixing. FRIENDLY (V.O.) (CONT'D) Are you ready to do this? Kathleen hesitates, then: KATHLEEN Yes. 20 EXT. UPPER CLASS HOUSE -- DAY (PRESENT) Kathleen and Carter walk out to their parked cars. Follow me. 21 CARTER I'll drive slow. 21 20

INT. MERCEDES, PARKED -- DAY (PRESENT) Kathleen shuts the door. She feels something against her arm and looks - a bit of blood has soaked through the bandage into 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.

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INT. HOTEL ROOM -- NIGHT (PAST) Kathleen stands at the window, staring out at the skyscrapers of the city. Her cell phone rings on the bed behind her. She turns and looks at it, but doesn't move. Ring. Ring. Ring.

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She hesitates, but rushes for it at the last minute. KATHLEEN (INTO PHONE) Yes? 23 EXT. HOTEL -- NIGHT (PAST) Kathleen walks out of the front doors of the hotel in yoga pants, carring another MANILLA ENVELOPE. Her embarrassed eyes watch the DOORMEN for responses but there isn't any. She walks to a waiting SUV. 24 The DRIVER opens the back door. 24 * * * * 23 * *

INT. SUV, PARKED -- NIGHT (PAST) The driver shuts the door and climbs in, turning to her. She hands him the ENVELOPE. He quickly counts it, then tosses a PLASTIC BAG onto the back seat. DRIVER Put that on. She opens it and pulls out a BLACK BLINDFOLD. She looks up at him nervously. He stares back coldly. She puts it on.

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INT. MERCEDES, MOVING -- DAY (PRESENT) Kathleen stares ahead, her nerves grow as she drives. She looks out at Carter's car, keeping a close distance. The neighborhood around them gets SEEDIER as they drive.

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INT. SUV, MOVING -- NIGHT (PAST) Kathleen breathes heavily, gripping the edge of her shirt. The driver glances up at her in the rear-view mirror.

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INT. MERCEDES, MOVING -- DAY (PRESENT) She continues driving, following Carter across a SMALL BRIDGE into an INDUSTRIAL AREA.

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INT. SUV, MOVING -- NIGHT (PAST) 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, then quickly pulls the blindfold back into place.

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EXT. ABANDONED CLINIC -- DAY (PRESENT) Kathleen shuts her car door and walks into the gravelled parking lot. She stares up at the OMINOUS BUILDING. The windows have been smashed in and boarded back up. The walls are decorated with slander - "Murderers," "Choose Life". Carter approaches her, studying her reaction. KATHLEEN This is it. She takes a deep breath and approaches the door.

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INT. ABANDONED CLINIC, EMPTY ROOM -- DAY (PRESENT) Dirty sunlight spills into the ugly, empty shell. Kathleen walks around the room. Carter watches her wander her memories of the place. She steps out into:

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INT. ABANDONED CLINIC, HALLWAY -- DAY (PRESENT) Carter follows her. There's two doors along one wall. She explores the first, then slides along to the second. She loses her breath briefly, getting caught up in emotion. KATHLEEN I want to see them. She looks up at him. (sighs) Okay. He turns and walks through the doorway. back to the room, then follows him out. Kathleen glances He exhales disapprovingly. CARTER

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31A

INT. ABANDONED CLINIC, SMALL ROOM -- NIGHT (PAST) Kathleen stirs nervously, still blindfolded. head up as someone enters. She tilts her

(CONTINUED)

BLUE Revision - 12-8-08 31A CONTINUED: DOCTOR I'm sorry I can't take the blindfold off. I'm sure you can appreciate our need to be cautious. She nods. DOCTOR (CONT'D) I'm going to walk you through the procedure. Just a routine kidney transplantKATHLEEN Is the donor here now? DOCTOR (hesitantly) Yes, butKATHLEEN Can I meet them? DOCTOR I'm afraid not. It's not a good idea. Kathleen's face reflects her disappointment.

13A.* 31A * * * * * * * * * * * * * * * * * * *

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EXT. APARTMENT BUILDING -- AFTERNOON (PRESENT) Kathleen's Mercedes pulls up behind Carter's car.

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INT. MERCEDES, PARKED -- AFTERNOON (PRESENT) Kathleen looks up at the looming, institution-looking apartment building across the street. She deliberates for a moment, then climbs out of the car.

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EXT. APARTMENT BUILDING -- AFTERNOON (PRESENT) Carter opens his door and walks swiftly towards Kathleen, cutting her off from the building. CARTER You sure you wanna do this? Kathleen nods. He studies her - she's not changing her mind.

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CARTER (CONT'D) Apartment 1107. Good luck. She reaches into her purse and pulls out a CHECK, handing it to him. He swiftly pockets it. She extends her hand. KATHLEEN Thank you. CARTER No 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, but stops. Her hand hovers, hesitating. Then, she BUZZES. 35 INT. ABANDONED CLINIC, HALLWAY -- NIGHT (PAST) The door opens a crack and Kathleen peeks out. lights give the hallway a sickly look. Temporary 35

Kathleen watches the doctor exit the second door and disappear down 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's jaw drops as she sees: A blindfolded YOUNG SPANISH GIRL, maybe 17. Her hair is greasy and her clothes are cheap. She tilts her head up.

(CONTINUED)

BLUE Revision - 12-8-08 35 CONTINUED:

15. 35

Kathleen jumps as the back door opens. A THUG tosses his cigarette butt then sees her standing at the open door. He charges, 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, blindfold off, and pulls his surgical mask over his face. Stop. DOCTOR That's not necessary! *

The thug spits RUSSIAN at the doctor then pulls another BLINDFOLD tightly over her eyes. 36 EXT. APARTMENT BUILDING -- AFTERNOON (PRESENT) The front door is opened by a YOUNG SPANISH BOY, 12. KATHLEEN Is 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. Hi. IKATHLEEN I knew your niece. * * * * * * * * * * * 36

Tia looks at her for a second, smiles politely, then down to the boy. He TRANSLATES to her in SPANISH. Her polite smiles slips slightly. Ana?.. TIA Please.

Tia motions for Kathleen to enter. The boy holds the door open. Kathleen looks down at him as she passes. YOUNG BOY She doesn't speak very much English.

(CONTINUED)

WHITE Revision - 12-7-08 36 CONTINUED: KATHLEEN (gently) I see that. Kathleen follows her down the hallway. door behind them. 37 The boy shuts the

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INT. ABANDONED CLINIC, HALLWAY -- NIGHT (PAST) Kathleen, now dressed in an operating gown, is guided down the hallway by a nurse. She breathes heavily.

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INT. APARTMENT BUILDING, HALLWAY -- AFTERNOON (PRESENT) Tia leads Kathleen down the hallway towards a door.

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INT. ABANDONED CLINIC, HALLWAY -- NIGHT (PAST) Kathleen is pushed into the doorway into:

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INT. ABANDONED CLINIC, OPERATING ROOM -- NIGHT (PAST) A fully functional but makeshift operating room. A SURGICAL TEAM prepares around the young girl (ANA). A SECOND SURGICAL TEAM prepares Kathleen, strapping her to the operating table.

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INT. APARTMENT -- AFTERNOON (PRESENT) Tia steps into the apartment. Kathleen follows her.

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INT. ABANDONED CLINIC, OPERATING ROOM -- NIGHT (PAST) The ANESTHESIOLOGIST walks over to her, inserting a needle into the IV stream. ANESTHESIOLOGIST This is going to be cold. Take a deep breath then count back from 20. Kathleen breathes deeply, then starts to count. KATHLEEN 20, 19, 18. She trails off as the room starts to swim. Her eyes shut softly as she goes under. Ana is already unconscious. The doctor unties Ana's gown, revealing her side.

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INT. APARTMENT -- AFTERNOON (PRESENT) Kathleen walks towards something in the middle of the living room, her eyes widen. Her hand covers her mouth in shock. A BABY GIRL - stirring contently in a CRIB. A HEART MONITOR rings out - FLATLINING:

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INT. ABANDONED CLINIC, OPERATING ROOM -- NIGHT (PAST) The surgical team around Ana work frantically to revive her. The doctor looks concerned, but stays focused on the OPEN INCISION in Kathleen's side and the KIDNEY in his hands. Ana stares ahead with glazed eyes. Her LAST BREATH fades in the oxygen mask. The HEART MONITOR is shut off.

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INT. APARTMENT -- AFTERNOON (PRESENT) Kathleen sits in a chair opposite Tia and the boy. a 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, looking up at the sad faces that watch her cautiously. KATHLEEN Tell her, I heard about what happened... to your sister, Ana... Kathleen fights her emotions. boy's head as he translates. Tia looks away, rubbing the There's

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KATHLEEN (CONT'D) I'm really sorry. Tia nods, then speaks softly. YOUNG BOY (TRANSLATING) She said she was only going to be gone for 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 runs down Tia's cheek. She stares down at her fidgeting hands. * * * *

(CONTINUED)

BLUE Revision - 12-8-08 45 CONTINUED: YOUNG BOY (TRANSLATING) (CONT'D) She shouldn't have gone. I told her not to go. Kathleen watches the woman with watery sympathy. YOUNG BOY I told her not to go.

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Tia sobs.

(TRANSLATING) (CONT'D)

The young boy holds Tia's hand as she cries, trying to console her. Kathleen fights hard not to follow her lead. KATHLEEN Is 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. Please. KATHLEEN (CONT'D) Let me help.

The boy translates again. Tia shakes her head again, digging into her pocket for a kleenex. Kathleen reaches for her PURSE, suddenly hit by a spark of inspiration. She pulls out her CHECKBOOK and starts to write. watches her, not sure what to do with himself. KATHLEEN (CONT'D) Here. Kathleen tears out the check and hands it to Tia. TIA No. Please. KATHLEEN Take it. I want to help. Tia pushes it away, sobbing harder. TIA No! 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! * * The boy

Kathleen holds it out.

(CONTINUED)

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Kathleen watches helplessly as Tia leaves the room in tears. The boy looks shyly at Kathleen. They sit in awkward silence as 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. The boy stares at her. 46 EXT. APARTMENT BUILDING -- DUSK (PRESENT) Kathleen bursts from the front door and speeds across the grass into the street, completely lost in thought. A CAR screeches to a stop, slamming on the HORN. Kathleen jumps, pulled from her trance. She waves an apology and rushes to her car. 47 INT. MERCEDES, PARKED -- DUSK (PRESENT) 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 in its 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 it angrily into her PURSE. Then shoves her DESIGNER PURSE off of the seat and onto the floor. Her eyes fall to the logo on the steering wheel. She claws at it, tries to pull it off, then slams her fist down on it. HONK! She jumps at the sound and looks around, embarrassed. She drops 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. She stares 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. 47 46