The person who stops to help me leaves their headlights on, and I can see my body folded up in a way that makes me certain I’m dying.

I can’t move.

This must be what going into shock feels like: nothing at all. But I know I should be feeling something because my left arm bone is sticking through my leather jacket. And I have all these thoughts queued up—the things I know I’m supposed to be thinking about while dying—but all I can think right now is how stupid this fucking jacket is.

Ride or Die. Really?

The man gets out his phone to make a call. I can’t hear anything, but I assume it’s to 911. Then he paces for a bit, probably working up the nerve to comfort me in my last moments, putting on his mask of false-positivity, because he must also know I’m dying.

Then he holds up his phone and walks toward me. I hear the muffled scuffing of his shoes against the asphalt as he approaches, sounds that are far away but close at the same time; or maybe I don’t hear anything. He takes one step back as the glistening pool of my blood almost touches his shoes. He’s still holding up his phone.

Is he filming me?

And now I’m thinking about what I should be thinking about: my family, and how my daughter is only two years old, and how my wife is the most beautiful soul in the universe, and how I am—how I was—so lucky, and how I’m hurting them by leaving them, and how I’m so so so sorry that I’m leaving them, and is this fucking guy actually filming me?

The man is expressionless, his mouth a hard line, his eyes a thousand-yard stare. I try to scream at him, try to yell help!, even though I know he can’t do anything for me. Nothing happens; I don’t move or make a sound.

He continues to circle me, a timid coyote passing out of my field of vision and then back in. He sweeps his camera over the pieces of my motorcycle strewn about the street, then he fixes it back on me again. He stays that way for what feels like the rest of my life.

I still can’t feel anything, but somehow I know my breathing has slowed and I’m getting close to my last moment. And my last moment is going to be with this guy caring more about getting a good shot than me going peacefully. Part of me doesn’t care, but another part feels more alone than ever, and I can’t do anything except lie here and keep on dying, can’t do anything but think things like what’s going to happen after this?, and what if my family sees this video?, and I can’t let that happen. And I get so angry I start to rage inside and think why are you doing this?, and I’m dying!, and leave!, and fuck off! fuck off! fuck off!

And now I’m thinking in pictures. Pictures of all the things I want to see just one more time before I’m gone, but I’m thinking them right at him: a picture of me lying on the couch with my daughter asleep on my chest, of my wife with her hair all messed up in the morning and how it makes her look like a lion, of my daughter hugging our cat a little too tightly, of my cat being fine with it, of my wife in the shower, of my wife squinting because she can’t see me without her glasses, of the three of us sitting around the TV, eating pizza and watching cartoons.

This last thought is a whip lashing out of me, and the man staggers. His eyes go wide and he struggles to regain his footing.

But he still has his phone held up, and my anger becomes a sun in my chest; a fiery star that burns burns burns, then shrinks, waits, and detonates.

The supernova is a bursting series of images, the colors of it lighting up the street: an image of us quietly drinking coffee and my daughter still asleep, of my daughter insisting that I pick her up, of me picking her up, of my wife insisting that I pick her up, too, of both of them laughing, of me laughing with them, of me asking my parents questions that I’ll never get to, of my brothers and sisters, of me telling them I love them, of my little girl’s cheeks, of my wife’s eyes, of their hands and feet, of them happy, of them happy without me, after this, not forgetting me, but being happy.

For a second I forget the man as he’s swallowed up by the spectacle, but when the colors fade I see his hands are shaking so violently that he drops his phone. He’s looking me right in my eyes for the first time, and his face drains of all color. It’s as if he’s just now realizing I’m not an alien. His phone hits the blacktop, and I hear it crack before I actually see it crack.

And now he’s kneeling next to me, his hands still shaking as he takes mine into his. “I’m so sorry, buddy,” he says, “I don’t know what I was thinking.”

Then he starts saying all the things he should be saying, and I realize I wasn’t the only one in shock.

He says, “It’s going to be okay-ay.”

And, “Y-you hang in the-there.”

And, “Thambulance is on sway.”

And, “Withwith st-stay with me stay me with…”

Drew Rogers is an indie game designer and has been writing short fiction for about two years.