the falling girl ragazza che precipita  

..in ragazza che precipita la protagonista cade inesorabilmente verso il basso, ed i vari piani del grattacielo dal quale si getta rappresentano i diversi momenti della vita che la ragazza contempla durante il percorso verso la morte...

www.repubblicaletteraria.it

a diciannove anni marta ragazza spavalda si affacciò dalla sommità del grattacielo e vedendo di sotto la città risplendere nella sera fu presa dalle vertigini....il grattacielo era d'argento supremo .....marta si sporse  oltre la balaustra e si lasciò andare.... la ragazza precipitava....gentile farfalla perché non si ferma un minuto tra noi?...lei rideva svolazzando felice ma intanto precipitava .....no grazie amici. non posso. ho fretta d'arrivare ....di arrivare dove? ah, non fatemi parlare . ...certo la distanza che la separava dal fondo cioè dal livello delle strade era immensa meno di poco fa certamente tuttavia sempre considerevole....dove vai? perché tanta fretta? chi sei? ..mi aspettano laggiù non posso fermarmi perdonatemi....così sicura di sé quando aveva spiccato il volo adesso marta sentiva un tremito crescerle dentro forse era semplicemente il freddo ma forse era anche paura la paura di aver fatto uno sbaglio senza rimedio.....non si udì alcun rumore nel suo precipitare al suolo perchè si trasformò in una stella.

"Economy" in sudden fiction, (in fiction in general), does not equate to "brevity" or "choppiness " (though those may be employed as style or tone). Saying it in as few words as possible does not necessarily mean you say it in a very few words. It means you use no words that do not speak the story. Dino Buzzati's, "The Falling Girl," shows that the sudden fiction piece need not be brief (or ignore setting, for that matter); but, still, see the tight delivery, the economy employed. See how much is revealed in a very compact yet dense space of prose:
Marta was nineteen. She looked out over the roof of the skyscraper, and seeing the city below shining in the dusk, she was overcome with dizziness.
The skyscraper was silver, supreme and fortunate in that most beautiful and pure evening, as here and there the wind stirred a few filaments of cloud against an absolutely incredible blue background. It was in fact the hour when the city is seized by inspiration and whoever is not blind is swept away by it. From that airy height the girl saw the streets and the masses of buildings writhing in the long spasm of sunset, and at the point where the white of the houses ended, the blue of the sea began. Seen from above, the sea looked as if it were rising. And since the veils of the night were advancing from the east, the city became a sweet abyss burning with pulsating lights. Within it were powerful men, and women who were even more powerful, furs and violins, cars glossy as onyx, the neon signs of nightclubs, the entrance halls of darkened mansions, fountains, diamonds, old silent gardens, parties, desires, affairs, and, above all, that consuming sorcery of the evening which provokes dreams of greatness and glory.

www.thewritegallery.com/writing/excercise_sudden_fiction.html

"The Falling Girl" is a fable by the Italian writer Dino Buzzati about a 19-year-old named Marta who steps from the roof of a skyscraper, full of hope and expectation.
www.sfweekly.com/1999-12-22/culture/sweet-millennial-cheer

The Falling Girl  Dino Buzzati   Is this a metaphor or a satire ?
Marta, a nineteen- year-old girl, made a big dive from the roof of the skyscraper. It was just about the time of sunset. Despite of the fact that she was falling, Marta felt as if she were hovering. For Marta, it seemed so far away when she looked downward.
While traveling from the top to the bottom vertically, she saw some people. At first she saw people in the heyday living on top floors, some were offering her flowers, some were inviting to the parties, and others even trying to catch her from balconies. Everybody were interested in her. Marta enjoyed meeting those people, but she was in a hurry. The sun had already plunged into the sea.
The people Marta saw next were ordinary working people (Their offices may be on the middle floors.), some were typing, and others in aprons sitting at manual labor line. Through the window, some of them also realized a girl traveling vertically. They asked Marta where she was heading and why. Some even showed enviousness in their asking. Instead of answering, Marta gave them "good-by" waving.
And then Marta realized that she was not only one but many other girls falling along the side of the skyscraper. It seemed that they were heading to a big ball down there which was exactly the one Marta had once dreamed of . Compared with those nice dressed girls, Marta was only in a shabby dress. Such a big confidence she had at the beginning of a long fall had already gone. Now she started to feel if she had made an irreparable mistake. She doubted if, like other girls, she could get to the ball in time. When she glanced upward, the dawn was spreading gradually over the skyscraper.
It was 8:45 in the morning. A wife living on the 28th floor saw a decrepit old woman passing by through the window. "You can see beautiful girls from the top floors, but not this height. At these low floors, we can see only falling old woman pass by... said her husband.    Usually they can hear the thud when they get to the ground, but this time not even that.
plala.or.jp

The first story sure was. It's from Italy, called The Falling Girl, by Dino Buzzati. It's a surreal story, odd in a way that would be maddening in a novel, problematic in a short story, but just right for a quick slim piece six pages long. It tells of a young girl jumping/falling off an impossible skyscraper and the people she meets on the way down, hoping to make a party down on the street. It's a building where the high apartments are expensive because they get to see all the attractive young girls as they fall while the cheap places near the street only get to hear the whump of bodies on concrete.

And that's another thing I like about this story: it bucks the reader's expectations--which may be preconditioned as much as anything else, accustomed as we are to stories that, if they were graphs, would look like a rising mountain slope. This one is just the opposite: it starts, both literally and figuratively, on a giddy summit, then takes us steadily down. It takes a lot of skill to invert convention so effectively, and Buzzati chooses just the right metaphor for this: what could be better than a falling girl? And because this story is so short, the slowdown of the action doesn't bog the reader down as it would in the case of a novel or a two-hour movie; it passes relatively quickly, and even without the final thud, leaves an impact on the reader's mind that is indelible.

http://home.sprynet.com/~awhit/review2c.htm

Elle s'apprêtait à répondre, mais déjà l'accélération due à la pesanteur l'avait portée à l'étage inférieur, à deux, trois, quatres étages plus bas ; comme on tombe joyeusement quand on a à peine dix neuf ans !
Ne pas prendre le temps de s'arrêter aux petits bonheurs de la vie, c'est ce dont nous parle Buzzati à travers la «Jeune fille qui tombe... tombe». Dans cette allégorie de la vie, Marta n'a en tête qu'un idéal, qu'un objectif lointain, inaccessible: une fête qu'elle n'atteindra jamais. Elle ne profite pas de sa jeunesse, elle ne jouit pas de sa vie. Le temps passe, et la vieillesse la gagne déjà lorsque le doute sur le sens de son existence apparaît.
geocities.com/Athens/Agora/2631/lBuzzati.htm