Screen black.

Sounds of traffic.

Fade in to city street at night.

Cut to traffic lamp turning green to red.

Cut to other shots of the city at night.

Cut to a MERMAID, lying in the middle of a street in a desolate neighborhood. The only light coming from streetlamps.

The MERMAID’S body twitches and spasms. Her breathing is intensely labored.

Close-up on her face before we cut to a shot that includes a MAN, early twenties, in the frame. He is squatting next to her.

MAN

Do you want me to hold your hand?

MERMAID

Yes.

MAN holds her hand.

MAN

I’m so sorry. I wish there was something I could do.

MERMAID

I know.

MAN

There’s got to be something I can do.

(bolts upright)

Somebody, help! Help!

MERMAID

Please, stop screaming. I don’t want the last thing I hear before I die is you screaming.

MAN

I’m sorry, I just . . . I don’t want you to go.

MERMAID

I know you don’t.

MAN

This is so fucked up. I don’t even know why you came here. Why did you have to come here?

MERMAID

I wanted to see you.

MAN

But why?

MERMAID

Would you please just sit down and hold my hand? We don’t have much time left.

MAN sits down, holds her hand.

(Silence)

MERMAID

You know what looks so beautiful right now?

MAN

What?

MERMAID

That telephone wire, behind you, way way up there.

MAN turns to look at the telephone wire.

MAN

I don’t get it.

MERMAID

What?

MAN

What’s so beautiful about it?

MERMAID

It looks like a perfect line that’s running through the night. Like some line that goes from one end of night to the other.

MAN looks again.

MAN

You shouldn’t talk so much. Save your breath.

MERMAID

There’s nothing to save. I’m going. That’s how it is. That’s what’s going to happen.

MAN

Don’t say that.

MERMAID

But it’s true.

MAN

Will I . . . do you think I’ll ever see you again?

MERMAID

I don’t think they let humans into mermaid heaven.

MERMAID smiles.

MAN

I . . . I feel like I should be doing something.

MERMAID

You are doing something. You’re staying with me, and holding my hand.

MAN

But I can save you!

MERMAID

How?

MAN

I can . . . I’ll carry you to the sea.

MERMAID

There is no sea.

MAN

There isn’t?

MERMAID

Not anymore.

(beat)

The sea is a dream. Remember?

MAN

I . . . no.

(repeating softly)

The sea is a dream.

(beat)

Why did you come here?

MERMAID

Love. I came for love.

MAN

And now you’re dying.

MERMAID

And now I’m dying.

MAN

I’m sorry.

MERMAID

It’s not your fault.

(Silence)

MAN

You’re so stupid.

(hand smoothing her cheek)

I love you. I don’t want you to go.

MERMAID

Such a little boy, always.

MERMAID’S breathing grows even more labored.

MERMAID

Would you do something for me?

MAN

Of course, anything.

MERMAID

Sing me a song.

MAN

A song?

MERMAID

Sing me a song, yes. Please.

MAN

What do you want me to sing?

MERMAID

Surprise me.

MAN

(singing)

I’d like to be . . . under the sea . . . in an Octopus’s Garden . . .  in the shade.

MERMAID

(wheezing laugh)

You’re a sadistic bastard.

MAN

(smiling)

I know, I’m sorry, I couldn’t help it. Okay.

(singing)

You are my sunshine, my only sunshine, you make me happy, when skies are gray, you’ll never know dear, how much I love you, please don’t take my sunshine away.

Camera slowly zooms out and away from the MAN and MERMAID who we see, together, in the street.

As the camera continues to zoom out, we see the street as an isolated, darkened strip surrounded by a teeming, bustling, electric, lighted city at night.

Screen fades to black.

Sounds of traffic segueing into closing classical piece.