ROCKET
LOVE
By Haze Thomas
ISBN: 978-1-4660-2626-1.
Screenplay
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Copyright © 1996-1998, by Haze Thomas and Roberts-Jones Publishing.
WGAw Registration # 720976
Haze Thomas
542
Plymouth Lane
Alpharetta, GA 30004
(678) 366-8863
©
1996-98, Haze Thomas
FADE IN:
INT. THE LIVING ROOM - NIGHT
The living room of Barbara Burgess's apartment is very dim.
EDWARD SAMPSON, III - a handsome, well-dressed Black man in his 20's - is there: placing a white, cast-like device on his left hand and wrist. He fastens it into place; then inserts a small magazine on top of that device, working quickly and quietly.
Ed sneaks a peek down the long, dark corridor leading to his girlfriend's bedroom.
INT. BARBARA'S BEDROOM - NIGHT
BARBARA BURGESS - Ed's attractive and petite girlfriend - is shown lying in a bed.
A man is on top of her gyrating wildly. Her head turns. She MOANS. Her eyes are closed. A hand is over her mouth.
INT. THE HALLWAY - CONTINUING
Ed begins to move toward the bedroom.
INT. THE BEDROOM - CONTINUING
BARBARA
No! Please don't.
INT. THE HALLWAY - CONTINUING
Ed whispers to himself through gritted teeth.
ED
GOD, please let her be OK.
INT. THE BEDROOM - CONTINUING
The man gets off of the bed.
He then picks her up and straddles her against his naked body. Holding her in place with his left hand, he SLAPS her buttocks with his right hand.
Barbara MOANS and smiles.
BARBARA
Don't. Please don’t stop.
INT. THE HALLWAY - CONTINUING
Ed's forehead is covered with sweat. He can almost hear voices over the music. He is drawing closer...
Just then, Ed steps squarely on a loose piece of wood beneath the floor - which CREAKS loudly. He winces, then remains motionless to regain his balance. He steps off the loose floorboard, then gingerly tip-toes to the bedroom door.
He stands upright and wipes his brow. Taking a slow, deep breath, he reaches for the doorknob. It is locked.
INT. THE BEDROOM - CONTINUING
Suddenly, the bedroom door flies open, SMASHED off its hinges.
Ed enters the bedroom and surveys the scene.
ED
Hi, honey. I'm home.
Barbara looks up at Ed. She is obviously humiliated.
ED
Oh, no. Don't get up! I want to remember you just like this.
Ed begins to LAUGH heartily, filling the room.
BARBARA
Why are you laughing?
ED
I'm laughing because I'm such a fucking idiot. I'm in shock; though I don't know why. I let myself in and I called out your name. I heard you saying "no" and "don't" and "stop". I thought you were in danger. Little did I know you were in here tricking.
BARBARA
I can explain.
ED
There is no explanation for this. But, what the hell? Let's try.
(pause)
I called you from a pay phone in Thomasville at what time?
BARBARA
Around 5:00.
ED
That's right. Next question: When did I tell you to expect me?
BARBARA
No later than 9:00 tonight.
ED
You should have been waiting to go out to eat with me instead of sucking and fucking this loser.
The man in Barbara's bed sits up.
ED
Barbara, tell Daddy Mack there not to make any sudden movements.
Ed aims his StarShooter at the man.
ED
I said: don't move!
The man shrugs, and reassumes lying on the bed.
ED
You knew I was on my way here. You knew I had a key to your place. And you knew I had planned a romantic evening for us. For over 2 fucking years: I paid your bills, I put food on your table, I put clothes on your back. This is the thanks I get?
BARBARA
I do love you, Ed. I swear to GOD I'll make this up to you.
ED
Love is not what you say: it's what you do. Even newborn babies know that.
The man lying on Barbara's bed - THUG - is chilling with his arms and hands behind his head. He is short, very muscular, and dark-skinned. He has a rugged, unattractive face. His mouth is filled with 24 karat, gold teeth. His dialect is equal parts Carolina "country" and New Jack slang.
THUG
Damn, baby: you need to put ol' boy in check. I mean, 'dis yo crib, right?
Thug looks Ed up, then down, then up again. He SMACKS his lips as if he's annoyed.
THUG
Check dis out, Holmes. Case ya ain' notice, I was gettin' my groove on 'fore you came up in henr like a 'G'.
Ed steps forward, looking at Thug: up, down, then up again.
ED
Yeah? Well, [1] my name ain't "Holmes". [2] You exhibit bad diction and grammar. [3] This young "lady" - and I use the term very loosely - and I got beef; and I ain't going no-damn-where until shit gets settled. So why don't you take a little walk while she and I talk?
THUG
Aye, man - aye, man! Who da hell you thank you talkin' ta?
ED
I'm talking to you, Flavor Flav! I asked you once nicely. Now I'm telling you: Take your blunted, wannabe-hardcore ass on somewhere!
Ed turns his back on Thug.
Thug reaches underneath his pillow with his right hand to a black handgun tucked there. A sinister smile curls upon his lips.
ED
You sold me out. Just know that you permanently altered your own life in the process.
BARBARA
I don't understand.
ED
You will! And I hope the truth eats you alive.
THUG
Enuf of dis soap opera bullshit! Yo girl just went for a gold medal suckin' my dick. Then, I fucked her real good. A real nigga wouldn't never let da shit slide.
ED
You got a point there.
THUG
So whatchu gon' do 'bout da? Besides crying 'bout it like a 'lil bitch?
ED
You roll up in my area, eat up my food, waste my electricity, and screw my girlfriend - and you asking me what 'I'm gon do?' I'm about to K.O. your ass. You're gonna be outta here on a stretcher!
Thug pulls out his gun and aims it squarely at Ed's face.
Barbara GASPS.
THUG
Better a stretcher than a bodybag. You shouldna turned yo back on me. Now who's the mack? Now what's up?
ED
Smith & Wesson .422 caliber! Am I right? Smooth gun: Semi- automatic, lightweight, designed to be recoil-less.
(Ed looks at Barbara)
It won't kick back when you pull the trigger. Just like a camera: aim and shoot. I had a .422 once.
(Looking back at Thug)
While you're contemplating whether or not to blast on me, let me ask you: do you love her?
THUG
Fuck, nah! She just a ho-bitch.
ED
I see. So, you don't see yourself marrying her, or raising a family with her, then?
THUG
What stupid, pussy-whipped mark would want dat?
ED
I did before tonight. Let you show you something.
Ed moves his right hand slowly to keep Thug calm. He reaches over to his left front pocket and pulls out a black, square-shaped, suede-covered pillbox. Ed OPENS the case to show Thug a beautiful ring.
Barbara is thrilled.
BARBARA
Oh, Ed. I can't believe you finally did this. I waited so long.
ED
Barbara, shut up, OK? I'm busy.
(Turning to Thug)
I won't be needing this anymore. But perhaps you can profit from my misfortune.
THUG
What dat s'posed ta mean?
ED
I'll make a deal with you, Brother. You can have this ring on one condition: you take your gun and split. The band is 24-karat gold mounted with a 1.8 carat diamond. You can come out $2700 richer. Now, if you lied to me and you're in love with Barbara, then shoot me. But if you're not, why catch a case of the electric chair on a ho-bitch?
THUG
How d'ya kno you kin truss me? I might take da shit - then blast ya.
ED
Because that's not an option.
Ed slowly lifts his right hand and opens it. It's empty. Ed lowers his right hand, then lifts it back up. He's holding something now.
ED
See this? It's an Ninjitsu throwing blade: stainless steel, light-weight, and very sharp. This device I'm wearing on my left wrist is called a StarShooter. It launches these at a very high rate of velocity. I'm good with a StarShooter. You got a .422. We can slug it out or handle this shit smoothly. The choice is yours.
BARBARA
Ed, you can't trust him. Once you give him the ring, he'll kill us both. Don't give him my ring!
Both Ed and Thug look at Barbara at the same time and SCREAM in unison:
ED/THUG
Shut the fuck up!
Ed and Thug again face each other.
ED
What's it gonna be, Flavor? You want gold?
(Shows Thug the ring in his left hand)
Or silver?
(Shows Thug the throwing blade)
Backing up, Barbara accidently bumps the nightstand.
The glass tips over the edge - hurling towards the floor.
A mask of horror covers her face.
The sound of glass BREAKING disrupts the silence - startling both Thug and Ed.
Ed's head turns toward the direction of the noise.
Thug closes his eyes, and in a single motion, clicks off the safety of the gun and FIRES it twice. The gun FLASHES brilliantly.
The sickening THUD of a body hitting the floor is heard.
Barbara clasps her head with both hands and SCREAMS.
INT. ED'S HOSPITAL ROOM - MORNING
Sounds: of a heart monitor and a PA/intercom system.
TREVOR HAWKINS - Ed's best friend - is sitting in a chair sitting near Ed's bed. He is tall, good-looking, and built.
NURSE MILLER is attending to Ed as he lies unconscious.
NURSE MILLER
It appears that your friend is regaining consciousness.
As the nurse attempts to check Ed's pupils for dilation, he suddenly GRABS her wrist.
His eyes snap open suddenly. Ed is enraged, belligerent, and SCREAMING.
ED
Take your hands off me! Don't touch me, Barbara!
NURSE MILLER
He's in shock!
TREVOR
Ed, calm down! It's me, Trevor!
ED
I told you what would happen if I ever saw you again, Flavor!
TREVOR
What? Dude, look at me. It's "T". It's Trevor. Your best friend.
Ed stares at Trevor; then relaxes.
ED
What's going on here? Where am I?
NURSE MILLER
Hold him for just a few more seconds. I'll sedate him.
TREVOR
Is that really necessary? I think he's coming around.
ED
Things are a little fuzzy, but I will chill out, Nurse.
NURSE MILLER
Tell me your full name.
ED
Edward Vincent Sampson, III.
NURSE MILLER
Where did you attend college?
ED
Morris Brown College.
NURSE MILLER
When is your birthdate?
ED
Umm - July 29th, 1967.
NURSE MILLER
OK, Ed. I don't think I have to sedate you. But I do need to notify Dr. Psalmond. He will want to examine your injuries.
NURSE MILLER
Could you stay with him until I return?
TREVOR
Of course.
Nurse Miller nods and smiles politely in response to Trevor as she quietly leaves the room.
Ed tries to move, winces, then GROANS. He looks over at his old buddy; attempting to smile.
ED
Oh, God. Trevor? Is it really you?
TREVOR
You were expecting Santa Claus?
ED
To hell with Kris Kringle, man! Get over here.
Trevor walks over to Ed's bed. The two buddies embrace each other briefly.
TREVOR
I came as soon as I received word from your Dad. Hey, partner: don't cry, man.
(Trevor's eyes cloud up as well)
I'm here now. We're back together. Everything's gonna be cool.
Ed composes himself, then speaks again.
ED
What happened to me?
TREVOR
You don't remember?
ED
I was on my way to visit my old college roommate Shaun Flagg and his wife. They're visiting from Panama. Obviously, I never made it.
TREVOR
There was an accident; your car exploded into flames as you were on your way to see them. You were injured by the blast. That's how you got here. By the way, Shaun and his wife came to visit you last night. You were out cold the whole time, so I'm sure you don't remember.
ED
I sure don't. What about my car?
TREVOR
It's gone, man.
ED
I remember now. "Boom". A flash, then darkness.
TREVOR
There's more. Your father arrived here late last night. He's very -
ED
Very, what?
TREVOR
Intense, angry. The DeKalb County Police and Fire Departments are both investigating what happened to you yesterday. They asked me some questions when they came to check on your condition around an hour ago. They spoke to your Dad, too. They don't think your accident was an accident.
ED
Awww, shit.
TREVOR
Yeah. How do you feel?
ED
Like Mike Tyson's sparring partner. How do I look?
TREVOR
I'll let you be the judge.
Trevor hands Ed a small mirror. Ed takes the mirror and holds it before his face. He stares into it.
ED
Look at my face. Look what she did to my fucking face!
TREVOR
She? You know who did this?
Ed throws the mirror into the trash can. He stares blankly at the far wall, saying nothing.
TREVOR
Bridgette! You think Bridgette is behind this?
Ed looks directly into Trevor's eyes. Just as Ed starts to respond, Ed's father - MR. SAMPSON - enters Ed's room.
MR. SAMPSON
Trevor, it's good to see you again; though, the circumstances are far from ideal.
TREVOR
Thank you, sir. Ed and I were just getting caught up.
MR. SAMPSON
Thank you for staying with my son last night. By the time I arrived here, visiting hours were over.
TREVOR
It was my pleasure, Mr. Sampson.
MR. SAMPSON
Would you mind if I spoke to my son privately?
TREVOR
Not at all, Mr. Sampson. I need to head over to the cafeteria to grab a bite.
(Speaking to Ed)
I'll be back in an hour or so, OK?
ED
OK, Trev.
Trevor winks at Ed, and leaves the two Edwards all alone.
ED
Dad, look: thanks for coming all this way just to -
MR. SAMPSON
Bumpy, what is happening to you? What has become of your life?
ED
Sir?
MR. SAMPSON
What has become of your life? Not long ago, you had everything! You had it all: a promising career in Education, the respect of our entire community, a supportive family, a new bride, a beautiful baby boy, money in the bank. Now it's all gone. Your mother hasn't had a restful night's sleep in weeks because she's worried sick over you.
ED
That wasn't my intent, Dad.
MR. SAMPSON
I spoke to the Police and the Fire Department - so I know all about your "accident". And since the insurance policy lapsed on your car about a month ago, you won't be compensated a single cent; even though it was just paid off. This is not what I envisioned for you. Not after your mother and I worked to give you every possible advantage throughout your life.
ED
Permission to speak freely, Sir.
Mr. Sampson makes a gesture with his right hand.
ED
Do you honestly think that I ever envisioned this for myself? I acknowledge all of the sacrifices you and Mom made for me. I can never repay you for them. But I have always done my best to uphold our family name with dignity. I've made mistakes; but I made them trying to do what's right. I've experienced things that would have placed a lesser man in a prison, a morgue, or an insane asylum.
Ed sits slightly upright, then COUGHS.
ED
You know what really hurts, Dad? You came to see me, but you haven't even asked me how I'm doing. Maybe you think I deserve this. I did what you asked me. I didn't harm Bridgette. She hurt me!
MR. SAMPSON
I love you, son. You know that. Sometimes that means making difficult decisions. And that's what I've done.
ED
What are you talking about?
MR. SAMPSON
I realize you see yourself as your own man. I instilled that into you. But things have gotten out of hand. You're in the hospital this time. I don't intend to see where you land next time.
ED
What are you saying?
MR. SAMPSON
As soon as you are discharged, I'm packing all of your things into a U-Haul Truck and taking you back home, back to Thomasville. It's for your own good.
ED
Oh, no you're not.
MR. SAMPSON
What did you say?
ED
I said: no sir. I love you, but any concept of you dragging me back to the nest is a no-go.
MR. SAMPSON
You will do what I want you to do when I want you to do it! And you don't have a damn thing to say about it. You are going home with me. And that is final!
ED
I'm a man: I'm not some pre-pubescent, zit-faced kid. Dragging me back there would be tantamount to admitting that the last 10 years of my life have been an utter waste. And I admit that: not for you; or for anyone else.
MR. SAMPSON
Now you listen to me, dammit -
Suddenly, DR. PSALMOND, an intellectual looking man with a slim build and custom-frame glasses enters - the room. Both Ed and Mr. Sampson cease their conversation.
DR. PSALMOND
Mr. Sampson, may I speak to you in private, please?
Mr. Sampson gives Ed a "this-ain't-over" glance before he leaves the room. The doctor walks Mr. Sampson through a mini-maze of corridors before they finally reach a plush conference room.
DR. PSALMOND
Won't you sit down?
As Mr. Sampson sits, Dr. Psalmond stands a few feet away.
DR. PSALMOND
Mr. Sampson, I'm Dr. Psalmond. I'll be attending to your son while he's here.
They shake hands firmly.
MR. SAMPSON
Doctor, how is my son?
DR. PSALMOND
He's actually very fortunate to be alive. Mr. Sampson, I caught the tail-end of your conversation back there with your son. I know you love him. However, my job is to ensure that he recovers as completely and quickly as possible. Having him upset, by anyone, impedes upon my ability to do my job. Young Edward has been through a traumatic experience. You're aware the authorities think that there was an attempt made on his life?
MR. SAMPSON
Yes.
DR. PSALMOND
Young Edward has a fractured left arm, a slight concussion, a few bruised ribs, a mildly separated left shoulder, and some lacerations on his back and face. He will recover; but he's hurting right now, physically and mentally.
MR. SAMPSON
What can I do for him, Doctor?
DR. PSALMOND
Your son needs your support right now. I plan to keep him here for a couple more days for observation. But when I discharge him, I do not want him to be alone. He will need to be monitored closely by a good friend, or a family member: someone he trusts. Do you have someone in mind who fits the bill?
MR. SAMPSON
As a matter of fact, I do.
INT. HALLWAY OUTSIDE ROOM 317 - MORNING
There is a knock upon Ed's hospital room door.
ED
Come in.
DR. PSALMOND
Edward, how are you are feeling?
ED
I've seen better days, Doc.
Dr. Psalmond smiles slightly. He approaches Ed, then stops. He turns serious again.
DR. PSALMOND
Listen, the authorities are waiting outside to speak with you concerning your accident. They've been waiting for sometime. However, I can have them come another time if you like.
ED
It's alright, Doc. I'll see them. I have questions for them, too.
The Doctor nods politely, then excuses himself. He walks out into the hallway and motions for OFFICERS LARRABEE and PARKER to come over.
DR. PSALMOND
Gentlemen, young Edward will see you now. Please try to limit your visit to a few minutes.
OFFICER LARRABEE
We'll be brief, Doctor. We only have a few questions for him.
DR. PSALMOND
Very well. I have other patients to check on. If you need me, I can be paged from the Central Desk.
OFFICER PARKER
Thank you, Doctor.
Dr. Psalmond takes his leave. Officers Parker and Larrabee knock upon Ed's door.
ED
Come in.
The Officers walk in and approach Ed's bed.
OFFICER LARRABEE
Edward Sampson, III?
(Ed nods)
Hello. I'm Officer Joe Larrabee, DeKalb County Police Department. And this is Officer Brian Parker, he's with the DeKalb County Fire Department.
(Parker tips his hat)
If you're feeling up to it, we need to ask you some questions about the incident yesterday.
ED
I'll tell you everything I can.
OFFICER PARKER
Where were you headed yesterday evening before the fire?
ED
I was on my way to meet an old buddy and his wife at a Hotel near Lenox Square Mall.
OFFICER LARRABEE
That friend would have been Shaun Flagg, correct?
ED
Yes.
OFFICER LARRABEE
Just curious: how long have you known Mr. Flagg?
ED
About 7 years or so. We were roommates back in college.
OFFICER PARKER
Mr. Sampson, are you aware that we found an explosive device in the engine compartment of your vehicle?
ED
Trevor mentioned something to that effect to me. But I know nothing about it.
OFFICER LARRABEE
Was the car paid for?
ED
Yes, sir. I paid the final car note on it about 3 months ago.
OFFICER PARKER
How did the car run? Did you notice anything strange? Perhaps, a lack of power or steering problems, anything like that?
ED
No, sir. The car was running just fine, up until the blast.
OFFICER PARKER
Tell us everything you remember - from the beginning.
EXT. ED'S FRONT YARD - LATE AFTERNOON (THE PAST)
Ed exits the house. He looks very handsome and clean-cut. He's wearing a two-piece navy suit, with a grey turtleneck, and black dress shoes. Ed locks the front door, and checks it. He then proceeds to walk deliberately over to his Camry. Ed's face appears puzzled and confused. He walks over to the car. The hood is unhinged.
ED
How did that happen?
(Ed checks his watch)
I'd better get moving.
Ed SLAMS the hood to make sure that its closed. He then gets into his car, CRANKS up, and then drives off.
INT. ED'S CAMRY - CONTINUING
As he drives on I-285, Ed inserts a cassette into his tape deck. Vanessa Williams' song, "You Can't Run" is playing on the tape deck.
Suddenly, a MUFFLED BLAST is heard within the engine compartment. Smoke is rising from the hood.
ED
What the - ?
Ed turns the wheel hard to the right so that he can get off the interstate; and on to the emergency lane. The car over-responses, CRASHING into the guard rail. Golden sparks leap from Ed's passenger side and the the guard rail. Finally, the Camry comes to a stop.
Ed turns off the car and snatches the keys from the ignition. He closes the air vents. Black smoke streams from the hood freely now. Ed tries to unlock his seat belt; but it won't release. He tries again: to no avail. He reaches underneath the driver's seat and grabs a utility knife he keeps there. Ed extends the blade and thrusts it into the seat belt's lock. He moves the blade from right to left; then he SMACKS the release button. He is free.
He slips off the belt; then attempts to open the driver-side front door. It won't open!
ED
You gotta get outta here, Ed!
Ed SLAMS his left shoulder against the door.
Because he is busy, Ed doesn't see the brand new, black Acura Legend with gold trim that comes to his aid - as it pulls off I-285 about 50 yards or so away from his car.
After the Acura stops, a figure quickly emerges from inside. He looks very familiar: He is a tall white man with a slender build, nicely dressed, with bronze skin, long brown hair, a kind face, and piercing brown eyes.
ED
The glass! I can break the glass!
Ed scurries to the backseat. Ed closes his eyes, then karate kicks the window. Crystal shards are everywhere, but Ed uses his feet to clear the left rear door of all glass within it. He climbs out of it as quickly as he can.
Now on his stomach, Ed is COUGHING.
A majestic voice calls out from off camera, and behind Ed.
SAMARITAN
Arise!
Ed looks toward the Samaritan.
The Samaritan gestures for Ed to run toward him.
Ed rises unsteadily to his feet and begins to run as fast as he can toward the Samaritan.
All sounds cease except for Ed's BREATHING and his HEARTBEAT as he runs. Ed steals a glance over his right shoulder in full stride.
Suddenly: BOOM!! Ed's car is blown to bits. Fragments fill the air. The force of the blast lifts Ed like a ragdoll and cruelly slams him down upon the cold, hard pavement 15 feet away. He lands on his stomach, rolls over a few times, and winds up on his back.
The Samaritan rushes to Ed's aid.
INT. ROOM 317 - AFTERNOON (THE PRESENT)
ED
Whoever did this was playing for keeps. That's pretty clear.
OFFICER PARKER
May we be blunt with you, son?
Ed nods in response to the question.
OFFICER PARKER
We checked you out thoroughly and nothing we found indicates a desire on your part to end your own life. So that means that someone out there, for some reason, wanted you dead or badly injured. Who would do that to you?
ED
I honestly have no idea.
OFFICER LARRABEE
Can you think of any enemies you have? Anyone with a grudge?
ED
No, sir.
OFFICER PARKER
Have you recently broken up with a girlfriend? Or a fiancee, perhaps?
ED
I recently filed for divorce, but she would never do something like this. I mean, we get along.
The two Officers look at each other.
OFFICER LARRABEE
I see.
OFFICER PARKER
Why don't you give us her name so that we can question her?
ED
Well, how about if I have her come in to talk to you once she gets back from out of town?
OFFICER PARKER
Your ex-wife is out of town? Where is she?
ED
Dallas, Texas. But I'm sure she'll be happy to cooperate with you.
OFFICER LARRABEE
How long has she been there?
ED
Since Christmas Eve. She should be back in a couple of days or so.
OFFICER LARRABEE
(giving Ed his card)
Well, here's how to contact me. In case you remember something.
OFFICER PARKER
That's about all we need for now, Mr. Sampson. Before we go, do you have any questions for us?
ED
What happened to the Samaritan?
The Officers give each other a puzzled look.
ED
The man who looked just like JESUS. He drove a black Acura. I think it was a Legend, but I'm not quite sure. He was the one who told me to run. He saved my life, because if I hadn't listened to him, I... Look, I'm not crazy!
OFFICER LARRABEE
We never said that you were, son.
ED
You didn't have to. But he was there.
EXT. THE SCENE OF THE ACCIDENT - EVENING (THE PAST)
The Samaritan is shown cradling Ed's body with his own. The Samaritan is speaking to Ed, though Ed is dazed and bloodied, he is shown nodding his head in response.
INT. ROOM 317 - EVENING (THE PRESENT)
ED
He stayed with me until the ambulance came. No one saw him?
OFFICER PARKER
No one, except you.
ED
Unbelievable.
OFFICER PARKER
We should be letting you get some rest, Mr. Sampson.
OFFICER LARRABEE
We will be in touch, OK? Until then, you take care.
ED
Thank you, Officers. I will.
OFFICER PARKER
Poor kid. He actually thinks that he saw JESUS CHRIST.
OFFICER LARRABEE
Yeah. Hopefully he'll be OK.
INT. HOSPITAL DINING HALL - AFTERNOON
MR. SAMPSON
That's why I'm taking him back home. As soon as he is well enough.
TREVOR
Mr. Sampson, with all due respect, you can't do that.
MR. SAMPSON
What am I supposed to do? Wait for whoever did this to take another shot at him?
TREVOR
His only shot of beginning his life over again is here. He has roots here. He can easily find work here, wether Ed returns to teaching or not. Forcing him to go back is like a death sentence, Mr. Sampson. Ed needs to stay here. If he does, there's a chance that he may become his old self again.
MR. SAMPSON
That's your honest assessment?
TREVOR
Look, Ed can move in with me. I have plenty of room. He won't have to worry about food or rent or even finding a job right now. Give him that chance, Mr. Sampson. If it doesn't work out, I'll be the first to admit it. Let me try to save my friend.
Mr. Sampson wipes a tear from his eye. He stands up, walks over to Trevor, and embraces him.
MR. SAMPSON
OK, Trevor. Are you sure this is what you want?
TREVOR
Yes, sir. I'm sure.
MR. SAMPSON
Very well. We'll work out the details a little later.
TREVOR
Thank you, sir. You won't regret this. I'll take care of him.
They shake hands on their pact.
MR. SAMPSON
Why don't you go tell Ed the news?
TREVOR
I'll do that, Mr. Sampson. Would you excuse me?
Mr. Sampson nods, then watches Trevor walk away.
MR. SAMPSON
God, help me if I've made the wrong decision.
INT. ROOM 317 - AFTERNOON
Ed winces, MOANS, then picks up the phone with his right hand. He closes his eyes - obviously in an attempt to remember a phone number. He opens his eyes and begins to dial the number. He is talking to himself as the call is placed.