Dangerously Close Page #3

Synopsis: Rebel without a cause or a clue at an elite but uptight High School discovers some of his classmates have formed an even more elite clique more or less hell-bent on ridding the school, and quite possibly American society, of what they deem to be its undesirables because of ethnicity, politics, etc. Our hero recruits a teacher and some other "less desirable" classmates to undermine the elitists, and, naturally, things get quite violent.
Director(s): Albert Pyun
Production: Media Home Entertainment
 
IMDB:
6.6
Rotten Tomatoes:
10%
R
Year:
1986
95 min
173 Views


Wake up.

You were out kinda late

last night, weren't you?

Guess so.

You look beautiful.

Listen, Donny, don't you think

it's time we have a little talk?

Are you listening to me?

Damn. I'm late.

What, the legs a little wobbly

this morning, son?

All right, just tell me something.

When the hell did you start drinking?

Donny, I'm talking to you.

Christ, Dad!

When are you going to clean this place up?

I'm tired of tripping over your sh*t!

Hey, need a ride?

Yeah, maybe I do.

Crazy night?

I don't remember much about it.

Guess I had too much to drink.

How're you feeling?

Not too good. I was pretty out of it.

Yeah.

Did I make a fool of myself?

You were just running around

naked for a while but...

I'm kidding. Think we all

got a little too drunk.

Ripper let loose a couple

of pops at a stop sign.

Stupid, but no harm done.

- Yeah...

- He gets a little crazy sometimes.

You saved my ass last night.

- Rulowski?

- We busted him for stealing

a couple weeks back, a real loser.

I didn't think you were gonna show up...

I showed!

What are you, their... their

little pet project?

Little Twinkie? They're gonna

turn the pool boy into a Twinkie?

Yeah, well I didn't think you

were going to show up, Krooger.

I showed, man! -Why don't

you give me a break?

No, you give me a f***ing break, man.

You got no balls!

Randy's got you tied

around his little finger.

What, do you think hanging around

with them is gonna get you somewhere?

He's using you!

You think that's funny, man?

I'm not f***ing laughing.

I got your message, Leon.

- What you talkin' about, McDevitt?

- Next time

you got something to say to me,

say it to my face, understand?

F*** you, man.

Understand me, Leon?

I don't know what you're talkin' about...

Hey, d'you get my message, Randy?

Come on, tough guy. Come on, p*ssy.

- Okay!

- Come on. Hey!

Halt! Hold it! All right, all right.

Get him, come on!

- Get out of here, McDevitt.

- Next time...

- Next time for you.

- F*** you!

- Come on.

- Get out of here!

Back off!

It's looking good, guys.

Why don't you finish up here

and go take care of the

front entry way, all right?

Perry, you got hall patrol tonight, right?

Yeah, I got it.

Brian, can I talk to you a second?

Sure. What's up?

We got a little business

tonight with Krooger.

Meet me at The Shelter

at four o'clock, okay?

I... I can't make it.

Why not?

I just can't make it, that's all.

What are you talking about, Brian?

Look, I don't mind doing this stuff.

That's one of the reasons

why I joined the Sentinels,

was to help out.

But the rest of it,

it's getting out of hand.

It's f***ed! We're messing with

other people's lives, Randy.

Almost got us killed last night.

Look, can't we just go back

to the way it was?

We can't go back, Brian.

It doesn't work that way.

You're starting to buy

your own bullshit, Randy.

I can't afford it.

Brian.

You know what happens

to deserters, don't you?

Don't threaten me, Randy. Understand?

Donny.

Hey, Brian.

Where's Hoffman?

Faculty meeting. What's up?

Look, are you going to see Krooger later?

I don't know. Why?

Look, just tell him to... just tell

him to watch out for himself, okay?

What are you talking about, Brian?

Look, I got to go.

Just tell him to be careful today, Donny.

You got to warn him. -What

are you talking about? Brian!

Brian, wait up! Brian!

You looking for someone?

No, no.

Look, Betsy, I'm sorry about the

little pool problem yesterday.

Why don't we just make love

and forget all about it?

No way, crud.

Hey, I got tickets to

the Dead Kennedys show.

- You want to go? No?

- No!

What about Barry Manilow?

Are you into Barry Manilow?

Get lost. Come on!

Okay, fine. What do you think

about the Chicago Bears?

The Chicago Bears?

Great.

Christ.

F***ing a**holes.

Goddamnit!

Piece of f***ing sh*t!

This's all I f***ing need right now!

Okay, f*** you! Let's see

what you do on your rims.

F***ing beautiful.

Have to goddamn change it.

Great! F***in'... Damn it!

Sh*t! Piece of f***ing sh*t machine.

Nice costumes boys. What is this?

Trick or treat?

What the f*** is this?

Nice doggie. F***!

No!

No!

You f***ing bastards!

Just leave me alone!

Move it!

Go on, motherf***er!

Go on! Move it, move it!

Go on, motherf***er!

Shouldn't smoke all that dope, Gomer.

F*** you.

Come on!

Let's go. Come on. Put it on.

No!

- Come on.

- No!

Wait till you see this f***er.

No!

Get it.

Don't do this! Don't do this!

Come on, come on. Get up there. Get up.

Get him up higher.

Okay, tie it! I want it tight this time.

Don't do this!

Don't do this, please!

Should have transferred out of

Vista Verde when you could.

A jokes a joke! God...

And a rose is a rose

and a sh*t is a sh*t, pal.

Please don't do this!

Okay. Count of three.

Don't... Don't do this!

One, three!

Come on, let's go.

You're a real f***ing tough guy?

You're a real tough guy.

How do you like this, are you

ready, tough man? You ready?

Hello, Mrs. Raines? Yeah, this is Donny.

Yeah, I know. School's

keeping us all pretty busy.

Mrs. Raines, is Krooger home yet?

No?

Well, could you have him give me a

call just as soon as he comes in?

Yeah, its important.

Yeah, I don't care how

late it is, that's fine.

Okay, thank you. Bye.

Coming mornings now, Donny?

Coming mornings. Yes, ma'am.

Enjoying the view?

Hey.

What's your problem?

I just don't feel like it. All right?

Yes, you do.

Come on, keep it moving.

Lets go.

Come on, there's nothing over there.

Hey, what's going on here?

Nothing going on, now just keep it moving.

Zander! Zander! Wait up.

Hey, you seen Krooger around?

We were just talkin' about headin'

up to Napa for that ska festival.

Maybe he left early.

Yeah.

I thought you were going.

No, I guess not.

Donny, you heard about Morgan?

No.

That was his body they found this morning.

We just found out about it.

Mr. Corrigan will be back in a second.

Okay. Thanks, Barbie.

This is really screwed.

What if they find out we messed with Morgan?

No one's going to find out anything, Lang.

As long as we all keep our mouths shut.

What's the big deal? Someone got rid of him.

Someone with balls.

Shut up, Ripper.

Hey, what about Brian?

What about him?

All right...

You've all heard that it was Black's

body that was found, right?

Now, there's no reason to panic.

He was alive when he left us,

so we're clean.

They might try to tie us in.

Well, then were just going to

have to turn the police around

and point them in another

direction, aren't we?

We approximate that Morgan

died eight days ago,

on November 15th.

Now you young people

are the student leaders.

You're the ones who knew him.

So if you have any information

that might help us,

or if you hear anything around

school, please, contact me.

Good. All right, thank

you, Detective Morelli.

Thank you, Paul.

Excuse me, Detective?

Yes.

I just wanted to say that,

we have a group here on

campus called the Sentinels.

Rate this script:0.0 / 0 votes

Marty Ross

Marty Ross is a Scottish writer, best known for his audio dramas for the British Broadcasting Corporation, Big Finish Productions and for the Wireless Theatre Company and 3Dhorrorfi. He is author of the 'Tartan Noir' thriller novel Aztec Love Song. He has had several plays performed on stage, mostly with an emphasis on Gothic horror and the surreal. He has dramatized stories by other Scottish writers such as James Hogg, Robert Louis Stevenson, and Sir Arthur Conan Doyle in his radio series The Darker Side of the Border. Among his influences are the work of Hammer Films and British science fiction dramatist Nigel Kneale. more…

All Marty Ross scripts | Marty Ross Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Dangerously Close" Scripts.com. STANDS4 LLC, 2024. Web. 25 Jul 2024. <https://www.scripts.com/script/dangerously_close_6292>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Dangerously Close

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is "exposition" in screenwriting?
    A The ending of the story
    B The introduction of background information
    C The dialogue between characters
    D The climax of the story