River's Edge Page #2

Synopsis: A group of high school friends must come to terms with the fact that one of them, Samson, killed another, Jamie. Reactions vary, as Layne is intent on protecting Samson and smuggling him out of the state, while others think it's best to go to the police. Matt's tough little brother also finds out about the body and no one knows quite how the police will learn about the murder or who will be blamed for it.
Genre: Crime, Drama
Director(s): Tim Hunter
Production: Island
  4 wins & 5 nominations.
 
IMDB:
7.1
Metacritic:
73
Rotten Tomatoes:
86%
R
Year:
1986
99 min
1,198 Views


You think so?

- No free food, Layne.|- Come on, Mike. I just came by to say hi.

- Hi.|- Hi.

Oh, no.

- You can't use my truck, Layne.|- Come on, Mike. It's important.

What's all this?

We're the newly appointed truant patrol.

Looking to capture and kill ten-year-old|runaway homeboys. Like you.

- Hear you're all gonna go see a dead girl.|- What do you know about a dead girl?

Me and John are close. Huh, John?

Yeah.

- Thinking of coming with you guys.|- No room. Both you guys, outta here.

John wants us to stay.

Don't you, John?

Nice try, Layne. Nice try, but forget it.

I won't let you do this to me again.|I promised myself.

- N-o spells nuh-uh.|- Mike.

No. No one drives that truck but me.

- Well, then, you drive it, then.|- Thank you. Thank you very much.

My supervisor's gonna kill me|if he sees me talking to you.

Now you want me to just walk out,|leave work, lose my job?

- I ain't got all day, you know.|- I know, Mike.

Some of us have to work, Layne.

- Is that it over there?|- That's just a log, man.

What, that?

It's a dummy. This is a joke.

We all came out here|for some stupid joke.

Oh, my God.

Oh, my God.

You're in trouble, dude.

No, man.

Nobody has to find out.

OK, listen up.

We've got a lot of people here.

We could bury her so she's never found.

Is anybody gonna help me?

Where are you going, Mike?|Get back here.

- I gotta get back to work, Layne.|- I said get back here, goddammit.

Layne, leave me alone.

- Let me go.|- We're dealing with a friend's future.

- He killed somebody.|- You're gonna bring her back?

He brings us out here|like it's some f***ing show.

We're here to deal with it.|Give me your keys.

No, dammit!

- You son of a b*tch.|- Layne.

- Leave him alone, Layne.|- What the f*** are you doing?

He doesn't have to stay|if he doesn't want to.

So me and John are gonna have|to do this all by ourselves, huh?

What the f*** are you doing?

She's heavy. Come on.

Are you coming?

You people are a f***ing test, I swear.

You nailed it.

- Sure you don't wanna come?|- Yeah, I'm tired.

- Hey, you, stubdick. Come here.|- Suck me.

I'm serious, Tim.

Keep your f***ing mouth shut, you hear?

- About what?|- You know. Tony told me you know.

Oh, the death.

Don't worry, I'm with you.

I'll trust you.

Why are you two such delinquents?

Because of our f***ed-up childhood.

- What are you doing?|- Taking my gun.

You gave it to me two months ago.

I gave it to you two months ago.

You pothead fuckbrain!

- I have to work tonight, honey.|- Miss work.

Don't smoke in the house.|Jim is sensitive to smoke.

Jim, Jim, Jim.

He pays the rent, Matt. He has|a right to his comfort. Where's Tim?

Outside being worthless. Why do you|let him play with that hoodlum?

Why do I let him? What am I gonna do?

Why do I let you|smoke dope in the house?

- Where did you get that, anyway?|- Don't worry, it's not yours.

- Will you come to Missy's funeral?|- I'll come.

- Hole.|- You're losing your touch.

It's the circuits inside.|The owners have 'em reconnected,

cos they know if I ever learn this machine,|I'll take control of the f***ing universe.

So what's gonna happen?

I'll put a quarter in this machine|and murder it.

No, no, with John and all that.

Nothing's gonna happen. I'll tie up|a few loose ends tonight and...

- nothing's gonna happen.|- That's it?

He murders Jamie and we just ignore it?

He had his reasons.

She was shooting her mouth off|about his mom.

- His mother's dead.|- Yeah. See?

He's got a couple loose springs|when it comes to his dead mother.

But he's bragging.|It's like he wants to get caught.

He's not gonna get caught, because|no one's gonna tell. Isn't that right, Tony?

- I wouldn't nark.|- Don't you think...

I think we should just quit talking about it,|cos some potential fink could be listening.

- That's what I think, right, Tony?|- Sure thing, man.

OK. Clarissa.

Wouldn't want John hearing you|shoot your mouth off about it, right?

- Bullshit. Layne's full of bullshit.|- There's the phone there.

He thinks he controls us. Thinks because|he says something, we have to do it.

- We usually do.|- Well, this isn't right.

I don't care if it was John, or who it was.

There's the phone.

What makes John more important than|Jamie? Wasn't Jamie our friend too?

- I've known her since kindergarten.|- Here, here's a quarter.

He's dangerous. It could have been you or|me dead now. He probably raped her, too.

Here.

- Who do I call, anyway?|- The police, I guess.

- I don't know the number.|- Call the operator.

- You do it.|- I don't know what to say.

Here, I'll dial and you talk.

Damn him, anyway.

Everybody that's been exposed|to the infection stays here. You too.

- Me? Well, what do you mean?|- You're quarantined.

Why, that's ridiculous.|I won't stand for it.

It's meningitis.|Just a kid's disease, isn't it?

Hardly. It hits all ages.

Matt.

I can't get the damn thing|to stand up straight.

Don't cuss.

Sh*t, that's Layne.

- Tell him I'm not here, OK?|- OK.

- He's not here.|- Yeah? Where'd he go?

- To buy an egg. Goodbye.|- Hold on there, little lady.

- I said he's not here.|- I believe you. Can I use your phone?

- No.|- Your mommy and daddy home?

Mommy's at work, Jim's at a bar.|I don't have a daddy.

Oh.

Thank you, Samson.|Will you read to me later?

What tonight?

Cat in the Hat. No, Green Eggs and Ham.

Sure thing, Aunto.

Yeah?

Fixing Aunto's dinner.

Yeah.

No.

No, no. I have to read to her later.

Jesus, Layne, don't worry about it.|It ain't that important.

Ain't important?

They're gonna nail you, dude.

I've known you for too f***ing long|to let something like that happen to you.

F*** you, then. I'll do it myself.|And I'll be expecting a sixer for this.

What I do for my f***ing friends.

Good work.

Sh*t.

Hello?

Just a sec. It's Clarissa.

- Do I tell her you're buying an egg?|- No.

- Is it your girlfriend?|- Get out.

Hello? Clarissa?

That's right. Just called to see what's up.

Nothing much.|I was just helping my sister with, uh...

- With what?|- Nothing.

I didn't see you at the arcade today.|Figured you had something going on.

Yeah.

You probably want to get back|to whatever it is you're doing.

- No, I can talk.|- No, no, you're busy.

I was just sitting around,|figured I'd call you.

You know how it is. Nothing important.

- I'll see you tomorrow, Matt.|- Yeah, I'll see you, Clarissa.

I'll be there in a second, OK?|You go in now, all right?

You'd think I'd at least rate a Michelob.

- Don't be an ingrate.|- You're calling me an ingrate?

I never asked you to do it, Layne.

A friend doesn't have to ask a friend|to do something like that.

Urgh, it's warm, even.

You don't even care, do you?

- I ain't drinking it.|- About yourself, you dumb f***.

How do you expect other|people to care about you?

It's people like you that are sending|this country down the tubes.

No sense of pride, no sense of loyalty,|no sense of nothing, man.

Why do you think there are so many|f***ing welfare cases in this country?

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Neal Jimenez

Neal Jimenez (born May 22, 1960) is a screenwriter and film director, best known for the 1986 film River's Edge. He was a member of the dramatic jury at the Sundance Film Festival in 1994. He won Independent Spirit Awards for Best First Feature and Best Screenplay for The Waterdance.Jimenez attended UCLA School of Theater, Film and Television. In 1984, while a film student, he went hiking with some friends and slipped on a rock, falling twenty feet into a shallow pool below. He was initially paralyzed from the neck down but subsequent surgeries restored movement to his upper body and he has been a paraplegic since. The film The Waterdance, which he wrote and co-directed, was partly based on his experience in rehabilitation. He is of Mexican American descent. more…

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Submitted on August 05, 2018

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