NBC is looking to the 1980s for its next hit.

The network is plotting a modern remake of 1985's St. Elmo's Fire and has handed out a script sale for the new take on the 1985 Brat Pack feature.

The potential series is described as a modern adaptation of the Joel Schumacher-directed film that showcased a group of close friends struggling with career, commitment and the responsibilities of adulthood.

Josh Berman (Drop Dead Diva, The Mob Doctor) is on board to pen the script and executive produce via his Osprey Productions banner. Chris King will also be an EP.

The drama hails from indie studio Sony Pictures Television, whose film arm, Columbia Pictures, distributed the original pic. This is the second time Sony has attempted to reboot the film. The studio first tried to do a contemporary take back in 2009 (10 years ago this week, coincidentally) that found Schumacher, Topher Grace, Dan Bucatinsky and Jamie Tarses attached, with Bucatinsky set to pen the script. That project, which landed at ABC after a bidding war, used the movie as a jumping-off point to introduce six new friends.

The original film starred Emilio Estevez, Rob Lowe, Andrew McCarthy, Demi Moore, Judd Nelson, Ally Sheedy and Mare Winningham and revolved around a group of Georgetown University graduates as they adjusted to life and adulthood after college. Produced for a budget of $10 million, St. Elmo's Fire grossed $37.8 million domestically. Schumacher wrote (alongside Carl Kurlander) and helmed the feature, which was produced by Lauren Shuler Donner. The film is also well-known for its soundtrack, which featured a memorable theme song, "Man in Motion," by John Parr.

The castmembers of St. Elmo's Fire, alongside 1985's The Breakfast Club, were coined "The Brat Pack" for their work in the two coming-of-age movies. The core members of the group included Estevez, Anthony Michael Hall, Lowe, McCarthy, Moore, Nelson, Molly Ringwald and Sheedy.

The project is among the early script orders to emerge as this development season has gotten off to another slow start. The big difference this season is that the networks are dealing directly with writers and studios and without agencies as the WGA and ATA continue their ongoing battle over packaging fees and affiliated studios.