The Fury Page #3

Synopsis: A secret US agency behind the unscrupulous Childres gathers children with parapsychologic abilities and trains them to become killers in war situations. To rescue his son, who was officially declared dead after an arranged accident, the ex-CIA agent Peter investigates against Childres.
Genre: Horror, Sci-Fi
Director(s): Brian De Palma
Production: Fox
  1 win.
 
IMDB:
6.4
Rotten Tomatoes:
80%
R
Year:
1978
118 min
274 Views


the son of a b*tch.

Somebody's after you, is that it?

What do you suppose

he's telling those cops?

Whatever it is,

they won't believe him.

I worked for a government agency

you never heard of.

They took my son away from me.

They needed him,

so they just took him.

Keep your hand in your lap, Marty.

It's a frightening power

these people have.

They can make anybody disappear

any time.

- Somebody's gotta stop 'em.

- Yeah, that's right.

If you don't mind me making a suggestion,

maybe we can help.

Yeah. You see, Marty and myself

have had a lot of experience with...

- People like kickin' people around.

- Harassin' them.

I got an idea.

Why don't we stop for some coffee?

Don't stop! Let's get the hell off this drive!

We're like sitting ducks here!

Easy, man. We're on your side.

We're just tryin' to help.

Chase One to Top Guy One.

We've got him on the Lower Drive. Copy?

Chase One, copy.

We're right above you.

Two sedans have been following us,

standard government issue.

- He's right about that...

- Bob!

- I want you to lose those cars.

- Lose? How do you suppose l...?

There's a construction site

over the bridge.

When we get there, I want you to follow

my instructions exactly, understand?

Bob...

If they can make me disappear,

they can make you disappear too.

Chase cars...

Pull up alongside the Cadillac.

Let's find out

what Peter has in mind.

Something's goin' on here.

Do they look like Feds to you?

Who knows?

Peter, I'm worried about that gun goin' off

by accident if we hit a bump.

Got something to worry about.

Across the bridge

when the light changes?

We're not gonna wait

for the lights to change, Bob.

- We're not?

- Go!

Oh, God, please, God,

don't let anything happen to my new car.

Chase One to Top Guy One.

He's crossing bridge into fog.

Losing visual contact.

They're finished. Let's go home.

That son of a b*tch!

- Hey, watch where you're goin'.

- I can't see anything in this soup.

- Which way?

- I don't know.

- You go straight and I'll go left.

- All right.

- Now what?

- Dunno.

Hear anything?

I don't know. Do you?

Yeah, I definitely hear something.

(Car horn)

Chase One,

we're in pursuit of the Caddy!

I see him.

I see him.

He's over there, around to the right.

- Jesus!

- How the hell was l...?

(Car horn)

There they are.

Go on, get movin'!

(Peter) All right, get out.

Both of you!

Leave the motor running.

- I can't believe it. Not a scratch!

- Throw your pieces in the lake.

What are you gonna do now, Peter?

If you see Childress,

ask him if it was worth his arm.

What happened to his arm, Peter?

I killed it with a machine gun.

- Hey, Peter, now wait...

- Tell Childress to follow me!

I want him to follow me this time!

Not in my car, man.

- Watch out, Bob!

- Peter, let's talk about this!

Gillian, I know you're upset,

but it's silly.

I was told Cheryl has a history

of nosebleeds.

An ice bag stopped the bleeding.

But what I'm trying to tell you is:

I made it happen.

- Oh, that's impossible.

- What about when you started bleeding?

Remember,

a couple of weeks ago?

You said the cut was healed,

and it opened right up. Don't!

Why not?

Cos it could happen to you.

Gillian, I've had a long flight,

and I'm very tired.

- I want you to stop carrying on like this.

- Don't be mad at me.

Sweetheart, I'm not.

I always thought we could

tell each other anything, no matter what.

We can.

Mother, I love you.

I'm afraid!

- Afraid to let me touch you?

- Yes.

Honey, I'm home and I'll stay here

just as long as you need me, I promise.

But what we really should do now

is talk to someone.

And Steve Brenneman

has had wonderful success...

I'm not going to a psychiatrist!

(Phone rings)

- Hello?

- (Heavy breathing)

Oh, it's you.

(Coughing)

Oh, that was a good one.

Really passionate!

'I... I need...'

Listen, I'm a nurse,

and if my phone's tied up

and they can't get hold of me...

So, maybe you could breathe

for someone else tonight.

I... I need...

I need... I need your body, baby!

'Come on, baby, it's me!'

Oh, my God!

Why do we always

have to meet in this van?

Couldn't we go to my place,

just this once?

(Peter) Too dangerous.

Well, for the sake of argument,

let's assume that everybody

at the institute has their phones tapped.

Nobody's watching me,

for heaven's sakes.

They're always watching.

Raymond Dunwoodie was a psychic.

If he'd had enough time,

he'd have found Robin.

But Childress was watching him.

How else do you think they got to me?

Why are you so afraid of this guy?

I'm not afraid of Childress.

He's afraid of me.

He knows I'll get my son back.

Now what about those files?

Aw, I'm nobody.

I just work there.

I don't have access

to any vital secrets.

You mean, you didn't get a chance

to examine the files at Paragon?

- Yes, I did.

- And?

Robin is...

- Well, he's...

- Dead.

- According to the records...

- Of course that's what they say!

- Childress keeps the records!

- What if it's true?

Hester, look at me.

I'm proof.

Proof that my son is alive, else why would

Childress be so anxious to put me away?

They've got him somewhere.

You're the only one

who can help me.

How long did you follow me around

before taking a chance on me?

Too long.

Thanks.

Thanks for pickin' me.

Oh, Hester, you don't realise

how beautiful you really are.

Somewhere they're doin'

a hell of a lot of research.

Much more complicated

than Paragon.

God only knows

what they're doing to my son.

Peter, if Robin is still...

I promise I'll do everything I can

to help find Robin.

But you take too much for granted.

You trust too many people.

Paragon Institute!

It sounds like a haven for quacks.

- But their references are good.

- It's right up there on the left.

Gil, the more I think about it,

the more I'm convinced this is not

an appropriate course of action.

Mother, I like Dr Lindstrom.

Anyway, I'm old enough

to know what I'm doing.

Well, I don't intend to let you stay here

until they've answered a lot of questions,

- and I mean that, Gillian.

- OK.

- Hi, Gillian.

- Hi.

- Mrs Bellaver, I'm Ellen Lindstrom.

- How do you do?

- Please come in.

- Thank you.

Dr McKeever is busy monitoring a test,

but he should be with us shortly.

- Maybe you'd like to look around.

- Thank you.

I've been here before.

This was Babe Gifford's house.

Yes, we bought the house

from the Giffords.

It was so beautifully furnished,

we tried to make

as few alterations as possible.

As a matter of fact,

Gillian's suite is particularly attractive.

I don't understand

why you want Gillian to stay...

That was my idea, Mrs Bellaver.

Gillian and Katherine Bellaver,

this is our director, Jim McKeever.

How do you do?

- Gillian.

- Hi.

Young people

stay with us all the time

while they help

with our evaluation programme.

Thanks, Ellie.

We can do a better job

of judging psychic ability

if there's a minimum of distractions.

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John Farris

John Lee Farris (born July 26, 1936) is an American writer, known largely for his work in the southern Gothic genre. He was born in Jefferson City, Missouri, to parents John Linder Farris (1909–1982) and Eleanor Carter Farris (1905–1984). Raised in Tennessee, he graduated from Central High School in Memphis and attended Southwestern College (now Rhodes College) also in Memphis. His first wife, Kathleen, was the mother of Julie Marie, John C. and Jeff Farris; his second wife, Mary Ann Pasante, was the mother of Peter John (P.J.) Farris. Apart from his substantial body of fiction, his work includes motion picture screenplays of his own books (i.e., The Fury), original scripts and adaptations of the works of others (such as Alfred Bester's The Demolished Man). He also wrote and directed the film Dear Dead Delilah in 1973. He has had several plays produced off-Broadway, and also paints and writes poetry. At various times he has made his home in New York, southern California, Puerto Rico, and most recently near Atlanta, Georgia. more…

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Submitted on August 05, 2018

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