The Scavengers Page #4

Synopsis: This low-budget Asian-set adventure concerns The reformed smuggler Stuart Allison finds his missing wife Marion in Hong Kong. Marion has fallen in with a bad crowd and is involved with narcotics and stolen government bonds, requiring Stuart to extricate her from her woes.
Director(s): John Cromwell
Production: Valiant Films
 
IMDB:
5.8
Year:
1959
79 min
51 Views


- [Marion] Who is it?

- It's me, Stu.

- [Marion] Stu. Wait.

(banging)

(melancholy orchestral music)

- What did he do?

- He beat me with a belt.

He said next time he'd kill me.

- Why'd he do it?

- He said he would if

he caught me again.

Oh Stu, help me.

He took it away.

Get me some.

It'll be the last

time, I promise.

- What is it, cocaine?

- Don't you understand,

I'm all twisted up inside.

And frightened.

- How long have you been on it?

- Oh Stu, you were so right.

Take me back, I need you.

I'll be whatever

you want me to be.

- I'm getting you out of here.

- Will you help me?

- Yeah I'll help you,

but you better change.

You think you can manage?

- Yes I'll go right now.

Oh thank you, Stu.

You'll never be

sorry, I promise.

Gotta go before he comes back.

(footsteps)

(daunting orchestral music)

- It's past supper

time, are you hungry?

- You think something

might have gone wrong?

- I'm trying not to think.

I suggest you do the same.

(car engine buzzing)

Were you followed?

- Unless you would follow

without headlights.

- Oh Stu is it--

Have they got it?

- Let's go downstairs.

- [Voiceover] I'll

be in the front room.

- Where is he going?

I thought he had it down here.

Did he--

- He hasn't got any Marion.

- You promised me, Stu.

You said you'd help me.

- I'll help you.

But not get another fix.

Not now or ever again.

- What did you

bring me here for?

- To get you away

from your friends

and ask you a few questions.

- [Marion] Let me go.

You dirty hypocrite.

You think you can

get away with it?

They're gonna run

you down and kill you

and I'm going to

watch 'em do it.

You're gonna get the same thing

that sneaky little

friend of yours got.

- So you figured O'Hara?

(smacking)

You're a murder too on

top of everything else,

you're a murderer.

- [Marion] Oh Stu,

I didn't mean that.

- Get up.

- [Marion] I didn't know

they were gonna kill him.

- Get up.

- Oh Stu! I didn't know until--

(incoherent murmuring)

- The guy who was

with you tonight.

- He said it had to be done.

He said O'Hara found out

where the bonds were.

- Inside one of your

crates at the warehouse.

(gasps)

- You know?

- Sure, that's why he

wanted to have me killed.

- Stu believe me, I didn't know.

They just said they were gonna

throw a scare into you.

- Where's General Wu, Marion?

- I'll tell you anything

you want to know.

Only please help me.

I've gotta have it, I beg you.

- Where is General Wu?

- Taggert thinks he's dead.

He said we'd keep the

bonds for ourselves.

I never wanted to have

anything to do with him.

But they made me work with him.

- How did they make you?

- The same way you're

making me talk right now.

Oh Stu.

Stu, please.

We were sent here separately.

Taggert was supposed

to watch me,

but never be seen with me

unless it couldn't be helped.

After I'd picked up the bonds,

we were supposed to

wait for a contact.

Oh Stu.

Please, don't

punish me like this.

You want me to die?

- You won't die.

You better get some rest.

- Stu, wait!

I'll tell you everything.

There's more.

I'll tell you anything

you want to know.

Do you want the bonds?

They're yours.

All of them.

Please!

Don't leave me here.

Let me out!

Help me.

That's a laugh, ha.

Fine, straighten me out.

Wipe out all the last six years.

I've known a lot of men

since I left you, Stu.

Did you know that?

The General and Taggert too.

Did you know that?!

Let me out, let me out!

(crying)

(slow orchestral music)

- I've been very happy

with you, Stuart.

I'm sorry I can't help you now.

(footsteps)

(door shutting)

(slow orchestral music)

- Marion, there's something

I want to tell you.

I never really had a

chance to know each other.

I knew that when I married you.

When you left me I gave

myself a lot of reasons

to go on looking for you.

I suppose I would've

kept on believing in them

if I hadn't found

you, but I found you.

And know why I had to.

You said it yourself, we

had a good thing once.

But you always wanted more

than I could give you.

And now you got your big chance.

But you're not well.

These people you're mixed

up with are killers.

Playing over your head.

So I'm gonna help you Marion.

I'm gonna help you beat

'em at their own game.

You're gonna have

everything you ever wanted.

- All for me?

- For both of us.

From now on we'll be together.

I've thrown away six years of

my life and I want 'em back.

- What do I want, Stu?

Do you know?

Once I thought I did.

But you could look so long.

So hard.

But you forget.

Do you love me?

- I love you.

- Hold me?

Stu, I'm so tired.

I'd give anything in the

world if I could just

stop running for a little while.

You'll stay with me, won't you?

Promise me, you'll stay with me?

- [Stuart] I won't leave you.

- I love you, Stu.

I love you.

(footsteps)

- Hello, Mr. Allison.

- [Stuart] Ms. Kramer call you?

- Yes sir, I've sent the maid

up to pack up her things.

We've been keeping this for her.

I hope Ms. Kramer

wasn't unhappy here.

- Oh it's not that, Jimmy.

It's just that some friends

came in from out of town.

She had to leave

all of a sudden.

- [Jimmy] I see.

What about the luggage?

Would you like to wait for them

or shall we send them

over where she's staying?

- I might as well wait, Jimmy.

I'll pick 'em up later, Jimmy.

- Any time, Mr. Allison.

- If you have a moment,

I'd like to have a

little chat with you.

I think the bar would be

rather more private, all right?

By the way, my name is Taggert.

Mike Taggert.

Beer for me.

Allison?

- What's the deal?

- That's strange.

I was just about to

ask you the same thing.

- Don't you know?

- Allison, you're

surely not stupid enough

to think that you can

get away with this?

- I don't know.

I've been doin'

pretty good so far.

- We are a very efficient and

well connected organization.

These bonds you see,

they're sort of a

fee for eight years

of very hard and

confidential work.

- Very legitimate.

Like setting up dope outlets

for the Chinese Reds.

- That sort of wild

thinking can get you

into a lot of trouble.

I sincerely advise you

to stop as fast you can.

- That's a very nice thing

to have, a sincerity.

- I'm a businessman, Allison,

and as a businessman,

am prepared to make you

a very generous offer.

I do not want to see this deal

get into a bigger

mess than it's in now.

And so therefore, I will

offer you $10,000 cash

for that claim check that

you have in your pocket.

And furthermore, I'll throw

Mrs. Allison into the bargain.

- And a safe passage for the

both of us out of Hong Kong?

- [Taggert] Naturally.

- I don't know what

you do for General Wu,

but it's plain to see you

don't do his thinking.

Only a fool would

expect me to go for

a tired bill of goods like that.

- I have the cash here.

- Well then hire

another native gunman.

That'd make more sense.

And don't stop being sincere.

You can't afford to let

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Eddie Romero

Edgar Sinco Romero (July 7, 1924 – May 28, 2013) was a Filipino film director, film producer and screenwriter. Romero was named National Artist of the Philippines in 2003, and his body of work delved into the history and politics of his country. His 1976 film Ganito Kami Noon…Paano Kayo Ngayon?, set at the turn of the 20th century during the revolution against the Spaniards and, later, the American colonizers, follows a naive peasant through his leap of faith to become a member of an imagined community. Aguila situated a family’s story against the backdrop of Filipino history, while Kamakalawa explored the folklore of prehistoric Philippines. Banta ng Kahapon, his "small" political film, was set against the turmoil of the late 1960s, tracing the connection of the underworld to the corrupt halls of politics. His 13-part series Noli Me Tangere brought Philippine national hero José Rizal's novel to a new generation of viewers. Romero directed some critically acclaimed war films in the early 1960s, such as Lost Battalion (1960), The Raiders of Leyte Gulf (1963) and The Walls of Hell (1964). Along with Filipino-language (Tagalog language) films, he made English-language films that became cult classics, like Black Mama, White Mama, Beast of the Yellow Night, The Woman Hunt, Beyond Atlantis and The Twilight People and worked with American actors like John Ashley and Pam Grier. Romero's films, the National Artist citation stated, "are delivered in an utterly simple style – minimalist, but never empty, always calculated, precise and functional, but never predictable." Quentin Tarantino drew on Twilight People as an inspiration for his "grindhouse" homages.Romero is especially known to horror film fans for his three "Blood Island" films from the late 1960s - Brides of Blood (1968), Mad Doctor of Blood Island (1969) and Beast of Blood (1970), which he directed and co-produced. Romero later called his American-financed “cult” films – including the “Blood Island” series – “the worst things I ever did”. When the kung fu craze started in the 1970s, Romero turned his back on the international market for Filipino films which he had virtually created. After 1976, he made smaller, more personal "art" films in Tagalog.Romero was born on July 7, 1924 to Jose E. Romero and his first wife, Pilar Guzman Sinco. Married to Carolina Gonzalez, Romero was also for a time the partner of actress Mila del Sol. He had three children: film director and MTRCB board member Joey Romero, Ancel Romero and Leo Romero. Eddie Romero was an alumnus of Silliman University. He died on May 28, 2013. He had been suffering from prostate cancer when he developed a blood clot in his brain more…

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Submitted on August 05, 2018

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