The Scavengers Page #5

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
49 Views


Marion and I run around.

We know too much.

Even more than O'Hara.

- Don't underestimate

me, Allison.

I don't make too many mistakes.

I will admit that bringing

a junkie like your wife

into this organization

was rather stupid.

But then, you should know

better than most people

that she can be a barrel of fun

when she wants to be.

I don't think we

have anything more

we need to talk about.

- I've met a lot of

guys in your business.

But never have I met

anybody who's enjoyed

it as much as you.

You've had your kicks with

me, Marion, and O'Hara.

I think it's time you paid

us a small down payment.

(dramatic music)

(groaning)

Don't make any noise or I'll--

May get the police down on us

and we'll have a lot

of questions to answer.

(dramatic orchestral music)

(slow orchestral music)

- Stu, I've been thinking.

Are the bonds really

very important to you?

- Why do you ask that?

- Well it's just, they

don't know where we are now,

but they'll stop looking for us.

If we stay here much longer--

- We're not gonna

be here much longer.

We're getting out tonight.

- Why can't we leave

right now this morning?

- Without the bonds, you mean?

- It doesn't really

matter, does it?

The important thing is the

two of us get away from here.

Get someplace where

they'll never find us.

- Marion, I don't

understand you.

It's only at your account that

I got myself into this thing.

- I know, I know.

But what seemed so

terribly important to me

just a short time ago

doesn't mean anything anymore.

All I want is you.

I know that now.

I need you, Stu.

I'll never leave you again.

- You never give up, do you?

- Don't you believe me?

- How can I?

Have you ever

given me one reason

to believe you?

We need the bonds.

We need the money

to get as far away

from Wu and his bunch as we can.

They'll never stop

looking for us.

- It's not worth it.

- I didn't make the

choice, you did.

- [Marion] Nothing's

changed then?

- Just one small difference.

We'll be together.

And Marion'll make

two phone calls.

One to her hotel to

tell them to deliver

her luggage to the Chief Steward

of the President Tyler.

The other to the storage company

to tell 'em to do the same

thing with the crates.

And the President Tyler

doesn't start loading

cargo until early

morning so I don't think

the crates will be

there before that.

Then I go downtown and I

get two first class tickets

on Philippine Airlines.

Before I do that, I make

sure I'm being followed

by one of Taggert's crowd.

- The idea of course

is to make them think

that you're going

to be on the plane?

But I don't follow.

- Let me finish.

We're not going

out on the Tyler.

And we're not going out

on Philippine Airlines.

We're leaving

tonight on your boat

and board the Boston at Macao.

We meet your boat at

China Bay at 1:
00 a.m.

That'll be your chore

for this evening.

- What about embarios?

- Well that's the tough part.

We have to break into

the storage house.

They've only got

one night watchman.

I've already checked that.

And the back lock in the place

shouldn't be too tough to break.

It'll be a risk all right.

- Not too much for Puan.

Storage houses at the bank.

Sounds full proof to me.

- Well let's hope so.

We'll meet tonight at

10:
30 at Wing Wu Street.

I don't want you girls to

leave the house while I'm out.

- Sorry, I guess I'm

still a little weak.

- Maybe you'd better

get some rest.

- I think I will.

You take care of yourself.

(daunting, dramatic

orchestral music)

(man speaking in

foreign language)

- OK let's get started.

I want you two girls

to sit up front.

Now if you see

anything suspicious,

even a patrol car,

I want you to give

three short blasts on the horn.

I'm gonna be in there

about a half hour

so don't panic.

- Stu, I want you--

- What is it Marion?

- Nothing.

Please be careful.

- Try not to worry.

We'll be out in a short while.

(dramatic orchestral music)

(popping)

(engine running, whistling)

(daunting, suspenseful

orchestral music)

Wait here.

(dramatic burst)

(bouncy, suspenseful music)

- Stuart?

(gunshot)

(suspenseful music)

- We'll have to walk

back to the car.

(dramatic orchestral music)

We've got to get

you to a doctor.

You're not going--

- No.

House, get to house.

- But there's a 20 minute

drive to your house.

You're losing a lot of blood.

- The house.

Like Roscoe and my brother.

(dramatic music)

- Hello, American cigarettes.

Buy eight pounds, $2.10.

(man speaking foreign language)

- No, no.

- No, cheaper and

special quality.

Very good Scotch whisky.

Have good Scotch whisky.

Cheaper than store,

same quality.

(suspenseful orchestral music)

(doors slamming)

- Please go on into

the house, Mr. Allison.

The key, please.

Put down that telephone.

- [Stuart] This man

is seriously wounded.

He needs help right away.

- It will have to

wait, I'm afraid.

Stand over there

by the stairway.

(speaking in foreign language)

(footsteps)

You have probably guessed that

I'm General Wu, Mr. Allison.

You have caused me

no end of trouble.

Where's Mrs. Allison?

- She's not here.

- That is not what I asked you.

- I don't know where she is.

She ran out on us

at the warehouse.

- You won't gain

anything by lying to me.

- I'm not lying.

She left some things in the car.

You can see for yourself.

- The chase never ceases.

It has been eight

years now for me.

Ambition.

Imagination.

Daring, are never enough.

One needs patience.

Infinite patience.

(footsteps)

(men speaking in

foreign language)

It was a mere stroke

of luck my finding you.

When Mrs. Allison

disappeared from her hotel,

you were the main

suspect of course.

But you were

nowhere to be found.

It was only late this

evening that I learned

of your friendship

with a gentlemen there.

I came only to interrogate him.

Think of that.

If you had found

the bonds tonight,

I very likely would never

have caught up with you.

- Glad you got the bonds now.

- But I don't have them.

- [Stuart] What

are you telling me?

I saw your men at the warehouse.

- That was the

ambitious Mr. Taggert

living up to my

expectation of him.

A pathetic waste of effort.

- What?

- The bonds are not in

those crates, Mr. Allison.

As an avid student of

diversionary tactics,

you should have expected that.

Although I needed

their services,

I never felt able to trust

Mr. Taggert or Mrs. Allison.

Therefore when I sent them here,

I give them a complex

set of instructions

designed to make them believe

that the bonds

would be concealed

among a collection of

curios that I had instructed

Mrs. Allison to buy at

an auction in Macao.

But the plan was actually

much simpler than that.

Before Mrs. Allison left Japan,

I gave her a small

going away present.

A travelling trunk.

Unknown to her, the

trunk was equipped with

a cleverly devised

secret compartment

just large enough to

accommodate the bonds.

The bonds were placed

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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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