[THEME MUSIC PLAYING]
[ENGINE REVVING]
[BELL TOLLING]
The plane! The plane!
[WOMEN GIGGLING]
- Good morning, boss.
- Good morning, Tattoo.
Let's go.
Smiles, everyone! Smiles!
[♪♪♪♪♪]
TATTOO: Boss,
that's Clay Garrett!
I saw him on TV.
He's the star of True
World Adventure.
ROARKE: Yes, Tattoo.
And the attractive young
lady is Miss Kerry Dawson,
his researcher and scriptwriter.
The gentleman with the camera
is Mr. Tom Spencer,
Mr. Garrett's partner.
-Boss. -Hmm?
We are on TV. Say "cheese."
Are they here to film one
of their true adventures?
Yes, but I'm afraid true
adventure tempts fate itself
and almost certainly
will imperil all their lives.
You see, Tattoo,
Miss Dawson's fantasy
is to solve a
world-famous mystery
that occurred
nearly years ago.
What mystery?
A noted flyer and
explorer of that time,
a Miss Wilma Dietrich,
disappeared with her plane
while flying near here in an area which
became known as the Devil's Triangle.
So Miss Dawson wants
to duplicate that flight?
Precisely. And there
is, unfortunately,
the complication of
another kind of triangle.
You mean, a...
Yes, Miss Dawson
is totally unaware
that both Mr. Garrett
and Mr. Spencer
are deeply in love with her.
ROARKE: Mr. Charles Raines, a
mailman from Templeton, California.
He is a jazz enthusiast who used
to play with a high school band.
What's his fantasy, boss?
He wishes to play a very
special kind of jazz, Tattoo,
play it perfectly,
play it as it was conceived back
in the early days in New Orleans.
You mean like Bix Beiderbecke,
Jelly Roll Morton,
and Louis Armstrong?
Yes. And in particular,
a Mr. Camptown Dodds.
But I doubt if Mr. Raines realizes
the possible dangers of his fantasy.
What danger? How can he
get hurt listening to music?
Jazz was born in a
stormy era, Tattoo.
Its vitality reflects many
passions, love and laughter,
but also the pain and
v*olence of those times.
Mr. Raines will never
really understand the music
unless he experiences
all those emotions himself.
My dear guests, I am
Mr. Roarke, your host.
Welcome to Fantasy Island.
I am asking all of you, but especially
Miss Dawson, to reconsider your plans.
Oh, come on, Mr. Roarke.
We're the team that
survived storms, wild animals,
and once, a remote island tribe
had us penciled in
for their dinner menu.
-[CHUCKLES] -KERRY:
Clay's right, Mr. Roarke.
So, as they say, let's
get the show on the road.
However, I remind
all of you that in
re-creating the exact
meteorological conditions
that existed years ago,
when Miss Dietrich disappeared,
I have also had to re-create
whatever unknown
phenomena existed at that time.
Well, we wouldn't
have it any other way.
Then you have only to get into
the rover, follow that trail over there,
and your fate will be
in your own hands.
That's all?
That's all.
This trail has got to end at a
landing strip. That's the only answer.
What I'm worried about is video
equipment. I should be taping all this.
Hey, we do what Mr. Roarke
said, it'll all work out fine.
-Have a little faith. -Hmm.
[ENGINE WHIRRING]
Well, you couldn't wish
for a smoother takeoff,
courtesy of Mr. Roarke.
Do come in, Mr. Raines.
Please have a seat, won't you?
You look troubled.
Well, to tell you the truth,
I think I'm a little scared.
Of what, may I ask?
Well, maybe of...
Of actually having
my fantasy fulfilled.
Actually meeting Camptown Dodds.
You see, I'm just an amateur.
I haven't played an
instrument since high school.
Perhaps you should have been a
professional musician yourself, huh?
No, no.
I'm realistic about
one fact, Mr. Roarke.
And that is, I don't have
a real talent for music,
except listening.
Well,
I'm sure we can do
something about that.
After all, this is your
fantasy, Mr. Raines.
ROARKE: Take it.
A cornet?
I don't play horn.
Try it, just a few notes.
Try it, Mr. Raines.
[PLAYING OUT OF TUNE]
He's right, boss,
he cannot play horn.
Well, however, take the
instrument along anyway.
Perhaps you will improve.
Now, if you'll come this
way, Mr. Raines. Tattoo.
ROARKE: Thank you, Tattoo.
You'll be less
conspicuous in that clothing.
These?
It was a flamboyant
period, Mr. Raines.
[BAND PLAYING "WHEN THE
SAINTS GO MARCHING IN"]
Well now, boy, are you
going to play that thing
or are you going to stand
there and look pretty?
[STAMMERING]
Well, I... I don't...
Come on now, brother.
Blow. Blow for old Camptown.
As a matter of fact, blow nice
and sweet for my friend here,
so he'll know that you're
sorry that he's gone.
And gone on to a
better place than this.
Camptown Dodds?
At your service.
Okay, let's hear it, sport.
All right. You asked for it.
[PLAYING "WHEN THE
SAINTS GO MARCHING IN"]
[LAUGHING]
Oh, don't stop!
I declare, Billie Joe, we done found
ourselves a new horn man, sure enough.
New is right,
Camptown. New is right!
Well, come on,
handsome. Let's strut.
[BAND PLAYING "WHEN THE
SAINTS GO MARCHING IN"]
MAN: Hey, Lieutenant, you can get rid
of Camptown. Just frame the new guy.
I don't get it.
These headings that
Mr. Roarke marked on the chart
lead straight to nowhere.
Take a look at this
compass. It's swinging all over.
That thing's gone crazy.
It's not the only thing
that's going haywire. Look.
What's going on?
I don't know.
Clay, you're going
to tear off the wings.
This baby's got a
mind of her own.
I can't pull her out!
Around here, somewhere, they
lost contact with Wilma Dietrich.
She was never heard from again.
Mayday! Mayday!
[BUTTONS CLACKING]
The radio's dead.
Clay, look! Over
there, there's an island.
CLAY: I'll try to get us there.
Right rudder, Kerry. Help me.
CLAY: Hard!
We're going in.
Hold on.
BILLIE JOE: ♪ Won't
you come along with me
♪ To the Mississippi?
♪ We'll take a boat
to the land of dreams
♪ Steam down the
river down to New Orleans
♪ The band's there to meet us
♪ Old friends to greet us
♪ Where all the light
and the dark folks meet
♪ Heaven on earth
They call it Basin Street
♪ Basin Street
♪ Is the street
♪ Where the elite
♪ Always meet in New Orleans
♪ Land of dreams
♪ You'll never know
how nice it seems
♪ Or just how
much it really means
♪ Glad to be
♪ Yes, siree
♪ Where welcome's free
♪ Dear to me
♪ I can lose
♪ My Basin Street blues ♪
[ALL CHEERING]
Oh, that was
all right. All right!
Thank you, Camptown. Thank you.
Now come on, gals.
You're not getting paid
for toe-tapping. You hear?
I want you to do
something for me, honey.
I want you to take
him up to your room.
'Cause Lord knows,
that's the only way
I'm gonna get the paying
customers to start doing some paying.
Wait a minute, Mama.
We ain't gonna do
no playing for a while.
Me and the boys, well,
we got some business
we want to settle
up with Charlie.
I think you know what I mean.
All right, get that bar open.
Move it, ladies!
Come on, move it!
I say he's good enough.
He's a little rough,
but when he plays, there's
magic in his horn, and he'll learn.
And me, well... I'm satisfied.
How about y'all?
-Good with me. -Yeah, any time.
Well, let's drink to it.
Billie Joe, go out and
fetch that swamp juice, gal.
[CHUCKLING]
Camptown, what are we
celebrating? What's the occasion?
Hold on. Wait a minute.
This little sh*t glass
here, it just ain't fitting.
This is a special occasion,
initiation for our new front man.
-Me? -Mmm-hmm.
No, no, Camptown, I don't...
There. That's better.
[EXCLAIMING]
What do you mean, new front man?
You thinking about retiring?
You're gonna have to
knock that back in one.
It's a tradition down here.
Oh, I get it. It's all part
of the fantasy, huh?
Mr. Roarke put
you up to it, right?
Mr. Roarke? Who's Mr. Roarke?
[DRUM ROLL]
That's it, Charlie.
Down, down, down!
[MEN LAUGHING]
MAN: Come on, Charlie. Come on.
Down, down, down!
[LAUGHING]
Whoo!
What next?
[LAUGHING]
Well, uh... What's next?
Go on upstairs and get
acquainted with Billie Joe,
like Mama said.
That's if your legs can
navigate them stairs.
Oh, well, here.
Come on, Charlie.
[LAUGHING]
[EXCLAIMING]
Everything is so numb.
I'm sorry, Charlie,
but now you belong.
I guess I'm gonna have to try real
hard to live a couple of more days
to help you shake
them wobbly blues.
What do you mean, live
a couple of days more?
Well, uh...
Charlie...
I'm gonna die.
Sure as sh**ting.
Yeah.
I'll be dead soon enough,
and you're gonna
be running the band.
[LAUGHING]
It's no joke, Charlie.
It's no joke.
CLAY: Well, looks like
we lost our landing gear.
Looks like we're gonna be
stuck here for a while, kiddies,
wherever here is.
Doesn't seem to bother you.
Why should it? As Kerry
pointed out, we're alive.
And I've got my love
to keep me warm.
And you've got enough videotape
to make a feature out of it.
Just another true adventure,
is that the way you see it, hero?
You'd better read
that script again.
'Cause I'll tell
you where here is.
It's an uncharted island
in the middle of an area where
some strange conditions occur.
He's right, Clay.
That color we saw
up there, so vivid,
and that strange movement...
Wait, wait. Are you trying
to sell me Devil's Triangle?
Right.
Well, sell our public.
The ratings need it.
Roarke certainly came through
with what Kerry asked for,
a fantasy worth a million
dollars of free publicity.
Look, you don't understand.
Kerry could have been k*lled.
We could have been k*lled.
Look, Tom, if you've got a problem,
you don't have to hide behind her skirts.
Knock it off, you two.
We've got a problem, all of us.
Roarke tried to warn
us, but we wouldn't listen.
Now we've got a
radio that's dead,
the plane won't
even roll, let alone fly,
and I'm marooned out here
in the middle of nowhere
with two overgrown schoolboys.
Now look what you've done.
Me? You're the one who's
making a big deal out of this.
You're trying to capitalize
on the situation, hoke it all up.
Well, look who's talking.
Who was it that chucked raw
liver to those crocs in the Nile
to get their teeth to show?
Oh, yeah? Well, what about the time
you bribed those natives in Samoa, huh?
Had them put w*r paint
on and charge the cameras.
All they wanted to do
was watch television.
And what about the other time...
KERRY: Someone
help me, please! Please!
[ROOSTER CROWING]
RAINES: Oh, boy.
Somebody hit me.
BILLIE JOE: Just
hang on. You'll live.
No, I won't.
[GROANING]
I'm definitely not all right.
Hell, I can't even get through
day one of my own fantasy.
Your fantasy?
Here, I'll get you
some bicarbonate.
Billie Joe?
Did we, uh...
I mean, did I...
[LAUGHING]
All you did was
a lot of snoring.
Wait.
What did Camptown mean
about me taking over the band,
and him being dead?
Mr. Dodds meant exactly
what he said, Mr. Raines.
Mr. Roarke, what
are you doing here?
Making sure your
fantasy is satisfactory,
that you are indeed
feeling all the passions,
the love and hate,
the melancholy and joy
that were the
soul of jazz music.
Satisfactory? Are you kidding?
Camptown keeps
talking about dying.
Are you telling me that's true?
Yes.
He is going to be k*lled.
Why?
When you met Mr. Camptown Dodds,
he was returning from
the funeral of a friend,
who, along with Mr. Dodds
and Mama, own this place.
Well, this friend,
how did he die?
He was m*rder*d?
Yes, Mr. Raines.
His friend refused to sell
opium in this establishment.
It wasn't even illegal in
those days, even fashionable.
It was a matter of conviction.
And now, Mr. Dodds
has also refused.
Why doesn't he go to the police?
The K*llers are the
police in this area.
A certain Lt. Lavalle.
Well, Mr. Roarke,
you can stop him.
There's got to be a way.
We could get
Camptown out of here.
I'm sorry, but even I
cannot change history.
Nor can I change a
fantasy once it has begun.
[DOOR OPENING]
Please, Mr. Roarke!
Mr. Roarke?
Now you're talking to yourself?
Here.
This will make you feel better.
Don't move, Kerry.
It's all right, Kerry. Come
on. The snake's dead.
Everything's all right.
Tom, she's been bitten!
Hold her. I gotta
get this poison out.
Easy, honey.
-[GASPS] -Hold her, Tom.
TOM: I've got her. I've got her.
Kerry, this is nothing.
You remember the time that Clay
caught his foot in that giant clam shell?
And I told him to do it again?
Mmm-hmm.
But first, let me
go get my camera?
-[SPITS] -Now, you've
gotta do the same thing.
Next time you have
a real-life adventure,
you let me in on it, will you?
Tom, that's all
I can do for her.
We got to get her
back to the plane.
All right.
Come on.
She's out.
Shock.
What kind of snake is that?
A pit viper.
We've got to get her
some medical attention fast.
[PLAYING "SWING
LOW, SWEET CHARIOT"]
[MUSIC CONTINUES]
[MUSIC ENDS]
Smooth, if I say so myself.
Now I finally learn
how to play it right.
Camptown, are you crazy?
You're going to sit here
and wait to be k*lled?
You think I should
run, don't you?
Yeah!
I don't want to lose
you, Camptown.
I've come a long
way to find you.
You could go to
Chicago or to Memphis.
There's a whole new school of jazz
springing up in the next few years.
Jazz?
But what is jazz, Charlie?
That's what you're
playing, Camptown.
Who says so?
A fellow named Scott Joplin.
Well, I know Scott Joplin.
What gives him the
right to name my music?
Forget it.
He probably hasn't even
found a word for it yet.
Huh?
Camptown, I'm begging you.
Would you please run?
Charlie...
I wouldn't get to
the end of this block,
let alone Memphis.
It's too bad.
I sure got a whole
lot of music left in me.
But if you want to help out,
there's something
you can do for me.
As a matter of fact,
a couple of things.
You name it.
Well...
Billie Joe here,
she's a fine gal.
Oh, Charlie, Charlie.
Take her out of this place.
I'll do my very best.
What else?
Well...
I want you to play your
horn at my putting away.
I want it done proper, Charlie,
so folks will
remember how it was.
Will you do that for
me? Will you promise?
I promise, Camptown.
Well, now...
Why don't you two get out
of here, so a virtuoso like me
can go on with his practicing.
Now go on with yourself.
Oh, now, now, now. Come
on, let's not have none of this.
Go ahead, now. Go
on with yourself. Go on.
Come on!
Shame we happened to see him sh**t
down poor old Camptown in cold blood.
[CHUCKLES]
Tom? Why haven't
you told her yet?
Told her what?
The way you feel about her.
I didn't think it showed.
The reason's simple.
I've seen the way she looks at you
when she thinks nobody's noticing.
You don't read the
signals very good, pal.
It's you she has
special eyes for.
Clay, I've been doing some thinking
about that busted landing gear.
Has it occurred to you that
Wilma Dietrich flew into this area?
Maybe she crashed
on the same island.
It's possible.
I know what you're thinking.
If we can find her plane,
maybe we can
salvage enough of it
to get this ruptured
duck airborne.
Yeah.
I'll go out when it gets light.
No, we can't wait till morning.
Kerry's running out of time.
Okay.
[SIGHING]
You stay here with her.
Any idea where I should look?
It's a small island.
I may be gone all
night. Don't go away.
Oh, Clay.
I'm sorry I got you
and Tom into this.
It's all my fault.
Nothing's your fault.
I did all the pushing.
All I could think about were those damn
ratings on the show going down every week.
The flight was my idea.
I wanted to help.
Both of you.
Tom?
Where's Tom?
Take it easy. Take it
easy. Tom's all right.
He's going to fix the plane
so we can get out of here.
He loves you, Kerry.
You know that?
Yes. I love him, too.
Now you just lay low
here until morning.
Then we'll see what we'll see.
Okay?
All right.
Who was that?
That was Mama.
Oh.
And what did she want?
She just wanted to
give me a little advice.
She told me to leave
and take you with me.
What do you think
about that, Billie Joe?
I don't know, Charlie.
I like you.
Maybe I could learn to love you.
[SIGHS] I just don't
know if I could leave.
I don't understand.
You want to stay here?
Are you asking me...
What's a nice girl like me
doing in a place like this?
And you're scared to find
out that if I were a nice girl,
I wouldn't be in a place
like this in the first place.
No. I never said that.
This is the only home I
have ever known, Charlie.
I'm an orphan.
Mama took me in
when I was just a kid.
She's been as good
to me as she could.
She never did make
me do anything.
I finally volunteered
because I wanted to pay her and
Camptown back for taking care of me.
I guess I understand.
You're disappointed, Charlie,
because I'm not what you want me to be.
Oh, no, Billie Joe.
I was just thinking
about the future.
Do you think I don't
worry about that?
Mama does, too.
We've talked about it.
But, Charlie,
you're the first
man who ever has.
I want you to remember that.
And before day breaks,
you and I are going
to sneak out of here,
and I'm going to find
a safe place for you.
Tomorrow...
I'm going to be at
that funeral tomorrow.
Mama told me that Lt.
Lavalle will be waiting for you.
He's looking for you.
I have to do it, Charlie,
for Camptown.
I made a promise, Billie Joe,
and I got a plan that just
might work if I'm lucky.
But I want you out of it.
I'm sorry, Charlie.
I'm going, too.
DODDS: Play your
horn at my putting away
so folks will
remember how it was.
Promise me that you'll do that.
Hell,
we'll go together.
This has got to be it.
NC- .
It is! It's Wilma
Dietrich's airplane.
Thank God. We
got our spare part.
[RATCHETING]
I don't want to
make it too tight.
Is it going to work?
It's got to.
Yeah.
Well...
That should do it.
Let's go.
True World Adventure's
answer to a wing and a prayer,
a landing gear and a prayer.
Let's get Kerry.
Kerry? Come on.
All aboard. Come on.
There you go.
-You got her, Clay? -Yeah.
Here you go.
All right, come on, partner.
That gear's hanging on by two
threads of a nut and a rusty brace.
Just have the rescue team
bring me a corned beef on rye.
There isn't going to be any
rescue team, you know that.
Nobody else is going to fly
through that barrier, or whatever it is.
Now get your butt on the plane.
We all go out of here together.
It's been fun here, all the way,
but you've got a girl in there that's
worth more than both of us put together.
And the less weight on that
wheel, the better her chances.
Get her out of here before I
change my mind. So long, tiger.
-Tom. -What?
You always were a
sucker for that punch.
[GRUNTING]
TOM: Seventy-five knots. .
Pull it up!
Lift off!
Well, at least you didn't knock
off that wheel getting us airborne.
Don't strain yourself
thanking me, pal.
It's the wings we've
got to worry about now.
There's no way around it.
None.
We're going through. Hang on.
TOM: This crate
can't take much more.
We're out.
[PLAYING "WHEN THE
SAINTS GO MARCHING IN"]
Mama.
Here, sport.
Something you
hinted you might use.
Every good front man
doubles on another instrument.
There's nothing more
to say, Camptown.
You were a good man,
always deserving
much more than you got.
I apologize for the whole world
for what they done to you.
[PLAYING "WHEN THE
SAINTS GO MARCHING IN"]
[ALL GASPING]
No need to use
the g*n, Lieutenant.
I'm giving up.
I don't think so, kid.
[GRUNTING]
Drop it!
Drop it!
On the other hand, maybe
you ought to pick it up again.
Give me a good
excuse to pull this trigger.
Now wait a minute, mister.
You sh*t Camptown!
No. Wait. Please.
You saw it. I didn't
sh**t Camptown.
Lavalle did. Lavalle did it.
You all heard that?
We sure did.
And I reckon we've got
enough witnesses here
to hang a Supreme Court judge.
Now we got us
some playing to do.
[BAND PLAYING "WHEN THE
SAINTS GO MARCHING IN"]
ROARKE: Your fantasy
is over, Mr. Raines.
You must come with me now.
But Camptown... I
promised him I'd play...
His friends will
complete the sendoff.
Mr. Roarke, let me take
Billie Joe back with me.
That, I'm afraid,
is not possible.
She must remain here
in her own time frame.
I'm sorry.
No, Mr. Roarke.
I won't leave her here. I won't!
Billie Joe! Billie Joe!
Billie Joe!
Billie Joe, where are you?
She's all right, Mr. Raines.
You have seen to that.
I give you my word.
[♪♪♪♪♪]
Miss Dawson, I am delighted
to see you're fully recovered
and out of the hospital so soon.
Me, too.
Well, thank you.
Well, I'm the one that's been
snakebit, and for too long.
But Kerry's finally
given me the cure
by saying yes to a
very important question.
Oh, then you have resolved
your own little triangle?
KERRY: With a
little difficulty, yes.
When I got over the shock
of the two guys I care for most
trying to give me to each other,
I did a little explaining
about love as in friend
and love as in husband.
How did Mr. Spencer
take it, Miss Dawson?
He took it fine,
just fine, Tattoo.
I haven't got time for the
domestic scene, anyway.
See, I've got a
new true adventure.
I'm going to videotape
their marriage
in front of million
viewers for television.
I have it all sketched out.
Hey, wait a minute. I'm
producer of this show.
And this is my marriage.
Look, hero, even you
know what we have here.
I mean, the mystery of
Wilma Dietrich is solved,
heroine near death,
bitten by a snake,
romance.
It blooms beside the flower
of death. You like that?
Well, everything's back
to normal, Mr. Roarke.
Thank you...
I think.
-Goodbye, Tattoo. -Bye.
Well, thanks for
everything, Mr. Roarke.
I hope your fantasy was everything
you wished for, Mr. Raines.
Well, almost, Tattoo.
Just one more thing would
have made it complete.
ROARKE: Oh, that reminds me.
You will have a companion
on the flight home,
a lovely young lady
who had her own fantasy.
You see, sometimes we are able to
combine two fantasies, as in this case.
It makes it more rewarding.
Well, this young lady wanted to
trace her roots to New Orleans,
where her great-grandmother,
a certain Miss Billie Joe,
inspired by the concern
of a mysterious gentleman
who appeared
briefly in her life,
rehabilitated herself and
lived to be a happy, fulfilled
and charming old lady.