Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
The journey into the realm of the strait, and yet
a bye. I hope you will enjoy the chap that
it will till you a little and kill you a little.
Speaker 2 (00:14):
So settle back, get a good grip on your nerve.
Where are we going?
Speaker 1 (00:22):
You'll find out when we get there. CBS Radio Mystery
Theater Presents come in. Welcome, I MEE G. Marshall. In
(00:57):
our lives, we all travel to many places where we
will be the stranger. The unknown waits for us in
other countries, other towns, even new roads, a different turn
on an unfamilious street. And are we really any difference
from the traveler of ancient times? Aren't we still dependent
on the kindness and good will of others. Even the
(01:21):
most suspicious of people must ultimately be confronted with a
situation where he must trust his money, his possessions, or
even his life to a stranger.
Speaker 3 (01:31):
You're mistaken or the I can leave here anytime I.
Speaker 1 (01:35):
Want to start pretending, Pemla. You know you can never
leave Silver Tree Island.
Speaker 3 (01:40):
Yes, I can.
Speaker 1 (01:42):
No one ever leaves Silver Tree Island. And you know
why it isn't true. It's impossible. You know why? Now,
don't you, Pemela, don't You. Our mystery drama The Island
(02:04):
on Silver Tree Lake was written especially for the Mystery
Theater by Victoria Dan and stars Patricia Elliot. The world,
they say, has gotten smaller, It grows smaller every day.
(02:29):
This incredible shrinking process has to do with our advanced technology.
There is scarcely a patch of ocean or earth anywhere
that has not been duly accounted for on some vast atlas.
The previous frontiers of mystery are rapidly losing their magic.
The once untamable Amazon is falling victim to the bulldozer.
(02:54):
Enchanted islands in the South Pacific are used for atomic
bomb experiments. Still at all, there are places even in
this country that remained relatively untouched by the mass of civilization,
places that we call the back.
Speaker 4 (03:10):
Roads of America.
Speaker 3 (03:17):
Officer, I don't understand why you pulled me over.
Speaker 1 (03:21):
Even my name is Trooper Leroy LaRue Junior. Your name man.
Speaker 3 (03:25):
Alan Tamla Allen. My license is in my percise, your
karmacel and you know I readited at the airport in
American Farmasellan. It is miss and yes I'm from New York.
Speaker 1 (03:36):
Miss Allen. Are you aware there's a posted speed limit here, Officer.
Speaker 3 (03:40):
I wasn't feeding the post and limit is forty five.
I was doing forty five. You can't give me a
ticket just for.
Speaker 1 (03:47):
That, Milla. Now have I said one word about the ticket? Now?
You obviously been seeing too many of those movies about
cigar smoking Southern policemen picking on poor yankee over I
only now listen, limit means forty five miles an hour,
conditions prevented. Now you know what that means. It's just
been a rainfall. Now this is the Lake Road, and
(04:08):
it's bad enough. When it's dry it curves and snakes,
and then you know, if you aren't familiar with it, well,
it can be pretty dangerous.
Speaker 3 (04:16):
I see, thank you for the warning office here.
Speaker 1 (04:20):
Ain't gonna win, aren't you? How did you know over
in Weaverville right right well, that fancy package with the
bows on the seat next to you. Now, what else
could that be but wedding president? And who else is
getting married tomorrow except when Sally live with you?
Speaker 3 (04:37):
He knows Sally nor listen.
Speaker 1 (04:41):
You're talking about the love of my cousin, Eyle's life
now both his heart when she went up north to
that college now. He waited and waited for her to
come home after that, but hunt, no, she said she
had to find herself, got itself a couple of interesting degrees.
She's back home for good now, finally caught up with
the slept with everybody sooner or later, marriage that is, No,
(05:04):
I tell you there dropping Nike flies around me. Officer, Well,
I see being a bit of an knowledge.
Speaker 3 (05:11):
No, no, it's just that truth.
Speaker 2 (05:13):
Is Miss Allen.
Speaker 1 (05:13):
You know you got me in just a bit flustered.
But you be careful now it's nearly dark and you
have to be extra mind full of little sudden push
and turn.
Speaker 3 (05:21):
I appreciate your advice, Officer at the room. I'll be
as careful as I can.
Speaker 1 (05:26):
We have had some terrible accidents on this part of
the lake road. Cars ski ride into the embankment.
Speaker 3 (05:32):
Well, I'll certainly try to get to Weaverville.
Speaker 1 (05:35):
In one piece, okay, by now.
Speaker 3 (05:37):
By Sally Man my whole college. Heomm I wouldn't make
this trip for anybody except you. Ah, this really is
a boondog. We nowhere. I need to run out of
(05:58):
gas here that close this will use that point the
way twist. How that kind of like I'm going into
a skin. I can't summer long. Wh whoa what happened?
Speaker 5 (06:28):
I was so blacked down, like, oh no, look at
the car, the windshields, everything else.
Speaker 3 (06:39):
What mess that I think to be in?
Speaker 1 (06:46):
One? No?
Speaker 3 (06:49):
What am I? What am I supposed to do? I'm
in the middle of nowhere?
Speaker 1 (06:54):
Start?
Speaker 2 (06:57):
No phone?
Speaker 3 (06:57):
No? No?
Speaker 6 (06:58):
How did I? I guess had better not walking?
Speaker 3 (07:14):
I must walk halfway around the lake by now. There's nobody.
There's nothing. Oh, my dad, a doc?
Speaker 7 (07:27):
Why I think I see a both?
Speaker 3 (07:29):
What is someone? Hey?
Speaker 2 (07:31):
Hey? Hey? Hello there there?
Speaker 3 (07:37):
Oh, I guess to see you, sir. I didn't think.
Speaker 7 (07:39):
Anyone around a mile around here always here.
Speaker 3 (07:44):
I just ran my car into a dish a few
miles back.
Speaker 5 (07:47):
And I would really appreciate some help.
Speaker 7 (07:51):
Oh, I had an automobile action in your head.
Speaker 3 (07:54):
Yes, where would the nearest gas station be?
Speaker 2 (07:57):
I'm except in town.
Speaker 7 (08:00):
Oh that's over five miles in the dark.
Speaker 3 (08:03):
Is there a house nearby?
Speaker 2 (08:05):
H not that I know.
Speaker 3 (08:08):
But what's that out there?
Speaker 2 (08:09):
Out where?
Speaker 3 (08:10):
I think I didn't like up in the center of
the lake.
Speaker 2 (08:13):
Oh no, don't you know what that is?
Speaker 3 (08:17):
No? Should I?
Speaker 7 (08:18):
Well, that's the Silver Tree Lake Resort Resort.
Speaker 3 (08:24):
I was here in the middle of nowhere.
Speaker 7 (08:26):
Not many people have heard of it. It's it's very
How do you say exclusive?
Speaker 3 (08:32):
Would they have a telephone there?
Speaker 2 (08:34):
You mean you'd want to go there?
Speaker 3 (08:38):
Yeah, just to have the phone.
Speaker 2 (08:40):
I don't know.
Speaker 3 (08:42):
You make it sounded that they've got god dog or something.
Speaker 2 (08:46):
Oh, they do a big brood of a German shepherd.
But he don't bark at me. I mean my boat.
Speaker 7 (08:53):
He knows me. I make deliveries at the island drop
off gifts a couple of times a week, applies the
Sunday paper.
Speaker 3 (09:02):
Well, might you be able to give me a lift
over in your in your lunch here?
Speaker 7 (09:06):
Oh, I'd be happy to oblige you, miss uh for
a fee. They're going raiders half a buck all right,
I don't misunderstand me. I take it for nothing. But
it's been a slow week, and well the price of gasoline.
Speaker 3 (09:19):
Need to say, never mind, never mind, here's your money man.
Speaker 2 (09:22):
Don't just call me Charlie.
Speaker 7 (09:24):
Come on hop him. Now watch your step here we
are Silver Tree Lake Resorts.
Speaker 3 (09:40):
Beautiful. But what I can see of it? Oh? Hell,
if you might.
Speaker 2 (09:46):
Rucy, No, not me.
Speaker 7 (09:47):
He doesn't heard a good bruce. Follow me I'll take
you to meet the manager and his wife and he'll
be up in the main lobby just then.
Speaker 2 (10:04):
Anybody home?
Speaker 1 (10:05):
Well Charlie, how are you young?
Speaker 3 (10:09):
Leader?
Speaker 7 (10:09):
Miss Pamela Allen, I'd like you to meet the owner
and manager of Silver Tree Lik Resort, mister TJ.
Speaker 2 (10:16):
Hers.
Speaker 3 (10:17):
How do you do, sir? I I was hoping that
perhaps I might use your phone roll. I just badly
ruined my car.
Speaker 2 (10:26):
You had, max?
Speaker 1 (10:26):
He yes, yes, so you have, Miss Allen. I can
see you. I can see you hurt yourself.
Speaker 3 (10:32):
No, no, not really. I would just like to use
the phone.
Speaker 1 (10:36):
Would on free? It's impossibly switchboards out of order till
the morning. Hey, that storm we had early to say
afternoon knocks the wires. Now, oh, I see you know.
The best thing you can do now is to get
some rest. We can put you up one of the
guest rooms. It's plenty of space.
Speaker 3 (10:52):
Well, well, I don't know what credit cards do you accept?
Speaker 1 (10:57):
Hey? Credit card? Miss Allan, need know anything? We charge
you for our hospitality, I mean a traveler in distress.
Well this may be a hotel, but your gift of
management now and you her Southern hospitality.
Speaker 3 (11:11):
But I appreciate it.
Speaker 1 (11:14):
Mister Harrison. Money, no money, Come on out of here, honey, Bonnie.
Here's my wife.
Speaker 3 (11:20):
But is it TJ. I was just sitting down to dinner.
Speaker 1 (11:23):
Honey.
Speaker 3 (11:23):
This is missus Pamela Allan.
Speaker 1 (11:25):
She's a head an accident with her car.
Speaker 3 (11:27):
Oh, I'm sorry to hear.
Speaker 1 (11:29):
That, sister. She stay the night, you know rest of them, of.
Speaker 3 (11:32):
Course, But I don't want to put you in any trouble.
Speaker 1 (11:35):
No, no, no trouble at all, he said, fun.
Speaker 3 (11:37):
No, no, of course not. I'll show you to your room.
What's a lovely room, Missus Harrison. Please call me Bonnie,
and I wish you'd call me Pamela. I can't tell
you how much I appreciate your kindness. We're kind of
a simple place here, but I think you'll find everything
(11:59):
you need. Try to get some rest.
Speaker 1 (12:01):
You must have had.
Speaker 3 (12:02):
Quite an ordeal.
Speaker 1 (12:09):
Well, good morning, miss Allen. Did you sleep well? Yes?
Speaker 3 (12:12):
I did, Thank you very much. Again, I was wondering
about the telephone.
Speaker 1 (12:18):
I understand you didn't have supper last night. I insist
you sit right down, this ensit and have a nice
big country break.
Speaker 3 (12:26):
Oh, thank you, But I never have much of an
appetite in the morning. I really wanted to call the
gas station about my.
Speaker 1 (12:31):
Cost this buffet? Now, what would you lack Ham South
is as Brown's fresh root cup. See do you like
sweet rules?
Speaker 3 (12:40):
Just a cup of tea right now?
Speaker 1 (12:41):
You just said, right down that table over there and
I'll have or will bring your trade.
Speaker 3 (12:45):
Good morning, Pamela. Did you sleep all right? Great? I
want to thank you. Really. Listen, Bonnie. I don't mean
to appear anxious, but are the phones still out of order?
Why the telephones are they repaired yet? What telephones? You know,
(13:08):
the ones that they connect you to the mainland. We
don't have any telephones here. What but your husband told
me last night. You must be mistaken. There have never
been any telephones here at Silver Tree Island Resort.
Speaker 1 (13:29):
And here you thought the plot was never going to
as they say thicken. Was TJ. Harrison so embarrassed about
not having telephones at his little island resort that he'd
actually lie about something so petty? Or is it really
so petty? What ulterior motives could anyone possibly have for
(13:50):
something like that? He must have lied for a reason.
In any event, you'll have a chance to explain himself when.
Speaker 4 (13:57):
I come back with back two.
Speaker 1 (14:13):
Over two thousand years ago, a Greek writer said, what
is pleasanter than the tie of a host and guest?
Things haven't changed much since then. Hosts still like to entertain,
and guests still worry about overstaying their welcome. Pamela Allen,
en route to the wedding of an old friend in
(14:34):
the backcountry of Mississippi, has just spent the night at
a hotel in the middle of a lake, following the
promise of the hotel manager that the phones would be
working in the morning. Now, it seems her very gracious
host neglected to tell her that there aren't any phones
on the island.
Speaker 3 (14:56):
No phone, no, of course, But why would your husband
tell me there were phones if there really were, you
were in such a state he probably didn't want to
upset you. What kind of a place doesn't have telephones,
pam You have to understand. Silver Tree Island is a
place where people come to escape the pressures of the
outside world. They leave their cares behind. No television, no radio,
(15:20):
no telephones. The people prefer it that way, and we
cater to our client. Tell I guess that makes sense,
but still sure it makes sense. TJ is the perfect host.
Oh hey, here comes auble with your breakfast. Thank you,
but I'm really not very angry on since you've got
eat something? You want to sleep on an empty stomach?
(15:41):
Orrible and is here is miss Pamela Allen?
Speaker 1 (15:45):
Here's your tray?
Speaker 3 (15:47):
Orble is the resort social director entertains nightly in the
statellite lounge. How nice? But we all help out in
the dining room. Give the place a homie touch, wouldn't
you say? Monnie? I don't want to seem ungrateful, but
you see, I'm expected at a wedding this evening. I
really have to get someone to tow the car. It's rented.
I've got a lot to do. I was wondering if
(16:08):
after bread. Hey, now, don't worry about a thing. Just
be down at the dark In half an hour, Charlie
comes with deliveries about them. He'll give you a ride back.
That's a load off my mind. Thank you. I've already
had my breakfast. But you shouldn't be eating by yourself,
say or but why don't you sit here with miss
(16:28):
Pamela Allen?
Speaker 1 (16:30):
All Right?
Speaker 3 (16:31):
Won't you excuse me? I think I see TJ.
Speaker 1 (16:36):
You're not eating anything.
Speaker 3 (16:38):
I never eat in the morning. Although, how long have
you been working here at Silvertree Island?
Speaker 1 (16:50):
Work?
Speaker 3 (16:50):
Well, that's what you do, isn't it, your resident social director.
Speaker 1 (16:55):
I don't call it work. I call it music.
Speaker 3 (16:59):
But you'll hear me after dinner, I won't be here.
Speaker 1 (17:02):
Sure, that's what they all say?
Speaker 3 (17:06):
What all who say?
Speaker 1 (17:08):
The guests?
Speaker 3 (17:10):
Oh, I'm not a regular guest.
Speaker 1 (17:12):
And they all say that too.
Speaker 3 (17:13):
What are you talking about?
Speaker 1 (17:15):
Don't you know by now they're not going to let
you get away so fast?
Speaker 3 (17:21):
Do you mean to say that they're going to try
to get me to stay longer as a regular guest.
Speaker 1 (17:28):
Oh you could put it that way.
Speaker 3 (17:30):
Yes, that's ridiculous. Charlie take me back in his boat
as soon as he drops off some supplies. Why do
you sound so skeptical?
Speaker 1 (17:41):
Skeptical? Heck, I'm not skeptical. In fact, I'll walk you
down to the landing myself, says Charlie.
Speaker 3 (17:55):
Now right on schedule. I wish I could have found
the Harrisons before I left. I wanted to think over
their hospitality.
Speaker 1 (18:06):
A jous breed i've ever seen, don't put this pussy
care of the dark to see her. He's a German
shepherd and he can be serious of provoking. You better
get back off the lembit.
Speaker 3 (18:17):
What's he growling at before?
Speaker 1 (18:21):
That doctor is his personal property?
Speaker 3 (18:24):
Get back, get back off? What's the matter?
Speaker 2 (18:26):
I told you Rusie.
Speaker 1 (18:27):
Doesn't like people trespassing on his dock.
Speaker 3 (18:29):
And you didn't grother at me last night?
Speaker 1 (18:31):
But why because I was with Charlie, Because you were arriving,
not leaving.
Speaker 3 (18:38):
Rosy doesn't like to see visitors go. That's just wonderful. Oh,
here's Charlie.
Speaker 1 (18:44):
I'm sure he'll.
Speaker 3 (18:45):
Be happy to escort you.
Speaker 1 (18:47):
All right, Charlie?
Speaker 2 (18:49):
What are you doing at the dark this morning?
Speaker 3 (18:52):
I hope you don't mind, Charlie, but I was hoping
to get your ride back to the mainland with you.
You did, did you? Yes?
Speaker 2 (19:00):
Do you think I'm will take her back?
Speaker 3 (19:03):
What do you say? Well, after what you've seen, after
what I've seen?
Speaker 2 (19:09):
What do you mean where it's on the question?
Speaker 3 (19:11):
On the question?
Speaker 2 (19:12):
If you'll just excuse me?
Speaker 3 (19:14):
Oh, I understand now. You you want me to pay
you right?
Speaker 2 (19:20):
You are smart, young lady.
Speaker 3 (19:22):
Is it still fifty cents? And let me just here?
Do you have change for five dollars bill? All the
Could I trouble you?
Speaker 1 (19:33):
Sorry? I never carry money.
Speaker 3 (19:35):
Well here then, but take a whole five who you can.
It's worth it for me to get going, well not
for me.
Speaker 7 (19:42):
I don't do paper money. It's fifty cents, clear, no rhyme.
Speaker 3 (19:47):
But that's five dollars perfectly good.
Speaker 7 (19:49):
You ask currency, I'm not interested for He's exact change.
Speaker 1 (19:55):
The most unbelievable person I ever met.
Speaker 3 (20:03):
Back to the built to be something mercenary.
Speaker 7 (20:06):
No, you can always complain to the management.
Speaker 1 (20:15):
Well, I'm afraid my hands are tired, Miss Allen. Charlie
is an independent operator, sureley meant to have. Over the
years he's developed what might appeared outsiders somewhat eccentric ways,
and now one of them is the fifty cent charge.
In fact, he charges fifty cents for just about everything.
Speaker 3 (20:32):
It certainly is eccentric wellness to have. And I'm sure
then you won't mind if I troubled you for the change.
Speaker 1 (20:41):
Of a change. Why you don't understand, miss Allen, I
thought I explained to you last night. We're a hospitality house.
We never accept money.
Speaker 3 (20:51):
But you know a hotel surely, and you have the.
Speaker 1 (20:54):
Wrong idea about us, Miss Allen. We never charge our
guests anything. What do you think I run this place
for the money, Well why else? No, no, no, this
is not the kind of business you think. Charge our
gifts to money. No, our people are here to get
(21:16):
away from the world.
Speaker 2 (21:18):
Now.
Speaker 1 (21:18):
Money is the root of all anxiety and all frustrated.
Speaker 3 (21:21):
Mister Harrison. If you don't believe in charging money, it's
no affair of mine. But I've got to be in
Weaverville Bright early this afternoon. Now, first you told me
some story about there being phones on the island, which
there aren't, and then your wife told me i'd be
sure to get a ride back with Charlie. Except now
it appears I can't do that unless I come up
(21:43):
with exactly fifty cents, which you say you don't have. Now,
what's going on here, mister Harrison, don't you know? No,
I'm quite confused.
Speaker 1 (21:52):
Well then I'll clear things up for you.
Speaker 3 (21:55):
We like you very much and would like.
Speaker 1 (21:58):
To invite you to stay o day here. That's right,
you see. Well, I wouldn't normally be so pushy, but
Ronnie really likes you, and Ronnie doesn't often take the people.
I mean, she really seems to get along with you.
I'm very god, but Vunnie has been ill recently.
Speaker 3 (22:19):
I am sorry to hear that.
Speaker 1 (22:21):
And already you sort of brow her spirit back into
her face to shine back in her eyes. Oh, there
is nothing like the companionship of young people better when
her husband is a such an old fool. You like me,
You've got not old, mister Hart. Oh, thank you. But
the truth is I am twice as old as Monny.
(22:42):
And sometimes there's that unavoidable what is that they used
to say, a generation gap? At least we couldn't you
stay the weekend.
Speaker 3 (22:53):
I told you I have to be in Weaverville by
this afternoon.
Speaker 1 (22:57):
Well, why don't we discuss this after lunch?
Speaker 3 (23:00):
Un we just had breakfast.
Speaker 1 (23:01):
Well, will you excuse me, Misselle and I have wanted
to desk a new guest, Mister has and I after lunch,
Miss Allen, talk to me after lunch. I don't know
what you're so worked up about.
Speaker 3 (23:17):
Although I seem to be getting the run around here.
Speaker 1 (23:20):
You really, what is.
Speaker 3 (23:22):
It some sort of inquisition?
Speaker 1 (23:24):
No, I just meant, well, you seem to enjoy it here.
A person has to be a fool. I want to
leave a place like this, Listen, that's a very rare
and I can do straight coming.
Speaker 3 (23:42):
I can't. I've got things to do.
Speaker 1 (23:45):
It would be so much better if you wanted to
straight do you make.
Speaker 3 (23:49):
It sound as if I had no choice?
Speaker 1 (23:51):
But you you don't.
Speaker 3 (23:55):
What did you say you'll hear the straight? I don't
know what you're talking about. You can't go back, you
know you.
Speaker 1 (24:05):
Can't go back. Nobody can ever go back? What nobody
ever leaves Silver Tree Island? Really ever? That's the price
you pay instead of money, you never leave.
Speaker 3 (24:22):
I don't believe it.
Speaker 1 (24:24):
It's true, and you know it.
Speaker 3 (24:25):
It's the most ridiculous thing I've ever heard. Or quit
joking around. It isn't funny anymore.
Speaker 1 (24:30):
I'm not joking.
Speaker 3 (24:31):
Look, I've got to get out of here. I mean
I left a thirty five dollars wedding peasant in an
unlocked car, a rented car with a smashed wind.
Speaker 1 (24:41):
No, a seventy six blue Sedan needs a new windshield
and some work on the front.
Speaker 3 (24:46):
Rill, How did you know what kind of car I
was driving?
Speaker 1 (24:50):
Why shouldn't I know?
Speaker 3 (24:52):
Hej told me it, Harrison, But how does he know?
Speaker 1 (24:56):
He knows everything. He always knows the circumstances of the death.
The death you know, like you were dead.
Speaker 3 (25:10):
My death?
Speaker 1 (25:13):
What is it you said? It was some kind of
a head injury. I think.
Speaker 3 (25:18):
You're you're telling me that I'm dead?
Speaker 1 (25:25):
What do you think I'm doing?
Speaker 3 (25:28):
I don't like your sense of humor orble. It's very sick, Pamela.
Speaker 1 (25:32):
Why don't you face facts. You had an accident, you died.
It happens to the best of.
Speaker 3 (25:38):
Us, and you're out of your mind. I'm alive.
Speaker 1 (25:42):
No, you're just so like the rest of it. You
know you're dead, and you know where you are?
Speaker 3 (25:52):
Oh, and where am I supposed to be?
Speaker 1 (25:55):
Where all souls go?
Speaker 3 (25:58):
The Island of the Dead, the Island of the.
Speaker 1 (26:02):
What of the dead otherwise is known as Hades eighties,
the Island of the Dead. Is it possible that Pamela
is actually dead? Is progress so universal a concept that
(26:24):
the afterlife also changes with the times? The island of
Hades becomes a homey resort surrounded by a pleasant lading,
or rather, do people see only what they want to see?
We'll see what lies ahead when I return with Act three.
(26:59):
Four thousands of years, western civilization has held on to
its belief of some kind of afterlife. Greeks and Romans
a legends of an underworld called Hades, run by a
gloomy Olympian god and his young, pretty wife. The dead
reached Hades by ferrying across the dark river Sticks and
(27:20):
were greeted at the gates by a huge three headed
dog named Cerebrus. Now in our story, we have a
pleasant southern resort island, the owner and his younger wife,
and an ominous German shepherd guarding the boat dock. If
there are any parallels, well they really aren't intentional.
Speaker 3 (27:44):
Hades. You're telling me that this place is Haiti, it is.
This whole thing is ridiculous.
Speaker 1 (27:56):
You skid it off the road, all right.
Speaker 3 (28:00):
You say you're black, Dot, Yes, but you weren't in
the car when you regain consciousness. No, I was on the.
Speaker 1 (28:08):
Grass somewhere somewhere, don't you remember.
Speaker 3 (28:14):
Actually it's oh hazy Now anyway, it's not important.
Speaker 1 (28:21):
No, but it is. You regain consciousness outside your car,
a distance from your car. You were thrown from your.
Speaker 3 (28:27):
Car, Dot, I don't remember. I don't know I'm thrown
from a car.
Speaker 1 (28:33):
And you don't have a scratch on your going over
forty five miles an hour, don't you see?
Speaker 3 (28:39):
You're beginning to forget already, that's part of it.
Speaker 1 (28:43):
What kind of car were you driving?
Speaker 3 (28:48):
I can't seem to recall what color was it? I
don't remember.
Speaker 1 (28:55):
You see the win, the forgetful.
Speaker 3 (28:57):
Well, you're just trying to frighten me.
Speaker 1 (28:58):
I'm just trying to make you see the truth.
Speaker 3 (29:00):
I've got to get moving.
Speaker 1 (29:02):
I'll be late. Wait for what do you remember? Where
you have to be?
Speaker 3 (29:06):
Of course, I I've got to. I've got to go
over to this strange I can't seem you remember I told.
Speaker 1 (29:18):
You these facts. You're a resident, a permanent resident of
Silver Tree Resort.
Speaker 3 (29:25):
No, no, no, there must be some explanation, Camela.
Speaker 2 (29:31):
Pamela, Wait, you can't go.
Speaker 7 (29:33):
There's no way off the island, don't you see.
Speaker 3 (29:36):
I'm on Bucy. Let me go. Come on, come on.
I'm not going to feel about your will. So if
i'm met, I won't feel Oh you'll feel it.
Speaker 1 (29:45):
All right.
Speaker 3 (29:46):
I don't understand that. I don't understand any of it.
Speaker 7 (29:50):
Why won't anyone.
Speaker 1 (29:51):
Let me hello?
Speaker 3 (30:02):
How are you feeling?
Speaker 1 (30:05):
Oh?
Speaker 3 (30:05):
Pamela? Answer me? What have I done to make you angry?
I want to leave? Nobody will let me leave? Is
there such a bad place? No? Not really has anyone
treated you unkindly made you feel unwelcome? No, then what's
(30:26):
the problem, Bonnie? Is this place really really?
Speaker 1 (30:35):
Yes?
Speaker 2 (30:36):
It is?
Speaker 3 (30:38):
And then I suppose everyone here is dead. That's what
makes Silver Tree Island Resorts so exclusive, the ultimate inexclusiveness,
if that's the appropriate word. I'm really.
Speaker 1 (30:56):
Dead.
Speaker 3 (30:57):
Hey, it's not so bad. I'm twenty seven years old.
What did I ever do to Pamela? I was a
lot younger than you when I came here. I cried
and I wanted to go home, But well, what's done
is done. I'm here, and it really isn't that unpleasant.
(31:22):
We can be friends Orbo seems to like you, and
he usually doesn't bother with people. I'd be very flattered
if I were you twenty seven years old. I never really,
I never really loved someone. You might as well face facts. Why,
because that's the way things are. Why do I have
(31:46):
to accept that? Because you have to? That's why, Funny,
I don't have to accept anything. But you do have
some people, most people, almost all people, but not me.
And what do you intend to do about, Bonnie? When
(32:06):
I go into a store and they sell me something,
and I decide I don't want it. I go right
back and I return it. Even if the store has
a strict no return policy, I return it and I
get my money back. Do you know why No, because
that's how I was raised. My mother told me, Pamela,
(32:28):
never let anyone sell you something you don't want to buy,
and I never have. But this is different. How is
it different? You're talking about non returnable. That's where you're wrong, Bonnie.
Everything is returnable. TJ. Honey, family here wants to talk.
Speaker 1 (32:52):
To you for sure.
Speaker 3 (32:54):
Everything all right, Mada, No, everything is not all right.
Speaker 1 (32:58):
Well what's wrong? I'll take it right away.
Speaker 3 (33:00):
I am not of the services of this establishment. I
find the quality not to my satisfaction.
Speaker 1 (33:08):
Well, what exactly don't you like it? Is it the
food you call that food?
Speaker 3 (33:13):
I didn't sandwiches out of vending machines that tasted better.
Speaker 1 (33:16):
Oh, you can't mean that.
Speaker 3 (33:18):
I insist you provide transportation for me back to the mainline.
Speaker 1 (33:21):
Well, I will oblige you in any way. Your good
host can miss Allen, and I'll improve your meals. I'll
do anything a good host should. But the successful host
is one of us. Made these guests feel so welcome
that they never wish to leave you. I fear I
have not succeeded with you. But never mind, I am
working on it.
Speaker 3 (33:52):
They play very beautifully.
Speaker 1 (33:54):
Or I don't understand a PM. What exactly do you
want to get back too? I don't know? And why
are you so anxious to get back? It doesn't make
much sense.
Speaker 3 (34:10):
All I know is I'm not ready for this yet.
Speaker 1 (34:16):
No one ever is.
Speaker 3 (34:17):
I've got to leave while I still have this resistance.
Speaker 1 (34:20):
It'll pass with time.
Speaker 3 (34:21):
How long have you been here?
Speaker 5 (34:24):
Of?
Speaker 1 (34:24):
How long? Oh? I don't know, an eternity.
Speaker 3 (34:30):
Maybe no, really how long?
Speaker 1 (34:33):
So long? I can't remember. But I know you can't
ever leave here. I know someone who tried once. Who Oh,
there was this musician. It was at some kind of
a concert and his wife was at home alone. There
(34:55):
was this terrible accident, and the wife was dead. The
man went out of his mind. He couldn't believe what
had happened.
Speaker 3 (35:03):
I think I know that story, do you?
Speaker 2 (35:07):
Yes?
Speaker 3 (35:07):
It's the story.
Speaker 1 (35:08):
Well, let me tell you how it ended. The man
knew where she'd gone, so he came here. Charlie took
him across in his rowboat. There weren't power boats in
those days, and he went before the King of the
underworld to beg for the return of his wife. At
first the king refused, but then the musician started to
(35:32):
play his lyre. He played a song, a song so
sweet sad about a young girl painting flowers in an
open field, a girl that the king had loved at
first sight and brought down to the underworld to be
his queen. And the king was moved to tears, told
(35:54):
a musician he could have his wife, He could return
with her to the world of the living, if only
he didn't turn around and look behind him on the
journey homeward.
Speaker 3 (36:03):
But he did look behind, didn't he?
Speaker 1 (36:06):
Yes?
Speaker 3 (36:08):
And you realisy, the wife vanished into dust? Didn't she?
Speaker 1 (36:15):
Yes? Into dust?
Speaker 3 (36:18):
It was your wife, wasn't it?
Speaker 1 (36:22):
Yes, it was my wife.
Speaker 3 (36:26):
Times change names, change your orpheus. Aren't you.
Speaker 1 (36:36):
So long ago? Sometimes I've almost completely forgotten about it.
I'm sorry about what Listen. I never fooled myself. I'm
a musician first, a performer. That's what's the most important
to me. That's my first and real love, the other
(36:58):
kinds of love, they become gentle memories that become part
of my music. But it's the music that's what's important.
Speaker 3 (37:08):
Music. That's it, the music?
Speaker 1 (37:14):
What is it over?
Speaker 3 (37:16):
You're going to help me get out of here?
Speaker 1 (37:18):
No, I don't want you to go.
Speaker 3 (37:20):
If you call yourself my friend, you'll help me.
Speaker 1 (37:23):
But what can I do?
Speaker 3 (37:24):
I used to be quite a mythology about Fourville. I
remember some more details about the story of Orpheus and Eurydice.
He was the greatest musician the world has ever known.
I know that, Isn't it also legend that he played
music so moving, so exquisitely touching, that he caused all
who hurd to lay down and weep? How did he
(37:45):
get past the gates of Hades?
Speaker 1 (37:47):
Orthough?
Speaker 3 (37:48):
How did he get past that ferocious three headed monster Cerebrus?
Speaker 1 (37:52):
I don't you know how?
Speaker 3 (37:56):
He played a song so sweet and gentle, a huge
animal wet it became a lullaby, and soon Cerebus was
fast asleep. Then he just walked right on past the
Sentinel and into Hades. And that is how I'm going
to walk right out of here or swim, if that's
(38:16):
what it comes down to.
Speaker 1 (38:18):
I can't do it this time?
Speaker 3 (38:19):
Why not?
Speaker 1 (38:20):
I don't want to. I I like you. I want
you to stay.
Speaker 3 (38:24):
Didn't you tell me that you were an artist first?
So let's see how much of an artist you really are?
Can you create another legend now? Or do you really
have doubts that you've lost the old touch? Is that
what it really is?
Speaker 1 (38:39):
Awful?
Speaker 3 (38:40):
No, I still haven't Ben show me, show me orvial.
I thought, I don't have to swim.
Speaker 1 (38:57):
I can think Johnie's want I don't.
Speaker 3 (39:00):
I start playing, order, playing more sweetly than you've ever
played before.
Speaker 7 (39:11):
That's beautiful. Just glove your Oh I'm a boy again.
I'm on the high seeds, cresting those waves, those oars.
Speaker 2 (39:25):
My muscles are rippling.
Speaker 7 (39:27):
I'm cutting those oars through the waves like a nice throw.
But that's beautiful.
Speaker 3 (39:42):
Hoping about him Charlie dog hitting Carol now.
Speaker 8 (39:47):
Getting rid of his door, your boy, Oh, go ahead, hurry.
I don't know how long I can hold them.
Speaker 3 (40:08):
Thank you of them, Thank you, hurry hurry. I'll never
forget you, for it's over. I'll never forgets, never forget hey,
(40:38):
never forget this happened, This happened?
Speaker 2 (40:40):
Do you all right?
Speaker 1 (40:43):
Yeah?
Speaker 2 (40:43):
Le Roy LAUNI you remember me, don't you?
Speaker 3 (40:45):
It's still nighttime? How can it still be nighttime?
Speaker 1 (40:50):
You're gone into one, heckles skid. Miss oh look at
this car. For a minute, I thought you were dead.
Now you really looked there.
Speaker 3 (40:59):
I'm I'm all right, Well I feel fine now I
don't understand that.
Speaker 2 (41:07):
Now I could have sworn you were dead.
Speaker 1 (41:10):
But the dead don't come back to life, do they?
Speaker 3 (41:14):
No, No, they don't, Officer Laroo. Of course they don't,
or do they?
Speaker 1 (41:31):
After all, anything is possible in this day and age. Anyhow,
who is to say whether or not this wasn't all
some dream? Maybe there really isn't some actual life and
death struggle that has gone on since the beginning of time.
Maybe there is really no place called the Isle of
the Dead. In any event, one thing we do know
(41:52):
for sure is that this is a place right here,
or you'll be when I returned shortly. Today's lesson don't
(42:13):
always steel. You have to pay for something you don't
want at the moment. Some people can be mighty persuasive salesmen.
But the fault, dear brutus, is truly with the customers
who so readily purchase whatever is foisted upon them. With
most of us, we are so ready to accept our
(42:34):
fates because someone tells us that is the way it
is to be, but is it Our cast included Patricia Elliott,
Lloyd Batista, Terry Keane and Earl Hammond. The entire production
was under the direction of Hymon Brown. This is a G.
Marshall inviting you to return to our Mystery Theater for
(42:55):
another adventure in the macabre. Until next time, pleasant m
The journey into the realm of the strait, and yet
a bye. I hope you will enjoy the chap that
it will till you a little and kill you a little.
Speaker 2 (00:14):
So settle back, get a good grip on your nerve.
Where are we going?
Speaker 1 (00:22):
You'll find out when we get there. CBS Radio Mystery
Theater Presents come in. Welcome, I MEE G. Marshall. In
(00:57):
our lives, we all travel to many places where we
will be the stranger. The unknown waits for us in
other countries, other towns, even new roads, a different turn
on an unfamilious street. And are we really any difference
from the traveler of ancient times? Aren't we still dependent
on the kindness and good will of others. Even the
(01:21):
most suspicious of people must ultimately be confronted with a
situation where he must trust his money, his possessions, or
even his life to a stranger.
Speaker 3 (01:31):
You're mistaken or the I can leave here anytime I.
Speaker 1 (01:35):
Want to start pretending, Pemla. You know you can never
leave Silver Tree Island.
Speaker 3 (01:40):
Yes, I can.
Speaker 1 (01:42):
No one ever leaves Silver Tree Island. And you know
why it isn't true. It's impossible. You know why? Now,
don't you, Pemela, don't You. Our mystery drama The Island
(02:04):
on Silver Tree Lake was written especially for the Mystery
Theater by Victoria Dan and stars Patricia Elliot. The world,
they say, has gotten smaller, It grows smaller every day.
(02:29):
This incredible shrinking process has to do with our advanced technology.
There is scarcely a patch of ocean or earth anywhere
that has not been duly accounted for on some vast atlas.
The previous frontiers of mystery are rapidly losing their magic.
The once untamable Amazon is falling victim to the bulldozer.
(02:54):
Enchanted islands in the South Pacific are used for atomic
bomb experiments. Still at all, there are places even in
this country that remained relatively untouched by the mass of civilization,
places that we call the back.
Speaker 4 (03:10):
Roads of America.
Speaker 3 (03:17):
Officer, I don't understand why you pulled me over.
Speaker 1 (03:21):
Even my name is Trooper Leroy LaRue Junior. Your name man.
Speaker 3 (03:25):
Alan Tamla Allen. My license is in my percise, your
karmacel and you know I readited at the airport in
American Farmasellan. It is miss and yes I'm from New York.
Speaker 1 (03:36):
Miss Allen. Are you aware there's a posted speed limit here, Officer.
Speaker 3 (03:40):
I wasn't feeding the post and limit is forty five.
I was doing forty five. You can't give me a
ticket just for.
Speaker 1 (03:47):
That, Milla. Now have I said one word about the ticket? Now?
You obviously been seeing too many of those movies about
cigar smoking Southern policemen picking on poor yankee over I
only now listen, limit means forty five miles an hour,
conditions prevented. Now you know what that means. It's just
been a rainfall. Now this is the Lake Road, and
(04:08):
it's bad enough. When it's dry it curves and snakes,
and then you know, if you aren't familiar with it, well,
it can be pretty dangerous.
Speaker 3 (04:16):
I see, thank you for the warning office here.
Speaker 1 (04:20):
Ain't gonna win, aren't you? How did you know over
in Weaverville right right well, that fancy package with the
bows on the seat next to you. Now, what else
could that be but wedding president? And who else is
getting married tomorrow except when Sally live with you?
Speaker 3 (04:37):
He knows Sally nor listen.
Speaker 1 (04:41):
You're talking about the love of my cousin, Eyle's life
now both his heart when she went up north to
that college now. He waited and waited for her to
come home after that, but hunt, no, she said she
had to find herself, got itself a couple of interesting degrees.
She's back home for good now, finally caught up with
the slept with everybody sooner or later, marriage that is, No,
(05:04):
I tell you there dropping Nike flies around me. Officer, Well,
I see being a bit of an knowledge.
Speaker 3 (05:11):
No, no, it's just that truth.
Speaker 2 (05:13):
Is Miss Allen.
Speaker 1 (05:13):
You know you got me in just a bit flustered.
But you be careful now it's nearly dark and you
have to be extra mind full of little sudden push
and turn.
Speaker 3 (05:21):
I appreciate your advice, Officer at the room. I'll be
as careful as I can.
Speaker 1 (05:26):
We have had some terrible accidents on this part of
the lake road. Cars ski ride into the embankment.
Speaker 3 (05:32):
Well, I'll certainly try to get to Weaverville.
Speaker 1 (05:35):
In one piece, okay, by now.
Speaker 3 (05:37):
By Sally Man my whole college. Heomm I wouldn't make
this trip for anybody except you. Ah, this really is
a boondog. We nowhere. I need to run out of
(05:58):
gas here that close this will use that point the
way twist. How that kind of like I'm going into
a skin. I can't summer long. Wh whoa what happened?
Speaker 5 (06:28):
I was so blacked down, like, oh no, look at
the car, the windshields, everything else.
Speaker 3 (06:39):
What mess that I think to be in?
Speaker 1 (06:46):
One? No?
Speaker 3 (06:49):
What am I? What am I supposed to do? I'm
in the middle of nowhere?
Speaker 1 (06:54):
Start?
Speaker 2 (06:57):
No phone?
Speaker 3 (06:57):
No? No?
Speaker 6 (06:58):
How did I? I guess had better not walking?
Speaker 3 (07:14):
I must walk halfway around the lake by now. There's nobody.
There's nothing. Oh, my dad, a doc?
Speaker 7 (07:27):
Why I think I see a both?
Speaker 3 (07:29):
What is someone? Hey?
Speaker 2 (07:31):
Hey? Hey? Hello there there?
Speaker 3 (07:37):
Oh, I guess to see you, sir. I didn't think.
Speaker 7 (07:39):
Anyone around a mile around here always here.
Speaker 3 (07:44):
I just ran my car into a dish a few
miles back.
Speaker 5 (07:47):
And I would really appreciate some help.
Speaker 7 (07:51):
Oh, I had an automobile action in your head.
Speaker 3 (07:54):
Yes, where would the nearest gas station be?
Speaker 2 (07:57):
I'm except in town.
Speaker 7 (08:00):
Oh that's over five miles in the dark.
Speaker 3 (08:03):
Is there a house nearby?
Speaker 2 (08:05):
H not that I know.
Speaker 3 (08:08):
But what's that out there?
Speaker 2 (08:09):
Out where?
Speaker 3 (08:10):
I think I didn't like up in the center of
the lake.
Speaker 2 (08:13):
Oh no, don't you know what that is?
Speaker 3 (08:17):
No? Should I?
Speaker 7 (08:18):
Well, that's the Silver Tree Lake Resort Resort.
Speaker 3 (08:24):
I was here in the middle of nowhere.
Speaker 7 (08:26):
Not many people have heard of it. It's it's very
How do you say exclusive?
Speaker 3 (08:32):
Would they have a telephone there?
Speaker 2 (08:34):
You mean you'd want to go there?
Speaker 3 (08:38):
Yeah, just to have the phone.
Speaker 2 (08:40):
I don't know.
Speaker 3 (08:42):
You make it sounded that they've got god dog or something.
Speaker 2 (08:46):
Oh, they do a big brood of a German shepherd.
But he don't bark at me. I mean my boat.
Speaker 7 (08:53):
He knows me. I make deliveries at the island drop
off gifts a couple of times a week, applies the
Sunday paper.
Speaker 3 (09:02):
Well, might you be able to give me a lift
over in your in your lunch here?
Speaker 7 (09:06):
Oh, I'd be happy to oblige you, miss uh for
a fee. They're going raiders half a buck all right,
I don't misunderstand me. I take it for nothing. But
it's been a slow week, and well the price of gasoline.
Speaker 3 (09:19):
Need to say, never mind, never mind, here's your money man.
Speaker 2 (09:22):
Don't just call me Charlie.
Speaker 7 (09:24):
Come on hop him. Now watch your step here we
are Silver Tree Lake Resorts.
Speaker 3 (09:40):
Beautiful. But what I can see of it? Oh? Hell,
if you might.
Speaker 2 (09:46):
Rucy, No, not me.
Speaker 7 (09:47):
He doesn't heard a good bruce. Follow me I'll take
you to meet the manager and his wife and he'll
be up in the main lobby just then.
Speaker 2 (10:04):
Anybody home?
Speaker 1 (10:05):
Well Charlie, how are you young?
Speaker 3 (10:09):
Leader?
Speaker 7 (10:09):
Miss Pamela Allen, I'd like you to meet the owner
and manager of Silver Tree Lik Resort, mister TJ.
Speaker 2 (10:16):
Hers.
Speaker 3 (10:17):
How do you do, sir? I I was hoping that
perhaps I might use your phone roll. I just badly
ruined my car.
Speaker 2 (10:26):
You had, max?
Speaker 1 (10:26):
He yes, yes, so you have, Miss Allen. I can
see you. I can see you hurt yourself.
Speaker 3 (10:32):
No, no, not really. I would just like to use
the phone.
Speaker 1 (10:36):
Would on free? It's impossibly switchboards out of order till
the morning. Hey, that storm we had early to say
afternoon knocks the wires. Now, oh, I see you know.
The best thing you can do now is to get
some rest. We can put you up one of the
guest rooms. It's plenty of space.
Speaker 3 (10:52):
Well, well, I don't know what credit cards do you accept?
Speaker 1 (10:57):
Hey? Credit card? Miss Allan, need know anything? We charge
you for our hospitality, I mean a traveler in distress.
Well this may be a hotel, but your gift of
management now and you her Southern hospitality.
Speaker 3 (11:11):
But I appreciate it.
Speaker 1 (11:14):
Mister Harrison. Money, no money, Come on out of here, honey, Bonnie.
Here's my wife.
Speaker 3 (11:20):
But is it TJ. I was just sitting down to dinner.
Speaker 1 (11:23):
Honey.
Speaker 3 (11:23):
This is missus Pamela Allan.
Speaker 1 (11:25):
She's a head an accident with her car.
Speaker 3 (11:27):
Oh, I'm sorry to hear.
Speaker 1 (11:29):
That, sister. She stay the night, you know rest of them, of.
Speaker 3 (11:32):
Course, But I don't want to put you in any trouble.
Speaker 1 (11:35):
No, no, no trouble at all, he said, fun.
Speaker 3 (11:37):
No, no, of course not. I'll show you to your room.
What's a lovely room, Missus Harrison. Please call me Bonnie,
and I wish you'd call me Pamela. I can't tell
you how much I appreciate your kindness. We're kind of
a simple place here, but I think you'll find everything
(11:59):
you need. Try to get some rest.
Speaker 1 (12:01):
You must have had.
Speaker 3 (12:02):
Quite an ordeal.
Speaker 1 (12:09):
Well, good morning, miss Allen. Did you sleep well? Yes?
Speaker 3 (12:12):
I did, Thank you very much. Again, I was wondering
about the telephone.
Speaker 1 (12:18):
I understand you didn't have supper last night. I insist
you sit right down, this ensit and have a nice
big country break.
Speaker 3 (12:26):
Oh, thank you, But I never have much of an
appetite in the morning. I really wanted to call the
gas station about my.
Speaker 1 (12:31):
Cost this buffet? Now, what would you lack Ham South
is as Brown's fresh root cup. See do you like
sweet rules?
Speaker 3 (12:40):
Just a cup of tea right now?
Speaker 1 (12:41):
You just said, right down that table over there and
I'll have or will bring your trade.
Speaker 3 (12:45):
Good morning, Pamela. Did you sleep all right? Great? I
want to thank you. Really. Listen, Bonnie. I don't mean
to appear anxious, but are the phones still out of order?
Why the telephones are they repaired yet? What telephones? You know,
(13:08):
the ones that they connect you to the mainland. We
don't have any telephones here. What but your husband told
me last night. You must be mistaken. There have never
been any telephones here at Silver Tree Island Resort.
Speaker 1 (13:29):
And here you thought the plot was never going to
as they say thicken. Was TJ. Harrison so embarrassed about
not having telephones at his little island resort that he'd
actually lie about something so petty? Or is it really
so petty? What ulterior motives could anyone possibly have for
(13:50):
something like that? He must have lied for a reason.
In any event, you'll have a chance to explain himself when.
Speaker 4 (13:57):
I come back with back two.
Speaker 1 (14:13):
Over two thousand years ago, a Greek writer said, what
is pleasanter than the tie of a host and guest?
Things haven't changed much since then. Hosts still like to entertain,
and guests still worry about overstaying their welcome. Pamela Allen,
en route to the wedding of an old friend in
(14:34):
the backcountry of Mississippi, has just spent the night at
a hotel in the middle of a lake, following the
promise of the hotel manager that the phones would be
working in the morning. Now, it seems her very gracious
host neglected to tell her that there aren't any phones
on the island.
Speaker 3 (14:56):
No phone, no, of course, But why would your husband
tell me there were phones if there really were, you
were in such a state he probably didn't want to
upset you. What kind of a place doesn't have telephones,
pam You have to understand. Silver Tree Island is a
place where people come to escape the pressures of the
outside world. They leave their cares behind. No television, no radio,
(15:20):
no telephones. The people prefer it that way, and we
cater to our client. Tell I guess that makes sense,
but still sure it makes sense. TJ is the perfect host.
Oh hey, here comes auble with your breakfast. Thank you,
but I'm really not very angry on since you've got
eat something? You want to sleep on an empty stomach?
(15:41):
Orrible and is here is miss Pamela Allen?
Speaker 1 (15:45):
Here's your tray?
Speaker 3 (15:47):
Orble is the resort social director entertains nightly in the
statellite lounge. How nice? But we all help out in
the dining room. Give the place a homie touch, wouldn't
you say? Monnie? I don't want to seem ungrateful, but
you see, I'm expected at a wedding this evening. I
really have to get someone to tow the car. It's rented.
I've got a lot to do. I was wondering if
(16:08):
after bread. Hey, now, don't worry about a thing. Just
be down at the dark In half an hour, Charlie
comes with deliveries about them. He'll give you a ride back.
That's a load off my mind. Thank you. I've already
had my breakfast. But you shouldn't be eating by yourself,
say or but why don't you sit here with miss
(16:28):
Pamela Allen?
Speaker 1 (16:30):
All Right?
Speaker 3 (16:31):
Won't you excuse me? I think I see TJ.
Speaker 1 (16:36):
You're not eating anything.
Speaker 3 (16:38):
I never eat in the morning. Although, how long have
you been working here at Silvertree Island?
Speaker 1 (16:50):
Work?
Speaker 3 (16:50):
Well, that's what you do, isn't it, your resident social director.
Speaker 1 (16:55):
I don't call it work. I call it music.
Speaker 3 (16:59):
But you'll hear me after dinner, I won't be here.
Speaker 1 (17:02):
Sure, that's what they all say?
Speaker 3 (17:06):
What all who say?
Speaker 1 (17:08):
The guests?
Speaker 3 (17:10):
Oh, I'm not a regular guest.
Speaker 1 (17:12):
And they all say that too.
Speaker 3 (17:13):
What are you talking about?
Speaker 1 (17:15):
Don't you know by now they're not going to let
you get away so fast?
Speaker 3 (17:21):
Do you mean to say that they're going to try
to get me to stay longer as a regular guest.
Speaker 1 (17:28):
Oh you could put it that way.
Speaker 3 (17:30):
Yes, that's ridiculous. Charlie take me back in his boat
as soon as he drops off some supplies. Why do
you sound so skeptical?
Speaker 1 (17:41):
Skeptical? Heck, I'm not skeptical. In fact, I'll walk you
down to the landing myself, says Charlie.
Speaker 3 (17:55):
Now right on schedule. I wish I could have found
the Harrisons before I left. I wanted to think over
their hospitality.
Speaker 1 (18:06):
A jous breed i've ever seen, don't put this pussy
care of the dark to see her. He's a German
shepherd and he can be serious of provoking. You better
get back off the lembit.
Speaker 3 (18:17):
What's he growling at before?
Speaker 1 (18:21):
That doctor is his personal property?
Speaker 3 (18:24):
Get back, get back off? What's the matter?
Speaker 2 (18:26):
I told you Rusie.
Speaker 1 (18:27):
Doesn't like people trespassing on his dock.
Speaker 3 (18:29):
And you didn't grother at me last night?
Speaker 1 (18:31):
But why because I was with Charlie, Because you were arriving,
not leaving.
Speaker 3 (18:38):
Rosy doesn't like to see visitors go. That's just wonderful. Oh,
here's Charlie.
Speaker 1 (18:44):
I'm sure he'll.
Speaker 3 (18:45):
Be happy to escort you.
Speaker 1 (18:47):
All right, Charlie?
Speaker 2 (18:49):
What are you doing at the dark this morning?
Speaker 3 (18:52):
I hope you don't mind, Charlie, but I was hoping
to get your ride back to the mainland with you.
You did, did you? Yes?
Speaker 2 (19:00):
Do you think I'm will take her back?
Speaker 3 (19:03):
What do you say? Well, after what you've seen, after
what I've seen?
Speaker 2 (19:09):
What do you mean where it's on the question?
Speaker 3 (19:11):
On the question?
Speaker 2 (19:12):
If you'll just excuse me?
Speaker 3 (19:14):
Oh, I understand now. You you want me to pay
you right?
Speaker 2 (19:20):
You are smart, young lady.
Speaker 3 (19:22):
Is it still fifty cents? And let me just here?
Do you have change for five dollars bill? All the
Could I trouble you?
Speaker 1 (19:33):
Sorry? I never carry money.
Speaker 3 (19:35):
Well here then, but take a whole five who you can.
It's worth it for me to get going, well not
for me.
Speaker 7 (19:42):
I don't do paper money. It's fifty cents, clear, no rhyme.
Speaker 3 (19:47):
But that's five dollars perfectly good.
Speaker 7 (19:49):
You ask currency, I'm not interested for He's exact change.
Speaker 1 (19:55):
The most unbelievable person I ever met.
Speaker 3 (20:03):
Back to the built to be something mercenary.
Speaker 7 (20:06):
No, you can always complain to the management.
Speaker 1 (20:15):
Well, I'm afraid my hands are tired, Miss Allen. Charlie
is an independent operator, sureley meant to have. Over the
years he's developed what might appeared outsiders somewhat eccentric ways,
and now one of them is the fifty cent charge.
In fact, he charges fifty cents for just about everything.
Speaker 3 (20:32):
It certainly is eccentric wellness to have. And I'm sure
then you won't mind if I troubled you for the change.
Speaker 1 (20:41):
Of a change. Why you don't understand, miss Allen, I
thought I explained to you last night. We're a hospitality house.
We never accept money.
Speaker 3 (20:51):
But you know a hotel surely, and you have the.
Speaker 1 (20:54):
Wrong idea about us, Miss Allen. We never charge our
guests anything. What do you think I run this place
for the money, Well why else? No, no, no, this
is not the kind of business you think. Charge our
gifts to money. No, our people are here to get
(21:16):
away from the world.
Speaker 2 (21:18):
Now.
Speaker 1 (21:18):
Money is the root of all anxiety and all frustrated.
Speaker 3 (21:21):
Mister Harrison. If you don't believe in charging money, it's
no affair of mine. But I've got to be in
Weaverville Bright early this afternoon. Now, first you told me
some story about there being phones on the island, which
there aren't, and then your wife told me i'd be
sure to get a ride back with Charlie. Except now
it appears I can't do that unless I come up
(21:43):
with exactly fifty cents, which you say you don't have. Now,
what's going on here, mister Harrison, don't you know? No,
I'm quite confused.
Speaker 1 (21:52):
Well then I'll clear things up for you.
Speaker 3 (21:55):
We like you very much and would like.
Speaker 1 (21:58):
To invite you to stay o day here. That's right,
you see. Well, I wouldn't normally be so pushy, but
Ronnie really likes you, and Ronnie doesn't often take the people.
I mean, she really seems to get along with you.
I'm very god, but Vunnie has been ill recently.
Speaker 3 (22:19):
I am sorry to hear that.
Speaker 1 (22:21):
And already you sort of brow her spirit back into
her face to shine back in her eyes. Oh, there
is nothing like the companionship of young people better when
her husband is a such an old fool. You like me,
You've got not old, mister Hart. Oh, thank you. But
the truth is I am twice as old as Monny.
(22:42):
And sometimes there's that unavoidable what is that they used
to say, a generation gap? At least we couldn't you
stay the weekend.
Speaker 3 (22:53):
I told you I have to be in Weaverville by
this afternoon.
Speaker 1 (22:57):
Well, why don't we discuss this after lunch?
Speaker 3 (23:00):
Un we just had breakfast.
Speaker 1 (23:01):
Well, will you excuse me, Misselle and I have wanted
to desk a new guest, Mister has and I after lunch,
Miss Allen, talk to me after lunch. I don't know
what you're so worked up about.
Speaker 3 (23:17):
Although I seem to be getting the run around here.
Speaker 1 (23:20):
You really, what is.
Speaker 3 (23:22):
It some sort of inquisition?
Speaker 1 (23:24):
No, I just meant, well, you seem to enjoy it here.
A person has to be a fool. I want to
leave a place like this, Listen, that's a very rare
and I can do straight coming.
Speaker 3 (23:42):
I can't. I've got things to do.
Speaker 1 (23:45):
It would be so much better if you wanted to
straight do you make.
Speaker 3 (23:49):
It sound as if I had no choice?
Speaker 1 (23:51):
But you you don't.
Speaker 3 (23:55):
What did you say you'll hear the straight? I don't
know what you're talking about. You can't go back, you
know you.
Speaker 1 (24:05):
Can't go back. Nobody can ever go back? What nobody
ever leaves Silver Tree Island? Really ever? That's the price
you pay instead of money, you never leave.
Speaker 3 (24:22):
I don't believe it.
Speaker 1 (24:24):
It's true, and you know it.
Speaker 3 (24:25):
It's the most ridiculous thing I've ever heard. Or quit
joking around. It isn't funny anymore.
Speaker 1 (24:30):
I'm not joking.
Speaker 3 (24:31):
Look, I've got to get out of here. I mean
I left a thirty five dollars wedding peasant in an
unlocked car, a rented car with a smashed wind.
Speaker 1 (24:41):
No, a seventy six blue Sedan needs a new windshield
and some work on the front.
Speaker 3 (24:46):
Rill, How did you know what kind of car I
was driving?
Speaker 1 (24:50):
Why shouldn't I know?
Speaker 3 (24:52):
Hej told me it, Harrison, But how does he know?
Speaker 1 (24:56):
He knows everything. He always knows the circumstances of the death.
The death you know, like you were dead.
Speaker 3 (25:10):
My death?
Speaker 1 (25:13):
What is it you said? It was some kind of
a head injury. I think.
Speaker 3 (25:18):
You're you're telling me that I'm dead?
Speaker 1 (25:25):
What do you think I'm doing?
Speaker 3 (25:28):
I don't like your sense of humor orble. It's very sick, Pamela.
Speaker 1 (25:32):
Why don't you face facts. You had an accident, you died.
It happens to the best of.
Speaker 3 (25:38):
Us, and you're out of your mind. I'm alive.
Speaker 1 (25:42):
No, you're just so like the rest of it. You
know you're dead, and you know where you are?
Speaker 3 (25:52):
Oh, and where am I supposed to be?
Speaker 1 (25:55):
Where all souls go?
Speaker 3 (25:58):
The Island of the Dead, the Island of the.
Speaker 1 (26:02):
What of the dead otherwise is known as Hades eighties,
the Island of the Dead. Is it possible that Pamela
is actually dead? Is progress so universal a concept that
(26:24):
the afterlife also changes with the times? The island of
Hades becomes a homey resort surrounded by a pleasant lading,
or rather, do people see only what they want to see?
We'll see what lies ahead when I return with Act three.
(26:59):
Four thousands of years, western civilization has held on to
its belief of some kind of afterlife. Greeks and Romans
a legends of an underworld called Hades, run by a
gloomy Olympian god and his young, pretty wife. The dead
reached Hades by ferrying across the dark river Sticks and
(27:20):
were greeted at the gates by a huge three headed
dog named Cerebrus. Now in our story, we have a
pleasant southern resort island, the owner and his younger wife,
and an ominous German shepherd guarding the boat dock. If
there are any parallels, well they really aren't intentional.
Speaker 3 (27:44):
Hades. You're telling me that this place is Haiti, it is.
This whole thing is ridiculous.
Speaker 1 (27:56):
You skid it off the road, all right.
Speaker 3 (28:00):
You say you're black, Dot, Yes, but you weren't in
the car when you regain consciousness. No, I was on the.
Speaker 1 (28:08):
Grass somewhere somewhere, don't you remember.
Speaker 3 (28:14):
Actually it's oh hazy Now anyway, it's not important.
Speaker 1 (28:21):
No, but it is. You regain consciousness outside your car,
a distance from your car. You were thrown from your.
Speaker 3 (28:27):
Car, Dot, I don't remember. I don't know I'm thrown
from a car.
Speaker 1 (28:33):
And you don't have a scratch on your going over
forty five miles an hour, don't you see?
Speaker 3 (28:39):
You're beginning to forget already, that's part of it.
Speaker 1 (28:43):
What kind of car were you driving?
Speaker 3 (28:48):
I can't seem to recall what color was it? I
don't remember.
Speaker 1 (28:55):
You see the win, the forgetful.
Speaker 3 (28:57):
Well, you're just trying to frighten me.
Speaker 1 (28:58):
I'm just trying to make you see the truth.
Speaker 3 (29:00):
I've got to get moving.
Speaker 1 (29:02):
I'll be late. Wait for what do you remember? Where
you have to be?
Speaker 3 (29:06):
Of course, I I've got to. I've got to go
over to this strange I can't seem you remember I told.
Speaker 1 (29:18):
You these facts. You're a resident, a permanent resident of
Silver Tree Resort.
Speaker 3 (29:25):
No, no, no, there must be some explanation, Camela.
Speaker 2 (29:31):
Pamela, Wait, you can't go.
Speaker 7 (29:33):
There's no way off the island, don't you see.
Speaker 3 (29:36):
I'm on Bucy. Let me go. Come on, come on.
I'm not going to feel about your will. So if
i'm met, I won't feel Oh you'll feel it.
Speaker 1 (29:45):
All right.
Speaker 3 (29:46):
I don't understand that. I don't understand any of it.
Speaker 7 (29:50):
Why won't anyone.
Speaker 1 (29:51):
Let me hello?
Speaker 3 (30:02):
How are you feeling?
Speaker 1 (30:05):
Oh?
Speaker 3 (30:05):
Pamela? Answer me? What have I done to make you angry?
I want to leave? Nobody will let me leave? Is
there such a bad place? No? Not really has anyone
treated you unkindly made you feel unwelcome? No, then what's
(30:26):
the problem, Bonnie? Is this place really really?
Speaker 1 (30:35):
Yes?
Speaker 2 (30:36):
It is?
Speaker 3 (30:38):
And then I suppose everyone here is dead. That's what
makes Silver Tree Island Resorts so exclusive, the ultimate inexclusiveness,
if that's the appropriate word. I'm really.
Speaker 1 (30:56):
Dead.
Speaker 3 (30:57):
Hey, it's not so bad. I'm twenty seven years old.
What did I ever do to Pamela? I was a
lot younger than you when I came here. I cried
and I wanted to go home, But well, what's done
is done. I'm here, and it really isn't that unpleasant.
(31:22):
We can be friends Orbo seems to like you, and
he usually doesn't bother with people. I'd be very flattered
if I were you twenty seven years old. I never really,
I never really loved someone. You might as well face facts. Why,
because that's the way things are. Why do I have
(31:46):
to accept that? Because you have to? That's why, Funny,
I don't have to accept anything. But you do have
some people, most people, almost all people, but not me.
And what do you intend to do about, Bonnie? When
(32:06):
I go into a store and they sell me something,
and I decide I don't want it. I go right
back and I return it. Even if the store has
a strict no return policy, I return it and I
get my money back. Do you know why No, because
that's how I was raised. My mother told me, Pamela,
(32:28):
never let anyone sell you something you don't want to buy,
and I never have. But this is different. How is
it different? You're talking about non returnable. That's where you're wrong, Bonnie.
Everything is returnable. TJ. Honey, family here wants to talk.
Speaker 1 (32:52):
To you for sure.
Speaker 3 (32:54):
Everything all right, Mada, No, everything is not all right.
Speaker 1 (32:58):
Well what's wrong? I'll take it right away.
Speaker 3 (33:00):
I am not of the services of this establishment. I
find the quality not to my satisfaction.
Speaker 1 (33:08):
Well, what exactly don't you like it? Is it the
food you call that food?
Speaker 3 (33:13):
I didn't sandwiches out of vending machines that tasted better.
Speaker 1 (33:16):
Oh, you can't mean that.
Speaker 3 (33:18):
I insist you provide transportation for me back to the mainline.
Speaker 1 (33:21):
Well, I will oblige you in any way. Your good
host can miss Allen, and I'll improve your meals. I'll
do anything a good host should. But the successful host
is one of us. Made these guests feel so welcome
that they never wish to leave you. I fear I
have not succeeded with you. But never mind, I am
working on it.
Speaker 3 (33:52):
They play very beautifully.
Speaker 1 (33:54):
Or I don't understand a PM. What exactly do you
want to get back too? I don't know? And why
are you so anxious to get back? It doesn't make
much sense.
Speaker 3 (34:10):
All I know is I'm not ready for this yet.
Speaker 1 (34:16):
No one ever is.
Speaker 3 (34:17):
I've got to leave while I still have this resistance.
Speaker 1 (34:20):
It'll pass with time.
Speaker 3 (34:21):
How long have you been here?
Speaker 5 (34:24):
Of?
Speaker 1 (34:24):
How long? Oh? I don't know, an eternity.
Speaker 3 (34:30):
Maybe no, really how long?
Speaker 1 (34:33):
So long? I can't remember. But I know you can't
ever leave here. I know someone who tried once. Who Oh,
there was this musician. It was at some kind of
a concert and his wife was at home alone. There
(34:55):
was this terrible accident, and the wife was dead. The
man went out of his mind. He couldn't believe what
had happened.
Speaker 3 (35:03):
I think I know that story, do you?
Speaker 2 (35:07):
Yes?
Speaker 3 (35:07):
It's the story.
Speaker 1 (35:08):
Well, let me tell you how it ended. The man
knew where she'd gone, so he came here. Charlie took
him across in his rowboat. There weren't power boats in
those days, and he went before the King of the
underworld to beg for the return of his wife. At
first the king refused, but then the musician started to
(35:32):
play his lyre. He played a song, a song so
sweet sad about a young girl painting flowers in an
open field, a girl that the king had loved at
first sight and brought down to the underworld to be
his queen. And the king was moved to tears, told
(35:54):
a musician he could have his wife, He could return
with her to the world of the living, if only
he didn't turn around and look behind him on the
journey homeward.
Speaker 3 (36:03):
But he did look behind, didn't he?
Speaker 1 (36:06):
Yes?
Speaker 3 (36:08):
And you realisy, the wife vanished into dust? Didn't she?
Speaker 1 (36:15):
Yes? Into dust?
Speaker 3 (36:18):
It was your wife, wasn't it?
Speaker 1 (36:22):
Yes, it was my wife.
Speaker 3 (36:26):
Times change names, change your orpheus. Aren't you.
Speaker 1 (36:36):
So long ago? Sometimes I've almost completely forgotten about it.
I'm sorry about what Listen. I never fooled myself. I'm
a musician first, a performer. That's what's the most important
to me. That's my first and real love, the other
(36:58):
kinds of love, they become gentle memories that become part
of my music. But it's the music that's what's important.
Speaker 3 (37:08):
Music. That's it, the music?
Speaker 1 (37:14):
What is it over?
Speaker 3 (37:16):
You're going to help me get out of here?
Speaker 1 (37:18):
No, I don't want you to go.
Speaker 3 (37:20):
If you call yourself my friend, you'll help me.
Speaker 1 (37:23):
But what can I do?
Speaker 3 (37:24):
I used to be quite a mythology about Fourville. I
remember some more details about the story of Orpheus and Eurydice.
He was the greatest musician the world has ever known.
I know that, Isn't it also legend that he played
music so moving, so exquisitely touching, that he caused all
who hurd to lay down and weep? How did he
(37:45):
get past the gates of Hades?
Speaker 1 (37:47):
Orthough?
Speaker 3 (37:48):
How did he get past that ferocious three headed monster Cerebrus?
Speaker 1 (37:52):
I don't you know how?
Speaker 3 (37:56):
He played a song so sweet and gentle, a huge
animal wet it became a lullaby, and soon Cerebus was
fast asleep. Then he just walked right on past the
Sentinel and into Hades. And that is how I'm going
to walk right out of here or swim, if that's
(38:16):
what it comes down to.
Speaker 1 (38:18):
I can't do it this time?
Speaker 3 (38:19):
Why not?
Speaker 1 (38:20):
I don't want to. I I like you. I want
you to stay.
Speaker 3 (38:24):
Didn't you tell me that you were an artist first?
So let's see how much of an artist you really are?
Can you create another legend now? Or do you really
have doubts that you've lost the old touch? Is that
what it really is?
Speaker 1 (38:39):
Awful?
Speaker 3 (38:40):
No, I still haven't Ben show me, show me orvial.
I thought, I don't have to swim.
Speaker 1 (38:57):
I can think Johnie's want I don't.
Speaker 3 (39:00):
I start playing, order, playing more sweetly than you've ever
played before.
Speaker 7 (39:11):
That's beautiful. Just glove your Oh I'm a boy again.
I'm on the high seeds, cresting those waves, those oars.
Speaker 2 (39:25):
My muscles are rippling.
Speaker 7 (39:27):
I'm cutting those oars through the waves like a nice throw.
But that's beautiful.
Speaker 3 (39:42):
Hoping about him Charlie dog hitting Carol now.
Speaker 8 (39:47):
Getting rid of his door, your boy, Oh, go ahead, hurry.
I don't know how long I can hold them.
Speaker 3 (40:08):
Thank you of them, Thank you, hurry hurry. I'll never
forget you, for it's over. I'll never forgets, never forget hey,
(40:38):
never forget this happened, This happened?
Speaker 2 (40:40):
Do you all right?
Speaker 1 (40:43):
Yeah?
Speaker 2 (40:43):
Le Roy LAUNI you remember me, don't you?
Speaker 3 (40:45):
It's still nighttime? How can it still be nighttime?
Speaker 1 (40:50):
You're gone into one, heckles skid. Miss oh look at
this car. For a minute, I thought you were dead.
Now you really looked there.
Speaker 3 (40:59):
I'm I'm all right, Well I feel fine now I
don't understand that.
Speaker 2 (41:07):
Now I could have sworn you were dead.
Speaker 1 (41:10):
But the dead don't come back to life, do they?
Speaker 3 (41:14):
No, No, they don't, Officer Laroo. Of course they don't,
or do they?
Speaker 1 (41:31):
After all, anything is possible in this day and age. Anyhow,
who is to say whether or not this wasn't all
some dream? Maybe there really isn't some actual life and
death struggle that has gone on since the beginning of time.
Maybe there is really no place called the Isle of
the Dead. In any event, one thing we do know
(41:52):
for sure is that this is a place right here,
or you'll be when I returned shortly. Today's lesson don't
(42:13):
always steel. You have to pay for something you don't
want at the moment. Some people can be mighty persuasive salesmen.
But the fault, dear brutus, is truly with the customers
who so readily purchase whatever is foisted upon them. With
most of us, we are so ready to accept our
(42:34):
fates because someone tells us that is the way it
is to be, but is it Our cast included Patricia Elliott,
Lloyd Batista, Terry Keane and Earl Hammond. The entire production
was under the direction of Hymon Brown. This is a G.
Marshall inviting you to return to our Mystery Theater for
(42:55):
another adventure in the macabre. Until next time, pleasant m
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