 Tonight, the Association of American Railroads presents the nostalgic Broadway musical High Button Shoes, starring Gordon MacGray and his guest star Margaret Whitey. Our choir is under the direction of Norman Luboff and our music is prepared and conducted by Carmen Dragon. Yes, tonight another great musical success is brought to you by the American Railroads, the same railroads that bring you most of the food you eat, the clothes you wear, the fuel you burn, and all the other things you use in your daily life. And now, here is our star, Gordon MacGray. Well, sir, tonight a lovely memory of the days of hobbled skirts and mandolins and high button shoes. Margaret Whitey is miles along the street and I'm the fortunate pop along the street in one of the most charming musicals. And here is High Button Shoes. Yes, dear? Listen to what they're playing on the radio. That wonderful old poker we used to dance to, way back in 1913. You know, I guess they're bringing back all the old songs, Mama. Papa, dance with me. Now, Sarah, you know I've got two left beat. Oh, you're a good dancer, Papa. You know that. Now please, just once around the living room for old time's sake. I'd fall apart. Oh, please, Papa. Papa, won't you dance with me? Oh, dance with me. Please, dance with me. Papa, take a chance with me and dance with me tonight. And when you whirl me round and round, and when we hear the trombones of the poker pie. Dance with me. Oh, dance with me. Please, dance with me. Maybe a few hobbles, Mama. Ah, that's my old fella. It's light as a feather, Mama. But you know I remember this more as a waltz. Way back there in 1913. Yes, it was a start of the law. Now, remember you had a white dress that rustled as we danced, Sarah. And you were the most beautiful girl in New Brunswick, New Jersey. And I remember how you took me out in the brand of the dance pavilion. You sang to me, Henry, the loveliest song. It made me fly. You know something, Sarah? If I weren't in training, I'd kiss you. I know, Henry, but wouldn't you break training for me? Rutgers expects every man to do his duty. Yes, but only on the football field. Oh, excuse me, Miss Sarah. Hope I'm not breaking anything up. Oh, good evening, Mr. Floyd. You know Henry Longstreet, Mr. Harrison Floyd? Oh, to be sure. Hi. Just thought I'd check with you about our date tomorrow, Miss Sarah. Our little, uh, jaunt to the country? Date? Yes, it's going to be a combination picnic and real estate sale. And what real estate are you selling? That acreage of Miss Sarah's folks own way out at the end of town. A little salesmanship, and we'll get rid of that swamp. I mean, that lovely track didn't know that. Oh, how sweet of you to help my father, Mr. Floyd. Anything for a beautiful, beautiful lady. Tata, do you tomorrow? You didn't tell me you were going on a picnic with that con man? Well, he's a very nice gentleman, and besides, you're in training. But, Sarah, we get Sundays off. Why, I could even kiss you tomorrow. Right smack on the picnic. Well, then come on along, Henry. It'll be good for you. Shady Lagoon. Nature's waiting around. Suppowers, you'll find they do wonders for you. Nature's waiting around to commute. They'll find they do wonders for you. Get a picnic I've ever been to in my life. Southland, which is the last word in 1913 subdivision. It's going over many drops. I mean, ah, spots left. Oh, isn't this thrilling, Henry? Just everybody knew Brunswick is buying the property. I don't know, honey. I don't trust that Floyd guy. But I'm collecting all the money right here in this little black bag. Mr. Floyd appointed me treasurer of the new development. Well, I just don't like all these developments developing so fast. Oh, excuse me, little lady, if you'll just hand me that little black bag, we'll count up our receipts. Well, certainly, Mr. Floyd. I'll be right back. You shouldn't have done that, Sarah. Why, Henry Longstreet, Mr. Floyd is honest as the day is long. Well, I have a feeling that this is one of the shortest days in the year. Hold everything. This whole deal is a big swindle. Swindle? I just walked down to where I was going to build my house, and I fell in. You're the treasurer, young lady. Now where's our money? Mr. Floyd's counting it. Counting it? Nothing. I just saw him heading out of town. Which way? In the direction of Atlantic City. Well, let's go. We've got to catch that big crook. You remember that day, Mama? Oh, I don't think I'll ever forget it, Papa. You know, even if he was a crook, I was kind of like Harrison. Harrison? Since when do you call him by his first name? Papa, that was 38 years ago. Well, I don't like you calling him by his first name. Well, Papa, you're jealous. Yes, Mama. I guess I am. Time to speed it all up kindly. For I still adore you blindly. But I can never still get jealous. I still get... You winked at a guy, and I got the punch in the eye. I catch a foot with the guys that are small, instead of the guys that are tall. It's worse than I... Settles for peace of mind. I'm jealous when we kiss. Good night. Your kisses are sweet. I like them a lot. They're worth all the troubles I've got. Unless you hold me extra tight. I'm as jealous as can be. I wish you would flirt with me. And dear, I know... I'll turn for the second act of high button shoes in just a moment. When you watch a freight train go by made up of cars from many different railroads, all put together in one train, you are seeing America's primary transportation at work. Those cars may have come from anywhere in the country. They may be going anywhere on the continent. But wherever they started from and wherever they are going, any one of them can be moved over the tracks and in the trains of any railroad. That's one familiar feature of the amazingly flexible network of America's basic transportation system. And here's another. It is a system which is accustomed to meeting emergencies and doing so with its own resources. It is organized to make prompt repairs when there is any break in service. And while repairs are being made, to use alternative rail routes around the location of breaks caused by floods, washouts, landslides, or other trouble. And this readiness extends to damage from enemy bombs if such a thing should ever come to pass in this country, as well as to damage from the forces of nature. This ability of railroads to keep running despite great damage was clearly demonstrated during the war in both Great Britain and Germany. And here's still another thing to remember about railroads and the emergency. The fact that railroad trains are moved under organized control, not as part of a movement on highways, which might be choked with a rush of vehicles individually operated and largely uncontrollable. These railroads are America's prime dependence for the overwhelming bulk of all its intercity transportation. They carry almost twice as many ton miles of intercity freight traffic as all other transportation agencies combine, and nearly six times as much as is carried by all motor trucks in intercity service. Each one of us has a stake in the health and strength and the continued readiness of these essential railroads to meet national needs. For valuable and useful as other kinds of transportation are, the continued operation of them all depends upon the continued service of America's number one transportation, the American Railroads. Now, here is act two of high-button shoes, starring Gordon McRae as Henry Longstreet and Margaret Whiting as Sarah. Yes, funny, isn't it, Sarah? How a tune and one turn around the living room with you and my arms brings back all the old days? Well, how did we used to dance this, Papa? Well, a little farther apart. And you had to be energetic to do it in this temple. Remember, we always slowed it up to a waltz. That's nicer. I love you, Papa. I love you, Mama. To me, Papa, you were always Rudolph Valentino and Milton Sills and Raymond Navarro, all rolled into one. Oh, Mama. And in my dreams used to climb into my window with a knife in your teeth, and we'd dance a wild tango together. I haven't thought this out of breath since that day we... we chased Mr. Harrison Floyd all over Atlantic City. You remember, Mama? Nobody will ever forget that Sunday when Mr. Floyd ran off with a little black bag full of our money. That chase was like a two-reel silent movie. He's underneath the bath house. Top of the bath house. Police officer, here's your man. Don't let me go. Harrison Floyd. The international condom. Harry, come here now. Why, arrest me and I'll never buy another ticket to the policeman's ball. Now, just a minute, officer. Floyd wears all the money. Where's that little black bag? I haven't the remotest idea what you're talking about. Now, all right, officer, you drag me to prison. But remember, this will cost you your pension. Henry, what are we going to do? My father and I'll have to make good every cent of this window. Oh, now, don't worry, honey. Everything will work out. Oh, how could I be so deceived about that... that con man? Well, everybody makes mistakes, honey. He offered you the glamour and excitement of a big city life. All I can offer is small-town excitement and a lot of plain old-fashioned love. That is, if you can see yourself in love with me. Brunswick. Graduation Day. Collie Henry, are you excited about getting out of Rutgers? By a strange coincidence, this is the day that Harrison Foy graduates from the New Jersey State Penitentiary. You're both getting out at the same time. Greetings, everybody. Floyd. Well, you certainly got a lot of nerve coming here. My commencement was earlier than yours. Oh, kids, I brought you a present. Why, Mr. Floyd, the little black bag. Where was it? Buried in the property. I had to wait for low tide to dig it up. Oh. Hope you don't mind if you wet $100 bills. Don't tell me you're going straight. I tell you, my boy, an honest heart beats beneath this celluloid shirt front. And to prove it to you, I'm going to give you to a chance to double the money in this little black bag. Oh, really, Mr. Floyd? I happened to be on the ground floor of one of the longest-established old brick manufacturing companies in the Western Hemisphere. Charlotton and Sun. Go, bricks. Gee, that sounds like a wonderful investment. No, no, no. Wait a minute, Sarah. Hold it, Floyd. We don't want anything to do with your crooked schemes. Sarah and I have an appointment with the Justice of the Peace. So you get moving, Floyd. All right. I know when I'm not wanted. Well, that leaves me with nothing to do, but hook up my high-button shoes and hit the road. Remember that, Mama? How could I ever forget, Papa? Well, I forgot how wonderful you danced, Mama. 1913. Those were the good old days. These are the good new days, Mama. You mind my saying, I think you're still the prettiest girl in New Brunswick. Papa. I might even be persuaded to say that you're the prettiest girl in New Jersey. The best part of it is that you're my girl. Margaret Whiting will return in just a moment. And our thanks to Jim Backus, who is Harrison Floyd, and to all the members of our company. High-button shoes with music and lyrics by Sammy Kahn and Julie Stein, and booked by Stephen Longstreet, was dramatized for the railroad hour by Lawrence and Lee. The railroad hour is brought to you each week at this time by the American Railroads. And now, a word from Marvin Miller. Thank you, Gordon. Thousands of our listeners have requested their free copy of the attractive new 32-page railroad hour booklet. What's more, many have written to tell how highly they value this souvenir with its fascinating pictures and life stories of our stars and cast. If you haven't yet done so, write tonight for your free copy. The address is the Railroad Hour, Transportation Building, Washington, 6 D.C. And now, here are Gordon MacRae and Margaret Whiting. Gordon, wasn't it fun going back to the good old days? Well, I don't know if they were so good, Maggie. You realize that in 1913, there was no radio, no talking pictures. Well, they didn't even have television. What do you suppose people did with their time back then? Well, there was nothing to do but sit in the backport swing with your girl and... I don't know. Well, maybe those good old days weren't so bad after all, Maggie. Who are you singing love songs to next week, Gordon? Mimi Benzell will be our guest for Sigmund Romberg's Nina Rosa. Well, I'll cat-whisk you on my crystal set. Good night, Maggie. You were wonderful. Good night. Well, sir, it looks as though we're ready to pull out. And so until next week, this is Gordon MacRae. Good night. Good night. Good night. Good night. Until next week, this is Gordon MacRae saying goodbye. MacRae can currently be seen starring in Warner Brothers' West Point story. Margaret Whiting can be heard on the Tide show. Our choir is under the direction of Norman Luboff, and our music is prepared and conducted by Garmin Dragon. Until next week, this is Marvin Miller saying goodbye for the American Railroads. And now, stay tuned for your Monday Night of Music on NBC.