 Ladies and gentlemen, the railroad hour. And here comes our star-studded show train. Tonight, the Association of American Railroads presents a new musical play by Lawrence and Lee. Maestro, starring Gordon MacRae and his celebrated guest Dorothy Warren Show. A choir is under the direction of Norman Luboff, and our music is prepared and conducted by Carmen Dragon. Yes, tonight another musical first 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 MacRae. Thank you, Marvin. And good evening, ladies and gentlemen. What do you think of when you hear this? What do you think of in those moments of musical chaos before the conductor taps his baton on the stand? There is a second of electric silence, when every eye in the concert hall is on the maestro. The baton moves, and we are all of us caught up in the mighty majesty of music. No, gentlemen, no. You're all playing like old men. Now get some youngness. Some youngness in the music. Let's move on to something else. This Galloway solo. Susan. I realize you are tired, Susan. I am tired. We've been traveling around the country for many, many weeks. But tonight is our starlight concert. And let's make a starry, my friends. Orchestra, this is a love song, not a pinocchio game. So, we begin. Who's that? There's a little boy sitting out there. He looks awfully tiny in this big bowl. Like a lonely cornflake that somebody forgot to finish for breakfast. Young man. Yes, you, come up here. Young man, our concert doesn't begin until late 30 tonight. You're about 10 hours early. You won't do anything to me, will you? May I call the police? Well, that depends. If you promise not to tell anybody about all the mistakes we make during rehearsals. Billy, I liked it. You a musician? No, I can't even play the kazoo. Galloway, do you have to know anything about music to do what you're doing? Well, I mean waving that stick and having everybody look at you. Come here. Now, I wouldn't want the musicians to hear this. But frankly, you don't have to know a thing. You just start when they start, and you finish when they finish. Don't you believe a word of that? What's your name? Well, Billy. A good maestro is the magician who brings the music to life. When you're at a concert, watch the maestro, and suddenly your ears begin to hear things you never heard before. You're my soloist, Miss Galloway, Billy. A very prejudiced young lady. Are you going to play any more? Well, why not? A little Victor Herbert to fit this Indian summer September. And remember, gentlemen, this is a together stick. Now, together. Indian summer. Here that comes after. See so many dreams. The passion when summer. To watch over. Some heart that is broken. Here that somebody. The ghost of a rose. That was awfully pretty. You know something I agree with you? There are certain composers that aren't high-brow, and they aren't low-brow, Billy. They just have a knack of reaching everybody. Victor Herbert was one of them. And Sigmund Romberg was another. Anybody in love listens to the music, and suddenly, suddenly they're more in love. I'd better go. Are you all right, Billy? Sure. You got so pale all of a sudden. I just got to go. That's all. Take five, man. Now, Billy, what's the trouble? Hey, golly. Hey, no tears allowed around here, Billy. The moisture isn't good for the violins. Makes them play sour. Can you tell us what's wrong, Billy? Maybe we can help. Well, you know lots of things about beautiful music and love and all that. Tell me, can somebody love somebody else real much, hate somebody else real much, too? Well, that happens all the time. I'm just making it worse. I'm not helping at all. You're a mother and father. Yeah. Well, they call it separated. I stay six days a week with my mom and one day with my dad. Oh, that's bad music. Not good at all. It's very unsatisfactory for lovers of harmony. I should not bother you like this. I'll go home. Eat my day with my dad and home for him as a hotel room. Goodbye. Now, just a minute, Billy. I want to show you something about music. And it works with other things, too. Come over here to the piano. Now, look. I'll play this note and this note. Very good, self-respecting notes. But I play them together. It's a discord. Susan, sing a deep. All right. Now then, Billy, if I sing this note it doesn't sound very good. But if I adjust it like this listen to how nice it sounds. See? Every discord points to its own resolution. Every discord says please, please, let's not fight like this. Let's live together happily ever after. Carly. You know, maybe if we do a little adjusting and find out who's singing sharp or who's singing flat we can do something about the discord between your mom and your pop. Yes, could you do that? See, how could you do that? Well, you just wait and see, Billy. You just wait and see, Billy. Just wait and see. We'll return for the second act of Maestro in just a moment. That's a sound most of us have never heard before. But to a good many railroad men it's familiar. For that rhythmical pumping is the sound of an iron lung working unceasingly inside a railroad car as it carries a victim of polio to a respiratory center. And today as we all watch the seasonal incidents of that disease you might be interested to know that the railroads regularly move safely, dependably, comfortably and over long distances helplessly paralyzed victims and their life-saving iron lungs. But behind the seemingly routine movement of each polio patient are many hours of planning and preparation by the railroads and facilities to accommodate the heavy iron lung and those attending the patient a powerful auxiliary generator to supply electricity unfailingly at all times. An electrician constantly on hand to assure the uninterrupted functioning of the equipment and all along the way at terminals and stations dozens of railroad people clear the way for the train's safe movement carefully transfer patient to the facility. Yet this is only one of the many ways in which railroads and railroad men daily serve the men, women and children of this land. That's another reason why you may so frequently hear it said railroads and railroad people are good neighbors and good citizens in your hometown. Now here is act two of Myastro our new Lawrence and Lee play starring Gordon Macrae as Myastro Felix Lambert and Dorothy Warren Scholl as his soloist Susan Galloway. Oh golly, that's my mom. Bill! Oh Bill! That's my dad. Well, this should be interesting. Really? Oh, thank heaven I found you. When your dad called to see if you'd come on home to me I got worried sick. The desk clerk said that maybe you came over here son. How are you? Doesn't it make you proud to think you can't even take care of your son for a single day a week. But Jan, I... Mom, dad. Come home, Billy. Mom, I'm okay. Dad was kind of moping and I... I just thought I'd take a walk. These here are some new friends of mine. The pretty one is Miss... Galloway. Galloway. And this is Mr. Mr. Mystro. Oh Mr. Lambert. We hope Billy didn't disturb your rehearsal. Oh, not at all. Not at all. It's been a pleasure having him here. Very discriminating musical tastes. Oh, we used to come here to the bowl all the time before Billy was born. My... my husband and I... we loved your concerts. Well, isn't that nice. And before that while we were still caught and we used to come here and listen to Mr. Romberg's music while he was touring with his orchestra just as you're doing. A wonderful thing about an outdoor concert is that you never know where the music leaves off and the starlight begins. I'm afraid I better go. Come on, Billy. Jan. Goodbye. Oh, we'll see you again. All of you. Did you get all the information, Susan? Well, as much as I could. Fine. I've seen that they each have a ticket to the concert even though they're sitting at opposite sides of the bowl. Should we interfere like this, Felix? Why not? Well, it's just that... well, you're always conducting. If you're not conducting an orchestra you're conducting other people's lives. If we have dinner together you conduct the dinner. Oh, that's poppycocks, Susan. What did you find out? Well, on their honeymoon they saw a desert song. Desert song? Good. The lullaby she always used to hum to Billy was the Lago from Dvorak's New World Symphony. Well, it's on the program. And their favorite song of all is Yours is My Heart Alone. Ah, people with great musical tastes. It's a pleasure to play music like that. Susan, my girl, tonight we shall not only have a concert but a love feast. Billy? Yes, Mr. Maestro? Can't your eye reach the peephole? Yeah, I can see fine in the audience. Both your mom and Pop there? Yeah, she's way over there and he's way over there. He'll go off alone. Well, you keep watching. Here we go. Gentlemen, with Pop a passionato. In other words, with schmaltz. How's it going? Mom took out a handkerchief and I think she's crying. Pop's from here and he's following looking just awful. Good, good. Another bomb. Susan, you ready for your entrance? I'm ready, Maestro. My dear friends, probably the most basic form of music is the lullaby. And so we're including one tonight. A lullaby we've fashioned from the lovely lago of the Bozak's New World Symphony. May I present Miss Calloway. How's it going now, Billy? Fine, they both look sick to the stunts. Susan, we're a success. Ladies and gentlemen, before the intermission, a stirring Franz Lehar melody. And if I sing along as if I were one of the instruments in my orchestra, you'll know I do it only because this has always been one of my favorite songs. Well, Billy, you think it worked? Looking at each other like they always used to. He's kissing her. And she's kissing back. Bingo. Callie, thanks. Thank you, Mr. Maestro. Billy, something I want to give you. Your baton. No, my together stick. Callie, I gotta show this to my mom and pop. A very nice concert, Mr. Maestro. Thank you, Susan. Same to you. Only one thing puzzles me. Yes? It just seems like too much of a coincidence that yours is my heart alone should be one of their favorites as well as mine. Maestro, I have sort of a confession to make. That last tune was a ringer. Uh-huh. You see, I thought if this together business could work for them, why couldn't it work for us, too? Oh, Susan, it works. It works. You realize what this togetherness can do for our days and our nights? Music. A life filled with music. Beautiful music. Together music. Gentlemen, thank you very much. Lovely Dorothy Warnschol will be back in just a moment. And meanwhile, our thanks to Sammy Og, who was Billy, to Julie Bennett, and Mr. Tom McKee, and to all the members of our company. Maestro was written especially for the railroad hour by Lawrence and Lee. The railroad hour is brought to you each week at the same time by the American Railroads. Marvin, during World War II, 44,000 American soldier railroaders were part of military railway service units and operated railroads in 21 countries all over the world. These railroaders in uniform worked in close support with combat units frequently under fire, moving constantly forward the thousands of tons of food, material, and fighting equipment modern armies demand. At the end of the war, these railroading soldiers formed an association called the Military Railway Service Veterans. They will hold their sixth annual convention in New York City next Friday and Saturday. And we salute them. Thank you, Marvin Miller. And now here again, ladies and gentlemen, is lovely Dorothy Warnschol. Well, Dorothy, sincerely, you've been a delightful and charming gal across the microphone for the last 15 weeks. Well, I thank you, Gordon. It's been such fun singing with you too on the premiere performances of all these new musicals. Say, what's happening on the show train next week? Well, Lucille Norman will be our guest for the Golden Curtain, Dorothy, which is a backstage story of the opera. I'll be listening. Good night, Gordon, and goodbye for now. Come back soon, Dorothy. All aboard! Well, dear friends, it looks as though we're ready to pull out. And so until next Monday night and the premiere performance of the Golden Curtain, this is your friend Gordon McRae saying goodbye. Gordon McRae appeared through the courtesy of Warner Brothers, producers of The Miracle of Our Lady of Fatima. Our music was prepared and conducted by Carmen Dragon, and our choir was under the direction of Norman Luboff. Until next week, this is Marvin Miller saying good night for the American Railroads. Now stay tuned for your Monday Night of Music on NBC. This evening, Nadine Conner stars on The Voice of Firestone on NBC.