 Ladies and gentlemen, the railroad hour. And here comes our star-studded show train. Tonight, the Association of American Railroads presents Noel Coward's operetta, Vitter Suite, starring Jeanette McDonald and your host, Gordon MacRae. Our choir is out of the direction of Norman Luboff, and our music is arranged and conducted by Carmen Dragon. Yes, tonight another great musical success is brought to you by the American Railroads, that also 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 Gordon MacRae. Thank you and good evening, ladies and gentlemen. This is Gordon MacRae ringing up the curtain on Noel Coward's romantic operetta, Vitter Suite. In writing the book, lyrics and music for Vitter Suite, Mr. Coward fashioned an operetta of rare charm. Created characters, both warm and real, and gave them some of his most beautiful music to sing. As the composer Carl Linden, I'm supposed to have written most of those melodies, and in teaching them to charming Sarah Millick, we fall in love and marry. We first meet Sarah tonight as a very lovely old lady who treasures within her heart the story of a great romance. And here she is in the person of our guest star this evening, the first lady of the screen, Miss Jeanette McDonald. No matter how many years you live, the past is only a memory away. I'm over 70 now, but whenever I see young people hand in hand with a light on their faces, I see Carl and myself again, and I live once more the memories that are Vitter Suite. Tonight we had a party in my London home in Grovener Square. I gave it to celebrate the engagement of one of the young ladies of the neighborhood to a very nice young man. During the evening, I walked into the room accidentally and overheard a conversation. The utterly miserable... Well, don't cry, Dolly. After all, you're going to marry a rich man, have rich friends. Maybe someday you'll be able to engage my orchestra to come and play for you. How can you be so hard? Well, I've got no money. I've got nothing to offer you. You'd look fine singing my songs in some cheap cabaret. Oh, what am I to do? What am I to do? Oh, Vincent, kiss me for the last time. Dolly! Your ladyship. Your fiancé has asked me to look for you. If the moment is inopportune, I apologize. Young man, you're the piano player in the band, aren't you? I'm the leader of the band. What a pity. It's not a very good band. Your ladyship, let me explain. I love Vincent, and he loves me. Are you sure he loves you? Would he live for you, die for you? You're laughing at us. I laugh at almost everything now. It's only when one is very old, indeed, that one can see the joke all the way round. What joke? Life and death and happiness. Here, sit down a moment and let me tell you something. Say you're in love. I find it very hard to believe you. Your romance could not live the length of a day. You hesitate and align. Betray your love with compromise. Your glamour fades away. And all too soon you realize that there's nothing left to say. There is a call echoed sweetly when it is spring. And life is in the air. Whatever before, respond to it. It was written for me many years ago by my singing teacher. It was spring. And it was the springtime of my life. I remember how I stood beside the piano in this very room, singing it. My lessons had run well over the arse. Say that beautifully, Miss Sara, except that you took the high note too much at the back of your throat. Well, I'm sorry, Mr. Linden. Oh, it doesn't matter. Nothing matters but just these very few moments. Why do you say that? Because it's spring and I... Yes. I fear I am talking nonsense. Perhaps a little. You know, when I was a youngster, we used to have festivals in the spring in my country. And the young boys and girls dance. And the old people sit around under the trees watching and remembering when they too were young and in love. In love? Yes. As you are in love with your handsome, Sir Devin. Oh, you. Yes, but could you tell me more about your country, Mr. Linden? There's nothing to tell, really. It seems so very far away. I've almost forgotten. You're homesick, though. I can see you are. Can you? Perhaps the climate here in London is depressing. Yes, a little. Oh, there may be beauty in this land of yours. Skies are very often dull and gray. Take that little hand of yours. Just to lead you secretly away. Watch the Danube as it gently flow. Like a silver ribbon winding free. As I speak of it, my longing grows. Forgive me, Miss Sarah, when I tell you that I shall be unable to play at your wedding reception tomorrow. Oh. I must go away to Brussels. To Brussels? Yes, a concert. I have to play at a concert. It's very important. Then this is the last time we shall meet forever so long. Oh, I know. Tonight. I'm playing tonight for your dance. Oh, but that's different. There'll be so many people. Yes, this is indeed the last time we shall be alone together. Yes. You'd better run through your exercises once more. Yes. All right. Now, Miss Sarah, if you please sing a skill for me. Take a breath and a changing shaness that must die. It's to be done. Oh, mother. Good afternoon, Mrs. Millick. Oh, Mr. Linden, you know my fiancée, Sir Hugh Devon. Yes, yes, of course. Good afternoon, Linden. Good afternoon. Your mother and I have been overlooking at some chairs, Sarah. Papa's giving them to us as a wedding present. They've been in the family for generations. Oh, that night. Are they comfortable? Sarah, my dear, one never sits in them. Now you two darling children mustn't stand here chattering. You have a fitting at 4.30, Sarah. Well, I must be going. Oh, Mr. Linden, I'm sure Sarah will resume her lessons with you when she settles down in her new home. Mother, please. Don't be an occupation. I always believe in young married women having an occupation. Thought being married would be quite sufficient. Well, naturally, Sarah would want something to occupy her mind. Yes, yes, you're absolutely right. But I'm afraid she will have to take her music lessons from someone else. I should be far away in my own country. Oh. But each year, when spring comes round again, I shall remember what a charming pupil you were, Miss Sarah, and how, although you sang your top notes from the back of your throat, you always sang your deep notes from your heart. Well, real. This is goodbye, Miss Sarah, except for tonight when there will be so many people. Too many people. But a thoroughly unpleasant young man. Oh, it's the weather. I'm sure it's the weather. Sarah, and do stop dreaming. Cloud had come across the sun. And in my heart, there was an echo of a sigh. As I remember the sound of his voice spring. It's because none of us now living can remember when we didn't have railroads that so many of us are inclined to take them for granted, almost as if they were a fact of nature. As a matter of fact, it's hard to realize all the work and the money which have gone into their creation and their daily operation. There are almost 230,000 miles of railroad line in the United States. And each mile represents an average investment of more than $125,000. That money has come from the savings of millions of our people. They are not the sort of people who can be cartooned as big fat men with long fat cigars in their mouths and dollar marks on their vests. They're just people. All sorts of people, people you know and like, probably you yourself. For even if you are not one of the hundreds of thousands who own railroad stocks or bonds directly, you almost certainly are one of the millions of insurance policy holders and savings bank depositors and beneficiaries of endowments which have invested in railroad securities. So in all probability you have an indirect interest but a very real interest in railroads and their earnings. Of the money invested in railroads, about $89,000 per mile has gone to create tracks and bridges, signals and stations, shops and yards and the other fixed facilities that are necessary for the running of trains. And another $36,000 per mile is invested in the cars and engines which make up the trains. And working in the yards and shops, the stations and offices, there are more than 1,300,000 railroad men and women. And it takes all these people and all this work and all this money to create and to operate the American railroads, the system which many of us are inclined to take for granted. And now the second act of Bitter Sweet with your host, Gordon McRae and his guest star, Miss Jeanette McDonald. No matter how many years you live, the past is only a memory away. Strange, I can hardly remember what you looked like, but I remember that Carl had the kind of eyes that no girl could ever look away from and the kind of smile that went straight to your heart and the kind of arms that could shut out the whole world or gather it in. The night of my engagement party I remember standing there in front of a building I remember standing there in my blue brocade beside you looking at Carl and saying to myself exactly as you said tonight what am I to do oh, what am I to do Carl sang a song that night not at all the kind of song for the occasion or the company it was a song he had written about himself and about love and betray one's troubles never right after night to succeed must in laughing when I choose oh, that since my life began the most I've had is just a talent to amuse Would you care to dance, Sarah? Yes, you, I suppose so I don't understand you, Sarah you've been acting strangely ever since your music lesson Are you glad you're going to marry me, Hugh? Well, you have your future position as my wife to consider And do you love me? Well, of course I do What's the matter with you? Don't look so solemn, Hugh, I'm in love My dear girl, that's all very well but you really must restrain yourself What a stupid tune, Mr. Loondon So dismal, Miss Oh, play something gay, please immediately Sarah, you must not speak like that if you take a leave of your senses Oh, leave me alone Much better Do you wish, Sarah? I'm very sorry I was unkind Please forgive me There's nothing to forgive Oh, Hugh, must you be so polite Are you always going to be like this after we married? I mean cold and unbending I enjoy being high spirited as much as anyone Do you? But there is a time and a place for everything Then I can look forward to our being very high spirited when we're alone, when no one is looking or maybe you wear a funny hat at breakfast Are you laughing at me? No, but I'm looking at you just as though I... as though I had never seen you before You did? Yes, Mrs. Milliken Your mother's waiting for you downstairs The carriage is at the door Thank you, Mrs. Milliken Good night, Sarah Good night, Hugh Oh, will you drive with me tomorrow in Regent's Park? Thank you Never be delightful I remember as though it were yesterday how I stood there watching Hugh leave And suddenly I wanted desperately to be young and carefree So I went into the next room where my bridesmaids were watching the musicians put away their instruments And with almost hysterical abandon I forced them into a game of blind man's buff A handkerchief and tied around her eyes Well, not too tight Can you see anything? No, not a thing All right, spin her around One, two... Yes, now tonight I love you, darling I'll take care of you, live for you, die for you I love you all Out of your mind? Suspect, have you any money? Well, no, none But I can earn enough How? Sarah will sing and I'll play my music And we'll make a living Come, Sarah I'll get your hat and pay Thank you, Gloria But coming before it was too late We were talking about the way a good many people are inclined to take railroads for granted Well, one reason for that is the way railroad service goes on in all seasons in almost any kind of weather This dependability is an outstanding characteristic of a railroad service So common in fact we're likely to overlook the effort, the organization and the expense involved in maintaining it When snow must be removed from railroad tracks the railroads don't call on the taxpayers to clear it away Railroad men and railroad equipment tackle the job When floods carry away a bridge it's railroad forces and railroad money which build a new one When storm knocks out railroad signals the railroad's own maintainers turn out to restore communication And always, no matter what the trouble or the interruption Railroad men and railroad organizations are at work to keep supplies moving to keep things going So because we are accustomed to relying on this railroad way of meeting situations we are likely to accept it all without much thought of the men and the organization back of it Our show train will continue in just a moment after a brief pause for station identification The third act of bittersweet with your host, Gordon McRae and his guest star, Miss Jeanette McDonald After we were married I were ideally happy until we went to Vienna to work at Herr Schlich's café Carl led the orchestra and I was engaged both as singer and as one of the hostesses I remember moments of blinding happiness I remember laughter and music and tears and terror Oh, friend and sherry, I'm glad you came Already this evening I must have a little talk with you Oh, yes, Herr Schlich Freiline, you are losing me one of my most valued clients I don't understand Captain August Loot tells me that you have repeatedly refused to dine or dance with him Well, I am married, Herr Schlich Freiline, if one wishes to retain one's position in any establishment one must be nice to the guests Captain Loot is here and he insists that you dine with him tonight I have assured him that you will You better get ready, sing in a few minutes Oh, I wanted to talk with you, Carl I will see you after your song, Freiline, sherry Well, Herr Schlich is all excited There's lots of offices here tonight Oh, Carl, I hate this place Let's go away Why, darling, what's the matter? I'm frightened, Carl, I don't know why but something horrible will happen if we stay here, I know it, I feel it It's all right, it's all right We'll go away then tomorrow I hate Schlich in this place as much as you do We'll start our own little cafe Then tonight will be our last performance here Yes, our last Now, you'd better get ready, darling I've got to go back to the dining room and start the show All right, dear All right, men, you've been asking for this song all evening Now, let's all sing it To care the sunshine of a star is away Here's to the love in you The hate in you, desire in you The kind of discernment will watch you along Lifting you high on the wake of a song The dream in you, the flame in you The fire in you Now, Gustav's at the corner table He is asking for you Well, it's time for me to sing my number Very well, then after your number I will take you to his table Tonight he will tolerate no excuses Don't look like that, darling Remember, this is the last evening I know it's foolish, but I'm frightened Come on now, let's do your number To sing is the latest composition It is the story of a lovely flaxen-haired princess who fell in love with a gypsy It's a gyne You forgive me just this one No, Frau Lein, you have evaded me quite long enough After all, a dance is a very small favor Oh, very well, Captain My thanks, Frau Lein For you dance beautifully, Frau Lein Music sounds wonderful, doesn't it, Captain? I am not dancing with you in order to discuss the merits of your husband Come on, bend a little This dance does not belong to your husband It belongs to you and me Captain August, I must insist Don't be such a little silly fool, Frau Lein Let me hold you close, like this Closer, closer No, let me go, Captain Carl, Carl! Take your hands off of your filthy drunken swine No one speaks to me like that, Mr. Orchestra conductor Get yourself a sword and prepare to defend yourself No, no, no, not a musician, not a soldier Excuse me still, if someone be so kind as to lend me a sword I will answer this gentleman's insult Someone give him a sword Carl, please! You may use my sword, Herr Linden, thank you All right, Mr. Orchestra conductor Hangar! I will show you what it is to insult an officer Mr. Musician There! No! He's running through Someone call a doctor, please, quick Can you hear me, darling? Don't cry, darling I'll see you again Whenever Spring breaks through My sweet My love I love you till I die The most romantic story I've ever heard in my whole life Vincent, I love you Darling, you still want me to go away with you What a melody Lord, what a melody Do you mind if I try it with my band, your ladieship? No, not at all That's really a great tune You've forgotten all about me Then go after him, child Be there waiting When he turns away from the piano He needs you If you've found love, doll Let it go away from you For it only comes When they want Thank you, your ladieship I'll do exactly that No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no I'll see you again Oh, God I'll be with you Oh, bitter sweet, my love I shall love you Till I die Back in just a moment Meanwhile, this is your host, Gordon McRae Giving a big vote of thanks to our excellent supporting cast Jerome Cowan, Sam Hearn, Barbara Eiler, Jack Edwards, Peter Rankin, Myra Marsh And Colleen Collins For their fine performances in Bitter Sweet Which was adapted for radio by Jean Eichel Which was adapted for radio by Jean Holloway And now, here's Jeanette McDonnell I'm so glad the Association of American Railroads Invited me back to do Bitter Sweet It's one of my favorite operettas Well, Jeanette, you've chosen one of my favorites For your next appearance, the Mary Widow I'm looking forward to doing it with you, Gordon And next week I'm certainly going to be listening To Patrice Munsell and Pinky Lee And Rudolph Rimmel's operetta, Rosemary And don't forget, on February 14th, Jane Powell and Walter O'Keefe Will join me in Victor Herbert's operetta, sweetheart I'll be listening. Good night Good night, sweetheart Well, it looks as though we're ready to pull out So until next week, goodbye Bitter Sweet has been presented by Special Arrangement With the Tams Whitmark Music Library Jeanette McDonnell is currently starring In the new Metro-Goldman Mayor Technicolor production The Sun Comes Up Gordon McRae appeared by arrangement with Warner Brothers This is Marvin Miller speaking The railroad hour is brought to you each week At this time by 132 railroads Of the United States Each one of them has its own operations and services Each one competes keenly With others for business But all of them work together through the association Of American railroads For the improvement of all railroading And for better service to you