 Family Theater presents Irene Dunn, James Cagney, and Jean Cagney. From Hollywood, the mutual broadcasting system in cooperation with Family Theater brings you James Cagney and Jean Cagney in Tommy Malone Comes Home. Now, to introduce the drama, here is your hostess, Irene Dunn. Thank you, Tony LaFranco. I hope all of our listeners are familiar with Family Theater's purpose. It's to spread the practice of family prayer throughout all the homes of the world. A big job, but don't underestimate the power of prayer. And now to our drama, starring James Cagney and his sister Jean, in Tommy Malone Comes Home. Unless you went searching for it, you'd likely never come upon the Irish village of Valdare. It's one of those ever-changing, little byway towns tucked away in a part of error that has seldom been cursed with the blessing of tourists. It's here in this peaceful village, on a day in spring that our story begins, in the cottage of Mrs. Terence Malone and her family. Yes? Who are you? Mother Malone is a true, but they're saying in the village that he's coming home, Sheila is a true. It is indeed, Norah. Here's the telegram. Wrote for the male driver from Kilmarnick. Read it yourself. Arrived cove this morning. We'll be home before evening. Tommy, I can't believe it. By evening? Why, that'd mean on the passenger motor bus that connects with the train at Kilmarnick. In less than an hour he'll be here. I know, I know. And it's that flustered I am. Sheila, go and find your brother. Fetch him home here. But he's helping with the plans for the welcoming. Never mind, never mind. The town welcoming is one thing, but meeting his own loved ones is something else. Fetch Brian home. Yes, Mother. I must go too. You're nothing of the kind. You'll stay right here and meet Tommy like part of the family. But... But I'm not part of the family. Oh, you're not, aren't you? I suppose it's only me he's coming home to. You'll be here when he arrives, Norah Shields. Do you hear me? All right. But I will have to run home and change clothes. Nine years, Norah. Nine long, never-ending years. I'm... I'm scared to cry, and I... Stop it, Molly. This should be a proud day for you. Quiet, Tommy, a grand success in America and coming home in splendor. I'm so proud I could bust, and maybe I will. I'll get on with you now. I've got to get ready myself. I won't be long. I'll wager, you won't. Oh, holy mother. Oh, mother in St. Bridgitt and St. Christopher. Thanks to you all for bringing him back to me. And thanks too for making him successful in America. I'm in. No. May black dress. May black one with the beads. Ah, what now? Come in. Does Mrs. Terence Malone live here? Hello, mother, hello. Oh, it's grand to see you. Oh, Tommy, boy. Look at you. You've changed, Tommy. You're thinner in your pale. Is your liver all right? My liver is swell. Well, and how is it you're here so soon? Not an hour? Why, not for an hour? Is the bus due from Kilmarnock? Oh, the bus is it. Tommy Malone coming back to the old village in a bus? Not a chance. I bought me a car and cove and drove to Bel Dari. A car? Tommy, you bought a motor car. Did you expect me to ride around the old hometown in a pony cart? After all, what's the use of having your son a big shot if he doesn't look like one? Oh, big shot are you now. The last I heard you were a general contractor. Tommy, what is that a general contractor? I boasted you were one day everyone I know, but I still don't know myself what I was boasting about. Tommy. Tommy. Oh, Brian and Sheila. Hello, Tommy, and then welcome home. Sheila, but you're almost a woman. I thought you'd still be in pigtail. Pigtails? And me 16? Well, I'd like that. Well, say, I've got some presents for your kids, but you'll have to wait until I unpack. Meanwhile, Mother, here's something for you. Oh, now you shouldn't have. Thomas Malone. An arm watch. Look at it, Sheila. They're glistering with jewels. Would they be real now, them jewels? Real? Real is it. You think I'd have your mother wear in imitations? Tommy, tell us, lad. Is it back home for good in the old yard? For good? You give me to stay in Beldario? No, not in your life. I'm just here to... to rest for a while. Then get back to the station to work. But you will stay a while, won't you? Till Easter, at least. Promise you'll stay until Easter. Yeah, I guess I can manage that long if the old place don't put me to sleep. Well, I'd forgotten what it was really like. We'll say that reminds me. Where's the house? What house? Now, Mum, you know very well what house. I sent home at least a hundred bucks a month for over five years, and I told you to save part of it and use the rest to build a new house. But here you are, still in this broken-down, ramshackle cottage. Ramshackle is it well now. The house is built all right, and you'll see it soon enough. Right now, in fact, if you've a mind, come in. Oh, Mother Malone, I saw the ca... Oh, Tommy. Oh, Tommy. Hello. Hello there, Nora. Nora, Tommy wants to see the house. We'll go on ahead. You two can be saying your hello's alone. All right, Mother Malone. Come on, Brian, Sheila. Get on with it. Yes, Mother. We're coming, Mother. Well, Tommy, are we just going to stand like this forever? Aren't you going to kiss me? Oh, sure, sure. Well, sure I am. How's that? That was very good of you. Thank you. How's your father, Nora? What? My father's dead. Three years ago, he went. I wrote it in a letter. Oh, that's right. I forgot for a second. I've been pretty busy, you know, so there's just you and your brother now, huh? Michael's gone up to Dublin to live. He's got a job there. And your farm here? What'll you do with that? Michael won't sell it. I'm wanting him to, but Michael insists that I keep it as a dowry. Good for him. A girl with a farm like yours should have the pick of the country for husbands. Yes, I suppose she should. Are you long for bell-dairy, Tom? Well, I haven't decided exactly. A week or ten days, maybe. Well, I'm sure it's a lovely visit you'll have. Your mother has missed you. Well, we'd best be going on there. There'll be expectance. It's only a bit of a walk. Walk? Nothing. We're going to be care. What's it for if not to write in? Come on now. In you go. Whatever's happened to bell-dairy, the place looks deader than ever. A guy's away nine years and nobody even turns out to say hello. Well, maybe they've forgotten, Tommy. People do forget, they tell me. Oh, well, there's the place, just ahead. You can drive right up in front. What's this? A new government building? It's big enough. Say, what place is this? Well, you might be reading what's over the door. The Thomas J. Malone School for Boys. Hey, what goes on here? Better come inside and see. Yeah, but I didn't find that. Just to watch it. So no one turns out to welcome you, Tommy. No one at all. Only the whole village in the lads of the school that bear your name. That's all. And now, will you let me speak for a minute? Tommy Malone on behalf of us all. Father Callaghan, what is all this? Now, wait, Ledger. Can't you wait a minute? I've got a speech already. Can't you let me finish it? Tommy Malone. We've looked forward long to this day when we could all of us welcome our most distinguished son back to Baldari. It's fine work. We know you've been doing in America. And it's fine work, too, that your generosity has made possible here at home. This school that your generosity has made possible will shelter homeless lads from all over the country in years to come. And it'll encourage them, one and all, to follow your north-worthy example. No, no, no, no, Sylvester. Achieve for Tommy Malone. Hip, hip, hooray! Word from you, Tommy. Well, Father Callaghan, this kind of flaws me. A school named after me, and as for having used my money to build this school, next to having it in my own hands right now, I can't think of a better place for it. Come on, I've got something to say. You all want to talk to Tommy, and I'll leave him to you for now. Remember this. There'll be a party at our house this evening, a regular come all ye, and you're all invited. Sheila, Brian, come with me now. I've been even helping at night. Oh, huh. Now, Tommy, suppose you tell us all something about America and your life there, huh? Yes, Mr. Malone. Is it really easy to be a millionaire in America? Well, well, I'll tell you. Personally, I've found that making good over there is a lead pipe cinch. All you have to do now is... Tommy, boy, there you are. Did you and I talk into all your old friends, and with the lads? I want to talk to you about them, kids. I send you daughter-save and to build a house, and you give it away for an orphan's home. Fine goons are. Oh, Tommy, as if you couldn't make plenty more. And now, son, I've got a surprise for you, a glorious surprise. What do you mean by that? It's in there, in the other room. Just go on in. Can we please that? I promise you. Go on in. Hello, Malone. Stevens. What are you doing here? Me? Nothing at all. Just on a little vacation. So I thought I'd see a bit of Ireland. Funny I should happen on your hometown. All right, copper. Never mind being funny. What is it you want here? Simple. I want $12,000. $12,000 that was stolen from the Midwest Central Trust Company three years ago. Stolen by a fellow named Thomas Malone. Now, look, I'm tipping you off. Copper or not, if you open your app in this town... Ah, don't worry, Tommy. I wouldn't deprive Bell Dairy of its hero for the world. This is just between us, and that's all it ever need be. Just so I get that $12,000. That money went in the river. I threw it there making me get away so nobody could nail me with it. I don't believe it. That you already did. Now, look, Stevens, you got me pinched and you got me convicted. Now, lay off. I did me three years and I'm in the clear. Yeah? Well, the law may be satisfied, Tommy, but I'm not. The company I work for is still out that dough. And I think I know what really happened to that $12,000. Between the time of the robbery and the time you were caught, you stashed it away, intended to go back later and get it. Copper, I tell you, I haven't caught that dough. No, you may not have it with you. That's true. In fact, I got a hunch you came clear home to Ireland just to give me and anyone else who might be interested is a chance to forget the whole thing. But I don't forget very easy. And someday, Tommy, somewhere, you're going to start spending that $12,000. When you do, I'm going to be right at your elbow. Smart guy, aren't you? Well, listen, sucker, you can shadow me from now until... Tommy, mother says you're to be coming to supper and your friend from America, too. Be right there, Sheila. Now, look, Stevens. Never mind, Malone. I said I wouldn't talk and I won't. That is, not unless you force me to. Pass Tommy Samora that ham. You, too, Mr. Stevens, if there's anything you lack... Oh, thanks. I'm doing fine, Mrs. Malone. I understand that you and Tommy worked together in America, Mr. Stevens. Pass me the butter, will you, Brian? Are you a general contractor, too? You were on some of his jobs with him, maybe. Tommy used to write me all about his jobs. Oh, he did, huh? Those must have been very informative letters. Oh, they were. For instance, that fine bank job you wrote about five years ago. What was the name of that bank? I don't think Mr. Stevens is interested. Anyway, I don't remember. I've got the letters right here. I can... Never mind, never mind. That was the Security National. Oh, the Security National in Cleveland, Ohio. That's right. A monstrous, fine job you said that was. Yes, I heard about that. Even over there, that was considered quite a job. One of the best I ever did. The DA thought so, too. Talked about it enough. What's a DA, Tommy? Yeah, what is a DA, Tommy? I'd like to hear your definition of that myself. Draftman's apprentice. All general contractors have dealings with them. How was it you were a general contractor for so many banks, Tommy? It must have been they had such confidence in him. Oh, but they weren't our banks. There was that insurance company building. You said that was a two-story job, didn't you, Tommy? I believe I did. Yes, yes, and what about that factory job you wrote about? Was that very difficult? It was a lead pipe cinch. But like I said before, Mr. Stevens is not concerned with all of this. No, Tommy and I were associated on another job later on. Did it turn out well? Well, there was a slight mix-up about the money involved, but I think it'll work out all right in the end. What do you think, Tommy? I closed the books on that job when I left the business three years ago. It's water under the bridge so far as I'm concerned. Saves of heaven, look at the time. Some are not through and they'll be coming for the Kamali. You must stay on and help us celebrate, Mr. Stevens. I know Tommy wants you to, don't you, Tommy? It'd just about break me heart if he didn't stay. Ah, you'll be that fond of the Kamali, Mr. Stevens. That is if you're one for singing and dancing and maybe a bowl or two of the malt. Best of luck. Away from the sod and still be dancing as good as that. I could do it myself, yes. Hey, you've been little at me dancing, Sylvester Gallagher. You thick-brained clogger for Bollywood. I told you he'd soon be Irish again. Let's have a watch. She was pregnant. Oh, no, no, it's grown late and there's still been no verses. Somebody should make a rand. A rand? What's that? It's a ballad, Mr. Stevens. Sometimes they're sung and sometimes they're spoken. Oh, but ever and always they're Irish. Who'll give us one? Why not Tommy? Yes, Tommy, lads. As I remember, you were everyone for rendering a ballad. Oh, I'm not sure now, Father Callagher. Oh, yes, Tommy. There's one you used to recite for us before you went away. The emigrants return. What's more, a fit now than ever? I'm not certain. I remember all the verses. Oh, just the ones you do remember then. Please, Tommy. Joseph, Joseph, some music for him. Now listen, everybody. Monum, oh, yeah, yeah. But there it is, the dawn on the hills of Ireland. God's angels lifting the night's black veil from the fair, sweet face of Messiah land. Oh, Ireland, what does grandeur look like a bride in a rich adornment with all of the pent-up love of my heart? I bid you the top of the modern. And does an old cove look charming there, watching the wild waves motion, leaving her back against the hill and the tips of her toes in the ocean? Now, fuller and clearer, the shoreline shows was ever a scene suspended. I feel the breath of the months to breeze. Thank God my exiles ended. Old scenes, old songs, old friends again. The veil in the cart I was born in. Oh, Ireland, up from my heart of hearts, I bid you the top of the modern. Again, Tommy, lad, again. Let's have it a second time. Yes, Tommy. No, there'll be no second time. Tommy Malone, where are you going? I'm going out. I feel like a breath of air. Is there a reason I shouldn't? Go on with the music. Tommy! Tommy, I'm sorry. That was my fault. I should never have suggested that particular run. It's no one's fault. No one's fault saved me own. I find credit to Ireland I am. Oh, Tommy, won't you tell me what it is, this shadow that's over you? Do you think I haven't seen it? It was lifted a while ago in there because you forgot it in the dancing. But now, please, Tommy, please let me help you. I'll be leaving, daughter. I'll be leaving, Bill Daddy. That's the answer. Oh, but you can't, Tommy. At least not yet. You promised your mother to least her. All right. All right, to least her. And then I'll go. And me, Tommy? I expected me to wait again. You made me swear before, remember? The night before you left for America, you made me swear that there'd be no husband for Nora Shields but Tommy Malone. Nora, Nora, what can I say to you? Nothing. There's nothing a man can say when he's forgotten. Any more than there's anything a girl can say when she remembers. Good night, Tommy. Father Callan, I've come to talk to you. Well, now, what is it, Tommy? Nora says that you're leaving us today. Father, there's a lot I've got to tell you. I've confessed it before, but now, now I need your help. I need your help to see it straight. I've tried for days, and I can't. You saw how I came home acting like I owned the place. Well, that was to cover up what I really felt underneath. To hide from all of you, all of you what I really was. You see, Father, my life in America, nearly all of it, even the first was a lie. 12,000, you go on with that kind of a life. Coming home was only to throw Stevens and the others like him off the track. You see, I'd forgotten Ireland as I'd forgotten Nora. I'd gone off the head somehow. There was nothing that mattered to me save the money. For three years in prison, I thought of nothing else. And now, Tommy? Well, now I know what's true, Father. That staying here in Beldaria is really what I want. That's where I belong. And there's work here for me, work I should be doing. Well, should then why don't you stay, my son? How can I stay, Father? How can I stay and live a lie? They believe in me, my mother and Nora and the people of the parish, the lads in the school. A man, a man is what he is, Father. And Tommy Malone is no hero for anyone. Ah, Tommy, have you forgotten what day this is? It's Easter. I don't know what can the meaning of Easter be for mortal man, but that he too can come forth again into light from darkness. There's a kind of resurrection of the soul that all of us can have, son. And it's a glad day in heaven when it happens to even the least of his children. You're not what you have been to the people of Beldaria. You're what they believe you to be. What's gone before you've paid for? What's to come? Well, that depends on Tommy Malone. Then I... I can't go on, Father, it wouldn't be a lie. You could be making it the highest kind of truth. But of course, the money, you'll have to give that back. I will, Father, willingly I will. And Nora, you'd have to tell her. She, when a man asks a woman to share his life, there's neither past nor present nor future hope that must be withheld. And I'll tell Nora. Oh, thank you, Father. There aren't the words to tell you what you've done for me. Here you are, Stevens, the key to the deposit box and a letter to the district attorney. That's all I need, Tommy. You got my word for it. There'll be nothing more come of this case. This closes it finally completely. And Tommy? Yeah. I was never gladder in my whole life to see somebody get straightened out. Good luck. Thanks, fella. I'll need it. But leaving after all. I, uh, I was thinking of staying, Nora, you see. Oh, Nora, there's a world of things I've got to tell you. When I was in America, that about being a building contractor, well, the truth of it is... Oh, Tommy. Tommy, what do you think you're telling me? Well, what you have to know, Nora, you see. Now, wait a minute. You know, in all my life, I've had one enemy. It was Peggy Riley, who lived in Kilmarnock. I beat her in a singing contest when both of us were 12. Well, she went to America six years ago, Tommy, and she took particular delight in sending me newspaper clippings, referring to every action of a certain criminal by the name of... by the name of Thomas Malone. You knew? From the very beginning, you knew. And I'll tell you what I did with those clippings. I burned them. For the Tommy Malone I knew has never, ever been to America. He's never been out of Ireland. You know what Father Callahan told me? What? That any man can start a new life again if the will for it's strong enough in his soul. Do you believe that, darling? Believe it. When the man is you, I'd stake my life on it. Oh, Tommy. It's been so long. So terribly, terribly long. It has indeed, darling. I was almost forever at Ivan, and I was never farther away than the first day I got here. But now, Noram Avornin, I'm really and truly home again. And it's fine, Nora. It's wondrous fine. This is Irene Dunn speaking again. Don't you love a charming conversationalist? I do. I mean the sort of person who has a knack of making the small talk of life sparkle with wit and personality. This art of conversation is not a trick learned from books. Rather, I think it springs ready-born from a generous spirit. Good conversation is one of the true luxuries of life. Close as it is to us, on the tip of our tongue, so to speak, there never seems to be enough of it. And that brings me to the point I want to make. Prayer is nothing more than good conversation with God. Children in their trusting way sense the truth of this. They always think they are confiding directly into the ear of God. It's a pity we sometimes lose their trust when we grow up. It is we who change, not God. He is changeless. So Family Theatre again reminds us the family that prays together stays together. More things are wrought by prayer than this world dreams of. Tudor Owen and Terry Kilburn. The script was written by True Bortman with music composed and conducted by Harry Zimmerman and was directed for Family Theatre by Joseph F. Mansfield. This is Tony LaFranco expressing the wish of Family Theatre that the blessing of God may be upon you and your home and inviting you to join us next week when Family Theatre will present James Gleason and Mary Anderson in Heaven Is Like That. Join us, won't you? Theatre is broadcast throughout the world on its largest network, The Mutual, broadcasting system.