Father Brown 86-11-02 (12) The Actor and the Alibi

Summary

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Podcast Summary: Father Brown 86-11-02 (12): "The Actor and the Alibi"

Podcast: Harold's Old Time Radio
Host: Harold's Old Time Radio
Date: August 17, 2025
Adaptation: John Scottney
Father Brown (Voice): Andrew Sachs

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Episode Overview

This episode revisits the "Golden Age of Radio," featuring a dramatization of “The Actor and the Alibi,” adapted from G.K. Chesterton's Father Brown mysteries. The story unfolds in an old English theater, where behind the scenes and amid rehearsal chaos, a murder takes place. Father Brown, the unassuming detective-priest, is called in to resolve the complex web of personalities, motives, and alibis, revealing intrigue, pride, and deception under the theater’s glamorous surface.

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Key Discussion Points & Plot Breakdown

1. Theater Turmoil and Introduction to Key Players (00:56–10:00)

• Father Brown arrives at the Hippolium Theatre, answering a plea for help from Mr. Mandeville, the flamboyant owner and licensee.
• Mr. Mandeville laments the unpredictability of the Italian actress Ms. Maroney, who is in crisis and locked in her dressing room, communicating only in Italian.
• Mrs. Mandeville (the boss’s wife and lead actress) and Ms. Maroney are at odds—ambition, tempers, and professional jealousy abound.
• Backstage banter introduces other central figures:
  • Mr. Jarvis (actor, Catholic parishioner)
  • Norman Knight (leading man)
  • Mrs. Sands (gruff dresser, loyal to Mrs. Mandeville)
  • Lady Miriam Talbot (aristocratic theater visitor)

"I gave her every advantage as she does this to me."
—Mr. Mandeville on Ms. Maroney, (03:20)

"The classics. I'll leave it to the wife. She's the clever one."
—Mr. Mandeville on his wife’s role, (04:37)

2. Ms. Maroney’s Meltdown & Theater Gossip (10:00–14:00)

• Maroney’s distress is explained: she feels slighted by being promised a prominent role but is relegated to a lesser part in favor of Mrs. Mandeville.
• Father Brown’s linguistic skills are called to help communicate, but the Italian actress remains in hiding.
• Lunch with Mr. Jarvis—Father Brown reflects on the theater's dynamics and hints at the tensions simmering beneath the surface.

"There is generally a perfectly good reason for mad Italian rages. The Latins are far more logical than we are."
—Father Brown, (15:21)

3. Sudden Murder: Discovery and Investigation (15:36–22:00)

• Inspector Bagshaw arrives with the shocking news: Mr. Mandeville has been found stabbed in his office, which was locked from the inside; Ms. Maroney has disappeared.
• Key timeline: All company members (except for Jarvis, alibied by Father Brown) were on stage during the murder, with Lady Miriam vouching for their presence.
• Interview with witnesses:
  • Mrs. Sands insists she saw no one enter or leave Mandeville’s office.
  • Father Brown points out Ms. Maroney could not have been the murderer, having escaped before the murder occurred (the supposed glass-breaking was her exit window, not a mirror).

"If she comes out with a leap..."
—Father Brown, on precautions around Ms. Maroney, (08:18)

"That theater you were at this morning. There's been a murder."
—Inspector Bagshaw, (15:42)

4. The Alibi Unravels: Theatrical Devices and Deception (22:00–25:59)

• Father Brown’s deduction:
  • Mrs. Mandeville, despite her saintly persona, may hide a more ruthless side, reflected in Mrs. Sands’ own character.
  • The office sits beneath the stage—pantomime-era trapdoors still exist.
  • During the fourth act of "School for Scandal," Lady Teazle (played by Mrs. Mandeville) spends significant stage time hidden behind a screen, which happens to be over a trapdoor—her perfect alibi.

"If you want to know what a lady is like…look at some other woman who is always near her and especially one who is under her. You will see in that mirror her real face."
—Father Brown, (21:54)

"In the fourth act of the play, Lady Teazle spends a very long time hidden behind a screen…she could nip down, catch her old man on the words..."
—Father Brown, (25:33)

5. Motive and Moral (26:00–End)

• Father Brown’s theory:
  • Mrs. Mandeville, craving status and thespian greatness, wanted to rid herself of her “vulgar” husband—possibly to advance her own career, not just for another love.
  • The murder was calculated, exploiting stage mechanics and her hidden (and highly visible) role.

"Her ladylike values demanded respectability and she was prepared to kill for it."
—Father Brown, (26:38)

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Notable Quotes & Memorable Moments

• Theater as metaphor: The contrast between pantomimes’ joy and the ‘classic’ comedies’ cold ambition, as well as the literal and figurative trapdoors between stage and reality.
• Character portraits:
  • Mrs. Mandeville’s virtue is a “martyrdom she contrived to spread… the facts were really quite the other way.” (23:42)
  • The good-natured but self-deprecating Mandeville: “The classics. I'll leave it to the wife. She's the clever one.” (04:37)
• Final assessment: Father Brown’s moral insight into ambition, self-delusion, and how character is often revealed in how one treats those “beneath” them.

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Key Timestamps for Important Segments

• 00:56 — Father Brown is introduced to the theater and meets Mandeville.
• 03:08 — Ms. Maroney’s behavior and gripes surface.
• 07:21 — Introduction of Norman Knight and backstage dynamics.
• 10:56 — Father Brown tries to communicate with Ms. Maroney.
• 15:36 — Inspector Bagshaw reveals the murder.
• 17:20 — Witnesses and alibis are cross-examined.
• 21:00 — Father Brown realizes Ms. Maroney couldn’t be the killer.
• 22:54 — Analysis of Mrs. Mandeville’s motivations.
• 24:43 — Discovery of the trapdoor and how the murder was committed.
• 26:05 — Father Brown muses on motive and concludes the affair.

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Conclusion

This classic Father Brown mystery blends clever dialogue, theatrical intrigue, and a layered detective puzzle, all steeped in the vintage atmosphere of British radio drama. Through Father Brown’s gentle but incisive probing, the tragedy beneath the stage's glamour emerges—ambition, deception, and the lengths some go for respectability and prominence.

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Transcript

[A]

Lo sabe que horrar tiempuenos projectos. Es importante tofresemos entrega el mismo villa en marcas como Valspar hgtv Home de Sherwin Williams, Cabot y Purdy Los nosotros ayudamos. Two ahoras. We present the Actor and the Alibi, adapted by John Scottney with Andrew Sachs as Father Brown. Excuse me. Sorry, sir. The box office is shut at the moment. Oh, no, no, I'm sorry, I. I don't want to see the play. No, not many do, I'm afraid.

[B]

Well, what can we do for you?

[A]

I had a message from your Mr. Jarvis.

[B]

Ah.

[A]

Well, I'm afraid he's rehearsing on stage at the moment. Well, he said a Mr. Mandeville needed my help. Of course, Father. It went out of my head, it did. I'm sorry. What with all the bother of the first night. Mr. Mandeville's at the back of the house.

[B]

Through here.

[A]

Ah, thank you.

[B]

Leave.

[A]

Be as quiet as you can. They're in the middle of rehearsing. Oh, yes, of course. It's Father brown for you, Mr. Mandeville.

[B]

Oh, hello, Father Brown. Thank you for coming so quick.

[A]

Well, if you'll excuse me, gents. How do you do, Mr. Mandeville?

[B]

A mundane Mandeville, Father. So, licensee and proprietor of the Hippolium Theatre. Well, really, the name is Potter. Only you've got to call yourself something posh in this business, haven't you?

[A]

I suppose so. Mr. Jarvis said you needed my help, Mr. Mandeville.

[B]

That I do, Father Brown. That I do. It's Ms. Moroni. A very beautiful, very talented little lady. But, well, you know, Italian background and the old Latin temperament. They're all mad, I reckon.

[C]

Dear guest, we'd be awfully grateful if you'll be a little quieter. We are trying to rehearse and it does affect the concentration.

[B]

So sorry, dear heart. Only it's Father Brown, the priest. He's arrived.

[C]

Oh, Father Brown, it's very good of you to come. All right, everybody break. Five minutes.

[B]

Yes, my love. This way, if you would, Father. Oh, I meant to ask, how come that you know Ashton?

[A]

Ashton? Oh, Mr. Jarvis. Well, he's a Catholic. He comes to mass sometimes. Now, he's a Catholic.

[B]

Is he now?

[C]

Oh, Father Brown, do please come up.

[A]

Thank you.

[C]

My steps, they're only temporary.

[A]

Ah, yes. Thank you so much.

[B]

Careful now, Father Brown. That's it. That's it.

[C]

I really don't know why my husband troubled you, Father Brown, but thank you for Coming. Oh, you've met Mr. Jarvis, of course.

[A]

Yes.

[B]

Morning, Father.

[A]

Morning. You got my telephone message? Oh, indeed.

[B]

I do hope you can help, Father Brown. I really do, I tell you.

[A]

Yes, well, so do I. But I do need to know what exactly your problem is with Ms. Maroney.

[C]

She's been in a most peculiar mood ever since we started rehearsals.

[B]

She came to me highly recommended, I assure you, Maria. Very highly recommended.

[C]

Yes, she is a very pretty girl.

[B]

I gave her every advantage as she does this to me.

[A]

Does what?

[C]

I ask you good looks to Nottie.

[A]

Mr. Jarvis. She is locked herself in her dressing room. Father refuses to come out, and has spent the last three hours alternately sobbing and shouting through the keyhole in Italian. Well, none of us speaks Italian and you do. And she refuses to speak English. Ah, now I understand. I suppose there is some reason for her flying off the handle like this. Does anyone know what it is? Dissatisfied with her part, I believe.

[C]

I can only say, Father Brown, that she has been quite impossible all week. And I gave her what ought to be the best part. It's supposed to be what stage struck young women want, isn't it? To act the beautiful young heroine and marry the beautiful young hero in a shower of bouquets and chairs from the gallery. But she is far from great. Women of my age naturally have to fall back on playing matrons, and I was careful to confide myself to that.

[B]

My dear, you're most unfair to yourself, you really are. But if you wouldn't mind, Father Brown, we ought to go and see if you can get through to Ms. Maroney. This way. If you just come this way.

[A]

Aren't you needed here?

[B]

No, it's all above my head, this stuff. The classics. I'll leave it to the wife. She's the clever one. Now, through here. Watch this.

[A]

Good heavens.

[B]

Yeah, it's clever, isn't it? Demon King used to pop out through there. Come on, we'll let him get on with it.

[A]

The Demon King, you said?

[B]

Yeah. I miss all that. You know, I've had this theater 20 years old since 92. Cool. 1892. I was, what, 28 then? Yeah, I used to love the pantos. We did them all. Had the stage rigged out with trap doors. Every trick in the book and a few that weren't in the book. I still keep all the old sets down here under the stage. Here, have a look at this.

[A]

Oh, why, it looks like. Like. Like Bluebeard's castle.

[B]

So it is. Yeah. Of course, the mice have got it a bit now, but look at that lovely Bit of work. Ah, the laughter of children, Father Brown. The laughter of the kiddies. Nothing like it.

[A]

Oh, yes.

[B]

Oh, yeah, all. Yeah, we did in the old days, Little titch. Oh, yes, Mr. Ralph. He always had to be called George Eastwood. Vesta Tilly. We even had poor old Dan Leno himself.

[A]

Did you really?

[B]

He did indeed. It was in a panto. I first met Mrs. Mandeville eight years ago. I brought her in as principal Boy. Of course, we don't do that sort of thing. Now, the wife has raised the tone a bit.

[A]

Yes. You're putting on School for Scandal.

[B]

Yes, yes, well, the wife likes these, what she calls classical comedies. Now, just between you and me, I reckon they're a sight more classic than comic still. Not that we didn't have the classics here before. You know, we had Henry Irving one time. Sir Henry Irving in the Bells. It was really. Yes, yes, yes. Right, here we are. This is my little den. If you listen, you can hear them all acting away on the stage above us. Yeah, that one's singing. Yes, that's it. Yes.

[A]

Now, Miss Maroney.

[B]

Yes. Now, her dressing room's bang opposite, down that little corridor, see?

[A]

Oh, yes, yes. Who's the woman outside?

[B]

Oh, that's Mrs. Sands, my wife's dresser. Bit of an old Tartar, but loyal as you like.

[A]

And the gentleman, our leading man, Norman Knight.

[B]

Bit of a star. Isn't that what they call them nowadays? Yeah. Anything up, Mrs. Sands?

[C]

I beg your pardon, sir.

[B]

Any sound from the prima donna?

[C]

I haven't heard anything. Not for some time, sir.

[B]

And you, Norman? Oh, by the way, this is Father Brown. I'm sure you recognize. Norman Knight, Father Brown. Oh, I am Charles. Anyway, you heard anything from La Maroni, old chap?

[D]

Earlier on, there were a few what sounded like curses, but then the rest, shall we say, was silence.

[B]

Oh, blooming eck. Do you think she could have done herself in, Father Brown?

[A]

Well, if she'd been a German, gone away to think quietly about metaphysics and Weltschmerz. I should have been. Yes, Welchman, I should have been. All for breaking the door down. Well, these Italians don't really die so easily and are not liable to kill themselves in a rage. Somebody else, perhaps. Yes, possibly it might be as well to take ordinary precautions. If she comes out with a leap.

[B]

Oh, blimey, that's just what we need. Hello? Who's there?

[A]

It's me, Governor. There's someone here wants to see you.

[B]

Well, tell them I'm busy, will you? Hello, Lady Miriam. How kind of you to call Allow me, Lady Miriam. Torment.

[C]

What a fine costume. Don't tell me you're playing Canon Chasuble? Or is that some other play? Monday. Poor dear Oscar. My mother knew him, you know, when he was all the rage before.

[B]

No, no, Father Brown's not an actor. He's a real. It's.

[C]

Wait a minute, don't tell me. It's Norman Wright, isn't it? Norman?

[D]

Right Knight. Lady Miriam Knight.

[A]

Not right.

[C]

What's not right?

[B]

No, he's not. He's a knight, my lady.

[C]

Oh, what a gaff. A knight. I'm so sorry, Sir Norman. Now, you do forgive me, don't you, Sir Norman?

[D]

Yes, Lady Mirabel Mundy.

[C]

I can't come tonight and I don't want to. I like writers and I especially like actors. Eh, Sir Norman? But I don't like plays. They're a bore. As I say, I can't come tonight and I don't want to. But I've never seen a rehearsal in ordinary clothes. Might be a bit funny, you know. You simply must let me see a rehearsal that'll be different. All those cranny people in the wrong clothes somehow. Nowadays, Sir Norman, one can never find a thing one's never seen.

[D]

Well, I hope.

[B]

I'm sure. Sorry, gents. If you'd excuse me just a minute or two. Of course, Lady Miriam. I can give you a box for.

[A]

The rehearsal if you wish it.

[C]

Oh, topping Mundy. Thanks awfully.

[B]

Not at all. Perhaps your ladyship would come this way.

[D]

I wonder whether Mandeville can be so much of a cad. He actually prefers that sort of woman.

[A]

Prefers her to. Yes. Perhaps we'd better relieve Mrs. Sands, Mr. Knight.

[D]

Yes. It's all right, Mrs. Sands. You can have a rest now.

[C]

Oh, very generous of you, I'm sure.

[B]

Pity no one thought of heading me off earlier. And I might have got a bite to eat.

[C]

Goodbye then, gentlemen.

[D]

Our Mrs. Sands is rather a rough diamond.

[A]

Has she been with Mrs. Mandeville long?

[D]

Oh, yes. She was with her touring the classics before she met Manderville. I think Mrs. Sands thinks this place is rather a come down for her mistress. As between ourselves, it is. Oh, I certainly wouldn't dream of playing here if it wasn't for the opportunity of acting with someone of Mrs. Mandeville's talent. And I may say character. Ah, what she's doing married to the sort of man who brings in little Italian.

[A]

Yes, yes. Speaking of little Italians, I feel I really ought to perhaps try to make some sort of contact with Ms. Maroney.

[D]

Yes, yes, go Ahead.

[A]

Yes.

[B]

Scusi, signora.

[A]

Scusi, Signora Moroni. Sono una mico di Signora Mandeville. Yes, I think I'd rather not translate it, but at least we know she's alive.

[B]

Oh, and kicking. It seems. Kicky.

[A]

She seems to be breaking glass with her feet. Looking glass, perhaps.

[B]

Oh, dear.

[A]

Ah, Mr. Mandeville.

[B]

Hello, Father Brown. Sorry about that. What news from in there?

[D]

Well, we've established she's still alive. She hasn't committed suicide.

[B]

Oh, well, that's a relief. As old Baden Powell said on Mafeking night, eh? Yeah. Well, do you think I should get Sam, the stage carpenter to get the door off its hinges?

[A]

No, not if you want her to act in the play. No, if you force the door, she'll raise the roof and refuse to stay in the place. If, however, you leave her alone, she'll probably come out from mere curiosity.

[B]

Ah, you're a clever man, Father Brown.

[C]

But of course he is, dearest. Come along, Jarvis.

[A]

Yes, Mrs. Manador.

[C]

Dear Father Brown, I'm sorry we had to abandon you. Mr. Jarvis and I had to finish that scene. We couldn't go any farther without Maria, of course. Have you had any success with our little Italian Darmagen?

[A]

Yes, Father. Did you manage to communicate with her? Yes, Mr. Jarvis. We did exchange a few words.

[B]

Father Brown thinks we should leave her alone for a bit more. You know, let her stew a bit.

[C]

In that case, I'll get Mrs. Sands to keep watch again and we'll get on with rehearsing the scenes in which she doesn't appear. It was a pleasure to meet you, Father Brown.

[B]

Oh, thank you. Thank you. Well, I'll get back to the office, then. Thanks for the trouble. Father Brown, I'm sorry to have dragged you out here.

[C]

I must insist that at least you let us give you lunch.

[B]

It's most kind. There's a capital chop house right next door. They know me there. You tell them to charge it to me.

[A]

Oh, no, I couldn't.

[C]

Oh, it's the least we could do, father Brown. Oh, Mr. Jarvis. We'll be rehearsing the fourth act. I'll get someone to read in for you. Would you take Father Brown to lunch as our guest?

[A]

It would be a pleasure, Mrs. Manderson.

[C]

Oh, that's settled, then. Now, everybody, the fourth act. Not a dress rehearsal.

[D]

Very well then, dear lady, not a dress rehearsal.

[B]

Good.

[D]

I could wish the costumes of this infernal period weren't quite so elaborate.

[B]

I'll see you later then, Father Browns. Enjoy your meal. I must get Stuck into some paperwork. Cheerio.

[A]

Yes.

[B]

Anything else, gentlemen?

[A]

We've some very tasty stool to you. Oh, no, thank you. I couldn't eat anything else. Yes, Mr. Mandeville was right. This is an excellent place. And really, it is most generous of him to pay for the meal. He's a strange one. Mandeville used to be as jovial a philanderer as ever sauntered down Piccadilly. But now there's some sort of shadow in his life. Maybe something on his conscience. And I doubt whether it has anything to do with his fashionable flirtations. Well, look at the way he treats his poor neglected wife. Neglected? Oh, yes. It's pathetic the way she sometimes admits she wished she had a more intellectual life, yet she always does her duty. But I'm afraid I must be getting back.

[B]

Waiter. Yes, Mr. John?

[A]

This is to go on Mr. Mandeville's bill.

[B]

Yes, sir.

[A]

Waiter, you know Mr. Mandeville well? Oh, yes, sir. Though he doesn't come in as often.

[B]

As he used to before he was married. But then we don't go to the theater nowadays.

[A]

Not since he stopped doing pantos.

[B]

Ah, wonderful they were then. Pantos. They had Dan Leno as the dame once, Father.

[A]

Oh, yes, yes, my wife was in that. She was the princess. Was she?

[B]

Yes, I'm afraid I can't recall her, sir. We only had eyes for the old dame. How marvelous she was. He was.

[A]

Of course. That's it. That's what's the matter with our Italian friend. Is Miss Maroney a good actress, Mr. Jarvis? Yes, I'd say she is, rather. She has quite a reputation, in fact.

[B]

Yes.

[A]

We must get back. Did I have my umbrella waiting?

[B]

Just get it, sir.

[A]

Thank you so much. You know, there is generally a perfectly good reason for mad Italian rages. The Latins are far more logical than we are. It was an excellent. I think this gentleman wishes to see you, sir. Why, Inspector Bagshaw. What are you doing here?

[B]

I could say the same of you, Father Brown. You seem to get everywhere.

[A]

Well, we do consider ourselves the Catholic church, Inspector.

[B]

I'm sorry I didn't go. Fellow anyway. Look, I'll tell you why I'm here. That theater you were at this morning. There's been a murder.

[A]

Not Ms. Maroney?

[B]

No, not Ms. Maroney, Mr. I don't believe I've had the pleasure.

[A]

This is Mr. Jarvis. He's one of my parishioners. He's also an actor.

[B]

Delighted to meet you in speech. Mr. Jarvis, the actor. Well, Mr. Jarvis, can I ask you, where were you between the hours of 12:30 and 1:30 today.

[A]

He was having lunch with me.

[B]

Was I? Oh, well, one more to cross. Awful lists of suspects. No offense meant, Mr. Jarvis, but you were my last hope. Inspector, I can tell you it's not Ms. Maroney who's dead, though she has gone missing.

[A]

What?

[B]

When Mr. Knight found the body, they decided to break her door down. Well, it's understandable. Anyway, they found she gone, smashed a window and climbed out. Good Lord.

[A]

Then who is dead, Inspector?

[B]

It's Mr. Mandeville, sir. Mr. Brandon, stabbed in his office when the door was locked. And everyone apart from you, sir, was on stage as witness per Lady Miriam Talbot, who was watching them. Never come across anything like it. And that old cow in the corridor, Mrs. Sachs? Oh, yes, that's right, that one. She swears blind no one went near his office. Anyway, I'd be glad if you gentlemen come back to the theater with me. Yes, I'd rather take your statements there. I left a young constable in charge, and you can't trust him these days.

[D]

But I've already told you all this before, Inspector.

[B]

If we could just go through it again, Mr. Knight, in case we missed anything.

[D]

Very well. As I said, we were all on the stage when this dreadful thing happened. Beneath our feet, as it were. We just finished rehearsing act four with poor Mrs. Mandeville.

[B]

There, there, dear.

[D]

Well, all of us except Mr. Jarvis here.

[B]

Yes, I've spoken to him. Please continue, sir.

[D]

We couldn't do much more without Ms. Maroney. So Mrs. Mandeville knocked on her husband's door to ask him to do something.

[B]

And what happened then, Mrs. Manderville?

[C]

I looked several times, Inspector, but could get no reply. I was naturally concerned that my husband might have been ill. Mr. Knight gallantly volunteered to break the door down, which.

[B]

You then did, and found the corpse, and I quote, lying forward on his desk, stabbed in the neck with an old property dagger.

[D]

Inspector, have a care for the lady's feelings.

[A]

I'm very sorry, Mrs. Mandeville. I'm very sorry to distress you further, but is there any other entrance to Mr. Mandeville's office?

[C]

How do you mean, Father Brian?

[A]

Well, is there, for instance, another door?

[C]

Oh, no. It was just a sort of wooden box built under the stage where we stopped doing those awful pantomimes. Oh, I'm sorry. I'm afraid this has been rather a shock. Would you excuse me?

[B]

Of course, Mrs. Maneville.

[D]

Mrs. Man.

[C]

Oh, Mr. M. Thank you. I'm afraid I came over a little faint, Mr. Knight. Perhaps you would be Kind enough to.

[D]

But of course, dear lady. If this inspector will allow me to leave.

[B]

Yes, go on.

[C]

Now that is very strange, Inspector.

[B]

Oh, Lady Miriam. Now what's that? What's strange?

[C]

I'm sure Mundy told me his name was right. Not tonight. I say, do you think that's significant?

[B]

I doubt it.

[A]

Lady Miriam. What I should exactly did you leave your box, Lady Miriam?

[C]

The very moment they finished that thing they were doing. I mean, it was all jolly interesting, but I was getting a teeny bit bored so I popped down to say thank you and bye bye to poor Monday.

[A]

If I were you, Lady Miriam, I. I go and have a rest. It's all been a nasty shock if Inspector Bagshaw has finished.

[B]

Oh, yes, yes.

[A]

You go and have a lie down Melaner.

[C]

Thank you. Thank you. Poor old Monday. Poor old thing.

[B]

What about me?

[C]

Can I go too?

[B]

Ah, dear Mrs. Sands, just one thing. What? You are quite sure that no one went into Mr. Mandeville's office? Like I said, I was outside all the time. Nobody came.

[C]

I didn't fall asleep. Yes, and before you asked me again.

[B]

That Italian thing didn't come out neither.

[C]

And I didn't hear no scream from him. Satisfied?

[B]

Thank you. Now can I go? Don't leave the building tar very much.

[C]

I must say.

[A]

My opinion is that Mrs. Sands is a grumpy, gloomy sort of card.

[B]

You think she's lying? Is that what you mean?

[A]

No, no, I think I meant it more or less as a detached study of character.

[B]

Well, if it's not her, it's got to be the Maroney woman. Though how she did it. What a conundrum. Oh, dear.

[A]

I've just realized. I rather fear I myself was a witness to Ms. Maroney not being the murderer.

[B]

What?

[A]

Yes, it's very foolish of me. Oh, I should have realized. You see, an hour or so before the murder I heard her smashing something. I stupidly thought she was breaking a mirror. But I'm sure an actress would be much too superstitious to smash a mirror. Of course. Yes, she must have been making her escape by breaking the window well before the murder.

[B]

So it has to be Mrs. Sands then. God knows why she do it.

[A]

I'm sure God would know if she had done it. But Father Brown, you said she was an unpleasant character. I certainly said that Mrs. Sands sulky look was a study in character, but not in the character of Mrs. Sands herself. If you want to know what a lady is like, don't look at her, for she may be too clever for you. Don't look at the men around her, for they may be too silly about her, but look at some other woman who is always near her and especially one who is under her. You will see in that mirror her real face. And the face mirrored in Mrs. Sands was very ugly. The true face of her mistress was mirrored there.

[B]

Surely you don't mean Mrs. Mandevo?

[A]

Everybody regards her as a person of the most exalted ideals, almost moving on a higher plane than the rest of us. I suspect that like her servant, she is perhaps, as the inspector would say, something of a cow.

[B]

Oh, come on.

[A]

I'm sure Mrs. Mandeville's behavior towards the Italian girl was beautiful. Oh, on the contrary. It struck me from the very first that she was being unfair to that poor Italian. And it was brought home to me in the chop house. Do you remember? The waiter had forgotten your wife as the beautiful princess, but only remember Dan Leno as the old dame.

[B]

Wait, wait a minute. It was Dan Leno got to do with it.

[A]

Well, Dan Leno had the star part. Isn't that the word? The matronly dame. And besides him, the beautiful princess was comparatively unimportant. Now, in the School for Scandal, the star part is also the matron, lady teasel, the part Mrs. Mandeville so, so charitably gave herself. While the part of the. The beautiful young heroine, as she called it, must be Mariah, which is hardly a part at all. Yes, that's true. Yes. If the Italian was, as you say, a first rate actress who had been promised a star part, she really had some excuse for her Italian rage. Father Brown, I can't accept Your view of Mrs. Mandeville. In all the time I've worked with her, she never complained. Oh, what you mean is, Mrs. Mandeville told you she never complained. As she told Norman Knight, she never complained. And probably every other man in the company. But in private. Oh yes, she complained. And yet really, what did she have to complain about? Nobody pretended that her husband drank or beat her or left her without money. And though he may have been something of a philanderer before he met her, I suspect he was so much in awe of her as to have been completely faithful as a husband. Yet when one looks at the facts, apart from the atmospheric impression of martyrdom she contrived to spread, the facts were really quite the other way. Mandeville left off making money on pantomimes to please her. He started losing money on classical drama to please her. She wanted to play Lady Teasel in the School for Scandal and she got to do so. And no doubt she arranged the scenery and furniture as she wanted.

[B]

Yes.

[A]

Yeah, but. But what's that got to do with you?

[B]

You've lost me again. What are you getting at, Father Brown?

[A]

Can we. Can we go down to Mr. Mandeville's office, Inspector?

[B]

Well, if you want to. You want to view the corpse?

[A]

No, I want to view the ceiling. Ah, yes. Look up there. I thought so. You see, Mr. Jarvis? Yes. Yes, I do see. Good heavens.

[B]

Well, I don't.

[A]

This used to be a pantomime theatre, Inspector. This office is built under the stage. It's full of all sorts of tricks and devices. Immediately above us is one of the trap doors. That was how the murderer got in down from the stage.

[B]

But everyone was on stage. You think someone popped out in full view of everyone else?

[A]

No, no. The plan could only work in the fourth act of School for Scandal.

[B]

Of course.

[A]

Of course. The famous fourth act.

[B]

Look, I only went to a board school. Will somebody please explain?

[A]

In the fourth act of the play, Lady Teazle spends a very long time hidden behind a screen with. When her husband arrives at an embarrassing moment, she's technically on stage.

[B]

But Mrs. Manderill had fixed for the screen to be around this here trap door. She could nip down, catch her old man on the words, pretend she had something to say to him and.

[A]

Yes, and that was Mrs. Mandeville's alibi.

[B]

I think I'd better go and have a word with Mrs. Mandeville.

[A]

What about? Motive, Father? Oh, I. I suspect we need look no further than Mr. Knight. You think she's in love with him? I do hope so. Really, it would be the most human excuse. But I have my doubts. She wanted to get rid of her husband. An old fashioned, vulgar suburban hack, not even making much money. Yes, she wanted a career as a brilliant classical actress. Married to a rapidly rising actor, she was always dogging her husband in private, hoping to use one of his former liaisons as an excuse for a divorce. He died because he wished to remain faithful to her and she could not bring herself simply to run away with her lover. Her ladylike values demanded respectability and she was prepared to kill for it. In the Actor and The Alibi by G.K. chesterton, the part of Father Brown was played by Andrew Sachs Munden, Mandeville by Peter Jeffrey, Mrs. Mandeville by Sheila Grant, Inspector Bagshaw by Bill Wallace, Ashton Jarvis by David Brierly, Norman Knight by Charles Baillie, Lady Miriam Talbot by Fleur Chandler, the House Manager and the Waiter by Jonathan Scott Mrs. Sands by Pauline Letts and Ms. Maroney by Karen Ascoe. The actor and the alibi was adapted by John Scottney, and the director from Bristol was Alec Reed.