The Adventures of Father Brown 45-08-13 (12) The Mystified Mind

Summary

Podcast Summary: "The Mystified Mind"
The Adventures of Father Brown 45-08-13 (12)

Podcast Information

• Title: Harold's Old Time Radio
• Host/Author: Harold's Old Time Radio
• Description: Radio shows from the Golden Age of Radio. The time before television when families gathered around the radio to enjoy classic shows like The Shadow, Abbott & Costello, Amos & Andy, Dragnet, and many more.
• Episode: The Adventures of Father Brown 45-08-13 (12) The Mystified Mind
• Release Date: July 21, 2025

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Introduction and Setting

The episode opens in the quintessential Father Brown environment—a modest parish house where the titular character, Father Brown, is engrossed in his work. The ambiance is set with the narrator's voice introducing Father Brown as a beloved detective inspired by G.K. Chesterton's stories.

Quote:
Narrator (00:30): “Father Brown, played by Carl Swenson. Now for tonight's adventures. The Mystified Mind.”

Introduction of Characters and Initial Conflict

The tranquility of Father Brown's study is interrupted by Nora, the housekeeper, who brings Flambeau, a detective, to discuss a troubling case. Flambeau introduces Ms. Joyce Harridge, who has brought a case involving a man accused of murder. The victim is Luigi Conti, a window cleaner, whose death appears to be a straightforward case of foul play.

Quotes:
Flambeau (02:16): “Ms. Harridge has brought me a case, Father, which I think is more up your alley than mine.”
Nora (05:10): “Look, part of the belt's still hanging there. This thing cut through. Not an accident. Tony did it.”

Investigation Begins

Father Brown questions the circumstantial evidence linking Anthony Cremona (Tony) to the murder of Luigi Conti. Tony's arrest is based on the premise that he had both the motive and the means to tamper with Luigi's safety belt, leading to his fatal fall. However, Father Brown remains skeptical, highlighting the complexity and nuance often missing in such cases.

Quotes:
Father Brown (02:32): “Because Flambeau is a detective. And the only use a man charged with murder has for a detective is to prove his innocence.”
Father Brown (06:00): “I have never understood the meaning of that phrase, Flambeau. To be both open and shut is a paradox.”

Father Brown's Approach

Utilizing his unique method of empathy and psychological insight, Father Brown decides to visit Tony Cremona in jail. His goal is to understand Tony's perspective, believing that genuine understanding can unveil truths hidden by surface-level evidence.

Quotes:
Father Brown (08:10): “There are two kinds of hanging. The hanging that takes place in the minds of men and the hanging that takes place at the end of a rope.”
Tony Cremona (09:16): “I never touched Luigi's safety belt.”

Clues and Twists

During his conversation with Tony, Father Brown discerns inconsistencies in the evidence. Tony's detailed account of the accident and his demeanor suggest innocence. Concurrently, Father Brown receives a threatening telegram warning him to stay away from the case, raising suspicions about an inside job at the Jefferson Building.

Quotes:
Tony Cremona (09:22): “So what is your side of it?”
Father Brown (18:21): “It's a telegram. Well, now, that's odd. It's very odd.”

Confrontation and Unraveling the Mystery

Determined to uncover the truth, Father Brown focuses on the vault at Rollins and Keller, where valuable blueprints for a new jet-propelled plane are stored. He deduces that the apparent accident was a diversion tactic to mask the theft of these blueprints. Father Brown confronts Mr. Rollins and Mr. Gregory, the gatekeeper of the vault, revealing their complicity in the scheme.

Quotes:
Father Brown (15:14): “The everlasting greed of man, Flambeau. That was the motive.”
Father Brown (25:10): “He'll put them back tomorrow morning. Flambeau?”

Resolution

Through his keen observations and understanding of human nature, Father Brown exposes Nora (Ms. Harridge) as the mastermind behind the plot. Her intent to marry Jim Clayton was clouded by her involvement in the theft, leading to the accidental death of Luigi and the framing of Tony. Father Brown confronts Nora, compelling her to confess and face the consequences of her actions.

Quotes:
Nora (26:19): “Jim and I wanted to get married. He said he didn't have enough money. Then I was offered a big sum to steal one of the blueprints.”
Father Brown (26:45): “I confess that when you walked in here, I was a little puzzled after the telegram and the man's voice on the telephone warning me not to come back here.”

Conclusion

Father Brown's unwavering dedication to truth and justice prevails as he successfully unravels the complex web of deceit. Tony is exonerated, and Nora faces retribution for her misguided actions. The episode concludes with Father Brown reflecting on the intricate nature of human motives and the importance of looking beyond obvious conclusions.

Quotes:
Father Brown (27:48): “We are all good. You knew that Tony was innocent and the goodness in you forced you to do something to help him.”
Father Brown (28:12): “But we must begin by facing the music. Come along, Ms. Harris.”

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Key Takeaways and Insights

• Psychological Insight: Father Brown’s approach underscores the importance of understanding the human psyche to uncover deeper truths.

• Distracting Evidences: The episode highlights how apparent evidence can be manipulated to divert attention from the real crime.

• Moral Complexity: It delves into the moral ambiguities individuals face, showcasing that people are neither entirely good nor bad.

Notable Quotes with Timestamps

• Father Brown (02:32): “Because Flambeau is a detective. And the only use a man charged with murder has for a detective is to prove his innocence.”
• Father Brown (06:00): “I have never understood the meaning of that phrase, Flambeau. To be both open and shut is a paradox.”
• Tony Cremona (09:22): “So what is your side of it?”
• Father Brown (15:14): “The everlasting greed of man, Flambeau. That was the motive.”
• Nora (26:19): “Jim and I wanted to get married. He said he didn't have enough money. Then I was offered a big sum to steal one of the blueprints.”
• Father Brown (27:48): “We are all good. You knew that Tony was innocent and the goodness in you forced you to do something to help him.”

Final Thoughts

"The Mystified Mind" is a compelling installment in the Adventures of Father Brown series, masterfully blending suspense with profound psychological exploration. Father Brown's detective work not only solves the mystery but also provides insightful commentary on human nature and the complexities of morality.

Transcript

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[Announcer]

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[Narrator]

Mutual Broadcasting System presents the Adventures of Father Brown. From the exciting pages of GK Chesterton comes the best loved detective of them all, Father Brown, played by Carl Swenson. Now for tonight's adventures. The Mystified Mind. It is just after lunch on a hot August afternoon, and Father Brown sits at his desk in the study of his modest parish house. He's deep in his notebooks and monthly records. Father Brown doesn't look up at the sound of the doorbell. Nora, the housekeeper, comes along the corridor past the study door.

[Nora]

Pity they can't leave him alone just for once.

[Flambeau]

Hello, Nora.

[Nora]

Oh, it's you, Flambeau.

[Flambeau]

Yes. Is Father Brown in? I brought someone to see him. This is Ms. Harris, Nora.

[Nora]

Good afternoon, Nora. Flambo told me about you. Nothing good, I warrant. Well, if you must see Father Brown, you must. He's in his study.

[Flambeau]

Oh, thank you, Nora. This way, Ms. Harris. You know, Nora's bark is much worse than her bite.

[Father Brown]

Hello, Father Brown. Well, well, Flambeau. My, this is a pleasure.

[Flambeau]

I've brought someone to see you, father. This is Ms. Joyce Harridge.

[Father Brown]

Well, come in, come in, my dear. Come in. Pull up that comfortable chair for Ms. Harris. Flambeau.

[Nora]

I'm afraid we're disturbing you, Father.

[Father Brown]

One of man's greatest pleasures is to be disturbed at his work. Yes, sit down, my dear.

[Nora]

Thank you, Father.

[Flambeau]

Ms. Harridge has brought me a case, Father, which I think is more up your alley than mine. The fact is, we're on our way now to talk to a murderer in his cell.

[Father Brown]

Oh, and what makes you think, Ms. Harris, that this man you call a murderer is not guilty?

[Nora]

Why, how do you know? I think that, Rod.

[Father Brown]

Well, because Flambeau is a detective. And the only use a man charged with murder has for a detective is to prove his innocence.

[Flambeau]

Well, you hit the nail on the head, Father. Father, I'm afraid there isn't much I can do. It looks like an open and shut case.

[Father Brown]

You know, I. I have never understood the Meaning of that phrase, Flambeau. To be both open and shut is a paradox. Well, now, suppose, my dear, that you tell me about the man in the cell whom someone has called a murderer.

[Nora]

Well, to begin with, Father Frail Engineers. Rollins. This is located on the 17th floor of the Jefferson Building. The whole thing happened last Thursday morning just after I arrived at the office.

[Father Brown]

I see. Will it go on?

[Nora]

Well, every Thursday morning, just as our office opens, a man comes in to clean the window. His name is Luigi Conti. We've all gotten to know him well over the years because his daughter was in Keller. I just got into the office last week. Good morning, Ms. Harris. You know I've sent you not to come to work.

[Announcer]

Good morning, Lisa.

[Nora]

Good morning, Mr. Clayton.

[Father Brown]

Hello, darling.

[Nora]

Oh, just think what it would be like at the beach today.

[Announcer]

I guess the sick grandmother gag is worn at 12 hours. Let's plan the beach for the weekend, though, huh?

[Nora]

Oh, yes, I'd love it.

[Announcer]

Oh, good morning, Mr. Gregory.

[Nora]

Good morning.

[Father Brown]

Whether it's good or not, as a matter of your own personal feeling, if you're waiting to get into the boat, it's only three to five. Time lock won't work for another two minutes.

[Announcer]

When I first came to work here, I was convinced. Wasn't till I began getting here on time that I discovered he actually lived in the outside world. Oh, well, I want to talk to you about the Kennedy job after I've gone through the mail.

[Flambeau]

Clayton.

[Father Brown]

Yes, sir.

[Announcer]

There's the window cleaner. You know, it's gotten so you can tell time by Luigi. Joyce.

[Father Brown]

Yes?

[Announcer]

You know, that's a job I wouldn't like to have.

[Nora]

What?

[Father Brown]

Luigi's.

[Announcer]

It does something to the pit of my stomach when I see him climb out on that.

[Nora]

He's used to it. There's really no danger with one of those safety belts.

[Announcer]

The window cleaner. He's fallen.

[Nora]

It's Luigi.

[Father Brown]

One side of his belt gave way. Just hanging there.

[Announcer]

Mr. Arnold helping Mr. Quit. Gregory fallen all the way to the street. Don't look, Lisa. You mustn't look, my dear. Dreadful, dreadful accident. Accident.

[Nora]

Look, part of the bell's still hanging there. This thing cut through. Not an accident. Tony did it.

[Announcer]

Tony. You mustn't say that.

[Nora]

Tony did it, I tell you. I know it. Tony did it.

[Flambeau]

The whole crux of the case, Father, it was murder, all right. Because Luigi's safety belt had been cut through with a razor blade, so that the minute he threw his weight against it, it gave way.

[Father Brown]

And the man that Lisa killed, the.

[Nora]

Man she called Tony, that's Anthony Cremona's father. He's been arrested and charged with the murder. He was Luigi's assistant at the Jefferson Building.

[Flambeau]

And it was nuts about Luigi's daughter.

[Father Brown]

But why did the girl jump so quickly to the conclusion that it was this boy who had cut the.

[Flambeau]

Apparently because the old man and the boy were constantly arguing and fighting. There were threats and counter threats.

[Father Brown]

I see.

[Nora]

Father, Luigi was terribly proud of Lisa. Every cent he'd earned had gone for her education in business school. He thought Tony wasn't good enough for her. He was dead set against anything serious developing.

[Flambeau]

Between their window cleaning equipment in a closet, and both Tony and Luigi had a key to it, young Tony had plenty of opportunity to slice the belt with a razor blade. As far as the cops are concerned, that's all there is to it.

[Father Brown]

Yes. Is that all the evidence against him, Flambeau?

[Flambeau]

That's all the police have found, Father.

[Father Brown]

No, no, that's just too black and white. There are no shading, no coloring. People are not so simple as a first grade problem in arithmetic, you know.

[Nora]

Well, Father, I've gotten to know Tony a little in the last year. Oh, he'd been so anxious to marry Lisa, he's been working like a Trojan to better himself. Going to night school, studying engineering.

[Flambeau]

Father, Ms. Harridge has an interesting point to make.

[Nora]

Well, it's simply this, Father Brown. If Tony had struck down Lisa's father in the midst of one of their arguments, it would fit his character, his hot temper.

[Father Brown]

Yes, but cutting through the belt was a cold and character, is that it?

[Nora]

Yes. Father.

[Father Brown]

I think we should not put off going to see Anthony Cremona in this ceremony.

[Flambeau]

But the trouble is, he won't see anyone. He won't talk to a lawyer, he won't see Miss Harrods, and he won't see me.

[Nora]

We thought that maybe with you he might feel differently.

[Father Brown]

Well, sometimes injustice will turn a man's face away from all other men. We can only try, Ms. Harris. We can only try it.

[Announcer]

Cremona cell is at the end of this block, Father.

[Father Brown]

Thank you. Thank you, sir. Flambeau, would you and Ms. Paddage wait here?

[Nora]

Yes, Father Brown.

[Announcer]

Someone to see you, Cremona.

[Tony Cremona]

I don't want to see anybody.

[Father Brown]

I. Tony, I didn't know they sent.

[Tony Cremona]

A priest to Seattle just before the hanging.

[Father Brown]

But there are two kinds of hanging. The hanging that takes place in the minds of men and the hanging that takes place at the end of a rope. A priest may be valuable in both cases.

[Tony Cremona]

Well, I can't stop you from talking to me.

[Father Brown]

If you want to, you may open the cell door for me, Sergeant.

[Announcer]

Holler when you want to get out, Father.

[Father Brown]

All right. Thank you.

[Tony Cremona]

Now, look, if this is some kind of a trick to get me to change my story.

[Father Brown]

Since I haven't heard your story, Tony, why should I ask you to change it?

[Tony Cremona]

Well, maybe it don't sound like much. Can't change the truth.

[Father Brown]

And who is it that doesn't believe the police, Lisa?

[Tony Cremona]

You know something, Father? The minute it happened, the very minute it happened, Lisa shouted out my name.

[Father Brown]

It's what you had for you threatened her Father, hadn't you, Tony?

[Tony Cremona]

Sure, I threatened him. He was a stubborn, narrow minded old fool. But I had a suit of clothes and a fine tailor and plenty of dough in my pocket. He thought I was the right guy.

[Father Brown]

Yes, Tony.

[Tony Cremona]

Father, Lisa hasn't even been distinguished.

[Father Brown]

Hadn't given me a chance.

[Tony Cremona]

He thinks you'd at least hear my.

[Father Brown]

Side of it, wouldn't you? Well, what is your side of it?

[Tony Cremona]

Myself, I never touched Luigi's safety belt. Kept our stuff in the same closet. But I never touched this belt. If I was going to murder Luigi, I wouldn't have been satisfied with cutting just one side of his belt.

[Father Brown]

No, no.

[Tony Cremona]

But the belt should have held him up. Even when one side gave way. It was an accident. The other side of the belt didn't hold. No window cleaner would have cut just one side of the belt. If he wanted Luigi to fall. What's the use of my telling him that?

[Father Brown]

Maybe a great deal of you, Tony. You see, there's a bitterness in your heart that's keeping a cloud in front of your eyes. You have friends, you know. Friends. Who's Ms. Harris? Who believes them? Ms. Lambeau, the detective hired to clear you this charge. And there's me, Tony. What do you mean that, Father? You really mean it? Of course. I mean.

[Tony Cremona]

If you see Lisa, will you tell her? Will you tell her?

[Narrator]

There are still people that don't go.

[Tony Cremona]

Around accusing a man without giving him a hearing.

[Flambeau]

Well, Father, will he talk to you?

[Father Brown]

Yes, yes, yes, yes. Lambeau. He talked with me.

[Nora]

What do you think, Father?

[Father Brown]

Sometimes the things I think are frightening, even to me. Sometimes I wish I could give up the whole business of thinking.

[Nora]

Then you think Tony is guilty?

[Father Brown]

No, Ms. Haddish, I think he says.

[Nora]

But in that case, Father.

[Father Brown]

But thinking it isn't proving it. Now, I'd like to go to your office. I'd like to see the place with it. Accident happened.

[Flambeau]

Accident. Now, Father, I've Seen these tricks pulled before. And cutting a safety belt is.

[Father Brown]

I have a passion for accuracy, Flambo. I called it an accident because it was an accident. Tragic accident. You see, the window cleaner, Luigi, was never meant to die. But Paul. Now let's not waste time, Flambo. I have an urgent curiosity to lay eyes on a criminal. And he's not in a cell at the his a. And it's entirely possible that we'll find him at the office of Rollins and Keller. May God have mercy. And this is the officer that happened in the seven?

[Nora]

Yes, Father. There's only this one large drafting room in Mr. Rollins private office.

[Father Brown]

I see that. That's the vault at this photo.

[Nora]

Yes, it is. Old Gregory sits there by the wicket and nobody goes in or out of the vault without being checked by him.

[Flambeau]

Oh, what's so valuable in the vault?

[Nora]

Oh, cheaply. Blueprints. We do a lot of work for the government. All very hush hush.

[Father Brown]

Now, which is the window from which Luigi fell?

[Nora]

Oh, that one over there. The far end of the office.

[Father Brown]

Yes, it would be at the far end. And Ms. Harridge, I think I should talk to your employer, Mr. Rollings.

[Nora]

Very well, Father. His office is right over here.

[Father Brown]

Thank you.

[Nora]

Pardon me, Mr. Rawlings.

[Flambeau]

What?

[Nora]

Oh, come in, Mr. Rawlins. This is Father Brown and Flambeau. They'd like to talk to you for a moment.

[Announcer]

Come in, come in.

[Nora]

Well, if you'll excuse me, I'll get back to my drawing room.

[Announcer]

Yes, Miss Harris. Well, gentlemen, what can I do for you?

[Flambeau]

We've come about the window cleaner who was murdered.

[Father Brown]

On the contrary, Mr. Robinson. We've come about the vault that was robbed.

[Announcer]

Well, gentlemen, make up your mind.

[Father Brown]

I'm sorry to have to tell you that valuable designs or blueprints are missing from your vault.

[Announcer]

I don't know what this is all about, gentlemen, but I can assure you there's nothing missing from the vault. You see, it works on a time mechanism. It opens at five minutes past nine in the morning and closes at five minutes to five at night. All day long Gregory sits outside the gate and nothing can be taken without his knowing it. I trust Gregory with anything I have.

[Father Brown]

With your money, Mr. Rollins.

[Announcer]

With more than that, Father Brown. There are secrets in that vault that money could not buy back.

[Father Brown]

Well, I only hope that whatever was stolen, it's still missing.

[Announcer]

Really, Father, first you tell me I've been robbed and then you wish me bad luck on top of it.

[Father Brown]

Now, if I worked in your office and someone offered me a great deal of money for One of the blueprints in your vault. This is what I do. I take the blueprint, have it photostatic, and then return it to the vault. If I was lucky enough to get back in time, you'd never know you'd been betrayed, Mr. Rollins.

[Announcer]

That would be a way to do it, Father.

[Father Brown]

Look in the vault, Mr. Rollins. Don't let anyone know what you're looking for. And if you find anything missing, come back and tell me. But no one else. This is really ridiculous. Look, Mr. Ronnie.

[Announcer]

All right, I will look. Will you gentlemen wait here?

[Father Brown]

Thank.

[Announcer]

You.

[Flambeau]

Of course, I'm really an innocent bystander, but if it wouldn't be too much trouble to explain.

[Father Brown]

But the trouble doesn't lie in the explanation, Flambo. The trouble lies in catching a peculiarly subtle thief.

[Flambeau]

Murderer.

[Father Brown]

That's the point, Flambeau. There was no murderer by intent.

[Flambeau]

And how was Luigi supposed to fall 17 stories to the street without the.

[Father Brown]

He wasn't supposed to fall. The other side of his belt should have held him up.

[Flambeau]

But what could be the purpose in it?

[Father Brown]

The everlasting greed of man, Flamboy. That was the motive. The purpose in cutting Luigi's belt was purely and simply to distract attention from the vault. That's an old magician's trick. Distract attention from what's really happening. Everyone was at the window.

[Flambeau]

Yeah, by Georgia Woodwork.

[Father Brown]

Certainly.

[Flambeau]

If the thief knew exactly where the blueprint he wanted was kept in the vault, it would only take him a matter of seconds.

[Father Brown]

Precisely, Flambeau. And with everyone's attention riveted in another direction.

[Announcer]

You were right, Father Brown. Secret designs for a new jet propelled plane gone. We must notify the police at once.

[Father Brown]

Not if you want the plans back. What if the thief doesn't know that you've discovered the theft? He'll try to put them back.

[Flambeau]

But how do we catch him, Father? If we watch the vault, he won't go in. And if we don't watch the vault, we won't know who puts the plans back.

[Father Brown]

I think I can find an answer to that riddle. How? By committing a crime. Flambeau.

[Nora]

What are you doing here, Father Brown?

[Father Brown]

Oh, I'm just sitting on this bench, Ms. Harridge.

[Nora]

I saw Flambeau leave. But why are you sitting here?

[Father Brown]

Well, you see, to understand why a criminal acts as he does, one must know exactly how he feels. One must, so to speak, get inside of him, understand his every thought. When I've done this, when I've reached the point of committing the crime myself, then I know who the Criminal is.

[Nora]

Well, that sounds complicated.

[Father Brown]

Understanding the human mind is the most complicated of all sciences, Miss Harridge. Now, take yourself, for example. Your interest in young Tony Cremona. Is it just ordinary human kindness, or is it personal and intimate?

[Nora]

It's just that he's a nice boy who's being blamed for something. I don't think he did.

[Father Brown]

I see. And is there no one else here who feels the same as you?

[Nora]

I know. Jim Clayton's.

[Father Brown]

I'd like to talk to this Mr. Clayton of yours. May I?

[Nora]

Yes, I'll call him. Jim. Jim?

[Father Brown]

Yes?

[Nora]

Jim, this is Father Brown.

[Announcer]

Oh, hello, Father.

[Father Brown]

How do you do?

[Announcer]

Joyce has been telling me that you feel the same way as we do about Tony Cremona.

[Father Brown]

Well, unfortunately, just feeling something will not help him.

[Announcer]

Yes, I know. The trouble is there aren't any clues that point in any other direction.

[Father Brown]

Ah, that's what makes it such a clever crime. But just because a man points in A certain direction, Mr. Clayton, doesn't mean that we must walk in that direction. So I am stubbornly walking in all the other directions, if you see what I mean.

[Nora]

Here's a telegram for you, Father Brown.

[Father Brown]

It's a telegram. Well, now, that's odd. It's very odd. Advise you leave office of Rollins and Keller and don't come back. Whoa, whoa, whoa.

[Nora]

Father Brown?

[Father Brown]

Yes.

[Nora]

I'm Lisa Conti. I know why you're here.

[Father Brown]

Oh, do you know? Because I don't know why you're here.

[Nora]

Lisa, I work here. What else should I be?

[Father Brown]

Well, you might be in a cell at the city jail, talking to a nice young man who's eating out his heart because of you.

[Nora]

Talking to a murderer, you mean.

[Father Brown]

And where is your authority for judging, Lisa? Even a court of law will listen to young Tony story.

[Nora]

He threatened to kill Papa. He did it. I hang him. I'll stand and watch it and be glad.

[Father Brown]

Then you should be happy now, Lisa, because you've already done the only hanging that'll cause him any pain.

[Nora]

But, Father Brown, I hang him.

[Father Brown]

A person who will not listen even to a lie cannot have much to tell anyone, Lisa, because what can she know that that's either true or false? Tell me, who, who, who delivered this telegram?

[Nora]

Delivered by a regular messenger, Father.

[Father Brown]

I see me here. Read it. What?

[Nora]

It's a threat against you.

[Father Brown]

Father Brown, do you think the police allowed Tony to send me that telegram from his cell in the city jail?

[Announcer]

No.

[Father Brown]

They tell me, Lisa, that it's possible to visit the jail at any time, day or night. I beg your pardon? But you're Mr. Gregory, aren't you? Yes. Do you know the mechanism of that ball fascinates me? It's closed for the night now. Yes, I see. You mean to say that no one can open it until morning? Not till five minutes past nine. Tomorrow morning. Tomorrow morning? You're certain there's no way on earth to open it till then? Well, now, you may think it's odd for me to have this turn of mind, Mr. Gregory, but suppose a thief were to walk into the vault in broad daylight and come out with something he had no right to have. I'd stop him. Oh, but suppose he was a monstrous big man, Mr. Gregory, who could pick you up and put you aside like a child. Then I'd shoot him. You see, I keep a gun in this desk drawer. Oh, my. Well, now, suppose that you weren't at your post, Mr. Gregory. I'm always at my post. Always? Always. Well, well, well. That's an Interesting speculation, Mr. Gregory. Good night. I'll see you in the morning, just before you open your wonderful vault. You're coming back again tomorrow? Oh, yes. Unless, of course, I should receive a visit from a murderer before that time.

[Flambeau]

Oh, there you are, Father. I thought you were never going to get home.

[Father Brown]

Telegram, Flambo. I've been warned to give up my innocent bench sitting at Rollins and Keller. Here, you can see for yourself.

[Flambeau]

Oh, so that's the way the wind blows.

[Father Brown]

Well, at any rate, it's a wind, Flambeau. But I'm frank to say that I don't know from what direction it blows. Oh, excuse me, Flambo. Father Brown speaking.

[Announcer]

Okay, then.

[Father Brown]

Listen, who is this?

[Announcer]

Never mind who it is. The boy won't hang if you mind your own business.

[Father Brown]

What's that?

[Announcer]

You got the telegram?

[Father Brown]

Yes, yes, I got it. Did you send it?

[Announcer]

Never mind who sent it. It's good advice. Now, you stay away from Rollins and Keller, you understand? Stay away.

[Father Brown]

Hello?

[Flambeau]

Hey.

[Father Brown]

Hello. Hello. Well, now, we seem to be getting warm, Flambeau. That was another warning to stay away from Rollins and Kenneth.

[Flambeau]

Oh, what are you going to do?

[Father Brown]

Return, of course. Tomorrow.

[Flambeau]

But, Father, the thief won't put the plans back while you're watching the vault.

[Father Brown]

He'll put them back tomorrow morning. Flambeau?

[Flambeau]

What makes you think so?

[Father Brown]

It's not a matter of thinking. I know it, and I know when. Flambeau, he'll put the plans back in the vault at exactly ten minutes past nine. Flores, please.

[Flambeau]

Seventeen, please. Well, what's the matter, Father? You look worried.

[Father Brown]

Now, we've drawn this touch. Fine, Flambeau. It's already one minute past nine.

[Flambeau]

Well, unless the elevator breaks down.

[Father Brown]

Oh, don't, don't. Don't even think such a far, Flambeau. Don't. Don't even think. 17. Ah, well, we made it.

[Nora]

Oh, Father Brown.

[Father Brown]

Oh, good morning, Lisa.

[Nora]

Father, I. I went to see Tony last night.

[Father Brown]

Did you know, Father, I don't know.

[Nora]

What I could have been thinking of when I talked to him, when I saw him.

[Father Brown]

He's a good boy, Lisa. A good, honest boy who holds you very high in his heart. And I'm. I'm sure there's less pain in it now from having seen him.

[Flambeau]

Three minutes past nine, Father.

[Father Brown]

Oh, yes, yes. Excuse me, sir. Come along, Flambo.

[Nora]

Good morning, Father brown.

[Father Brown]

Good morning, Miss Herridge.

[Announcer]

Good morning, Mr. Claybo. Hello, Father.

[Father Brown]

I hope to be here in time to see the vault mechanism.

[Announcer]

Well, you've heard it right on the nose, Father. There's Gregory standing by now.

[Father Brown]

Ah, I see you did come back. Yes, I came back, Mr. Gregory. Well, now, how does this vault of yours work? In 30 seconds, I open the door. You mean to say there's no ringing of bells, no fanfare of trumpets? No, I just open the door like this. Well, now, Mr. Gregory, I am disappointed. You know, somehow I expected more drama.

[Flambeau]

Here comes Mr. Rowland, Father.

[Father Brown]

Oh, good morning, Mr. Robbins.

[Announcer]

Father Brown, I simply can't hold off going to the police any longer. I have a responsibility to the government.

[Flambeau]

Those plans.

[Father Brown]

Those plans, Mr. Rollins, will be in your hands in a very few minutes.

[Flambeau]

You know who took them?

[Father Brown]

Oh, you might say that I do. What time is it, Flambo?

[Flambeau]

Seven minutes past 9, Father.

[Father Brown]

Well, then there's no use delaying. Flambeau. Please take those very efficient handcuffs from your pocket and put them on Mr. Gregory.

[Nora]

Me?

[Announcer]

Why, that's impossible.

[Father Brown]

Arrest Mr. Gregory flamboyant.

[Flambeau]

Well, it's your party, Father. All right, Gregory, hold out your hand.

[Father Brown]

This is insane, I tell you. You're all insane. I had nothing to do with that window cleaner's death.

[Flambeau]

You're charged with stealing important plans from the vault, Gregory.

[Father Brown]

That's not true. You know that's not true, don't you, Mr. Rollins?

[Announcer]

Plans have been stolen from the vault, Gregory. But I think this is a mistake. I can't believe that you had anything to do with it. I backed Gregory to the limit, too.

[Flambeau]

Nothing could be taken from the vault without Gregory's confession. Ivan, he says he never left his post here. Well, if he didn't, then he's a thief.

[Announcer]

Come along. Oh, really, Father Brown. Gregory's been with us 30 years. No doubt about it. Gregory's on the level. Well, maybe.

[Nora]

Maybe.

[Flambeau]

Brown, copy my cop.

[Announcer]

What?

[Nora]

Father Brown, what are you doing here in the vault?

[Father Brown]

Waiting, Ms. Haddish. Waiting for you to bring back the plan.

[Nora]

So you knew. Well, how did you know?

[Father Brown]

Well, I didn't, not really. All I knew was that the thief would come into the rot. You see, Ms. Harris, you fell for your own trick.

[Nora]

Trick?

[Father Brown]

The window cleaner was your trick for distracting attention from the vault. Mr. Gregory was my trick for doing the same.

[Nora]

So that was it.

[Father Brown]

I confess that when you walked in here, I was a little puzzled after the telegram and the man's voice on the telephone warning me not to come back here.

[Nora]

Man's voice?

[Father Brown]

Yes. I rather think that your fiance, Mr. Clayton, has suspected all along that you were guilty. And he tried to frighten me off. Why did you do it, Ms. Haddock?

[Nora]

Jim and I wanted to get married. He said he didn't have enough money. Then I was offered a big sum to steal one of the blueprints for just a few hours. Just long enough for it to be photo stick. Then I could put it back and no one would be the wiser.

[Father Brown]

I see. But everything went wrong. First Luigi was killed.

[Nora]

Father, I swear I never meant that to happen.

[Father Brown]

Yes, but it did happen. And then when Tony was arrested, you went to Flambeau.

[Nora]

I wish I knew why. I wish I knew why I went to Flambeau in the first place.

[Father Brown]

Because no person is all bad. We're all good. You knew that Sony was innocent and the goodness in you forced you to do something to help him. The strange twist that you must now forfeit your freedom, perhaps your life, only because you were not all bad.

[Nora]

Oh, help me, Father. Please help me.

[Father Brown]

Yes. Yes, I'll help you. But we must begin by facing the music. Come along, Ms. Harris.

[Narrator]

Next week, the Prophecy of Doom. An exciting adventure in which a world famous mind reader prophesies the death of a famous inventor at a moment to be decided by a watch that cannot tell time. The Adventures of Father Brown, based on the Stories by G.K. chesterton, was produced by Francis Shirley Oliver and directed by William M. Sweet. Carl Swenson was Father Brown and the cast included Barry Thompson, Mitzi Gould, Bobby Reddick, Bill Griffiths, Will Gear, Gretchen Davidson, Vinton Hayworth and Gladys Thornton. The script was by Judson Phillips and the music by Bill Werges. John Stanley speaking. Americans everywhere, please listen. And seafaring men, especially experienced seamen, are now needed to man cargo and waters. This means you. If you're an oiler, water tender, mate or engineer. Every available man of the sea is needed to keep every fighting man at the front well supplied. Join the merchant marine as soon as possible. Upgrading is faster than ever before. Wire your name, address and classification today collect to Merchant Marine, Washington, D.C. standby pay begins immediately upon acceptance. This announcement from the War Shipping Administration is brought to you as a public service. This is a mutual broadcasting system.