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On board the train he discovers that the man reading the paper beside him is a policeman and what he is reading is the account of the prison break. Charlie decides to hurry off that train.
At the small-town station where he alights a church reception committee is awaiting the arrival of a new minister. From force of habit, Charlie holds out his hands to the local sheriff to be handcuffed. With the gesture perhaps interpreted as a benediction, the "new preacher" is made welcome by the simple country folk. A telegram from the real minister explaining his delay is received by the pompous deacon who, being without his glasses, asks Charlie to read it. Hearing from Charlie that the telegram concerns a delayed package, the deacon tears it up.
Unwilling to accept the alternative of returning to prison and unable to elude his escort, the ex-convict is forced to continue the impersonation. In the pulpit of the little rural church, he prepares to conduct the services. Charlie imitates every gesture of the sacristan — even coughing in unison. At one point, to relax himself from the strain, Charlie pulls out a cigarette and is about to light up when the black looks of the congregation remind him such things are not done in church. The collection boxes are brought up and Charlie hefts them carefully to see which contains the most money. When the time comes for the sermon, a touch of "stage fright" immobilizes him. Getting over it he goes into his impromptu pantomime "act" — the highlight of the film. The introductory title, "Goliath was a big man," is all the help the spectator needs. Enacting both David and Goliath, he jumps from one side of the platform to the other — as David, stooping down to pick up the imaginary stone and slinging it; as Goliath, threatening and tottering down, etc. The "performance" wins the applause of a boy in the audience but the response of the rest of the