"Who's there?" "Keller." "Why are you here this time of night?" "L..." "I wanted to pray." "Is something wrong?" "I..." "Can I help you in any way?" " Can I be of any help?" " No one can help me." "I have abused your kindness." "How?" "You gave my wife and me a home, a job, even friendship." "I felt you would let me be your friend." "So wonderful a thing for a refugee, a German, a man without a home." " You will hate me now." " I don't hate anyone, Keller." "You will, after what you have done for me." "You trusted me." "You saw that my wife and I were not common servants." "It was you who found more pleasant tasks for us, working here in the rectory." "It was my wife, working so hard..." "It breaks my heart." "What is the matter?" "I must confess to you." "I must tell someone." "I want to make a confession." "I confess to almighty God and to you, Father, that I have sinned." " When was your last confession?" " I can't remember." "Can you remember approximately?" "I have killed Mr. Villette." "Go on." "Villette, the lawyer." "I went to his house tonight." "I went to steal his money." "I wore a cassock to avoid attention." "He surprised me." "He was going to call the police." "He was going to call the police." "I tried to stop him." "I didn't mean to kill him." "Alma, I'm not a murderer." "It was an accident." "It was the money." "How could I watch you work so hard?" "I lie awake night after night and I think, "All we need is $2000."" "Alma, with $2000, we can start a new life." "Villette was rich but now I cannot keep it." "That's what Father Logan told me." "I must give it back." "I promised him." "Oh, it's so hard, Alma." "It's so dangerous." "They will catch me." "They will hang me." "I cannot." "I cannot." "Father Logan will go to them." "He will tell them." "He will tell them?" "He cannot tell them what he heard in confession." "The police will come." "Why, Alma?" "Why should they come here?" "They know nothing." "I have told them nothing, have I?" " Alma, no one knows." " Father Logan." "He cannot tell them what he heard in the confessional." "Can't you understand that?" "Otto." " What is it, Alma?" " You're going to the police?" "What is today, Alma?" "Isn't it the day when I attend to Mr. Villette's garden?" "But he's dead." "I always work in Mr. Villette's garden on Wednesdays." "Today is Wednesday, Alma." " Good morning, Father Logan." " Good morning, Father." "Tell me, will it take you and Keller much longer to finish the painting in this room?" "I don't know." "I ask because the smell makes one quite ill." "You know, I read some advertisement about paints and, of course, one shouldn't judge on so little evidence, but I..." " After you, Father." " One finds it difficult to believe that there are paints with no smell." "Do you know of any paints that do not smell, Father Michael?" "Do I know...?" "No, I don't." "Well, don't think of it." "It doesn't matter." "How fortunate we are to have Keller with us." "The man is clever about everything." "Before he came six months ago don't you remember how all the drains wouldn't work and the windows would not open?" "One can learn a great deal from him." "Father Benoit and his bicycle are in time for breakfast." "Good morning, Father Millars, Father Michael." " Good morning." " Morning." "Seriously, must you keep your bicycle in the hall, Father Benoit?" "It doesn't always fall, and I don't seem to know where else." " It's lucky he doesn't have a horse." " Would you pass me the butter, please?" "Mrs. Keller, would you ask your husband to look at my front tire?" " It's flat." "Could you, please?" " My husband?" "But it is Wednesday." " He's not here." " Thank you, no." "On Wednesdays, he attends to Mr. Villette's garden." "Then will you tell him when he comes back, please?" "Yes, Father, I'll tell him when he comes back." "Now, now, Father Benoit, you should learn how to patch a tire." "One should be able to take care of one's possessions." "One has a face, one would shave it." " One has a..." " Excuse me, please." "Good morning, Father." "Monsieur Villette's been murdered." "Good morning." " Good morning, Father." " Good morning." " I had an appointment here." " Appointment?" "With Villette?" "Well, he's dead." "Yes, I know." "Is there anything I can do?" "Well, perhaps Mr. Larrue would like to see you." "Come in, Father." "Mr. Larrue, sir." "Father here says he had an appointment with Villette." "I'll be with you in a moment." "Hello, Father." " I believe I've met you before, haven't I?" " Yes, I'm from St. Marie." " Yes." "How is Father Millars?" " Father Millars is fine." "Good." "You had an appointment with Villette?" " Yes." " Anything special?" " No." " You've heard what's happened." "Father, Keller works at the rectory, doesn't he?" "Yes." "He and his wife work there." "The poor devil is terrified at the moment, Father." "Forgive me, but I've forgotten your name." " Logan." " Father Logan." "You don't mind if we call on you today, maybe tomorrow?" "Perhaps we'd like to know what your appointment with Villette was all about." "Murphy, get Keller." "He's the man who found the body." " Mr. Larrue." "No fingerprints." " All right." "This was on his desk." "The keys were in his pocket." "Five hundred dollars." "It does not look like robbery, sir." "They usually take the lot." " You work at the rectory at St. Marie's?" " Yes." "Good." "Now, how did you find the body?" "On Wednesdays, I work in Mr. Villette's garden." "This morning, I arrived as usual at 8:30." "I came inside..." " You have a key?" " No." "The door was open." " That frightened me." " An open door?" " Why should that frighten you?" " The door was always locked." "I went in, and there he was." "I could see that he was dead." " I wanted to run." " Run?" "There I was, a man without a country, alone, discovering a murder." "I thought of the police." "I'm always afraid of the police." " That's a German fear, this fear." " There's nothing to be afraid of." " Step outside for a moment." " Yes." "Thank you, sir." " Villette's been murdered." " He's dead?" "I can't believe it." "We're free." "Good morning." "Is my husband in the chamber?" "Yes, madame." "Mr. Grandfort is speaking now." "A very stormy debate." "That is the understatement of the year." "The honorable member has used every known cliché except perhaps " curb your dog, keep your city clean."" "Equal salary for female schoolteachers would bring disaster to our whole economy." "Except to the economy of female schoolteachers." " Mr. Speaker!" " At this point of the discussion I adjourn the House until this afternoon at 3:00." "Ruth, my dear, what a charming surprise." " Pierre, take me to lunch." " Of course." "Feeling better, then?" "This morning, you seemed rather depressed." " Was I?" " Yes, and not only this morning." " I don't seem depressed now, do I?" " No." "The tire wasn't flat after all." "Of course, you and Keller know what you're doing." "Personally, I would have preferred an old-fashioned white." " That's what it is." " Is it?" "At least it's supposed to be." " Oh, Mr. Keller, good morning." " Good morning, Father." "You're back early, aren't you?" "Is Mr. Villette's garden flourishing?" "Mr. Villette is dead, Father." " Dead?" " He was murdered, Father." "What?" "Did you hear that, Father Logan?" "How dreadful." "I discovered the body." "I called the police." "Then they came and asked me a lot of questions." "A lot of people were outside the house." "Then the inspector told me I could leave." "What a terrible thing." "A very terrible thing." "Father, why did you come to Villette's house this morning?" "Father, I must speak to you." "I know what you must think of me but I can't give myself up." "I can't." "They would hang me." "Hasn't God forgiven me, thanks to you?" "But the police never would." "I don't know what you're talking about." "But it was I who confessed to you." "It was my confession." "I want you to speak to me about it." "You must tell me what to do." "I can't give myself up." "You must tell me some other way." "There is nothing I can add to what I've already said." "Aren't you human?" "Haven't you ever been afraid?" "You are so good." "It's easy for you to be good." "Have you no pity for me?" " Otto." " Oh, Alma." "Otto, Father Benoit asked earlier would you please mend the tire on his bicycle?" "But the tire wasn't flat after all, Alma." "I don't see why you're so damn solemn about this case, Larrue." "Anyway, why do you come and worry me after lunch?" "I've always had the greatest admiration for you." "You have, in the past, been faced with tremendously difficult cases all of which you have solved with remarkable skill." "And now, here you have a case in which there are no clues no fingerprints, no motives, no suspects." "Ought to be very simple for you." "Shall I bring the girls in, sir?" " Girls?" " Yes." "Just a possibility." "It may be something to go on." "Sit down." "Sorry I had to drag you away from school." "We love to be dragged away from school." "Thank you." "Are you a detective, monsieur?" "Yes." "And monsieur here is the crown prosecutor." "Hello." " Would you like a biscuit?" " Please." " Thank you." " You're welcome." "Now, my little ones, tell me everything." "Your mother said that you passed the Villette house last night." " That's right." " And what was the time?" " Eleven o'clock." " No, it was after 11:" "O0." " Well, now, which of you is right?" " Well, we had been babysitting but we didn't go straight home." "That's why." "Well, shall we say, then, between 11 and 11:30?" " Yes." " And what did you see?" "We saw someone leaving the Villette house." " A man or a woman?" " Man." " Well, what was he like?" " He was a priest." " What?" " A priest." "Now this is very important." "Are you sure?" "Quite sure." "Tell us exactly." "On our way home by the Rue Valentine, we passed Monsieur Villette's house." "We know it well." "It was very dark, and she was frightened." " I was not." " Yes, you were, and we began to hurry." "And then suddenly, there was this priest." "He was coming out of the house and walking away." " Did you see his face?" " No." "How tall was he?" "Like him." " Was he fat or thin?" " Not fat." "Not thin." "Did you notice anything special about him?" " Did he see you?" " I don't think so." "But you are absolutely sure he was a priest?" "Yes." "Thank you." "You may go now." "Oh, my little ones, I do not want you to say anything to anyone about this." " Promise." " Yes." "Thank you." "Murphy, I want you to check every rectory in town and find out which priests were out late last night." "Yes, sir." "Of course, it's absurd that a priest would be involved." "You don't really think it could be a priest?" "Yes, maybe." " Who?" " I have to make sure." "I can't tell you until I've checked further." "Well, don't be so mysterious." "Most of his time is given to his parishioners." "Was he with one on Tuesday night?" "I have no idea where he was or what he did but I'm perfectly sure it's all right." "He will tell you so himself." "Come in." " Good evening, Father Logan." " Good evening." "I believe this room has given this gentleman from the police department the idea that we hide grime with paint, but it is not so, Mr. Murphy." "We have made certain that the walls underneath are spotless." "I don't question that, Father." "Sorry to bother you, Father." "It's no bother." "What can I do for you?" "It seems that Inspector Larrue wishes to speak to you." "Would it be convenient for you to come down to the office now?" "Certainly." "Certainly." "It's all right, Father, I told Mr. Larrue I'd be available." "Good night." "What is it, Father?" "Who was that man?" "The police want to ask Father Logan some questions." "Oh, now you're bringing your bicycle into the study." "How much further into the rectory are you gonna push it?" " Alma, have you washed the cassock?" " Not yet." " Where is it?" " It's in our room." "Don't wash it." "I don't want it washed." " But why?" " Listen to me." "I'm sorry to have kept you waiting." "I was occupied on the telephone." "It's all right, Murphy." "I'll call you later." " Unpleasant bit of business, isn't it?" " It is, yes." "Sit down." "Well, just a few questions, and we'll get it over as soon as possible." "You've been at St. Marie's for how long?" "For nearly two years now." "I have known Father Millars for..." "For a long while." "Matter of fact, I was a choirboy when he was at the basilica." "Really?" "I've heard that you saw military service during the last war." "I believe you were awarded the Military Cross." "Yes." "You seem to have done a number of brave things." "Well, I survived." "Are you given to understatement, Father?" "That depends." "This case, this Villette murder, is all understatement so far." " You knew Villette, didn't you?" " Slightly, yes." "Then perhaps you can help." "What was he like?" "Well, unfortunately, I didn't know him well." "Well, did you know him socially or in a business way?" "In neither way, actually." "I'd met him once many years ago." " Cigarette?" " Thank you, no." "No one seems to have known this Villette and yet he was a lawyer." "He had clients." "Not one of his clients have any information to give about the man." "Oh, not that you were a client of his, as you say, you hardly knew him but may I ask what were you going to see him about yesterday morning?" "Well, that was a personal matter." "You were acting for someone?" "One of your parishioners, perhaps." "I can just say that my visit didn't have anything to do with Villette's death." "Well, of course it didn't, Father." "But you do understand that I must consider every scrap of information?" "When a murder has been committed each scrap of information is important to the police." " Of course." " I know sometimes it seems like prying." " It can be very embarrassing." " I'm not embarrassed." "Good." "Very good." "I've been wondering about the lady you met outside Villette's house." "Quite by chance, I happened to see you from inside the house." "Inspector, the appointment that I had with Villette couldn't be of any importance to you." "But we aren't discussing that at the moment." "You see, with a murder, one has to jump from one detail to another." "Perhaps I jumped too suddenly for you." "Well, it seems maybe I don't follow as fast as you jump." "I have a methodical mind." "I do have to take things one by one." "So do I." "So do I." "The difficulty, perhaps, is that, well, we aren't thinking from the same point of view." "Could it be that, Father?" "That could be." "I don't really know what your point of view is." "Well, then I've put it badly." "Very badly." "Let me try again." "Now, this lady you met outside Villette's house..." "I wish I could discuss it, but I can't." " Who is she?" " She isn't involved." " That is for me to decide." " I know, I know but you'll have to take my word for it." "I respect your word, but I need your help." "I'm not able to help." "I see." "I see, of course." "I just don't want all this mystification to make things too awkward for you." "Awkward for me?" "A priest was seen leaving Villette's house at the time of the murder." "I saw a priest outside Villette's house the next morning." " Well, Father?" " Well?" "Too much mystification might lead one to believe that both priests were one and the same, mightn't it?" "What have you to say?" " What would you want me to say?" " That is up to you, Father." "Well, then, I would say that a man of intelligence wouldn't be led to believe anything on so little evidence." "You're perfectly right." "We have checked on every priest in Quebec." "Each could account for his movements at the time of the murder, each except one." "Where were you at 11:00, Father?" " I was walking." " Alone?" " No." " Good." "Now, if you will just give me the name and the address of the person." "I can't." "Father don't you wanna help me?" " I've done my best." " But you refuse to answer my questions." "I'm sorry." "I know, I..." "It isn't possible for me to answer them." "Then it's a pity a great pity." "Good night, Father." "I'm deeply sorry." "Good night, inspector." "Get me Mr. Robertson." "Yes, the crown prosecutor." "What?" "I don't care where he is, find him." "I said, find him wherever he is." "Take it slow." "Come on." "Come on." "Lower." "Oh, you have to get much lower." "Willy, you're wanted on the telephone." " That's no fair." "Leave me alone." " I'm not kidding." "You really are." "Oh, see what they want, Ruth." "All right, Ruth, where are you?" "I'll take it." " You idiot." " Thank you." "Hello." "Yes, this is Robertson." "Oh, it's you, Larrue." " Fix me a drink?" " Scotch and soda?" "Just scotch, no water." "Yes, hello." "You ought to be in bed with a thriller instead of worrying people." "Yes, yes, I'm listening." " Drink, darling?" " I'll get it." "What?" "But aren't you jumping to conclusions?" "Are you sure?" "Yes, I see." "Yes." "Yes, inspector, yes." "I'll be right over." "Willy, don't look so unhappy." "I can't help it." "Murder's not particularly pleasant." "You should be able to take that in stride." "Not this one." " Is it about the Villette murder?" " Yes." "And the unpleasant part of it is, a priest is suspected." " What nonsense." " Fantastic, isn't it?" "But a priest was actually seen leaving Villette's house." "Which priest?" "Well, Larrue thinks it's Logan from St. Marie's Church." " Do you know him?" " I've heard of him." "Well, I must be off." "I hate to." "Thanks for a lovely party." " Good night, Willy." " Good night, Ruth." " You'll find your way out, won't you?" " Yes." " Good night, everybody." " Good night." " Ruth..." " We have guests, Pierre." "It was a good party, wasn't it?" " Ruth." " Yes?" "Stop worrying." " About what?" " Logan." "The whole idea is ridiculous." " Why on earth...?" " Oh, shut up, please." "Shut up." "Pierre, I'm sorry." "You're still in love with him." "That should be apparent." " You never spoke about it." " Well, I'm not going to talk about it now." "Oh, yes." "You are going to speak about it." "I'm not going on like this." " You don't have to." " What do you want me to do?" "Whatever you wish." "Very simple, isn't it?" "What does one do when one's wife is in love with a priest?" " You can leave me." " How easily you can say that." "I'm not in love with you." "I've never been in love with you." "But I never wanted to believe it." "That's not my fault." "I've never pretended anything with you." "I hope he's in trouble, terrible trouble." "Michael." "My poor Michael." "Hello?" "I'd like to speak to Father Logan, please." "Father Logan?" "Oh, but he's asleep." " I'm not asleep." " It is very late." "I'll take it." "Thank you." "Hello, this is Father Logan." "I've got to see you." "No, I've got to see you." "I can't tell you now." "Tomorrow?" "No, not at the rectory, please." "Michael, listen." "I've got to meet you somewhere." "Anywhere." "Are you listening?" "I'm going to Lévis tomorrow morning on the 9:00 ferry." "All right." "Good night." " Good morning." " Good morning, Father Logan." "We shouldn't be seen together, for your sake." " I had to see you." " The police have been questioning me." "They saw us talking outside of Villette's house the other morning." " They're trying to find out who you are." " I don't care." "I've got to tell you." " You are being suspected." " I know that." "You shouldn't be seen talking to me." "There are probably police all over the boat." "The only thing is for me to tell them you were with me that night." " You can't." "They'd wanna know why." " Do you think I care?" "I'll tell them everything if I have to." "Ruth, you've got to think of yourself, think of your husband." "Think of Pierre?" "Think of him before I think of you?" " I've never been able to do that." " You must." "It's too late to think of him." "We spoke of you last night." "He's still in love with me." "I'm not that good." "I love you, Michael." "I've always been in love with you." "I know." "I know it's wrong." "I can't help it." "Do you want me to lie to you?" "No, I don't want you to lie to me." " But I don't want you to lie to yourself." " But I haven't changed, Michael." "I've been married seven years, and I haven't changed." "Are you afraid of me?" "Why?" "Why?" "You're in love with me." "You've always been in love with me." " You haven't changed." " Ruth, I've changed." "You've changed too." "You want me to pretend that." "No, I don't want you to pretend." "Ruth, do you understand?" "I chose to be what I am." "I believe in what I am." "Michael." "I want you to see things as they are and not..." "And not go on hurting yourself." "Don't pity me." "L..." "I shan't bother you again." "And you followed her from the ferry to 22 Grande Allée?" " Yes, sir." " This is absurd, Larrue." "That is all, Sergeant Farouche." "Murphy, thank you." "This will be very embarrassing for me." "Why should it be, sir?" "I'll have to apologize to Madame Grandfort for this ridiculous report your men turned in." "I will apologize, sir, if an apology is necessary." "Very well." "I'll call Madame Grandfort tomorrow." "Why not get it over with, sir?" "And then we can get on with the apologies, if necessary." "Hello, Pierre." "This is Willy." "Oh, no." "No." "Is Ruth there?" "Yes, please." "Hello, Ruth." "I see." "Yes, I understand." "Yes." "Of course." "That's very kind of you." "Thank you." "What does Willy want?" "He wants me to come to his office now." "May I ask you why?" "I was seen on the ferry this morning with Michael Logan." "Apparently, I was followed by a detective." "Could you have picked a less public place if you had to see...?" "I'm sorry." "Would you like to tell me what you're going to do?" "I'm going to answer whatever questions the inspector wishes to ask me." "I'm also going to explain that Michael could not have killed Villette." "Has Father Logan cleared himself to your satisfaction?" "He didn't have to." "I was with him at the time." "Would you like me to go with you?" "I'm in no position to ask any favors of you, Pierre." " Monsieur and Madame Grandfort." " Do come in." "I'm extremely grateful that you are both cooperative." " Ruth, Pierre, I'm terribly sorry." " It's perfectly all right." "Larrue promises to keep it from the press." "I will do my best." "Sit down, please." " Father Logan's outside." " Bring him in." "Come in." "I've asked Father Logan to join us." "Father Logan Madame and Monsieur Grandfort, Mr. Robertson." " Me, you know." " Good evening, Father Logan." " Good evening." " Sit down." "Thank you." " May we begin, please?" " Well, Madame Grandfort..." "What do you wish to know?" "You met and talked with Father Logan on the 9:00 ferry." " Yes." " May I ask the reason for this meeting?" "I don't think the reason could help you, inspector." " It was personal?" " Yes." "Very well." "You also met and spoke with Father Logan the morning after Villette's murder." "You met and spoke to him immediately in front of Villette's house." " Yes." " May I ask the reason for that?" "I had an appointment with Monsieur Villette." " He was your lawyer?" " No." "Father Logan, knowing of the murder, stopped you from entering the house?" " Yes." " Of course, he did not know you had an appointment with Monsieur Villette." "He did." "The night before, I'd had an appointment with Father Logan." "I told him I was going to meet Monsieur Villette at 9:30 the following morning." "You had an appointment with Father Logan the night Monsieur Villette was murdered?" " Yes." " Where?" " We took a ride in my car." " What time?" "Between 9 and 11." "Madame Grandfort." " Are you sure of the time?" " Oh, yes." "I got home just after 11." "My husband had come in five minutes before." "That's right, inspector." "You told your husband, of course, that you had just seen Father Logan?" "No, I did not tell my husband." "Was there any particular reason why you shouldn't have told him?" " Yes." " Inspector, I beg you." "Consider if your line of questioning has to be so personal." "That is for me to decide, Father." " Madame Grandfort?" " Yes?" "You understand I must ask these questions." "Yes." "I came to tell that you Father Logan could not have been involved in Villette's death." "I was with him at the time." "I have accepted everything that you have said, madame." "But I must know, if possible the reason for your appointment with Monsieur Villette." "Monsieur Villette was blackmailing me." "I had met Father Logan to ask his advice." "You hadn't told your husband about this?" " It was..." " It was what, madame?" "It was nothing to do with my husband." " Surely he would have been concerned." " Yes." "You see, that was it." " I didn't want to worry him." " So you turned to Father Logan." " Yes." " Is Father Logan your parish priest?" " No." " No?" "Yet you turned to him for advice when you wouldn't turn to your husband." " Father Logan is an old friend." " And he advised you to tell your husband." "No, how could he?" "He couldn't do that." "Before your first appointment with Father Logan he knew you were being blackmailed?" "Oh, how could he?" "I hadn't seen him in years." "You hadn't seen him in years, and yet you say he was an old friend." "Mr. Larrue." " Inspector?" " Yes, sir?" "My wife doesn't have to answer those questions." "She's not under oath." "Your wife was seen outside Villette's house with Father Logan." "She was seen this morning with Father Logan." "She told us of an appointment with him that took place the night Monsieur Villette was murdered." "Surely, Monsieur Grandfort you do not want your wife to implicate herself further." "It is you who are trying to implicate her." "My wife came here to answer questions and to clear, as far as possible Father Logan of any suspicions." "She has done both of those things." "Madame Grandfort, why were you being blackmailed?" "You don't need to answer that." "Why shouldn't she, Father?" " What are you afraid of?" " It isn't necessary." "Don't answer." "Madame Grandfort, are you trying to protect Father Logan?" "From what?" "He hasn't done anything." "It would seem as if he had." "Are you a human being, inspector?" "You think it's important for me to tell you why I was being blackmailed." "You don't care whom I hurt, just so long as I answer all your questions." " I only want to clear a murder." " Yes, I know." "You only want everything clear." "And I want to clear Father Logan." " Ruth." " Willy." "May I have a glass of water, please?" "Ruth." "Pierre, why must you hear what I'm going to say?" "Thank you, Willy." "Inspector the blackmail was about me and Father Logan." "Father Logan and I grew up together." "Have you ever been young, inspector?" "Of course, you know that the first thing is to fall in love." "If we'd been engaged, it wouldn't have mattered because the war came." "He was one of the first to volunteer." "I hated him for that." "I was selfish even then." "He took things so seriously." "War." "And love." "Yes, even love." "Because when I said we ought to get married  he said there were enough widows already." "He said he loved me too much." "He didn 't know he could never love me enough." "That night, we went dancing." "It was our last evening together." "It was all too short." "That was the night Michael went away." "I thought the world was coming to an end." "I suppose there were millions of people feeling the same way that night." "You don 't think of millions of people." "You think of yourself  and the one you're in love with." "He asked me not to wait for him." "A lot of other boys must've said the same thing to their girls." "I had to wait for him." "His letters were long at first, but always serious." "I didn 't want serious letters  but I would prefer those to no letters at all." "Because  after a while  he stopped writing." "Soon afterward  I started working for my future husband." "Pierre was..." "Pierre was..." "Madame Grandfort, perhaps if you are unable to continue..." "It's all right." "L..." "I'm sorry." "Pierre was always so brilliant." "He was kind." "He realized I was unhappy." "And like very kind people  he didn 't ask me why." "He just tried to amuse me." "We got married." "I was happy." "I was through with..." "I thought I was through with  you know..." "Well." "Oh, yes  it was at my wedding that I saw Villette for the first time." "Then the war was over." "The men were coming home." "I knew the day when he would come home." "On that day, I went down to the port." "A boat had just come in." "Suddenly, I saw him." "He had changed, I suppose  but I didn 't notice." "We arranged to meet the next day." "It was a lovely day." "The end of summer." "Michael talked and talked." "He told me all the thoughts that had come to him during the war." "I didn 't want to hear about the war." "But the war had changed him." "Then a storm came up, so suddenly." "We saw a house across the field and ran for shelter." "The house was closed." "I don 't know what time it was." "But it was late." "We had missed the last ferry back from the island." "There was no way I could get in touch with my husband." "It stopped raining in the morning." "A man came walking down through the garden." "He walked as though he owned it." "As a matter of fact, he did." "I was still in the summerhouse  and he didn 't know who I was  but apparently, he knew I was a woman  because he made some remark to Michael." "Michael knocked him down." "I came out and stood on the steps of the summerhouse, looked down at him." "He looked up at me and said:" ""Good morning, Madame Grandfort."" "It was Villette." "What could I say to Michael?" "I hadn 't told him I was married." "I didn't see him again for five years." "Nor did I see Villette again, until the day Michael was ordained." "Then I began running into Villette  all the time." "He appeared everywhere I went." "One day in Parliament, I was listening to Pierre." "Villette came up to me." "He said that he was in trouble." "Something to do with a tax scandal." "Only my husband could help him." "I told him Pierre would never get involved in anything shady." "Then he threatened to tell about Michael and me." "What words could I say that would tell him it was wrong about us?" "Pierre's career would be finished." "Michael might be unfrocked." "I tried to ignore him, but he kept after me  kept calling up." "Then one day, I ran into him again." "And he gave me 24 hours  or else." "Oh, I was really desperate by then." "Then I thought that maybe Michael might help  and I rang him up." "We met that same night." "He was very angry." "He said not to worry about Villette  that he would deal with him." "And we arranged to meet the next day in front of Villette's house." "I went there at 9:30." "I wondered at the crowds." "Then Michael told me Villette was dead." "I couldn 't believe it." "I was free." "Well, inspector?" "May my wife leave now?" "Certainly." "Father Logan has his alibi now, doesn't he, Willy?" "Of course." "Thank you." "Would you like to go now, Father?" " Good night." " Good night." "Good night, Father." "Well, it's over." "Is it, sir?" " Yes." "Let's get out of here." " Look, sir." " What's that?" " The autopsy report." "Villette had dinner in a restaurant at 9." "Examining his stomach the doctors found that he couldn't have died before 11:30." "Larrue." "Madame Grandfort said that she left Father Logan at 11." "You can do a lot of things in 30 minutes." " Who is it?" " Pierre." "Come in." " Sorry I woke you." " I was awake." "Willy Robertson just called." "He's coming over." "What an odd time to pay us a visit." "Must be very early." "I'm afraid he's coming here officially." "Officially?" "The statement you made last night, it wasn't helpful at least not..." "Not in the way you hoped it to be." "But I told the truth." "No one doubts what you said." "I don't see..." "You said you left Father Logan at 11:00." "Now they have established that Villette was murdered at 11:30." "There's a time lag of half an hour." "Did they know about this time lag?" "Did they know before they questioned me?" "Why did the inspector allow me to say all those things?" "There was no need for my statement." " Why is Willy coming here?" " I asked him." "I want him to talk to you." "You may be called as a witness." "A witness?" " Are they going to arrest Michael?" " Yes." "But he hasn't done anything." "He had no reason to." " Why should they think he killed Villette?" " Your statement answered that." "My statement?" "He says you have given the motive they've been waiting for." "I..." "I should have lied, Pierre." "I lied before." "I should have lied last night." "They'll twist what I've said." "They'll turn it, they'll use it." "I've given them what they wanted." "I was going to help Michael but I've destroyed him." "And you, Pierre..." "What have I done to you?" "Willy will soon be here." "You must have your breakfast." "Would you like it here, in your room?" "I will send it up." "You must do something." "They're going to arrest you." "Michael, what can we do?" "I don't know." "You're not going to let them bring you to trial?" "You understand what that would mean." "You can't let that happen." "Michael..." "I've done this to you." "There must be something I can do." "There's nothing we can do." " I beg your pardon." "I'm so sorry." " It was my fault, madame." "I've been waiting to speak to you, Father." "You have been talking to the police, yes?" "What did the police ask you, Father?" "They asked about me." "You told them about me." "I'm going to be arrested, Keller." "You?" "Why would they arrest you, Father?" "You're trying to frighten me." "You think by telling me that, I will give myself up." "You think I am easily frightened after what I did?" "So, what are you going to do when they arrest you?" "Perhaps you'll point your finger at me." "Perhaps you'll say, "It's Keller."" "That's what you will do, is it?" "You are a coward after all." "You are frightened." "Maybe they will hang you instead of me, and that frightens you." "Perhaps you will tell them." "You can't tell them as long as you are a priest." "Can you?" "The priest is frightened, Alma." "You saw the look on his face?" "He thinks he can tell the police, yes?" "I am ready." "I'd like to speak with Father Logan, please." " Father Logan is not here." " Good morning." "I came to see Father Logan, but Keller says he's not here." "Not here?" "He didn't say he was going out." " He didn't say anything to me." " I saw him." "I tried to speak to him." "He seemed frightened." "I asked him if I could do anything." "He didn't even hear me." "He went out by that door 20 minutes ago, maybe 30." "Thank you." "I'll be back, Father." "All right, Murphy, what is it?" "What?" "Stand by outside the rectory." "Logan is gone." "Give me the radio room." "Will Father Logan be in for lunch?" "I don't know." "Any news yet?" "All right." "Hello, Father." " Have you had your lunch yet?" " No." "Let me order something for you." "Mr. Murphy, where did you find this cassock?" "In a patent-leather trunk." "Would you be able to say if the trunk belonged to the accused?" "I would say that it did." "His initials, "M.W.L.," were on the trunk." "The trunk was in his room." "Would you say that the cassock had been hidden in the trunk?" "Did it seem as though placed so as to escape detection?" "Well, there were a lot of other things covering it." "A raincoat, a pair of galoshes and several books." " Thank you." "Your witness." " No questions." "That's all." "Thank you." "Call Dr. Bonnard." "The evidence you give shall be the truth, the whole truth and nothing but the truth." " I swear." " Your name?" " Georges Bonnard." " Your age, please?" " Forty-two." " Your occupation?" " Pathologist." " You're a professor at Laval University?" " I am." " You have examined these stains?" " I have, sir." " Would you tell the court what they are?" " They're human blood." " Would you tell us what blood type?" " Type O, sir." "Is this the same blood type as that of the murdered man?" " It is, sir." " Thank you, doctor." "On the night of the murder, you spoke to the accused?" "At what time did your conversation take place?" "A little after 11:45, sir." "Would you tell the court of the events that led up to this conversation?" "Yes, sir." "My wife was asleep, sir, and I was just about to go to bed." "I happened to look out the window, and I saw someone enter the church." "I couldn't tell who it was at that distance so I went downstairs and through the passageway that connects the rectory to the church." "The light was dim, sir, but I could see someone who was kneeling against the altar rail." "As he lifted his head I recognized Father Logan, sir." "Was there anything about his manner that seemed out of the ordinary?" "He seemed distressed, sir." " Did you speak to him?" " Yes, sir." "I asked him if he were ill." "He said no." "He said I should go back and leave him alone." " But you didn't leave him immediately?" " No, sir." "Why was that?" "Father Logan had always been very kind to my wife and to me so I wanted to help him if I could." "He seemed to need help?" "He seemed very, very distressed, sir." "And he wouldn't let you help him?" "No, sir." "He said to me again, "Go back, Keller." "Leave me alone."" "So I went back to my room." "You spoke to your wife of this incident?" "No, sir." " Why not?" " She was asleep, sir." "And also I didn't like to talk about it." "It didn't seem right to me to mention such distress as Father Logan's to anyone." "It seemed a very private distress, sir." "I'm only trying to clarify your testimony." "I've told you everything you need to know." "That is hardly for you to decide." "Madame Grandfort, will you please answer my questions, "yes" or "no"?" "Some questions cannot be answered that way." "Well, I'll try to rephrase it." "I'll try to help you." "Is it true that you had an association with the accused which you didn't wish to become public knowledge?" "You're twisting my words." "You haven't listened to me." "The witness will confine herself to answer as to the facts." "Madame Grandfort, let me repeat your answer to my earlier question." "You said that you were in love with the accused before the war." "Am I right?" "Yes." "Then were you in love with him at the time of your marriage to Monsieur Grandfort?" " I object, my lord." " I refuse to answer." " You have no right." " Objection overruled." "We have your signed testimony as to your relationship." "Do you wish that testimony read to this court?" "Then were you in love with the accused at the time of your marriage to Monsieur Grandfort?" " Yes." " And still in love with him on the night of the murder?" "Yes." "Then isn't it possible that you met with him between the night at the summerhouse and the night Villette was killed?" "I did not." "You can hardly expect the jury to believe that a woman in love doesn't attempt to meet her lover." "I object, my lord." "This line of questioning doesn't seem particularly relevant." "It is, my lord." "I'm trying to establish a motive for the murder." "I'm trying to discover if Villette's blackmail was based on his knowledge not merely of one night at his home but also of a continuous, uninterrupted, illicit..." " No, that's not true!" "Not true!" " Silence!" "Silence!" "Father Logan, will you examine this garment?" "Is this your cassock?" "No, sir." " Then did you borrow this cassock?" " No." "It's not yours, and you did not borrow it." "And yet it was found in your trunk." " Someone must have put it there." " Yes." "Have you any idea who might have put this cassock in your trunk?" "I can't say." "Father Logan, when did you decide to become a priest?" "After the war." "In becoming a priest, were you, perhaps, trying to hide from something?" "I had never thought of the priesthood as offering a hiding place." "I understand you to mean that priesthood involves certain responsibilities certain moralities." " Yes." "You were aware of these responsibilities, these moralities?" "Yes." "Yet you saw nothing wrong in having a clandestine meeting with a woman?" "Are you trying to imply that I was a priest at that time?" "I was not." "Did you take into consideration that this woman was married?" "I wasn't aware that she was." "And so you spent the whole day with this woman?" "Yes." "We were good friends." "I hadn't seen her in over two years." "Such good friends that you spent the night with her?" " We were caught in a storm." " Oh, the storm was the villain." "Did you warn Madame Grandfort that her husband might not agree on that?" "As I said, I didn't know she was married." "On discovering that she was did you make any attempt to explain the situation to Monsieur Grandfort?" "No." "But surely there is some contradiction between this secretiveness and your vocation." "I saw nothing wrong with being caught in a storm." "If there was nothing wrong why did you have such a violent argument with Villette the next morning?" "Were you anxious to protect Madame Grandfort's reputation?" "Yes." "Then her reputation was in danger?" "You realized there was something more than merely being caught in the storm?" "Villette made an insinuation." "My argument with Villette had nothing to do with any sudden realization." " And you hit him?" " Yes, I did." " In anger?" " Yes." "You're capable of hitting a man who merely intrudes upon a harmless situation." "Then surely you are capable of far more violent action when that same man blackmails your good friend Madame Grandfort." " I'm not capable of murder." " You would allow such a man to destroy Madame Grandfort's home and your career?" "No." "You would go to such a man and, unable to control your temper unable to face a public scandal, you'd turn to physical force." "No, I would not!" "Silence!" "Silence!" "You and Madame Grandfort separated at 11:00 on the night of the murder." "That's right." "Yes." "Then it was possible for you to go to Villette's house." "It was possible for you to arrive there at 11:30, the time he was murdered." "Yes, it was possible, but I didn't go there." "I went right home to the rectory." "And what time did you arrive at the rectory?" "About 11: 15." " Did anybody witness this arrival?" " I don't believe so." "You say you arrived at 11: 15." " What did you do then?" " I went up to my room." " You went to bed immediately?" " No." " What did you do?" " I went into the church." " Did you see anybody there?" " Otto Keller." "Otto Keller has testified to this court that he followed you and that he found you kneeling before the altar in great distress." "He has further testified that the time was then 11:45 or after." "Well, it could have been 11:45." "The rest isn't true." "Perhaps you are prepared, at last, to tell us the truth." "It might have been 11:45." "The rest is not true." "Perhaps you are prepared to give us your version of the truth." "Of course you refuse to answer because I submit you did not return to the rectory at 11: 15." "You did not return until 11:45 or after." "Your distress, seen by Otto Keller, was caused by the fact that you had earlier met with Villette and been threatened by him with exposure of your affair with Madame Grandfort." "And that you'd taken the first weapon you found and struck Villette and continued to strike until you cracked his skull wide open." "No!" "I repeat, it's your duty to carefully examine all the evidence that's been given and to determine whether the charge against the accused has been proven." "Remember also that you are not trying the accused for whatever views you may hold as to his relationship with Madame Grandfort except as it may affect this charge of murder." "One final point." "The fact that the accused is a priest under holy orders should not influence your verdict one way or the other." "You may now withdraw to consider your verdict." "But I believe what the prosecutor said." "Obviously, they didn't spend just that one night together." "There must have been many more times." "Gentlemen of the jury, are you agreed on your verdict?" " And who will speak for you?" " We are." "How say you?" "Is Michael William Logan guilty of murder or not guilty?" "While we attach grave suspicion to the accused we cannot find sufficient evidence to prove he actually wielded the weapon that killed Monsieur Villette." "Therefore, our verdict is not guilty." "Hearken to your verdict as the court recorded it." "You say Michael William Logan is not guilty, so you say all." " Yes." " Yes." " I said that cassock..." " They've ruined him." "Why couldn't they have said "not guilty" and let it go at that?" "Your Lordship, I move that the prisoner be released." "Michael Logan, while I have no doubt that the jury must have reached their conclusion in utmost fairness and solemn regard for justice I cannot help expressing my personal disagreement with their verdict." "Michael William Logan, you are hereby discharged." "Everybody stand up." "Michael." "Take off that collar!" "Preach us a sermon, Logan!" "Are you satisfied, Willy?" "Are you satisfied with all this?" "Do you think I've enjoyed it?" "Alma." "Alma!" "Alma, come here!" "Alma!" "Alma..." "Stop it!" "He's innocent." "My husb..." "There he goes!" "In the hotel." "All right." "Quick, get a doctor." "It hurts." " Could we move her inside?" " She should not be moved at all." "She shouted something." "What is it you were shouting, Mrs. Keller?" "She said he was innocent." " Villette..." " Villette?" "What about Villette, Mrs. Keller?" "What?" "What is it?" "What is she saying?" "She says, "Forgive me."" " Mr. Larrue." " Have you got Keller?" "He just ran in the Château Frontenac, sir." "Get Farouche and his squad." "Corrigan too." " Murphy, I do not want him to be shot." " But, sir, he's got a gun." "I know, I know." "I don't want him dead." "I want to talk to him." " She's gone." " Come along, Father." " Now, what about this Keller?" " What do you mean?" "He shot his wife." "What was she doing?" "Was she trying to warn you or save you?" "Keller works as Villette's gardener." "He also works in the rectory." " What more can you tell me about him?" " Let me try and talk to him, inspector." "Talk to him, sure." "Go ahead." "But where is he?" "Couldn't we have one entrance open?" "At least one?" "No." "No." "Keep these people right where they are for their own safety, please." "Start in the basement and work your way up." "Remember, I said, no shooting." "Now, go ahead." "Get an ambulance at once." "Well, he just shot a man, a chef in the kitchen." "Now will you tell me anything about him, Father?" "Father, what are you trying to do?" "Protect this Keller?" "He's on the mezzanine going upstairs." "In the ballroom." "Tell Larrue." "Keller!" "Give yourself up!" "Stay back!" "Have them send over some tear gas." " Keller!" " Inspector, let me go in." "Let me try and talk to him." "No." " Keller!" " What do you want, inspector?" "I want you to give yourself up." " Why would I do that?" " Haven't you done enough harm?" "I could do more, inspector." "You've already shot two people." "Isn't that enough?" "And what about Villette?" " Villette?" " Yes, what about Villette?" "So the priest talked." "Hey, Logan!" "Where are you, Father Logan?" "Keller." "There you are." "My only friend, Father Logan." "How kindly he hears my confession and then a little shame, a little violence that's all it takes to make him talk." "It was too much for you, huh?" "You are a coward like all other people, aren't you?" "A hypocrite like all the rest." "Pierre, take me home." "Frank, try to get him in the shoulder, make him drop that gun." " It'd be easier to get him in the leg." " His shoulder." "The right shoulder." " We're going to shoot now, Keller." " Don't make them do it!" "Father, don't go in..." "Coming to speak to me?" "Put the gun away." "There's been enough bloodshed already." "You must not come closer, Father." "I'll shoot you, you know." "You won't shoot me, Otto." "Why will I not shoot you?" "Because you call me Otto in such a friendly way, like Alma used to call me Otto?" "Where is my Alma?" " She's dead." " No." " You killed her." " It is your fault." "Oh, I loved her." "It made me cry to see her work so hard." "Those poor hands." "Such beautiful hands." " She can't be dead." " She is." "Then I am as alone as you are." " I'm not alone." " Oh, yes, you are." "To kill you now would be a favor to you." "You have no friends." "What has happened to your friends, Father?" "They mob you." "They call at you." "It would be better if you were as guilty as I am." "Then they would shoot you quickly and you mustn't suffer much." "Look..." "Oh, Father." "Help me." "Quickly." " Get the hotel doctor." " And the ambulance?" "Forgive me." "Subtitles by SDI Media Group" "[ENGLISH]" "I have killed Mr. Villette." "They will catch me." "They will hang me." "Father Logan will go to them." "He will tell them." "He cannot tell them what he heard in confession." "The French New Wave celebrated I Confess as one of the great Hitchcock films." "In fact, I think, in the early '50s when they polled the French New Wave critics who became the French New Wave filmmakers I Confess was at the top of their list of the great Hitchcock films." "It's not one of his best-known." "It is one of his most serious and I think one of his most personal because Hitchcock was brought up by strict Jesuits had a very strict Catholic background." "And this is a story about a Catholic priest who must keep the secrets of the confessional even though he knows that by revealing the secret of the confessional he will save himself from being implicated and is implicated in a murder." "And he knows who did it, because it was confessed to him." "But he can't say it, because that's part of his vow." "You can't tell them as long as you are a priest." "Can you?" "It's a very tricky, again, subversive Hitchcock setup." "And how he plays it what he does with it, is interesting." "Nos Deux Consciences, a play by Paul Anthelme whose real name was Raymond Borg a man of letters, of late 19th-century and early 20th-century France had haunted Hitchcock ever since he saw it in the '30s in London." "And what obviously haunted him about it was the basic situation which remains in the film." "Hitchcock took the situation and played every imaginable variation on it in drafts of the screenplay." "Very early on, he decided that he would have the priest have a more direct connection with the murder and that it was done to eliminate a blackmailer who knew about an affair he had had with the wife of a prominent politician." "And that, indeed, the priest would have had an illegitimate child." "All of this before becoming a priest which is, in a way, perfectly legitimate." "And boy, did the censors ever not go for that one." "One of the fun things about reading the extensive correspondence between Joseph Breen, the head of the production-code office the head censor, and Hitchcock, on this particular script is that Breen was a Catholic with the same Jesuit training that Hitchcock had." "So he was very sensitive to things like:" ""Well, what if the priest looks at the murderer during the courtroom scene betraying his knowledge that this man is in some way implicated?"" "A very Hitchcockian thing to do." "People are always looking in revealing ways in Hitchcock films." "Breen said that would be a violation of the seal of confession." "So it's like a debate between two Jesuit schoolboys about what does and doesn't violate the priest's oath." "Eventually, Hitchcock had to give up two things very early on." "The idea of the illegitimate child and, later, the idea that the priest would die at the end." "Although he would have preferred to have it that way." "Then they would shoot you quickly and you mustn't suffer much." "Look..." "It's very much like The Wrong Man, which is also about a man who is falsely accused and is only saved and only partially saved from the infernal machinery of justice at the end when the real man is caught and confesses." "It's almost a dry run for The Wrong Man, which is a very dark film, like I Confess." "Very dark in the way it's shot." "And also using real locations much more extensively than Hitchcock had done before." "I Confess was shot in Quebec." "And when you go into the kitchen of the hotel at the end during the chase, you see the people working there." "Those are the real people working there." "When you think about I Confess it begins in darkness." "I mean, there are these shadowy streets." "In Quebec, which is such an interesting setting because Quebec is really like an old-world city that's plunked down in the new world." "It's got cobblestone streets, it has old-fashioned buildings." "And he does a lot with that in the movie." "I mean..." "And so it's a very shadowy context in which this drama is played out." "To me, it's more noir-ish than most of Hitchcock's movies." "Keller." "Why are you here this time of night?" "Visually, I quite like the movie." "You know that famous sequence at the beginning." "You know, all of those one-way signs, "Direction," "Direction."" "You almost want his credit to appear over all of those signs and say, "Direction."" "They're nice." "I mean, it's a nice little sequence." "And of course they're all pointing eventually to the site of the murder." "I mean, all those arrows, which is kind of a nice visual gimmick." "So it's a movie of quite palpable visual pleasures." "He has, in the lead, one of the great American actors, Montgomery Clift who was the first of the so-called "method" actors." "He preceded Marlon Brando and Jimmy Dean with his introspection and his different way of acting." "He was one of the most beautiful men in movies." "And this film was one of his first films." "What would you want me to say?" "And he's superb in it and captures brilliantly that ambivalence that, again, this priest has." "A man of intelligence wouldn't be led to believe anything on so little evidence." "He has an affair, before he goes into the war with Anne Baxter." "And then, evidently, has some extraordinary change of heart which is never completely identified." "And he chooses to renounce his love for Anne Baxter and becomes a priest." "She never stops loving him even though she's married to somebody else." "I was very aware of Montgomery Clift." "From 1948, when I was at Warner Bros he had done a film, The Search, with Fred Zinnemann around that time, and I was aware of him." "And then a friend who had been on Broadway who was under contract at Warner Bros had told me a lot about how great Montgomery Clift was and what a star this guy was gonna be." "I've asked Father Logan to join us." "I first met Monty on the Warner Bros. Lot." "He had just come back from doing the locations of I Confess in Quebec." "They were doing the interiors at Warner Bros." "And I was on a run on a film called Three Sailors and a Girl." "And so Monty was finishing up I Confess and I was doing this, I was a sailor." "And we met, me as a sailor." "I was costumed as a sailor and he was costumed as a priest and we used to grab a hamburger or something together the sailor and this priest." "Clift is very good in the film." "One of the things that he did, which doesn't seem to me to be all that intellectual or method-y, was study the way priests walked in that cassock and imitate it perfectly." "And I think that Clift had one of those things that is very important to a Hitchcock actor." "He had incredible eyes which expressed the soul." "Because that's really a big part of what Hitchcock's style is about." "He said that bad movies are photographs of people talking." "A Hitchcock movie is a photograph of people thinking." "And it helps to have that marvelous look that Montgomery Clift is able to give all the way through this film because it's totally transparent to what he's thinking and feeling at every moment." "I think he's a very good Hitchcock actor." "The first time that I ever saw him working on something on I Confess there was a scene where he's painting a room." "And he was working on, like, a ladder, how he would paint this room what he would do." "He was like that." "He worked everything out." "Hasn't God forgiven me, thanks to you?" "But the police never would." "I don't know what you're talking about." "Well, I was living in New York." "I had just gotten married." "And I went up to visit my father in Quebec, I think it was and watch them shoot." "And the fascinating thing was that there was a scene where a wonderful German actor called O.E. Hasse was doing a very difficult scene from the stage of a room in the hotel." "And he did this scene and then they cut to Montgomery Clift walking up to see him on the stage." "And O.E. Hasse did this..." "And it was a very difficult speech to do." "To kill you now would be a favor to you." "You have no friends." "And he did it, and everything was fine." "And then they took probably, four hours to shoot Montgomery Clift walking up because he had to think about it." "He didn't want to have to deal with all of that method stuff." "And when he asked Clift, at one point, to please look up when he came out of the courthouse because he wanted to cut to the windows Clift said, " I don't know if I would look up."" "Anything like that would drive Hitchcock crazy..." ""If you don't look up, I can't cut."" "Because it's, again, Hitchcock's point-of-view cinema." "Clift looks, you see what he sees you see his reaction." "That's pure cinema, as Hitchcock used to call it." "And he loved that kind of filming." "A shot of the person, a shot of what he sees, reaction." "But nevertheless, I think without Clift the picture would be tremendously depleted." "It's the extraordinary depth of feeling that you get from Clift's face from his movements, from his seriousness from his sobriety, from his romanticism that makes the picture as powerful as it is." "Are you a human being, inspector?" "You think it's important for me to tell you why I was being blackmailed." "You don't care whom I hurt, just so long as I answer all your questions." " I only want to clear a murder." " Yes, I know." "You only want everything clear." "The use of the flashback in I Confess is like the use of the lying flashback in Stage Fright." "The story is told at the beginning of Stage Fright in flashback and it turns out to be a lie." "In this case, you're flashing back to the story of how Father Logan had this love affair, before he became a priest with a woman who obviously has never gotten over it." "But he chose to go ahead." "And it's all told from her point of view." "It's told in a very romantic style almost trashy style." "Not like you would see in a Hitchcock film." "And Truffaut thought that that kind of dreamy romance-novel style of the flashback made it a lying flashback too because it leaves out so much of what is going on in the Logan character which is his gradual decision to give his life to the priesthood." "It's really being told from the point of view of this silly, romantic woman." "Hitchcock even goes to slow motion when he recounts her coming down the stairs into an embrace with Monty Clift." "Very poetic." "And very openly romantic and emotional which is unusual for Hitchcock to go quite that far." "Inspector, I beg you." "Consider if your line of questioning has to be so personal." "That is for me to decide, Father." "And there is, in the relationship between Clift and Malden something that's very interesting because Clift is a kind of man of faith and Malden is a man of reason." "He is a guy reasonably, step by step, trying to solve this crime." "But you do understand, don't you, that I must consider every scrap of information?" "When a murder has been committed each scrap of information is important to the police." "He doesn't care about love, religion, the higher things." "He's a kind of technocrat, going along his path." "You see, with a murder, one has to jump from one detail to another." "Perhaps I jumped too suddenly for you." "That's an interesting relationship." "It's kind of explored rather nicely in the movie not in an overt, but in a kind of an implied way." "The difficulty, perhaps, is that, well, we aren't thinking from the same point of view." "Could it be that, Father?" "Karl Malden was a New York actor a theater actor who gives a superb performance as the policeman." "One of the more intelligent policeman in Hitchcock's movies." "Usually, the cops in Hitch's movies are pretty idiotic." "This one's menacing." "Keller!" "Give yourself up!" "Stay back!" "Have them send over some tear gas." "Significantly, the wife who gives him away and saves Clift is named Alma which was Hitchcock's wife's name." "One of the other character people in it that is great to see that doesn't really have that great a role but should be watched with great respect is the lady who plays the killer's wife." "And that's Dolly Haas who was one of the great, great actresses of the German cinema and gave up her career to marry the caricaturist Al Hirschfeld who drew caricatures in The New York Times for years." "And she had a great career in Germany and gave it up for him, moved to America." "And because the Hirschfelds were great friends of Hitchcock she did that small part." "But she had had a great film career in Germany." "And there's even a museum in Germany that has a lot of her artifacts about her career." "But today, most people don't know her except as Al Hirschfeld's wife." "But this is one of the few times you can ever see the great Dolly Haas on film." "What?" "What is it?" "What is she saying?" "She says, "Forgive me."" "But then it opened and he wanted very much for me to see it." "He was very disappointed in the reviews, how they spoke of him." "And I remember one review there was a critic he admired in England that he was very upset about because he rather disregarded Monty in I Confess by saying:" ""Montgomery Clift gives this performance of the priest in his familiar, bottled-up acting style."" "And it offended Monty very much and disturbed him very much." "And I don't think the reviews were all that wonderful for Monty." "Do you want me to lie to you?" "No, I don't want you to lie to me." "But I don't want you to lie to yourself." "He accepted all my compliments about I Confess with great happiness but complained about how he was being perceived by the critics." "They were, like, onto him, his style, or something like that." "But he's wonderful in it, and it's a wonderful film." "In the early '60s, I was working at a revival theater in New York and we were showing I Confess." "And who should arrive one afternoon but Monty Clift." "This was, of course, 10 years after his accident so his face was not quite the same and it was only a couple of years before he died." "And at one point during the movie, he came and stood in the back." "You could smoke in theaters, and he's standing in the back, smoking." "And I went over to him and asked him how it felt to see himself in this movie." "And all he said was:" ""It's hard." "It's very hard."" "Monty was concerned about spiritual matters." "I mean, he was in analysis." "He was always in analysis." "But he was very concerned about God." "And one of the beautiful things he had was a letter from Thornton Wilder." "Thornton Wilder wrote The Skin of Our Teeth and was the greatest of American playwrights, I think." "And Monty obviously asked Thornton Wilder at one point, said:" ""Is there a God?"" "And Thornton Wilder took time to think about it and wrote him this beautiful letter which Monty had, and he used to like to read it." "And the answer is:" ""There's a bridge between life and death which you can call God."" "And that the only thing that we know is that that bridge is traversed by our love of those who die go on to another world." "As long as we remember them and as long as we love them, they're alive." "And that was his answer about God." "And Monty treasured this letter from Wilder." "And I think that I Confess was fulfilling in that way because the seriousness of the devotion of the priest matched a serious devotion that Monty had for himself in relationship to other people." "He was the most generous, thoughtful considerate, wonderful friend you could have." "And priestly in his friendship but tons of fun." "Have you any idea who might have put this cassock in your trunk?" "I can't say." "I like I Confess." "A myth I'd like to scotch about it is that it didn't make money." "And if you love Hitchcock, you have to love this film." "It's one of his most visually stunning films." "The way that he turns real marble and clouds and concrete into shot after shot that expressed states of the soul, nobody can do today." "And I think it brought out something very serious and spiritual in Alfred Hitchcock." "I think he believed in the film." "And it's certainly beautifully photographed." "No film has ever been more beautifully photographed in black and white." "And it's an important film and a beautiful film, on the level." "The romance between this wonderful young man who then becomes a priest and is devoted to his vows and his priesthood." "You don't often have a film where someone is deeply involved with God." "Arriving in Quebec for the two-theater world premiere of I Confess  are its star, Anne Baxter, and director, Alfred Hitchcock." "This visit recalls months of work in Quebec." "Snow is falling outside the Cartier Theatre  but an eager crowd has turned out to greet Baxter  Roger Dann, left, who was featured in the film, and Mr. Hitchcock." "Much of I Confess, which also stars Montgomery Clift, was filmed in Quebec." "Next stop is the Capitol Theatre for the second half of the dazzling dual premiere  the first in the history of Canada 's oldest city." "Soldiers keep check on the big crowds  straining to catch a glimpse of Miss Baxter." "Waiting inside to meet her are two Quebec youngsters who appear in the film." "It's a glamorous Canadian premiere for the new suspense thriller I Confess."