Keller. Immediately followed by police officers, Logan talks with Keller, his main intention being to prevent a ballroom gunfight; but Keller shoots at Logan. A police sharpshooter shoots Keller when Keller tries to shoot Logan; and Keller calls to Father Logan in extremis and dies immediately after asking Logan for forgiveness. Cast Production I Confess had one of the longest pre-productions of any Hitchcock film, with almost 12 writers working on the script for Hitchcock over a period of eight years (Hitchcock had taken time off for the wedding of his daughter Patricia Hitchcock in 1951, and Hitchcock was in the midst of dissolving his partnership in Transatlantic Pictures with Sidney Bernstein). In the original screenplay, following the source play, the priest and his lover had an illegitimate baby, and the priest was executed at the end of the film. These elements were removed at the insistence of executives at Warner Brothers who feared a negative reaction. Hitchcock first hired Anita Björk as the female lead after seeing her in Miss Julie (1951). However, when she arrived in Hollywood with her lover and their baby, Warner Bros. insisted that Hitchcock find another actress for the role. Shooting took place in Hollywood and Quebec from August 21 to October 22, 1952. Hitchcock had planned on using Quebec churches at no cost. When the local diocese read the original script by George Tabori, it objected to the priest's execution and rescinded its permission. When Tabori refused to change the script, Hitchcock brought in William Archibald to rewrite it. Hitchcock, as was his custom, created detailed storyboards for each scene. He could not understand Clift's Method acting technique and quickly became frustrated with Clift when he blew take after take for failing to follow Hitchcock's instructions. Cognizant of the difficulty non-Catholics would have in understanding the priest's reluctance to expose Keller, Hitchcock said: Alfred Hitchcock's cameo appearance occurs during the second minute—right after the opening credits—as he walks across the top of a stairway. Reception The film received mixed to negative reviews from critics. Bosley Crowther of The New York Times faulted an "obviously padded" and "a suspenseless script," explaining that "only the most credulous patron will be worried for very long that the hero will not be delivered from his dilemma by some saving grace. And this realization well unburdens the situation of any real suspense." Crowther's review concluded that "Mr. Hitchcock