All language subtitles for Talk About a Stranger_1952

[ Sultry jazz plays ]

♪

[ Gunshots ]

♪

This is Eddie Muller,

welcoming you once again
to "Noir Alley."

If you're tuning in to
get your weekly ration

of big-city crimes

and good-looking but
untrustworthy dames,

well, you might want to switch
over to some cable news network.

Our story today is set

in the orange groves
of Southern California,

and the only dame involved

is the future First Lady of
the United States, Nancy Reagan.

And she's as far from noir
as you can get.

Just say no?

No, that's not gonna get you
into the "Noir Alley" speakeasy.

Our film today, from 1952,
is "Talk About a Stranger."

It's part of a subset
of the genre I call kid noir,

which is, frankly, a subset
so small, it barely exists.

There's RKO's 1949 classic
"The Window,"

1950's "Shadow on the Wall"
from MGM,

and the great noir fairy tale,
"Night of the Hunter,"

released by United Artists
in 1955.

What all these films
have in common

is that the protagonists
are children.

What sets today's film apart
is that Bud Fontaine,

the youngster
at the heart of the story,

well-played by Billy Gray,

is the antagonist.

Kids in movies
are typically portrayed

as innocents threatened
by the grown-up world.

Rarely is it the child
who's guilty

of worse behavior
than the adults.

And, look, let's leave
the bad seed out of this.

I'll just say there's a line
between noir and horror,

and Patty McCormack stomps her
mean little feet all over it.

"Talk About a Stranger"

is a simple story
of a boy and his dog,

one that takes a dark
and subversive turn.

It's also a time capsule
of the period --

the height
of the McCarthy era --

and there's no mistaking that
the film is meant as an allegory

for the anti-Communist
witch-hunt

that was commanding
the nation's headlines.

What's unique about this film is
how it distills all the dread,

suspicion, and paranoia
about our fears of "others"

into a familiar story straight
out of "Aesop's Fables."

The screenplay is
by Margaret Fitts,

adapted from a story
by Charlotte Armstrong

called "The Enemy."

Fitts was a Stanford graduate

signed to
the MGM writers' program

right out of university,

and she was also responsible
for scripting Jacques Tourneur's

"Stars in My Crown,"
and "Moonfleet,"

directed by Fritz Lang.

Here, she was fleshing out
a short story

by a woman who would
soon be recognized

as one of the best
mystery writers in the business.

Charlotte Armstrong
started writing novels

in the early '40s,

and by the time she retired
in 1970,

she had 29 books under her belt,

one of which,
"A Dram of Poison,"

won the coveted Edgar Award
in 1957

for Best Novel From the Mystery
Writers of America,

a prize for which
she was nominated four times.

Two of Armstrong's novels

had already been adapted
by Hollywood --

"The Unsuspected,"
a 1947 noir

influenced by
Vera Caspary's "Laura,"

and "Mischief,"
released by Fox in 1952

under the title
"Don't Bother to Knock."

Armstrong
was a terrific storyteller,

producing crime fiction on par

with other female practitioners
of the form,

like Patricia Highsmith,
Dorothy B. Hughes, Vera Caspary,

Elisabeth Sanxay Holding,
and Craig Rice.

Young Margaret Fitts
does well by her,

expanding Armstrong's story with
original touches of her own.

Although, she certainly
isn't padding it much.

The finished film, a genuine
MGM "B," runs only 65 minutes.

But if you want those 65 minutes
to be memorable,

you can't do better
than hiring John Alton

as your director of photography.

As I've mentioned several times
on "Noir Alley,"

Alton worked freelance,

making him available
to any producers and directors

who would pay to have
their movies enhanced

by his visual magic.

In this case,
Director David Bradley

was the recipient
of Alton's genius.

They tell this tale
almost entirely

from the point of view
of young Bud Fontaine,

and by the climax,
there's no doubt

about whether or not
this is noir.

I'm betting lots of kids
who saw this film in 1952

had nightmares,

enflamed by some of the images
Alton seared into their brains.

When David Bradley
made this film,

he'd already directed
such classics

as "Julius Caesar"
and "Peer Gynt"...

in college, in 16mm.

Like Margaret Fitts, Bradley
came to the movie business

straight out of university,

extremely uncommon in Hollywood
at this time.

All the warhorses
in the business,

guys like Raoul Walsh,
Frank Borzage, and John Ford,

they'd been around
since the silent days,

when the language of film was
still being invented...by them.

Bradley was of
the next generation,

the first to study filmmaking
in school

and see it as a career path.

His feature-length adaptation
of "Peer Gynt"

was made at the Art Institute
of Chicago in 1940,

with 17-year-old classmate
Charlton Heston

in the lead role.

MGM hired Bradley in 1950
as a directing intern

based on the strength of
those amateur features,

which received recognition
in a few international
film festivals.

Bradley acquits himself well in
his first Hollywood assignment,

but then, starting out
with John Alton as your DP

is kind of like singing a duet
with Aretha on open-mic night.

If you can just carry the tune,
you're gonna win.

There's also
a real-life connection

to the witch-hunt
in this film --

MGM contract actress Nancy Davis
had her career derailed

when she was, erroneously,
branded a Communist

in one of the many red-baiting
publications of the time.

She sought dispensation

from the president
of the Screen Actors Guild,

Ronald Reagan.

That is, in fact, how they met.

I will leave it to you
to contemplate the irony

of that little historical tidbit

while we settle in for a story
about a boy and his dog,

"Noir Alley" style.

Costarring George Murphy
and Kurt Kasznar,

here's "Talk About a Stranger."

CAPTIONING MADE POSSIBLE BY
TURNER ENTERTAINMENT GROUP

DAD! DAD!

DAD!

STAND BACK, BUD.

DON'T BREATHE
ANY OF THAT FUMIGANT.

DAD, WILL YOU
LISTEN TO ME?

THERE'S A MAN
NEXT DOOR.

DAD, LISTEN!

HEY, HEY, DON'T GET
YOURSELF IN AN UPROAR.

WHAT DID YOU DO,
SCARE SOMEBODY
TO DEATH OR SOMETHING?

DAD, FOR GOSH SAKES,
WILL YOU LISTEN TO ME?

THIS IS SERIOUS.
WHAT'S SERIOUS?

WELL, THIS MAN I'M
TELLING YOU ABOUT.

WHAT MAN?
THIS MAN NEXT DOOR.

WE WERE KIND OF
FOOLING AROUND,
YOU KNOW,

AND THIS GUY
COMES OUT AND STARTS--

WELL, I KIND OF THOUGHT
YOU'D LIKE TO KNOW.

HE CAME OUT
AND STARTED TO WHAT?

I DON'T KNOW. I RAN.

GEE, THAT'S FUNNY.

MAHLER DIDN'T WRITE ME
AND SAY THAT HE WAS
COMING DOWN.

IS THAT WHO IT IS,
OLD MAHLER?

DR. MAHLER.
WHO ELSE WOULD IT BE?

GEE, I SURE WOULDN'T
WANT A DOCTOR AROUND
THAT LOOKED LIKE THAT.

WOULD YOU?

HA! I DON'T KNOW.
I'VE NEVER SEEN HIM.

THAT PLACE HAS STOOD EMPTY
AS LONG AS I CAN REMEMBER.

WHY HE KEEPS IT,
I'LL NEVER KNOW.

HE PROBABLY DOESN'T KNOW
ANY MORE ABOUT GROWING
ORANGES

THAN I DO ABOUT
BRIGHT'S DISEASE.

WHAT'S
BRIGHT'S DISEASE?

THAT'S WHAT
YOU GET FROM ASKING
TOO MANY QUESTIONS.

COME ON, BUD.
WE'LL GO OVER
AND PAY HIM A VISIT.

HEY, WHAT'S THIS?

WELL, I GUESS
SOME GLASS MUST
HAVE GOT BROKEN.

WELL, DON'T
GET IN AN UPROAR.

I'M GONNA
PAY FOR IT.

WHAT WITH?

I GOT FUNDS.

WHAT DO YOU MEAN,
"FUNDS"? 25 CENTS?

I'VE BEEN SAVING.

HA HA HA!

YOU WANT THAT
DOG AWFUL BAD,
DON'T YOU, BUD?

WELL, LET'S
GET IT OVER WITH.

UH, DR. MAHLER?

UH, I'M
BOB FONTAINE,

AND THIS
IS MY SON ROBERT.

I'VE BEEN TAKING CARE
OF YOUR GROVE HERE
SINCE MY DAD PASSED ON.

I HOPE YOU WON'T
JUDGE THE PLACE

BY THE CONDITION
OF THE HOUSE.

IF I'D KNOWN YOU
WERE COMING DOWN,

I'D HAVE HAD IT
IN SHAPE FOR YOU.

YOU'RE MAKING
A MISTAKE.

I'M NOT DR. MAHLER.

I BOUGHT THIS PLACE,
THIS PROPERTY, FROM HIM.

OH, YOU BOUGHT IT.

I HAVE THE PAPERS.

I DIDN'T KNOW HE WAS
LOOKING FOR A BUYER,

MR., UH...

MATLOCK.

MR. MATLOCK.

OH, UH, ABOUT THIS
ACCIDENT HERE--

NATURALLY, I, UH--
THAT IS, WE'LL
REPLACE IT,

AND IF THERE'S
ANYTHING ELSE I CAN DO

OR ANY QUESTIONS
YOU WANT ANSWERED--

I'LL MANAGE.

OH, LOOK.
YOU'RE NOT GONNA BE
VERY COMFORTABLE HERE.

WHY DON'T YOU
COME OVER AND SPEND
THE NIGHT AT MY PLACE?

I'LL MANAGE.

DAD?

YEAH, BUD?

I DON'T LIKE HIM.
DO YOU?

[IMITATES MACHINE GUN]

[IMITATES MACHINE GUN]

[GASP]

[DOG GROWLING]

[BARKING]

COLLECTING FOR
"THE INDEPENDENT."

OH, ROBERT, I--

I DON'T KNOW
IF I HAVE ANY CHANGE.

HOW YOU GETTING
ALONG, ROBERT?

JUST FINE.

HOLD OUT YOUR HAND.

50...75...

A DOLLAR...

10...AND 20.

HERE'S YOUR RECEIPT.

HOW'S YOUR MOTHER
FEELING THESE DAYS?

IS SHE OUT OF BED YET?
SHE'S ALL RIGHT.

AND YOUR DAD IS
ALL RIGHT, TOO?

HE'S ALL RIGHT, TOO.
HERE'S YOUR RECEIPT.

DOES HE THINK
WE'LL GET ANOTHER
FREEZE AGAIN TONIGHT?

WELL, I DON'T KNOW.
HERE'S YOUR RECEIPT.

WELL, I WON'T KEEP YOU.

YOU TELL YOUR MOTHER
I SAID TO TAKE REAL GOOD
CARE OF HERSELF, NOW.

WE DON'T WANT ANYTHING
TO HAPPEN TO THAT
LITTLE BABY SISTER, DO WE?

WHICH WOULD YOU
RATHER HAVE, ROBERT,

A BABY SISTER
OR A BABY BROTHER?

A DOG!

[WHIMPERING]

[WHIMPERS]

COME ON, BOY!
COME ON, BOY!

[WHISTLES]

THAT'S IT. FASTER, BOY.
FASTER! HERE, BOY!

HERE, BOY! COME ON.

UP HERE. COME ON.

HI THERE, SWEETIE.
AIN'T YOU PURTY.

COME ON, BOY.

COME ON, BOY.

COME HERE. COME HERE.
COME ON.

HEEL. HEEL.
STAY THERE.

ALL RIGHT.
COME ON, DOG.

HEY, HEY,
THAT'S TOO FAST.
THAT'S TOO FAST.

THAT'S JUST FINE.

HEY!

HEEL. HEEL.

HEEL! HEEL!

THAT-A BOY.

HEEL. COME ON. HEEL.

HEEL.

B-B-BUY A SUBSCRIPTION
TO "THE DAILY INDEPENDENT"?

WELL, IT'S
A NICE PAPER, REALLY.

MY DAD TAKES IT,
AND IF I GET SO MANY
SUBSCRIPTIONS--

I TOLD YOU NO.

[BARKING]

BOY! HERE, BOY!

HEY, BOY! BOY! BOY!

COME HERE, BOY!

Matlock: GET OUT!

GET OUT!

GET OUT!

AND LEAVE
MY THINGS ALONE!

[KIDS SHOUTING]

HEY!
HEY!
HEY!

HEY, WAIT
A MINUTE!

STOP HIM!

THAT YOUR DOG?

WHAT DO YOU THINK?

WHAT KIND
IS IT?

WHAT KIND DO YOU
THINK HE IS?

HE'S A MUTT!

THAT SHOWS
HOW MUCH YOU KNOW.

WELL, IF YOU
KNOW SO MUCH,
WHAT KIND IS HE?

WELL, HE'S A BIRD DOG.

AW, LIKE HECK,
HE IS!

HE AIN'T A BIRD DOG!

BIRD DOG,
SCHMIRD DOG.

WELL, HE'S
PART BIRD DOG.

WHAT'S HIS NAME?

HIS NAME IS MUTT!
THE HECK IT IS!

WHY DON'T YOU
CALL HIM PETE?

THAT SMELLS.

CALL HIM WHITEY.
THAT SMELLS.

BART IS A GOOD NAME!

NO. UH-UH.

MY CAT IS NAMED
BEN-HUR.

P-U.

HERE, MUTT!
HERE, MUTT!

COME ON, BOY. HERE.

HERE, MUTT!
HERE, MUTT!

HERE, BOY.
COME ON, BOY. GO.

COME ON.

HERE, BOY. HERE, BOY.
COME ALONG. COME ALONG.

HERE, BOY.
HERE, BOY.

COME ON, BOY!
HERE, BOY!

COME ON, BOY! BOY!

HERE, BOY! BOY!

COME ON, BOY!
HERE, BOY!

[BARKS]

HIS NAME IS BOY!

P-U!

YOU COULDN'T PAY ME
TO CALL A DOG THAT.

[TAUNTING]

Robert:
THAT'S RIGHT.
COME ON.

COME ON, BOY.

HI, DAD.

HIYA, BUD.

DAD?

YEAH?

I GOT KIND OF
A SURPRISE.

YEAH? WHAT IS IT?

WELL...

[SCRATCHING]

SAY, IT SOUNDS LIKE
SOMEBODY IS SCRATCHING
AT THE DOOR.

WHY DON'T YOU
LET THEM IN?

OK.
COME ON, BOY!

[BARKS]

OH, HO HO HO!
WHAT IS IT?

WELL, IT'S A DOG.
HIS NAME IS BOY.

DO YOU THINK I
CAN KEEP HIM, DAD?

WELL, WE'LL
SEE ABOUT IT.

I WOULDN'T SPRING HIM
ON YOUR MOTHER

UNTIL YOU'VE
CLEANED HIM UP
A LITTLE BIT, THOUGH.

YEAH.

OK.

HEY, GET
OUT OF THERE.

[SPITS]

Bob: SOUP IS ON.
COME AND GET IT.

COMING!

AW, YOU'RE GONNA TRY
TO GET SOME SLEEP TONIGHT,
AREN'T YOU, BOB?

YEAH.
I'M GONNA TRY.

I HAVEN'T HAD
MUCH LUCK LATELY.

WELL, PLEASE TRY.
I MEAN IT.

CAN'T AFFORD
TO HAVE TWO INVALIDS
IN THE FAMILY.

WELL, THERE'S
PLENTY OF TIME
TO SLEEP

AFTER WE'RE
FROZEN OUT.

IF I WANT TO,
I CAN SLEEP THE REST
OF MY LIFE AWAY.

WE'RE NOT GONNA BE
FROZEN OUT.

BOY,
I DON'T KNOW.

[THUMPING]

YOU KNOW, MARGE,
I'VE NEVER SEEN IT
AS BAD AS THIS.

DO YOU REALIZE
I'VE HAD
THE HEATERS GOING

6 NIGHTS LAST WEEK?

WHY, LAST NIGHT AND
THE NIGHT BEFORE,

IT GOT DOWN
TO 28 DOWN
IN THE LOW CORNER.

UH, MARGE,
DO YOU
REALIZE THAT?

YES, BOB,
I REALIZE IT.

THE LATEST IS,
THEY'RE RUNNING
OUT OF FUEL

FOR THE HEATERS.

I TALKED
TO CARL DOWN AT
THE PACKING HOUSE,

AND HE SAID
THE SHIPMENTS

JUST AREN'T
COMING THROUGH.

WHY? DID HE SAY?

OH,
I DON'T KNOW.

THEY HAVEN'T GOT
THE TANK CARS
OR SOMETHING.

SAME OLD
RUNAROUND.

I WOULDN'T
FEED THE DOG
AT THE TABLE, ROBERT.

WHAT?

YOU HEARD
YOUR MOTHER.

OH, FOR GOSH SAKES.

YOU KNEW HE WAS
DOWN THERE ALL THE TIME,
DIDN'T YOU?

YOU SEE?
THAT'S HOW SMART I AM.

YOU'RE PLENTY SMART,
ALL RIGHT.

WANT TO HELP ME CLEAR
THE TABLE, HONEY?

OH, NO.
YOU SIT TIGHT.

WE DON'T WANT
ANOTHER SCARE

LIKE WE HAD AT
CHRISTMASTIME.

GO ON, BUD.
GET BUSY.

I FEEL SO
DARN USELESS.

I DON'T KNOW
WHY WE KEEP YOU
AROUND HERE.

YOU DON'T?

BUD, I THINK
FROM NOW ON,

WE'LL GET ALONG
WITHOUT THE DOG
IN THE DINING ROOM.

WHAT, DOES HE
BOTHER YOU
OR SOMETHING?

IT DON'T BOTHER ME.

"DOESN'T BOTHER ME."

WELL, ME, NEITHER.

OH!

PIE IS IN THE OVEN,
JUNIOR.

[WHISTLES]

[BOY WHIMPERING]

[BOY BARKS]

[WHIMPERS]

[WHISTLES]

HA HA HA!
HAVE SOME PIE.

ROBERT, IF YOU LOOK
IN THE CUPBOARD,

YOU'LL FIND
SOME OLD BLANKETS.

YOU CAN MAKE THE DOG
A NICE BED ON THE BACK PORCH.

I THINK HE'D RATHER
SLEEP WITH ME.

MOM?

DAD?

[BOY HOWLING]

[BOY BARKING]

[WHIMPERING]

WELL, HELLO, BOY.

WHAT ARE YOU DOING?

Marge: ROBERT.

YES, MOM?

IS THAT DOG
ON YOUR BED?

NO, MOM.

ALL RIGHT.
GOOD NIGHT, HON.

NIGHT, MOM.

HIYA, BOY.

[BARKING]

QUIT THAT.

QUIT THAT!

WELL, HELLO, BOY.

SAY, YOU BETTER
GET OFF THE BED.

COME ON. GET OFF.
GET OFF.

WELL, STAY THERE.

Bob: COME ON, JUNIOR.
LET'S GET GOING.

WE'RE COMING!

[SNEEZES]

WATCH IT, DAD!

GESUNDHEIT.

THANKS.

WELL, YOU'D HAVE YELLED
AT ME IF IT HAD BEEN ME
THAT WAS SPILLING THE OIL.

ALL RIGHT. ALL RIGHT.
I ACCEPT YOUR APOLOGY.

I WASN'T
APOLOGIZING.

WELL, I ACCEPT IT,
ANYWAY.

HECK, I WAS JUST TRYING
TO SAVE YOU SOME MONEY.

YOU'RE ALWAYS SAYING
HOW OIL IS MONEY.

ALL RIGHT.
I APOLOGIZE TO YOU.

NO OIL, NO FUEL
FOR THE HEATERS.

NO FUEL, NO HEAT.

NO HEAT, NO CROP.

NO CROP, NO MONEY.

SAY, THAT'S
VERY INTERESTING.

YEAH.
I THINK SO, TOO.

LOOK OUT!

[YELPS]

HE TRIED
TO RUN OVER BOY!

THAT GUY IS REALLY
ASKING FOR IT.

DID YOU SEE HIM, DAD?
DID YOU SEE HIM TRY
AND RUN OVER BOY?

OH, DON'T EXAGGERATE.

Marge: ROBERT?

YEAH, MOM?

I'VE GOT
A SURPRISE FOR YOU.

WHAT, MOM?

TODAY IS
CAMILLE WARDLAW'S
BIRTHDAY,

AND YOU FORGOT TO
BUY HER A PRESENT.

OH, THAT.
I DIDN'T FORGET.

WELL, YOU CAN'T
GO TO HER PARTY
WITHOUT A PRESENT.

OK.
THEN I WON'T GO.

I'LL STAY HOME
AND TRAIN BOY.

NOW, WAIT A MINUTE.
YES, YOU WILL.

I PROMISED
MRS. WARDLAW.

NOW, YOU HOTFOOT IT
INTO TOWN AND BUY HER
SOMETHING NICE.

YOU HEARD
YOUR MOM, BUD.

WELL, WHAT AM I
SUPPOSED TO DO,
USE MY OWN MONEY?

BOB.

GET CHAMPAGNE
FOR EVERYBODY.

COME ON, BOY.

HEY, BUD.

YEAH?

YOU CAN'T
TAKE BOY INTO TOWN
WITHOUT A LEASH.

WELL, WHY NOT?

IT'S AGAINST
THE LAW.

OH.

TIE HIM UP.
WE'LL TAKE CARE
OF HIM.

WHY, HELLO.
HELLO, ROBERT.

HELLO,
MR. WARDLAW.

WELL, ROBERT,
I BELIEVE YOU KNOW
MY GRANDDAUGHTER.

HELLO, CAMILLE.

ARE YOU COMING
TO MY BIRTHDAY PARTY?

I MIGHT,
AND I MIGHT NOT.

I'VE GOT SOME MONEY
FOR MR. CANAVAN.

MR. CANAVAN
JUST STEPPED OUT,

BUT I'LL SEE
HE GETS THE MONEY.

WELL, IT'S
FOR MR. CANAVAN,
MY ROUTE MONEY.

I THINK IT'LL BE
SAFE WITH ME.

MY GRANDFATHER OWNS
THIS NEWSPAPER, YOU DOPE.

NOW, CAMILLE, YOU
BUTT OUT OF THIS.

THIS IS
A BUSINESS MATTER.

WELL, OF COURSE,
ROBERT, YOU DO
AS YOU THINK BEST.

HUH. THANKS
FOR THE CONFIDENCE.

ARE YOU COMING
TO MY BIRTHDAY PARTY?

YOU HAVE TO SAY
YES OR NO.

I MIGHT,
AND I MIGHT NOT.

I MIGHT HAVE
TO STAY HOME
AND TRAIN MY DOG.

SINCE WHEN
DO YOU HAVE A DOG?

OH, I'VE GOT ONE,
ALL RIGHT.

YOU CAN BELIEVE ME
OR NOT.

IT'S IMMATERIAL TO ME.

OUR DOG IS GOING
TO HAVE BABIES.

WELL, YOU DON'T HAVE
TO BROADCAST IT.

IS YOURS?
HECK, NO.

HE CAN'T.
THAT'S WHY.

HE'S GOT
TOO MUCH SENSE TO.
THAT'S WHY.

HAS YOUR DOG
GOT A LICENSE?

I BET HE
HASN'T GOT ONE.

I BET THEY'LL ARREST HIM
AND PUT HIM IN THE POUND,

AND YOU KNOW WHAT
THEY DO WITH DOGS
THEY PUT IN THE POUND?

THEY MAKE COATS
AND SUITS OUT OF THEM.

Wardlaw: UH, TRY
THE COURTHOUSE,
ROBERT--

LICENSE BUREAU.

[DOOR SLAMS]

Woman:
THAT'LL BE $2.00.

BOY, I'M BACK.

BOY?

[WHISTLES]

BOY?

BOY! BOY!

HEY, HAS ANYBODY SEEN BOY?

MOM?

MOM, HAVE YOU
SEEN BOY?

NO. I IMAGINE HE'S
TIED UP SOMEWHERE.

BOY! BOY!

BOY! BOY!

BOY! BOY!

BOY!

HERE, BOY!

BOY?

[SOBBING]

Bob: BUD!

MATLOCK KILLED BOY!

HE DID WHAT?

HE KILLED BOY!

ARE YOU DEAF
OR SOMETHING?
MY DOG BOY!

MATLOCK DID?

YEAH.

WHY, THE OLD--

I WOULDN'T
PUT IT PAST HIM.

COME ON, BUD.

MR. MATLOCK--

MAKE HIM
SAY HE DID IT!

NOW, WAIT A MINUTE.
WAIT A MINUTE.

PIPE DOWN, BUD.

ROBERT FOUND HIS DOG
OUT IN YOUR YARD

POISONED.

I DON'T KNOW
ANYTHING ABOUT IT.

AAH!

DAD, LET'S GO BACK.
HE KILLED BOY.

I TOLD YOU THAT
A THOUSAND TIMES,
AND YOU DIDN'T DO ANYTHING.

WELL, WHAT
WAS THERE TO DO?
DON'T YOU SEE?

NO, I DON'T SEE,
AND YOU'LL NEVER
MAKE ME SEE.

HE KILLED BOY.
HE GAVE HIM POISON.

YOU SHOULD HAVE
BUSTED IN HIS HEAD.

YOU SHOULD HAVE
BUSTED DOWN
THE DOOR AND--

BUD, STOP IT.
STOP IT.
NOW LISTEN TO ME.

LOOK.
YOU THINK THAT--

I KNOW HE DID.

OK. YOU KNOW MATLOCK
POISONED YOUR DOG.

HITTING HIM WOULDN'T
SETTLE ANYTHING.

BUSTING HIS DOOR DOWN
OR ANYTHING LIKE THAT,

IT JUST WOULDN'T
SETTLE ANYTHING.

GROWNUPS DON'T
DO THINGS THAT WAY.

THEY CAN'T,

AND THEY SHOULDN'T
BECAUSE--

WELL, YOU'RE
A LITTLE YOUNG YET
TO UNDERSTAND, BUT--

COME ON.

BUD,

LET'S GO GET BOY.

[TELEPHONE RINGS]

MAKE IT A HOT PASTRAMI ON RYE
AND A REFILL ON THE HOT COFFEE,

AND THIS TIME,
STRAIN YOUR DISHWATER

BEFORE YOU GO POURING
IT INTO MY THERMOS.

CUSTOMER. SO LONG.

WHAT IS IT, SON?

I--I WANT
TO REPORT A MAN
POISONING A DOG.

[SIGHS]

YOU WANT TO LODGE
A COMPLAINT.
IS THAT RIGHT?

YES. I WANT
TO REPORT--

WHAT'S YOUR NAME?

ROBERT FONTAINE JR.

YOUR FATHER
BOB FONTAINE?

YOU TELL HIM
ABOUT THIS?

WHAT DID HE SAY?

SAID HE WOULDN'T
PUT IT PAST HIM.

PAST WHO?

OLD MATLOCK.

TELL YOU WHAT.

YOU GET YOUR FATHER
TO HAVE A TALK WITH HIM.

WELL, HE SAID HE DIDN'T
DO IT, BUT HE DID,

AND YOU GOT TO MAKE HIM
SAY HE DID IT!

NOW, HOLD ON THERE.
THAT'S NOT WHAT
WE'RE HERE FOR.

YOU KNOW, DOG POISONING
IS A HARD THING TO PROVE.

I NEVER HEARD
OF A CONVICTION,
NOT IN THIS TOWN.

[RING]

YOU GO HOME
AND TELL YOUR FATHER--

DESK, MAGNUSSON.

NO. THAT'S NOT ENOUGH.

I WANT EVERY
AVAILABLE MAN
ON STANDBY.

IF THIS FREEZE
THAT'S REPORTED
FOR TONIGHT COMES OFF,

WE'LL HAVE
THE SAME SITUATION
WE HAD LAST WEEK--

EVERY HEATER
IN THE AREA GOING.

[TIRES SCREECH]

[HORN HONKS]

HEY, GET OUT
OF THE STREET!

[HORNS HONKING]

OOH! HEY!
TAKE IT EASY!

MR. WARDLAW IN HERE?

HEY! WHAT THE--

GO ON.
GET OUT OF HERE.
GET OUT OF HERE.

ROBERT, WHAT
DO YOU WANT?

WILL YOU PUT IT
IN THE PAPER

ABOUT OLD MATLOCK
POISONING MY DOG?

HOW'S THAT?

OLD MATLOCK,
HE POISONED MY DOG.

HE GAVE HIM SOME POISON MEAT,
AND HE DIED.

HEY, COME HERE
A MINUTE, ROBERT.

COME HERE.

YOU KNOW FOR SURE
IT WAS MR. MATLOCK?

I KNOW.

DID YOU SEE HIM GIVE
THE MEAT TO YOUR DOG?

DO YOU KNOW ANYBODY
THAT DID SEE HIM?

DO YOU KNOW FOR SURE
HE HAD ANY MEAT
IN THE HOUSE

OR ANY POISON
TO PUT IN IT?

I KNOW.

OH, NO, NO.
YOU DON'T KNOW.

YOU JUST
THINK YOU KNOW.

IF I FILLED MY PAPER

WITH ALL THE THINGS
THAT PEOPLE
THINK THEY KNOW,

I WOULDN'T BE
IN BUSINESS VERY LONG.

I KNOW.

I KNOW! I KNOW!

HEY, WAIT A MINUTE!
ROBERT!

ROBERT. ROBERT!

[SOBBING]

Wardlaw:
NOW LISTEN, ROBERT.

ROBERT...

YOU KNOW WHAT'S
THE HARDEST THING TO DO
AT A TIME LIKE THIS?

HMM?

WELL, IT'S STOPPING,

TAKING TIME OUT TO
ASK FOR THE TRUTH,

JUST ASK FOR IT,
JUST TO WANT IT.

YOU KNOW, IT'S OK
FOR YOU TO TALK, W.J.,

BUT IT'D BE
A DIFFERENT STORY

IF IT HAD BEEN YOUR DOG
HE FED THE STUFF TO.

WELL, WHO SAYS
HE FED THE STUFF
TO ANYBODY'S DOG?

WELL, YOU.

OH, NO. NO.
ROBERT SAID IT.

I QUOTE
WHAT ROBERT SAYS.

YOU SEE THE DISTINCTION,
DON'T YOU, CLARENCE?

LOOK. I JUST
KEEP THE BOOKS.

NOW, LOOK, ROBERT.
I'LL GO THIS FAR
WITH YOU.

IF IT'S TRUE
THAT MATLOCK
POISONED YOUR DOG,

WELL, HE SHOULD BE
PUNISHED FOR IT.

IT'S TRUE,
ALL RIGHT.

WELL, IF IT IS TRUE,
IT CAN BE PROVED,

BUT YOU'VE GOT
TO PROVE IT.

YOU REMEMBER
THE QUESTIONS I ASKED
YOU IN THE BARBER SHOP?

DID YOU SEE HIM
GIVE THE MEAT
TO YOUR DOG?

YOU KNOW ANYBODY
THAT DID SEE HIM?

ARE YOU SURE
THAT HE HAD ANY MEAT
IN THE HOUSE

OR ANY POISON
TO PUT IN IT?

HOW AM I SUPPOSED
TO FIND OUT ALL THAT?

HOW? WHY,
ASK AROUND TOWN,

TALK TO PEOPLE
THAT KNOW MATLOCK.

NOBODY KNOWS
OLD MATLOCK.

OH, WELL, HE'S GOT
TO BUY GROCERIES,
HASN'T HE?

HAVE HIS CAR
SERVICED, GET HIS
HAIR CUT, AND SO ON.

YES. YOU MIGHT
ASK IN SHAW'S
HARDWARE STORE.

I SAW MATLOCK COME
OUT OF THERE MYSELF
JUST THIS MORNING.

OH, HAVE A HEART, W.J.
HE'S ONLY A KID.

WELL, ROBERT,
THERE YOU ARE.

THERE'S YOUR OUT,
IF YOU WANT IT.

OF COURSE,
CLARENCE IS RIGHT.

AFTER ALL,
YOU ARE ONLY A KID,

NOT EXPECTED
TO BE INTERESTED
IN THE TRUTH,

TO HAVE GUMPTION ENOUGH
TO TAKE SATURDAY OFF
AND GO LOOKING FOR IT.

NOW, ROBERT,
USE MY NAME,
IF YOU WANT TO.

MATLOCK? FACE LIKE
THE BACK OF A HACK?

SURE. HE WAS IN.

TODAY IS HIS DAY--
SATURDAY.

YOU CAN SET
YOUR CLOCK BY HIM.

STOP A CLOCK,
YOU MEAN.

THAT'LL BE $2.70,
MRS. CAMPBELL.

DID HE BUY
ANYTHING?

OH, THE USUAL--
HALF-POUND OF HAMBURGER.

WHAT'S MR. WARDLAW
WANT TO KNOW FOR?

HAMBURGERS
AND CANNED GOODS.

THAT'S
A MAN FOR YOU.

I TRIED TO TELL HIM
HE OUGHT TO GET MARRIED,

BUT HE JUST LOOKS AT ME
LIKE DEATH WARMED OVER.

THERE'S YOUR
CHANCE, ROSALYN.

YOU'RE NOT
GETTING ANY YOUNGER,
YOU KNOW.

HIM?

I'D DIE BEFORE
I'D LET HIM TOUCH ME.

YOU KNOW, MY YOUNGEST GIRL
TELLS ME SHE'S SEEN HIM,

OH, I DON'T KNOW
HOW MANY TIMES
NEAR THE SCHOOL.

I'VE TOLD HER
IF SHE SEES HIM AGAIN,

SHE'S TO GO STRAIGHT
TO THE PRINCIPAL,

AND IF SHE WON'T,
I WILL.

I'M NOT GONNA
WAKE UP SOME MORNING

AND FIND A RANSOM NOTE
IN MY MAILBOX.

AW, MAYBE HE
LIKES THE KIDS.

THEN WHY DON'T KIDS
LIKE HIM BACK?

A KID IS THE BEST JUDGE
OF CHARACTER THERE ARE,
KIDS AND DOGS.

IT'S AN INSTINCT.
AM I RIGHT, ROBERT?

WHAT DO YOU
THINK OF HIM?

HE POISONED MY DOG.

WHY...

THAT'S THE MOST DISGRACEFUL
THING I EVER HEARD OF.

SOMEBODY OUGHT TO
SLAP HIS EARS DOWN.

MORNING, MR. NICELY.

WELL, GOOD MORNING,
MR. TAYLOR.

IS THE CALF LIVER
GOOD THIS MORNING?

WELL, IT'S THE SAME
AS IT ALWAYS IS.

HALF A POUND?
IF YOU PLEASE.

OH, MR. NICELY,
I WAS JUST GOING
TO DROP IN ON YOU.

THE CRYSTAL HAS
COME OUT OF THAT
WATCH OF MINE AGAIN.

I'VE GOT IT IN HERE
SOMEWHERE.

MRS. CAMPBELL, IF YOU'LL
PARDON MY SAYING SO,

YOU MIGHT JUST AS WELL
BE CARRYING A HEAD
OF LETTUCE AROUND

AS THAT WATCH OF YOURS.

NOW, I HAVE A WATCH HERE
THAT I'M CHECKING
FOR A CUSTOMER.

THAT ISN'T IT.

AH.

THERE IS A WATCH THAT
WOULD GIVE SATISFACTION
FOR A LIFETIME.

CRAFTSMANSHIP.

THERE'S NO SUBSTITUTE
FOR CRAFTSMANSHIP.

WELL, OF COURSE,
I WOULD JUST LOVE TO
HAVE A SOLID-GOLD WATCH.

THAT'LL BE 67 CENTS,
MR. NICELY.

SAY, HOW MUCH A WATCH
LIKE THAT COST NEW?

I WOULD ESTIMATE
BETWEEN $400
AND $500.

[WHISTLES]

OH! SAY, HERE'S
HIS INITIALS ON IT.

THERE'S A "P" AND A "C,"
AND WHAT IS THAT, A "W"?

I THINK YOU'LL FIND
THAT'S AN "M,"
ISN'T IT?

YES. "M"
FOR MATLOCK.

MATLOCK?

MR. MATLOCK. YES.

Taylor:
THAT'S MATLOCK'S WATCH?

YES.

NOW, IF YOU'LL
STOP IN AT THE SHOP,

I'LL BE GLAD
TO REPLACE THAT
CRYSTAL FOR YOU.

GOOD MORNING,
EVERYBODY.

WELL...

$500 FOR A WATCH!

IF YOU ASK ME,

SOMETHING
IS OUT OF LINE.

IT'S NONE OF OUR BUSINESS,
MR. TAYLOR.

I AIN'T
SAYING IT IS.

ALL I'M SAYING IS,
SOMETHING IS OUT OF LINE.

THE MAN LIVES LIKE A PIG,
DRESSES LIKE A HOBO.

AT THE SAME TIME,
HE DRIVES A BETTER CAR
THAN I DO,

CARRIES A WATCH
WORTH $500.

Rosalyn: DID YOU EVER
NOTICE HIS THUMBS,

HOW KIND OF SHORT
AND STUBBY THEY ARE?

I WAS READING
IN A MAGAZINE

WHERE THOSE KIND OF THUMBS
ARE A SIGN OF A VIOLENT TEMPER.

SAID ANYBODY HAD
THOSE KIND OF THUMBS

WOULD JUST AS SOON
KILL YOU AS LOOK AT YOU.

[DOOR SLAMS]

MATLOCK?
WHAT ABOUT HIM?

MR. WARDLAW
WANTS TO KNOW IF
HE BOUGHT ANYTHING.

YEAH. YEAH.

HE BOUGHT 59 CENTS'
WORTH OF RAT POISON.

HEH.

I HAVEN'T THE FAINTEST IDEA
WHAT BUSINESS IT IS
OF BILLY WARDLAW'S.

THERE IT IS.

COULD YOU, UH,
KILL A DOG
WITH RAT POISON?

KILL ANYTHING
WITH IT.

IT'S POISON.

[DOOR OPENS]

[DOOR CLOSES]

"PAUL MAHLER,
79 PACIFIC GROVE,
SAN SALA, CALIFORNIA."

WELL, NOW, ROBERT,
IT'S JUST POSSIBLE

THAT MATLOCK AND MAHLER
MAY BE FRIENDS.

MAHLER SOLD HIM
HIS HOUSE.

MAYBE HE
LOANED HIM HIS CAR
TO GET AROUND IN.

WELL, WE'LL SOON
FIND OUT ABOUT THAT.

OPERATOR,
I WANT TO SPEAK
TO DR. PAUL MAHLER,

79 PACIFIC GROVE,
SAN SALA, CALIFORNIA.

THAT'S RIGHT.

OH, ROBERT,

I WOULDN'T GO TELLING
THIS STORY ALL AROUND
TOWN IF I WERE YOU

BECAUSE CHANCES ARE,
SOME SIMPLE
EXPLANATION--

HELLO.

HUH.

HUH. THAT PHONE HAS
BEEN DISCONNECTED.

ROBERT, DO YOU SUPPOSE
YOU COULD PUT THIS
BACK WHERE YOU GOT IT

WITHOUT MATLOCK
FINDING OUT ABOUT IT?

YOU DO THAT.

I'LL SEE YOU
THIS AFTERNOON.

GOING TO SAN SALA?

NO, SONNY, BUT I'LL
TAKE YOU AS FAR
AS I'M GOING.

THAT'S PLENTY.

Robert:
HERE IT IS. THANKS A LOT.

[WAVES CRASHING]

DO YOU LIVE
IN THAT HOUSE?

THAT HOUSE?
DON'T BE STUPID.

WHY? WHAT'S
WRONG WITH IT?

DO YOU BELIEVE
IN GHOSTS?

NO.

YOU MEAN,
IT'S HAUNTED?

HOW CAN IT BE HAUNTED
IF YOU DON'T BELIEVE IN IT?

I DON'T KNOW, BUT
IF IT WAS HAUNTED,

I GUESS I'D HAVE
TO BELIEVE IN IT,
WOULDN'T I?

WANT TO SEE INSIDE?

IT'S LOCKED.

I KNOW A PLACE.

I GO THERE
ALL THE TIME.

I LIKE GOING THERE.
DON'T SCARE ME.

WELL, IT DON'T
SCARE ME, NEITHER.

OK. IT'S YOUR FUNERAL.

COME ON.

WHERE YOU GOING?

AFTER YOU.

OH, NO. G-GO IN.

GO ON.

THE MAN THAT USED
TO LIVE HERE GOT KILLED.

MURDERED.

WELL, DON'T
TALK SO LOUD.

WHY? YOU SCARED
OR SOMETHING?

WHAT'S THERE
TO BE SCARED OF?

DID IT HAPPEN HERE?

SURE. PROBABLY.

PROBABLY HAPPENED
RIGHT ABOUT WHERE
YOU'RE STANDING.

WELL, DID THEY FIND
ANY BLOODSTAINS
OR ANYTHING?

THEY DIDN'T FIND
ANYTHING AT ALL.

WASN'T ANYTHING
LEFT OF HIM AT ALL.

HIS NAME
WAS DR. MAHLER.

THAT WAS OCTOBER,
AND THIS IS JANUARY.

NOBODY HAS
SEEN HIM SINCE.

COPS CAME TO ALL
THE HOUSES AROUND HERE
ASKING QUESTIONS.

THEY DRAGGED
ALL THIS PIECE
OF OCEAN WITH NETS.

NOBODY WAS ALLOWED
TO GO IN SWIMMING

IN CASE HIS CORPSE
WAS FLOATING AROUND
OUT THERE.

IT WASN'T, THOUGH.

WELL, MAYBE
HE WASN'T MURDERED
AT ALL.

MAYBE HE WENT
ON A LONG TRIP.

WITHOUT ANY SUITCASE
OR ANY MONEY

OR ANY NOTE TO SAY
WHERE HE WAS GOING

OR ANYTHING?

WELL, LISTEN.

WHO DO THEY THINK
DID IT?

DO YOU KNOW?

WELL, DO YOU?

WELL, DO YOU?

I DID!

[SQUAWKS]

[SQUAWKS]

WHERE YOU HEADED?

THAT WHERE YOU LIVE?

YOU GOT A SISTER?

I DON'T KNOW YET.

OK. HOP ON.

THANKS A LOT.

Marge: ROBERT.

WHERE THE DICKENS
HAVE YOU BEEN?

YOUR MOTHER HAS BEEN
NEARLY WORRIED
TO DEATH ABOUT YOU.

HAVE YOU HAD ANY SUPPER?

NO.

NO, AND NEITHER
HAS ANYBODY ELSE
AROUND HERE.

YOUNG MAN--
NOW, BOB.

NOW, MARGE,
HE'S GOT TO LEARN

THAT HE'S NOT ALL
ALONE IN THIS WORLD,

AND HE'S GOT TO STOP
TREATING HIS HOME

LIKE
A BOARDING HOUSE

AND YOU AND ME
LIKE A COOK
AND A HANDYMAN.

NOW, NOW, BOB.

YOU GO ON UPSTAIRS
TO BED, ROBERT.

I'LL BRING YOU
SOME SOUP.

I GOT TO SEE
MR. WARDLAW.
WHAT ABOUT?

NOTHING.

WELL, MR. WARDLAW
IS NOT HERE.

HE'S PROBABLY HALFWAY
TO SAN SALA BY NOW
LOOKING FOR YOU.

YOUR MOM SENT YOU UP
SOME SUPPER.

DID YOU PLAN TO TELL ME
WHAT YOU'VE BEEN DOING
TILL 8:00 TONIGHT?

WHAT DID YOU WANT TO SEE
MR. WARDLAW ABOUT?

I TOLD YOU, NOTHING.

WE'RE PRETTY
GOOD FRIENDS,
AREN'T WE, BUD?

ANYWAY, WE--
WE USED TO BE.

ANYWAY, WE USED
TO DO BETTER THAN
WE'RE DOING NOW.

I GUESS SO.

OK. FORGET IT.

[DOOR CLOSES]

[CAR DOOR CLOSES]

I TOLD YOU TO LEAVE
MY THINGS ALONE!

YOU DIDN'T
LEAVE MINE!

[CAR APPROACHING]

[HORN HONKS]

Bob: BUD!

Man on radio: THIS IS
FLOYD YOUNG WITH
A SPECIAL BULLETIN

FOR ALL
CITRUS GROWERS...

BUD, WHAT ARE YOU
DOING OUT OF BED?

Young: ...LOW PRESSURE AREA
HAS MOVED EASTWARD.

FOR PETE'S SAKE, BUD,
WHAT'S GOTTEN INTO YOU?

COME ON. JUMP IN HERE.
WE'VE GOT WORK TO DO.

Young: THIS IS GOING TO BE
AN EXTREMELY COLD NIGHT

WITH TEMPERATURES
AS LOW AS 18 DEGREES
IN THE COLDEST LOCATIONS.

ALL AVAILABLE
ORCHARD TANK TRUCKS
SHOULD BE FILLED WITH OIL

AND KEPT IN READINESS
TO REFILL HEATERS AS THEY
BURN OUT DURING THE NIGHT.

THE EXCEPTIONAL LENGTH
OF THE THREATENED COLD PERIOD
AND DWINDLING OIL SUPPLIES

HAVE CAUSED SOME GROWERS
TO BECOME DISCOURAGED.

A FEW ARE EVEN THINKING
OF GIVING UP THE FIGHT

BECAUSE THEY HAVE BEEN
UNABLE TO KEEP THE TEMPERATURE
ABOVE THE DANGER POINT

IN EVERY PART OF THE ORCHARD.

EXPERIENCE IN PAST FREEZES
HAS SHOWN

THAT IF THE HEATERS
ARE KEPT BURNING
THROUGHOUT THE COLD NIGHT,

CONSIDERABLE GOOD FRUIT
CAN BE SALVAGED

EVEN WHEN TEMPERATURES
DROP BELOW THE DANGER POINT
FOR SHORT PERIODS OF TIME.

EVEN IF YOU FEEL SURE
THE FRUIT CROP IS LOST,

IT WILL PAY YOU
TO NOT ABANDON YOUR TREES.

FOLIAGE OF MATURE ORANGE TREES
WILL BE DAMAGED AT 23 DEGREES,

AND THE BARK ON LARGE LIMBS
WILL BE SPLIT

IF THE TEMPERATURE IS ALLOWED
TO DROP TO 18 DEGREES.

LEMON TREES WILL LOSE
ABOUT 50% OF THEIR LEAVES

WHEN THE TEMPERATURE REMAINS
AT 26 DEGREES FOR SEVERAL HOURS,

AND COMPLETE LOSS OF FOLIAGE
WILL FOLLOW LONG, CONTINUED
TEMPERATURES OF 23 DEGREES.

[INDISTINCT VOICES]

Man: ...AND IF I CAN'T
KEEP MY HEATERS OPERATING,
THEY'RE GOING LIKE THAT.

Second man:
I WONDER WHAT'S
KEEPING BOB.

Third man:
HE'S CALLING
CARL, I GUESS.

WE DONE MESSED UP
YOUR KITCHEN,
MRS. FONTAINE.

HERE HE COMES NOW.

WELL, BOB,
WHAT DID YOU
FIND OUT?

Bob: I JUST
TALKED TO CARL.

YEAH?

HE CAN'T DO
A THING FOR US.

[MEN GROAN]

THEY HAVEN'T HAD
A SHIPMENT OF OIL

AT THE PACKING HOUSE
IN 3 DAYS.

THEY PUT IN
AN EMERGENCY CALL
TO SANTA LISA.

NO SOAP.

WESTFORK, CALGARY--
THE SAME THING.

THEN THE DISPATCHER
AT SANTA LISA CALLED BACK

AND SAID HE WAS SENDING
100,000 GALLONS.

WHEN?
WHEN?

NOW, WAIT MINUTE.
DON'T GET EXCITED.

THE DISPATCHER
CALLED CARL AGAIN,

SAID THERE'D BEEN A SLIDE
ON THE ROAD THE OTHER SIDE
OF ORANGE COAST.

THEY WANT TO KNOW WHETHER
IT WOULD BE BETTER TO SEND
THE TRUCKS THE LONG WAY AROUND

OR HOLD THEM THERE
TILL THE ROAD OPEN UP.

SO WE WAIT ANOTHER
TWO HOURS WHILE HE
MAKES UP HIS MIND.

Man: I'M BURNING MY LAST
100 GALLONS RIGHT NOW.

Second man:
YEAH. SAME HERE.

NOBODY IS IN ANY BETTER
SHAPE THAN ANYONE ELSE.

BOB, MATLOCK
HAS GOT OIL,
HASN'T HE?

MATLOCK?
HOW'D
HE GET IT?

Marge: BOB, YOU
PUT IT IN YOURSELF
LAST SEPTEMBER

WHEN HE
BOUGHT THE PLACE.

YEAH. YEAH,
THAT'S RIGHT.
3,000 GALLONS.

3,000 GALLONS?
WOULD
HE SHARE IT?

HE'S PICKED OUT.
HE'S GOT NO CROP
TO PROTECT.

HE'S GOT NOTHING
BUT BARE TREES STANDING.

THE THERMOMETER WILL
HAVE TO DROP ANOTHER
5 OR 6 DEGREES BEFORE...

[ALL TALKING AT ONCE]

DAD.

DAD!

ROBERT.

DAD! DAD!

DAD, I GOT SOMETHING
TO TELL YOU!

DAD, WILL YOU
LISTEN TO ME?

DAD, I GOT SOMETHING
TO TELL YOU!

DAD! DAD!

I DIDN'T MEAN
TO HURT YOU, DAD.

IT WAS BECAUSE OF HIM!

BECAUSE I HATE HIM
SO MUCH BECAUSE
HE KILLED MY DOG!

I HATE HIM! I HATE YOU!

I HATE, I HATE--
BUD!

I HATE YOU!

I HATE YOU!
BUD!

GO ON HOME.

AAH!

Matlock: DRINK.

LISTEN, ROBERT.
I DIDN'T POISON YOUR DOG.

DRINK THE SOUP.
THEN I'LL TAKE YOU HOME.

[SIREN]

WHAT IS IT?

WELL, IT'S
THE OIL FOR DAD
AND THE OTHERS.

IT'S ALL RIGHT,
ISN'T IT?

EVERYTHING
IS ALL RIGHT.

MOM.

ROBERT.
WHAT HAPPENED?

HE'S ALL RIGHT.

I'M ALL RIGHT, MOM.

OH, ROBERT.

YOU BETTER CLEAN UP
FOR BED, HONEY.

UH,
DR. MAHLER...

HOW DID YOU
KNOW MY NAME?

WELL, I
BROUGHT SOMEONE
FROM SAN SALA

THAT'S VERY ANXIOUS
TO TALK TO YOU.

COME. COME.

DOROTHY.

HELLO, PAUL.

Paul: DOROTHY--
THAT IS, MY WIFE--

DID A GREAT DEAL
TO FORGIVE ME.

OH, NO.
OH, YES, I'M AFRAID.

SO HAVE YOU ALL.

MY ONLY EXCUSE IS THAT

TO A MAN
IN EXTREME PAIN,

NOTHING BUT
THE PAIN EXISTS,

AND IF WITH HIS ACTIONS,
HE INJURES THOSE
AROUND HIM,

THEN IT IS MERELY
BECAUSE TO HIM,
THEY'RE SIMPLY NOT THERE.

TONIGHT FOR
THE FIRST TIME,

ROBERT WAS THERE.

WHEN I PUT HIS JACKET
ON THE CHAIR TO DRY,

IT REMINDED ME OF A JACKET
OUR OWN BOY HAD.

Dorothy: YOU SEE,
AN OPERATION WAS
ABSOLUTELY NECESSARY,

AND PAUL WAS THE BEST
AVAILABLE MAN.

HE DIDN'T
WANT TO DO IT.

IT'S VERY RARE
FOR A SURGEON
TO OPERATE

ON A MEMBER
OF HIS OWN FAMILY,

BUT I HOUNDED HIM.

I--I WANTED RUDY TO
HAVE EVERY CHANCE.

RUDY--

RUDY DIED...

ON THE OPERATING TABLE.

BUD?

DAD?

YOU STILL MAD AT ME?

I WAS NEVER REALLY
MAD AT YOU, BUD.

OH.

LOOKS TO ME LIKE I GOT

SOME PRETTY SERIOUS
THINKING TO DO.

YEAH. I GUESS WE ALL
HAVE SOME REAL SERIOUS
THINKING TO DO.

BED IS A GOOD PLACE
FOR SERIOUS THINKING.

ONLY TROUBLE IS,

I'M GONNA FALL...

ASLEEP.

OH, HERE'S ROBERT NOW.
YOU BETTER TELL HIM.

HELLO, CAMILLE.
HELLO, MR. WARDLAW.

HELLO, ROBERT.

YOU DIDN'T GIVE ME
ANYTHING FOR MY BIRTHDAY.

ROBERT HAS OTHER
THINGS ON HIS MIND
JUST NOW, CAMILLE,

SO YOU BETTER
RUN ALONG.

MR. WETZELL
HAS SOMETHING
TO SAY TO YOU, ROBERT.

THAT'S RIGHT.

ROBERT...

MR. WARDLAW HERE
WAS JUST TELLING ME
ABOUT YOUR DOG.

I'M DARN SORRY.

WHY?

WELL,
IN A WAY, I GUESS
I'M RESPONSIBLE.

YOU SEE, I PUT
SOME POISON MEAT OUT
FOR THE COYOTES.

Wetzell: I'M AS
SORRY AS I CAN BE,
ROBERT.

THAT'S OK,
MR. WETZELL,

AND THANKS
FOR EVERYTHING,
MR. WARDLAW.

I'D BE
VERY GLAD TO--

OH, NO. THAT'S OK.

THANKS ANYWAY,
MR. WETZELL.

Wardlaw:
SO LONG, ROBERT.

SO LONG.

WHERE YOU GOING?

HOME.

CAN I RIDE WITH YOU?
NO.

WELL, I GUESS I CAN
RIDE ON THE SAME ROAD
YOU ARE, CAN'T I?

YOU DON'T OWN IT,
DO YOU?

WAIT FOR ME.
WAIT FOR ME.

WE WERE HOPING
WE'D CATCH YOU.

WE'VE GOT
SOMETHING FOR YOU
WE'D LIKE YOU TO HAVE.

Paul: HIS NAME IS REX.

GEE, THANKS,
MR. MAT--

DR. MAHLER.

THANK YOU, ROBERT.

Dorothy: HELLO.

HELLO.

HELLO, CAMILLE.

NOW CAN I RIDE
WITH YOU?

SURE.

GOOD-BYE, ROBERT.

THANKS, DR. MAHLER.

GOOD-BYE.

CAPTIONING MADE POSSIBLE BY
TURNER ENTERTAINMENT GROUP

CAPTIONED BY THE NATIONAL
CAPTIONING INSTITUTE
--www.ncicap.org--

when he made
"Talk About a Stranger,"

but he was already
a show business veteran,

having appeared
in almost 50 movies

since his on-screen debut
at the age of 5

in 1943's "Man of Courage."

It helped that his mother,
Beatrice Gray,

was a busy actress herself.

She made a stampede of
"B" Westerns in the 1940s,

often finding a spot in her home
on the range for her real son.

"Talk About a Stranger"
was certainly not

the first film noir
Billy Gray appeared in.

If you look closely,
you'll find him horsing around

in "The strange Affair
of Uncle Harry,"

"Suspense,"
"The Strange Woman,"

"The Gangster," "Abandoned,"
"Between Midnight and Dawn,"

and "The Killer
that Stalked New York."

He even asks Humphrey Bogart
for an autograph

in Nick Ray's noir masterpiece
"In a Lonely Place."

Of course, these were all
fleeting appearances.

The role
he's most remembered for

was in the film he made
just before this,

"The Day the Earth Stood Still,"

in which his character,
Bobby Benson,

gives a tour
of the nation's Capitol

to alien visitor Klaatu,

played by Michael Rennie.

Older viewers will also
remember Billy Gray

from his role as Bud Anderson,

son of Robert Young
and Jane Wyatt

on the popular '50s sitcom
"Father Knows Best."

If you've been watching
"Noir Alley" regularly,

then you know that
several members

of that all-American
Anderson family --

mom, pop, and little Bud --

all had a short, dark
double life in film noir.

Billy Gray's father
in today's film, George Murphy,

also had a double life,
maybe even a triple life.

We're pretty good friends,
aren't we, Bud?

Anyway, we --
we used to be.

After dropping out of Yale
in the 1920s,

Murphy led the knock-around life
of so many people

who ended up gravitating
to Hollywood.

He worked on
auto assembly lines,

as a coal miner,
sold real estate,

but the thing he was
really good at was dancing,

which ended up landing him roles
in lots of Hollywood musicals,

like the "Broadway Melody
of 1938" and "1940,"

and the big 1942 hit
"For Me and My Gal,"

with Judy Garland
and Gene Kelly.

Like his performing
doppelganger, Dick Powell,

Murphy started appearing in more
dramatic roles in the late '40s,

pictures like
"The Arnelo Affair,"

"Battleground,"

and the noir thriller
"Border Incident."

But Murphy's most important role
in Hollywood

may have been as the president
of the Screen Actors Guild,

a post he filled
from 1944 to '46,

tumultuous years
in the industry,

when all the talent
and trade unions

were pulled every which way
by vying political factions.

That was Murphy's first taste
of politics,

and, apparently, he liked it.

In 1953, he retired from acting

and became a key figure in
the California Republican Party.

He also served as entertainment
liaison to the White House

in the 1950s,

arranging
the inaugural celebrations

of Dwight Eisenhower
and John F. Kennedy in 1961,

back when American politicians

still had some respect
for their rivals.

Murphy ran for office himself
in 1964,

winning a vacant seat
in the California Senate,

where he served until 1971.

Murphy's costar in today's film,
Nancy Davis,

had married Ronald Reagan

the month before "Talk About
a Stranger" was released.

Reagan made no bones
about the fact

that George Murphy was the model
for his political career.

To say he followed in
his colleague's footsteps

is dead-on.

Reagan succeeded Murphy

as the president
of the Screen Actors Guild,

became the governor
of California in 1967,

and, of course, eventually
President of the United States.

It's not absurd to suggest that

had he not contracted
throat cancer in the late '60s,

essentially putting an end
to his political career,

George Murphy may have been
the first actor to run for,

and possibly win,
the presidency.

As for the perceived villain
in today's film,

I remember Kurt Kasznar on
the old Irwin Allen TV series

"Land of the Giants."

But what an incredible life
this guy led before that.

Born in Austria,
he was headed for a career

in his stepfather's
restaurant business

until he one day
waited on Max Reinhardt,

the most eminent
theater impresario in Europe.

He studied with Reinhardt

and came to America
with him in 1936,

embarking on
a busy stage career.

It was interrupted by the war,

where Kasznar served in the
U.S. Army's photographic unit.

He documented battles
in the South Pacific,

the Japanese surrender
aboard the USS Missouri,

and the aftermath of the bombing
of Hiroshima and Nagasaki.

From these experiences, he wrote

a critically-acclaimed one-act
play called "First Cousins,"

which he dedicated to

the thousands of foreign-born
American soldiers

who fought
for their adopted country.

Although his accent and features

relegated him
to supporting roles in films,

onstage, he created
the character of Pozzo

in Samuel Beckett's
"Waiting for Godot,"

and the character
of Max Detweiler

in the original stage production
of "The Sound of Music,"

the role played by Richard Haydn
in the movie version.

After gaining entrée
into the business

by directing low-budget versions
of timeless classics

such as "Peer Gynt"
and "Julius Caesar,"

David Bradley learned
that good taste

only gets you so far
in this business.

It would be six years after
"Talk About a Stranger"

before he got another
feature film gig,

directing Fay Wray
and Connie Stevens

in the 1958 AIP classic
"Dragstrip Riot."

There'd be only two more
on his résumé --

1960's "12 to the Moon"

and "The Madmen of Mandoras"
in 1963,

later reissued as
"They Saved Hitler's Brain."

Not every fledgling director
gets to be Richard Fleischer

or Anthony Mann.

Share your thoughts
about today's film

on our "Noir Alley"
Facebook page and Twitter feed,

do some online
Christmas shopping

in the "Noir Alley" store,

and join us next week when we'll
celebrate the holiday season

with Ida Lupino and Robert Ryan

in a tale of charity
and goodwill

that quickly goes to hell
in a handyman's basket --

"Beware, My Lovely."

Until then...