The Intruder, also known as I Hate Your Guts, Shame and The Stranger (British title), is a 1962 American drama film directed and co-produced by Roger Corman and starring William Shatner.

[3] The story, adapted by Charles Beaumont from his own 1959 novel of the same title, depicts the machinations of a racist named Adam Cramer (portrayed by Shatner), who arrives in the fictitious small Southern town of Caxton in order to incite White townspeople to racial violence against Black townspeople and court-ordered school integration.

Caxton's "Whites only" high school is about to undergo forced desegregation and admit Black students due to a court order, and the racist Cramer, purportedly working on behalf of an organization called The Patrick Henry Society, is working to incite the White townspeople to strongly and possibly violently resist the desegregation.

Although Cramer is not from the area or even from the South (shown by his lack of a Southern accent), he quickly charms most of the people he meets, presenting himself as a confident, smooth-talking, well-mannered gentleman.

He quickly convinces wealthy landowner Verne Shipman to back him, and seduces Ella, the pretty teenage daughter of the local newspaper editor Tom McDaniel.

Ella, following Cramer's directions, lures her Black classmate Joey Green to a storage room on the pretext of helping her get some heavy boxes from a high shelf.

Joey, rather than escape out the back door with the principal and attempt to reach the safety of the sheriff's office, insists on going out to confront the mob.

Suddenly Griffin appears with Ella, who confesses that she lied at Cramer's instigation in order to save her father's life.

Charles Beaumont, George Clayton Johnson and William F. Nolan were all working screenwriters and novelists; all three of them make their only acting appearance in a feature film in The Intruder.

Leo Gordon was also an established screenwriter, writing several novels and films, and over 50 teleplays for various shows, while maintaining a concurrent acting career.

And I knew from experience that people come out to see a picture shoot, because they’re interested, but then they find out how long it takes to set up the camera between shots and so forth and then they start drifting away.

And it does so with obvious good intentions and a great deal of raw, arresting power in many of its individual details and in the aspects of several characters.

Its lack of context, its irrelevant sexual excursions, its final falseness, its air of a daring descent into moral slums, insure that it will have little helpful effect on the appalling situation it depicts so vividly".

"[11] Filmink magazine later theorized "white American audiences...generally prefer to confront racism either via allegory or through period pieces as opposed to stories set in the present day… This was too raw.