Tales to Keep You Awake: Adapting Fredric Brown’s “Nightmare in Yellow” in Spain

by Gabriel Cubillo

The May 1961 issue of The Dude, a men’s magazine, featured Fredric Brown’s "Five Nightmares," a series of short shorts that included "Nightmare in Yellow," the story of a murder. In the story, a man awakens on his fortieth birthday, planning to kill his wife and run off with money he has embezzled. He takes her to dinner and he takes her home, where he kills her on the front porch. When he opens the door, he is shocked that his friends have staged a surprise birthday party; they are shocked to see that he holds his wife’s corpse in his arms.

"Nightmare in Yellow" was translated into Spanish in 1965 and published in volume six of Narraciones Terroríficas (Terrifying Stories), part of a series of anthologies of tales of terror that featured writers from different times and places. In this volume, Arthur Machen, Robert E. Howard, and Joseph Payne Brennan share space with Robert Bloch, Ray Bradbury, and Fredric Brown, along with several Spanish authors, both classic and modern. I think it’s probable that Chicho Ibáñez Serrador picked up this book while looking for ideas for a new horror TV series he was developing at the time.

Chicho Ibáñez Serrador

Chicho Ibáñez Serrador (1935-2019) was one of the most successful creators in the history of Television Española, the Spanish public--and at that time, only--television channel. He was born in Montevideo, Uruguay, and spent his early childhood in Spain, but he left the country in search of new horizons. He began a successful career in Argentinian TV before returning to Spain. Ibáñez Serrador specialized in genre fiction, mainly science fiction and terror, and when he arrived in Spain, he began to remake his Argentinian hits. After achieving success with a series titled Mañana puede ser verdad (Tomorrow it may be true), he started to develop a new series called Historias para no dormir (Tales to keep you awake). It was a big hit and is still well remembered by older viewers who, even if they have forgotten the details of every episode, remember the opening sequence that depicted the shadow of a door closing, with the sound of slamming and a cry. Chicho kept working in Spanish television for decades and produced some very successful shows, notably a quiz show called Un dos tres responda otra vez (One two three answer again), which ran for several seasons.

No doubt imitating Alfred Hitchcock Presents, he opened every chapter of Historias para no dormir with an introduction filled with humor and the macabre. In the first episode, he provided a statement of intent for the series: he wanted to give new life to the old terror genre. Instead of crypts, chains, and pits, he wanted a more psychological--and cheaply produced-- approach. The first episode was titled "El cumpleaños" ("The birthday"), an adaptation of "Nightmare in Yellow." It was broadcast on February 4th, 1966, and it was the shortest episode of the whole series, running just 12 minutes.

Rafael Navarro in El Cumpleaños

The star of the show is the husband, played by Rafael Navarro, a well-established supporting actor at the time, whose voice was better known to the public than his face (he dubbed in Spanish, among others, Charlton Heston, Robert Taylor, Glenn Ford, and Humphrey Bogart). Indeed, his voice is omnipresent from the disturbing first frame, which depicts an extreme closeup of an eye opening. The voiceover monologue is interrupted only by brief dialogue at the airport and a few words from the husband. The images illustrate and underline the narration. Only in the final scene are the visuals allowed to bear the weight of the story, while the voice is silent.

The eye is that of the husband, nameless, as in the short story, who tells us that it is Saturday, January 22, 1966, his 50th birthday (he has aged ten years from the short story) and the day of his liberation: he is going to kill his wife and run off with a pile of money. From this point, the script, credited to Luis Peñafiel (in fact, a pseudonym of Ibáñez Serrador), keeps most of the plot elements from Brown’s story but makes some changes and additions in order to extend a very short story and to emphasize the more sinister aspects of the plot, pushing the tale into darker shadows to chill the audience and make it fit more neatly into the terror genre. In the teleplay, the husband has not yet committed robbery but plans to do it today. He is a psychopath who hates his wife because she is boring and obsessed with order and tidiness. Navarro plays the part with a fake smile on his face and condescension in his voice. The wife and his colleagues are slightly distorted by the camera angles, which show the way he thinks of them while he continues to smile at them. He keeps a large knife in his suitcase and plans to use it on his wife.

Surprise!

The man is also looking for new sexual partners and lusts after sexy stewardesses he sees at the airport. He stands before his front door and tells the viewer that he plans to kill his wife on that spot; conveniently, the neighbors are away for the weekend. In Brown’s short story, the man insists on murdering his wife precisely at 8:46 p.m., the exact minute when he turns forty years old. In the TV version, this is less clear.

El Cumpleaños looks like it could be taking place anywhere, except for the presence of a Sereno, the character who walks alongside the couple when they are coming back after dinner; in some Spanish cities, a Sereno oversaw opening and closing the neighborhood gates at night.

I suspect Chicho chose "Nightmare in Yellow" to adapt because he thought that it could be easily and cheaply done, because of its great twist ending, which fit the tone he intended for the series and, of course, because it was a delightful story. The episode can be viewed on YouTube. In the photo to the right, the two diamonds shown briefly in a corner after the title were used to display the rating of the program: one diamond meant that the show was appropriate for viewers over 14 years old, while two diamonds meant it was for viewers at least 18 years old. Historias para no dormir was for adults only!

Thirty years later, viewers were more visually sophisticated, and it took more to surprise them. The short film Esposados (1996) was almost certainly influenced by the 1966 TV show. Brown’s influence remains, however faint. The 24-minute film was written by Jesús Olmo and Juan Carlos Fresnadillo and fails to credit Fredric Brown or Chicho Ibáñez Serrador. Fresnadillo also directed the film, which was an instant success and which was nominated for an Academy Award. This short film, which was followed in 2001 by his first feature film, Intacto (2001), aroused the interest of the American film industry; Fresnadillo went on to direct 28 Weeks Later (2007) and Intruders (2011), among others.

Pedro Mari Sánchez in Esposados

IMDb calls the film Linked, but Esposados has additional meanings in Spanish: it can mean "married" (esposo and esposa are Spanish for husband and wife), but the main meaning is "handcuffed." Fresnadillo calls the film a "black story… a husband who wants to kill his wife and run away to Brazil with the money she won in the lottery."

The only elements of "Nightmare in Yellow" that remain in Esposados are a husband who wants to kill his wife, a celebration on the last day, and the surprise ending, here with an added twist. While El cumpleaños added sex and the lure of Brazil as motivating factors, Fresnadillo uses those bricks to construct a different building. He acknowledges these sources through the black and white cinematography, the music in the first scenes, a closeup of an eye as the film’s first shot, and even the mustache that Antonio, the husband, wears. Yet he constructs another kind of story. In El Cumpleaños, as in the short story, everything builds up to the final surprise. Esposados, on the other hand, takes its time telling a more complicated tale in a different way.

"Nightmare in Yellow"
was first published here

The characters, nameless in both short story and 1966 TV episode, are now named Antonio and Concha, and they are played by Pedro Mari Sánchez and Anabel Alonso, well-known actors in Spain. As a child, Pedro Mari Sánchez appeared in the TV series Mañana puede ser verdad and Historias para no dormir, both of which were produced by Chicho.

The wife, voiceless in El cumpleaños, becomes the dominant figure in the short film. The story is told visually and the minimal dialogue adds little to the understanding of the plot, as viewers not fluent in Spanish can confirm. Antonio and Concha are not the well-to-do couple of El cumpleaños but rather working-class people dreaming of a better life. The husband is unemployed and the wife works as a cashier in a supermarket. Despite its background of social realism, the short film features a series of episodes of cartoon violence; like Wile E. Coyote trying to catch the roadrunner, the man is trying to catch the woman’s savings. Then the quintessential Spanish dream of a better life comes true: winning the Christmas Lottery.

All social classes buy and share Christmas Lottery tickets; it is one of the biggest Christmas traditions in Spain. The draw is a media event that runs for hours and is broadcast, both on radio and TV, all over the country. In homes, bars, offices, and workshops, one hears the monotonous ditty sung by children as they read the numbers and the prize. When people win a big prize, they run to the Lottery Shop where they bought the ticket to open champagne or cider to celebrate with others. TV crews arrive to interview the winners, asking whether they have shared the ticket or kept it for themselves, and what they are going to spend the prize money on. These interviews are broadcast on prime-time television! When our couple’s turn comes, Concha answers that they are going to buy a house with a garden; Antonio wants to go to Brazil, to the beaches of Rio.

In the next scene, Antonio is dreaming of beaches and beautiful women--again the allure of sex--until Concha enters his dream. In Brown’s story and the TV version, the husband’s desire to kill his wife is separate from the way he gets the money. In Esposados, Antonio must kill his wife to get the money.

"Lo justo."

From here, the film closely follows the classic narration of the crime. The screenwriters enrich the plot with a new character, a recently retired policeman, and the nightmarish looks of suburbia help keep the events feeling like a dream. The two new elements help flesh out the final surprise and make it more resonant. This time, the story does not end with the guests yelling "surprise" as the husband opens the door; instead, the film ends by completing Antonio’s dream. Just before his wife dies and the sand engulfs her body, Antonio says, ¿Duele? ("It hurts?"), which is the same word his wife had spoken earlier in one of the sequences of cartoon violence when she burned his feet with an iron. She answers, "lo justo," which means "in the right measure," and I leave it to the reader to judge this ending.

Read "Nightmare in Yellow" here. Watch "El cumpleaños" here. Watch Esposados here.

Gabriel Cubillo was born in Spain and still lives there. He works as a computer programmer, has a degree in Spanish Literature, and is very interested in ancient history and archaeology. An avid reader of mystery and science fiction, Gabriel is a compulsive compiler of bibliographies and has a lifelong fascination with the life and work of Fredric Brown.

Sources:

CVC. Rinconete. Cine Y Television. El Terror En Casa: Historias Para No Dormir (1), Por Javier Moral., https://cvc.cervantes.es/el_rinconete/anteriores/septiembre_17/01092017_01.htm.

"El Cumpleaños (1966)." La Madraza - Centro De Cultura Contemporánea UGR, https://lamadraza.ugr.es/cine-y-audiovisual/el-cumpleanos-1966/.

IMDb, IMDb.com, https://www.imdb.com/.

Lady Filstrup (3ª Época), http://ladyfilstrup.blogspot.com/2008/07/rafael-navarro-o-el-empaque.html.

Mererlo, Alfonso. "Lo Fantástico En Los Albores De Televisión Española. Las Adaptaciones De Luis Peñafiel." Lo Fantástico En Los Albores De Televisión Española. Las Adaptaciones De Luis Peñafiel, http://desdetartessos.blogspot.com/2017/01/lo-fantastico-en-los-albores-de.html.

"Rafael Navarro - Ficha Eldoblaje.com." Doblaje, https://www.eldoblaje.com/datos/FichaActorDoblaje.asp?id=1876.

Virino, Concepción Cascajosa. "Narciso Ibáñez Serrador, an Early Pioneer of Transnational Television." Studies in Hispanic Cinemas, 27 May 2014, https://www.academia.edu/7118758/Narciso_Ib%C3%A1%C3%B1ez_Serrador_an_Early_Pioneer_of_Transnational_Television.

Wikipedia, Wikimedia Foundation, https://www.wikipedia.org/.

The Burglar Who Met Fredric Brown by Lawrence Block

It was around a quarter to five on a Wednesday afternoon in October when I marked my place in the Fredric Brown paperback I'd spent much of the day reading.

--opening sentence of The Burglar Who Met Fredric Brown by Lawrence Block

On October 18, 2022, Fredric Brown fans will be given a surprise present by Mystery Writers of America Grand Master Lawrence Block, when the twelfth novel in his series of books about the gentleman burglar/used bookstore owner/amateur sleuth Bernie Rhodenbarr is published! The book's title is The Burglar Who Met Fredric Brown, and it marks the welcome return of Block's character, whose last adventure was chronicled in 2013's The Burglar Who Counted the Spoons.

This time, Bernie is going about his business in New York City, lamenting the changes that have come about in his neighborhood and not selling very many books, when he goes to sleep one night after reading Brown's science fiction classic, What Mad Universe. In the morning, he begins to notice that things have changed in his world--not big things, necessarily, but things, such as the curious fact that his MetroCard, which he swipes to enter subway stations, is now called a SubwayCard.

He soon discovers that his best friend, Carolyn Kaiser, the spunky lesbian who owns a pet-grooming salon, is also aware of the changes in their beloved metropolis. Even more surprising are the feelings that she and Bernie begin to have for each other, feelings neither ever expected. Lawrence Block tells a breezy, humorous tale of crime and a changing world that is at once wistful and clear-eyed.

In the fragmented America of 2022, where people on both sides of the political spectrum find themselves wishing that things could return to the way they once were, it is delightful to read a well-told tale of what happens to two lovable characters when some of the things that they found themselves missing suddenly reappear in what seems to be a parallel universe.

Does the burglar actually meet Fredric Brown? I won't spoil the surprise for you--you'll have to read the book to find out! Rest assured that it's a fun journey and it's wonderful to see Fredric Brown's name in the title of a novel by one of today's most popular and respected mystery writers.

Pre-order The Burglar Who Met Fredric Brown here so you can get started reading it as soon as it is published on October 18th!

--Jack Seabrook

Fredric Brown on TV Part Eleven-I'll Cut Your Throat Again, Kathleen

by Jack Seabrook

Fredric Brown's fondness for clever titles is evident in "I'll Cut Your Throat Again, Kathleen," a story that he completed by January 21, 1947, and sold by February 21, 1947, for $140, according to his logbook. Published in the winter 1948 issue of Mystery Book Magazine, the story's title was a play on an old song called "I'll Take You Home Again, Kathleen," which had been recorded by Bing Crosby and released as a single in 1945.

The story features Johnny Marlin, a jazz musician, who is being kept in a private sanitarium after having cut first his wife's throat and then his own wrists. As the tale opens, Johnny is visited by an intern named Red, who helps Johnny piece together bits of his memory, recalling his career and his marriage to society girl Kathy Courteen. Johnny is examined by a panel of doctors and, when he recognizes band mate Tubby Hayes, he is allowed to go home.

Afraid to confront his wife, Johnny visits a bar with Tubby and is upset when he hears a recording of himself playing Mood Indigo, since his self-inflicted injury will prevent him from resuming his career as a musician. Johnny returns home and finds two straight razors in the bathroom cabinet; he pockets them with the intent of discarding them. Kathy rushes into his arms and expresses her excitement at the prospect of doing what she wants to do now that his band will no longer come between them. As St. James Infirmary plays on the phonograph, Johnny's memory returns and he realizes that he did not attack his wife or wound himself. Instead, he came home to find her with her throat cut and then he passed out. While he was unconscious, Kathy awoke and cut his wrists to end his music career, certain that he would awaken and think he had done it himself. In fact, her jealous brother had attacked her and fled.

When Kathy does not deny her crime, Johnny snaps, takes a razor from his pocket, and cuts her throat for the last time.

David Niven as Johnny Marlin

"I'll Cut Your Throat Again, Kathleen" is set in Chicago, where some of Brown's best work from the mid-1940s takes place (The Fabulous Clipjoint, The Screaming Mimi) and the author's interest in jazz is evident, as the main character is a jazz musician and jazz standards play at key moments in the story. Johnny Marlin grapples with insanity or the fear of it, something many other Brown protagonists struggle with. In her autobiography, Oh, for the Life of an Author's Wife (recently published in paperback and available here), Brown's wife Beth wrote that actor David Niven read the short story in the British magazine Argosy (where it was published in the February 1954 issue) and bought the rights to adapt it for television. Beth writes that it aired on Four Star Playhouse, but that is incorrect--it aired as an episode of The Star and the Story, a syndicated drama anthology series produced by Four Star Productions.

Joan Camden as Kathy

Founded in 1952 by Dick Powell, David Niven, Charles Boyer, and Joel McCrea, Four Star Productions was responsible for a number of television series in the 1950s and beyond. "I'll Cut Your Throat Again, Kathleen" was adapted under a new title, "The Thin Line" and, though online sources claim that it was the 19th episode of the second season of the series, the print available for viewing online lists it as the fifth episode of the first season. Even more curious are the comments by David Niven, who is both host and star, at the beginning of the show, since he seems to be introducing a new TV series, where the star selects the story. The copyright date at the end of the episode is 1954, suggesting that this episode could have been the pilot for the series.

The adaptation is excellent, for the most part, though it is not surprising that the TV show ends happily with a conclusion rather different than that on the printed page. In the first scene, Red visits Johnny in his room at the sanitarium and the conversation is similar to that in the story, with some lines of dialogue lifted from page to small screen. Johnny is self conscious about the scars on his wrists and keeps looking at them. He says that his parents were "poor but honest scholars" and that he comes from Boston, though there is no explanation for David Niven's British accent.

Herb Vigran as Smiley

In the scene that follows, a single doctor speaks to Johnny and Johnny does not have to figure out on his own that his band mate has entered the room and that the doctor is testing whether Johnny recognizes him; in the TV version, this bit of intelligence has been conveyed to Johnny by Red in the prior scene, using dialogue to give the viewer information that was provided through narrative in the story. In the story, Johnny sees a fat man and guesses that he is Tubby Hayes; in the show, he sees a man smiling broadly and guesses that he is Smiley Hayes.

Johnny and Smiley then go to a bar together, as in the story, but the TV version eliminates references to a band mate on heroin or to Kathy's brother. The teleplay is well-written: "Skip the improvisation, just give me the melody," says Johnny when Smiley begins to go into too much detail. Johnny wonders: "Who is this man in here? What is this thin line that divides me from him? How thin is it? Is it as thin as a tight rope and if I fall off do I fall on his side or my side?" Like the initial scene between Johnny and Red, this scene between Johnny and Smiley is well played, especially when Johnny nearly smashes the jukebox that plays one of his records.

At home, when Johnny embraces Kathy, he looks at her neck and remarks, "Just a thin line." Retitling the story "The Thin Line" is a clever choice, since the new title has multiple meanings. There is a thin line between the truth of what happened and the lie Kathy tells, a thin line between sanity and insanity, and the scars on Kathy's neck and Johnny's wrists are thin lines as well. The short story is an example of crime fiction, with references to drugs and a brutal if subtle conclusion. For television, the drug references are removed, the story is simplified by the removal of Kathy's brother, and the conclusion is completely altered.

Chuck Connors as Red

In the final scene, Kathy puts on a record that skips and triggers the return of Johnny's memory. He recalls that he came home and put on the same record; Kathy woke up, came out of her room, and "ripped the arm off the music." They argued about his music taking him away from her, then he blacked out and woke up to find his wrists and her throat had been cut. There is no mention of her brother trying to kill her or being high on heroin, as there is in Brown's story. In the TV version, Kathy argues at first but soon confesses. Instead of killing her, Johnny pities her. He wants her to tell the truth to the police, the newspapers, and his fans, but he relents, realizes that she is sick, and promises to help her. "You'll have to find your own way back," Johnny tells Kathy, "it might be easier if I walk with you."

"The Thin Line" is a faithful adaptation of Brown's short story, with minor changes along the way to remove elements unfit for television, and with a happy ending replacing the story's violent conclusion. I prefer the end of the short story to the sappy finale of the TV show, but it hardly detracts from what is a very good episode overall.

The teleplay is by Frederick Brady (1912-1961), who started out as an actor in film from 1943 to 1950 and then became a writer, scripting films from 1950 to 1953 and numerous TV episodes from 1954 until his death in 1961, including 14 episodes of The Star and the Story.

Directing this episode without much vigor is Roy Kellino (1912-1956), who was born Philip Roy Gislingham in London and whose father, W.P. Kellino, directed silent and early sound films. Roy Kellino worked as a cinematographer from 1935 to 1945 and began directing in 1937, moving into television in 1955 and directing nine episodes of The Star and the Story. He married actress Barbara Billingsley (of Leave it to Beaver) in 1953 and died of a heart attack in 1956.

Joseph Forte as Dr. Glasson

David Niven (1910-1983), who read the story and bought the rights, acts as both host and star of the show, playing Johnny Marlin. Born in London, Niven's screen career lasted from 1932 to 1983 and he was a major film star, appearing in movies such as The Bishop's Wife (1947), Around the World in 80 Days (1956), The Guns of Navarone (1961), The Pink Panther (1963), Casino Royale (1967), and Murder By Death (1976). He won a Best Actor Oscar for Separate Tables (1958) and was a regular in a TV series called The Rogues (1964-1965). This was his only appearance on The Star and the Story, though he did appear in 33 episodes of Four Star Playhouse, which may have been the source of Beth Brown's confusion about where this episode aired.

Johnny's wife Kathy is played by Joan Camden (1939-2000), whose performance is a bit wooden. Born Joan Louise Creears in Los Angeles, she was on screen from 1952 to 1963 and her last credits are a couple of episodes of The Outer Limits.

Dr. Glasson, who speaks to Johnny and lets him out of the sanitarium, is played by Joseph Forte (1893-1927), whose many credits from 1924-1962 include that of a doctor in the camp classic, Reefer Madness (1936).

Familiar face Herb Vigran (1910-1986) plays Smiley. Vigran has over 350 screen credits in a career that lasted from the early 1930s to the late 1980s. Perhaps he is best remembered today for his six appearances on The Adventures of Superman, playing characters with names like Legs Lemmy, Georgie Gleap, and Mugsy Maple.

The biggest casting surprise in "The Thin Line" comes in the opening scene, where none other than Chuck Connors (1921-1992) plays Red, the sanitarium intern. Born Kevin Connors in Brooklyn, he played Minor League baseball in the early 1940s, was on the championship Boston Celtics team in 1946, and had a brief stint as a Major Leaguer from 1949 to 1951 before becoming an actor. His screen career lasted from 1952 to 2001 and he starred in several TV series, but it was The Rifleman (1958-1963), a series produced by Four Star Productions, that made him famous. There is a website all about him here.

"The Thin Line" is available for online streaming purchase here and is well worth a look.

Sources:

Brown, Elizabeth Charlier. Oh, for the Life of an Author's Wife. Booklocker.com, 2017.

Brown, Fredric. “I'll Cut Your Throat Again, Kathleen.” Carnival of Crime: The Best Mystery Stories of Fredric Brown, Southern Illinois University Press, 1985, pp. 146–163.

The FictionMags Index. 10 July 2018, www.philsp.com/homeville/FMI/0start.htm.

IMDb, IMDb.com, 10 July 2018, www.imdb.com/.

Seabrook, Jack. Martians and Misplaced Clues: the Life and Work of Fredric Brown. Bowling Green State University Popular Press, 1993.

Stephensen-Payne, Phil. Galactic Central, 10 July 2018, philsp.com/.

“The Thin Line.” The Star and the Story, 17 Mar. 1956.

Wikipedia, Wikimedia Foundation, 10 July 2018, www.wikipedia.org/.

A new Fredric Brown memoir has been published!

Oh, for the Life of an Author's Wife, a memoir written by Elizabeth Brown in the late 1950s about her life with mystery and science fiction author Fredric Brown, has just been published by Chad Calkins. A portion of the book was published in Dennis McMillan's limited edition volume, Happy Endings, in 1990, but this is the first time the entire book has been published. The book includes three rare photographs of the Browns.

From the back cover:

Fredric Brown (1906-1972) was the author of many classic mystery and science fiction short stories and novels, such as The Screaming Mimi, Night of the Jabberwock, and What Mad Universe. His work has been adapted for such television shows as Alfred Hitchcock Presents, The Outer Limits, and Star Trek.

In this entertaining memoir by his second wife, Elizabeth Charlier Brown (1902-1986), Brown’s life as a Bohemian writer for about a decade, beginning in the late 1940s, is detailed, and Ms. Brown tells many humorous and fascinating stories about her husband and their time together. The Browns met many famous writers while living in cities from New York to California and Ms. Brown writes about her husband’s unusual methods of developing his complex and zany stories.

Oh, for the Life of an Author’s Wife is published here in its entirety for the first time and is an important addition to the growing study of Fredric Brown, as well as to the popular subject of classic American mystery and science fiction literature in general.

The book is available on Amazon here.

Fredric Brown on TV Part Ten-The Deep End

by Jack Seabrook

In 2011, I wrote a series called "Fredric Brown on TV" that examined TV shows written by or based upon works by the author. An index to that series may be found here. In the ensuing six years, more classic TV shows based on Brown's writing have come to light and become available online, so I decided to pick up where I left off and add occasional posts examining more of Brown's television work.

"The Deep End" has been found and is available on DVD here or may be viewed for free online here. It is based on Brown's 1952 novel of the same name; the novel, in turn, is based on a 20,000-word novelet titled "Obit for Obie" that was written in early 1945 and first published in the October 1946 issue of the digest, Mystery Book Magazine.

Obit for Obie is one of Brown's best novelets. Narrated by reporter Joe Stacy of the Herald newspaper, the story begins as he is assigned to write a human interest story about 16-year-old Henry "Obie" Westphal, a local high school sports hero who was "just killed on the roller coaster at Whitewater Beach." Joe writes the obit but has to put it in a drawer when it turns out the boy who was killed was not Obie after all but rather a boy named Jimmy Chojnacki, who had stolen Obie's wallet. Suspicious of how a boy could be on the tracks of the roller coaster and not hear it coming, Joe cancels his week's fishing vacation and stays home to investigate the death while his wife Millie is away visiting family for a week.

Joe's investigation leads him to question Pete Brenner, a friend of Jimmy Chojnacki's, and to visit former flame Nina Carberry, who tells him about a series of fatal accidents at the high school attended by the boys. Gradually, over the course of a week, Joe begins to suspect that Obie Westphal, a "bronzed young giant," is actually a serial murderer who hides his evil deeds behind the mask of an All-American teenager. As Joe closes in on the truth, he nearly becomes Obie's next victim, as the boy sets a typewriter at the top of the stairs inside Joe's house in the middle of the night and nearly causes Joe to trip and fall.

Joe observes Obie twice head out of his home after dark and walk to the railroad jungles at the edge of town. Enlisting the aid of Pete Brenner, who had followed Joe menacingly in his hot rod on a couple of occasions, Joe follows Obie to the freight yards and is nearly killed when Obie reverts to his true form and tries to push Joe off of the top of a railroad car to his death. Only timely intervention by Pete, who hits Obie over the head with a lead pipe and causes the killer's demise beneath the wheels of a railroad car, saves Joe from becoming another victim. In the end, Joe is back at work at the Herald on Monday morning, and he is able to use the "obit for Obie" that he had written the week before. All he has to do is change a few words to report the boy's death under the wheels of a railroad car instead of a roller coaster car.

"Obit for Obie" runs 40 pages in its original digest appearance and is a perfect story, fast-moving and taut, with strong plotting, suspense, and action. Fredric Brown decided to expand and revise his novelet in 1951 and the resulting novel, The Deep End, was published on December 1, 1952. It is one of his best novels of suspense. To turn a novelet into a novel, Brown made many changes, both small and large. The narrator and main character's name is changed from Joe Stacy to Sam Evans, and as the novel begins he and his wife Millie are having marital problems, something that was absent from the novelet. Millie goes away for a week to see if the marriage can be saved and, while she is away, Sam has a torrid affair with Nina Carberry, something else that does not occur in the novelet.

Evans in the newsroom

Another important change involves Obie's younger sister. In the novelet, she had been crippled when she fell from a tree as a child and Obie's father suspected that Obie may have pushed her. In the novel, she died in the fall and Brown delves deep into a psychological analysis of the reasons for Obie's becoming a serial killer; Sam is never sure if Obie's father's suspicions of the boy drove the young man to become a killer. There is quite a bit of sex between Sam and Nina in the novel and late in the story Sam betrays Nina's trust by reading her private diary and learning that she had an affair with Obie herself. At the end of the book, Sam survives the ordeal and realizes that he loves his wife.

Brown's novel was sold several years after publication to a TV series called Wire Service that ran on ABC during the 1956-57 TV season and featured three stars, each appearing in about one-third of the 37 episodes produced, playing reporters for the Trans-Globe Wire Service of the title. One of the three lead characters was named Dean Evans, and it may have been a coincidence that he took the role of the character who had been known as Sam Evans in Brown's novel. In any case, The Deep End was tailor-made for a TV series that revolved around reporters; it is too bad that none of Brown's other great novels about journalists, such as The Screaming Mimi or Night of the Jabberwock, were similarly adapted.

Margaret Hayes as Mary Carberry

"The Deep End" aired on December 13, 1956, and a comparison of the TV show to the novelet and the novel shows that it was adapted from the book version of the story. Like the book, the TV show is narrated by Evans, who drives into the town of Riverdale as the show opens. He has been assigned to write the story of Johnny Westrup, as Obie Westphal has been renamed, a young man who "fell out of the press box at the Riverdale Junior College Stadium." Already we see that Obie has been made a few years older and is in junior college rather than high school, and the accident site has been changed from an amusement park to a football stadium. Of course, a novel does not have the same requirement as a TV show to have a surprise occur right before each commercial break, but in "The Deep End" that is exactly what happens: Evans is working on Johnny's obituary when Johnny walks through the door of the newspaper office and identifies himself.

As the show progresses, the writer of the teleplay finds a way to work in the character of Nina Carberry, renamed Mary, who is so important in the novel. This is accomplished by Evans remarking that he had been in Riverdale a few years before to cover an earthquake and that he had met Mary at that time. Now that he is back in town to write the story of the supposedly dead football star, he wants to look up Mary once again. In the book, high schooler Pete Brenner drives a jalopy and follows Evans a couple of times when the reporter does not know who he is. For the TV show, the detail of the car driven by the young man is retained, but here is is Johnny Westrup who drives it, and it is a souped-up hot rod with a large wolf's head mounted on the engine.

Larry Pennell as Johnny Westrup

Johnny identifies the body at the morgue as that of Steve Vittori (Jimmy Chojnacki in the book) and Mr. Westrup behaves strangely when he arrives and sees that his son is not dead. Evans gets a feeling that Johnny is too good to be true, but this seems like a mental leap without a strong foundation. Evans leaves his car to be serviced at a gas station in town and the attendant is a stand in for the Pete Brenner character of the book, though he does not have as big a role and simply answers some of the reporter's questions about Johnny. From the gas station, Evans walks to Mary Carberry's house and knocks on the door. They are flirtatious right away but, of course, there is no sex and they just seem like two old friends who are reconnecting. Mary fills Evans in on the fatal accidents at the junior college and tells him that one of the victims had been her roommate and that someone had paid for her funeral anonymously. A brown envelope with a typed note and $1000 was left leaning against her door; in another suspenseful "sting" leading into a commercial break, Evans and Mary see another brown envelope leaning against a door, clearly meant as another anonymous payment for the funeral of a victim of a fatal accident.

In the next act, Evans continues his investigation with Mary's help and there is a very subtle hint of a possible sexual relationship between them when Mary invites him to dinner and he says no, telling her that "if I stayed in Riverdale I wouldn't get a wink of sleep." He explains that he would be thinking about the mysterious brown envelopes, but the inference is there that he really meant that he would be up all night with Mary. Evans does end up staying for dinner at Mary's house, after which they drive to the junior college and walk the dark, empty halls. Evans asks Mary to check the records of the fatal accidents and we see that Johnny's hot rod is parked outside the school.

George Brent as Evans

Mary looks through files in the school's office while Evans goes to see the press box that was the site of the latest fall; there is a moody, reverse tracking shot of him walking alone down the long hallway, his footsteps echoing as he narrates in voice over and comments on the "dark corners and ominous shadows." Out on the football field, Evans sees that Johnny Westrup is in his football uniform and practicing by himself; in voice over, Evans compares Johnny to a bull in Mexico. Evans climbs up the stands to inspect the press box and, when he comes back down, Johnny tackles a hanging bag so hard that he breaks the frame on which it hangs. This serves as the rise in action that leads into the next commercial break and establishes that Johnny is strong and violent.

The second half of the TV show veers farthest from Fredric Brown's novel. Dean speaks to Johnny on the football field and tricks him into admitting that his father left the brown envelopes anonymously to pay for the funerals. Dean goes back to the office and shares his suspicions about Johnny with Mary. That night, Dean remarks in voice over that "I had a date with a tiger," a line taken directly from Brown's book. He waits outside the Westrup house and speaks to Johnny's father while Johnny lurks in the shadows of the porch. Johnny gets in his hot rod and Evans follows him by car; in voice over, Evans compares Johnny to "a predatory animal on the prowl in the jungle" and there is a close up of the wolf's head on the front of Johnny's car engine. The last commercial break occurs as Dean loses track of Johnny, who has sped off in his hot rod.

Johnny's car

In the final act, the delicate plotting of Brown's novel is cast aside for TV tropes, as Johnny's car begins to chase Dean's car through the streets of Riverdale. Johnny's car drives straight at Dean's, running it off the road and forcing Evans to attempt to escape on foot, pursued by the fleet football star. They end up back at the football field and Evans thinks of himself as "a sheep led to the slaughter." Johnny tries to get Evans to turn around so that he can break his back with a tackle; Johnny admits to the string of murders but claims that his father's suspicions were what turned him into a killer. Johnny chases Dean up through the stands and into the press box, but when the young man rushes at the reporter the older man steps aside and the younger man falls to his death from the press box. The show ends as does the novel, with Evans back in the newsroom completing his obituary with minimal changes.

"The Deep End" is an interesting adaptation of a great suspense novel, but the combination of budgetary restrictions, censorship, and a limited running time make it less effective than it could have been. The locations of the amusement park and the freight yards that play key roles in the book are gone, replaced by a rather mundane junior college football stadium. The characters are all older, from Johnny, who is now in junior college and who is played by a 28-year-old actor, to Evans, who is now a globe-trotting reporter for a wire service rather than a reporter for the local town newspaper. He is played by a 54-year-old actor who looks older. Mary is played by a 40-year-old actress who also seems older than her real age; perhaps she was made to look this way to minimize the age difference between her and the actor playing Evans. There is some of the psychological discussion found in the novel, but the fact that Evans comes from out of town to write this story and then suspects that something is wrong and stays on to investigate it does not seem credible.

The final chase at night

Most problematic is the final chase scene and the slightly ridiculous way in which Johnny attempts to kill Evans, first on the football field and then in the press box above it; the final rush and fall to his death seem uncharacteristic for a young sports hero. The direction of the show is pedestrian, save the tracking shot in the school hallway and some effective shots of the wolf's head on Johnny's car. In all, "The Deep End" is a disappointing adaptation of a strong book, more a curiosity than an example of classic TV from the mid-fifties.

The teleplay is by James Edmiston (1912-1959), who had a brief career writing for TV and film from 1952 to 1959 before his untimely death. He wrote two episodes of Wire Service and he also wrote a book titled Home Again (1955) about a Japanese-American family's experiences during WWII.

Johnny shows his true colors

Directing "The Deep End" is Tom Gries (1922-1977), who wrote for TV and film from the 1950s to the 1970s and who also directed for the big and small screens. He directed three episodes of Wire Service as well as four episodes of Batman and the 1976 TV movie about Charles Manson, Helter Skelter. He created the TV series The Rat Patrol, which ran from 1966 to 1968.

George Brent (1904-1979) was a Hollywood star nearing the end of his career when he played the lead role of Dean Evans. Born in Ireland as George Nolan, he was a member of the IRA during the Irish War of Independence (1919-1922) and fled the country with a bounty on his head. He came to the United States, where he became an actor on stage and then on film, with many starring roles from 1930 to 1953; among his films were 42nd Street (1933), Dark Victory (1939), and The Spiral Staircase (1946). The last part of his career was on TV, where he appeared on various shows from 1953 to 1960.

Mary Carberry, Dean Evans's female friend, is played by Margaret Hayes (1916-1977), who was born Flora Regina Ottenheimer. She acted in films from 1940 to 1962, including roles in Sullivan's Travels (1941), Alfred Hitchcock's Saboteur (1942), and The Blackboard Jungle (1955); she also played parts on TV from 1946 to 1964.

Robert Carson

Following a six-year career as a minor league baseball player for an affiliate of the Boston Braves (1948-1954), Larry Pennell began acting in films in 1955 and added TV in 1956. He appeared on Thriller and The Outer Limits and starred on Ripcord (1961-1963); his last film credit was in 2011. He does an adequate job of playing Johnny Westrup, though he is too old to play a character in junior college.

Most notable among the other players are Robert Carson (1909-1979), a very familiar face who played countless policemen, judges, wardens, and military men in film and on TV during a long career that spanned the years from 1939 to 1974. He was on the Hitchcock show 11 times and he also was seen on two episodes of Thriller.

Finally, the role of Bob, the gas station attendant, is played by none other than Edward Byrnes 

Edward Byrnes

(1933- ), the only member of the show's cast who is still alive. He was born Edward Byrne Breitenberger and had a long career, mostly on TV, from 1956 to 1999--this is only his second credit listed. He played "Kookie" on the TV series 77 Sunset Strip and was a teen idol for a short time; this clip, of him lip-syncing with Connie Stevens to his hit single, "Kookie, Kookie, Lend me Your Comb," demonstrates a level of hysteria among female fans that predated Beatlemania by several years.

"The Deep End" is one of what appear to be 21 of 37 episodes of Wire Service that survived and were discovered several years ago after having been thought to have been lost.

Sources:

Brown, Fredric. The Deep End. Garland, 1983.

Brown, Fredric. “Obit for Obie.” Mystery Book Magazine, Oct. 1946, pp. 89–128.

“The Deep End.” Wire Service, season 1, episode 11, 13 Dec. 1956.

IMDb, IMDb.com, 3 Dec. 2017, www.imdb.com.

Seabrook, Jack. Martians and Misplaced Clues: the Life and Work of Fredric Brown. Bowling Green State University Popular Press, 1993.

Wikipedia, Wikimedia Foundation, 3 Dec. 2017, www.wikipedia.org.

The Hitchcock Project--An Introduction

by Jack Seabrook

Alfred Hitchcock Presents and The Alfred Hitchcock Hour ran for ten seasons on CBS and NBC from 1955 to 1965. I was born in 1963 and was thus too young to see it or even be aware of it on its first run. I was also too young to see Hitchcock's Frenzy when it was released in 1972, so my first exposure to a Hitchcock film was his last, Family Plot, which came out in 1976. At some point around that time I discovered reruns of Alfred Hitchcock Presents on local New York TV stations, and I was hooked right away.

Star Trek fans were probably the first to compile and publish detailed episode guides to a TV series, but I first encountered such guides in Don Rosa's Information Center, a regular column that ran in the fanzine, Rocket's Blast Comic Collector (RBCC), beginning in the mid-1970s. These were followed by Gary Gerani's book, Fantastic Television, which was released in 1977. I bought that book and wore it out, combing through the pages and checking off episodes I had seen. As good as Gerani's book was, it was missing one thing--an episode guide to Alfred Hitchcock Presents and The Alfred Hitchcock Hour. Undaunted, I began to compile one. I spent hours after school in the public library, poring over microfilm rolls of the New York Times TV listings to collect details about the series. On weekends, I took the train to New York City, where I became a regular visitor to the Lincoln Center Library of the Performing Arts, home to a bound collection of old TV Guides, which provided more details about the shows. One Saturday, as I sat flipping through TV Guide volumes taking notes, Tony Randall sat down across from me and Jerry Stiller sat down next to me. They were there to do research of their own.

It was there that I discovered what I think was the first attempt to study the Hitchcock TV show in a scholarly fashion: an article from the fall 1971 issue of Cinema called "The Television Films of Alfred Hitchcock." This article only discussed the episodes directed by Hitchcock himself. Much to my dismay, the RBCC began to publish an episode guide to the Hitchcock series in 1978 ("based on data submitted by Bob Reed"). I had corresponded with Don Rosa about my intention to complete such a project, and he was kind enough to telephone me about it. I have never forgotten that phone call from someone I greatly respected and who would go on to become a well-known creator of comics himself.

After the initial disappointment of the RBCC episode guide, I decided to continue my work with the intention of publishing a book on the TV series. In the late '70s and early '80s, Alfred Hitchcock Presents could be seen in the middle of the night on New York stations. I would try to stay up, usually falling asleep at some point during The Tonight Show, or else I would set my alarm for 2:30 A.M. On the rare occasions when I actually managed to wake up and turn on my TV, I saw classic episodes like "The Dangerous People" and "A Night With the Boys."

By the early 1980s, publications such as Rod Serling's The Twilight Zone Magazine had begun to publish more detailed episode guides of series like The Twilight Zone, and books ("companions") about specific shows began to appear. Marc Scott Zicree's The Twilight Zone Companion and David J. Schow's The Outer Limits: The Official Companion were favorite examples. I made a trip into the CBS offices in New York City, where I was given access to their old microfilm files on the Hitchcock series but, once again, I was "scooped" when John McCarty and Brian Kelleher's book, Alfred Hitchcock Presents: An Illustrated Guide to the Ten-Year Television Career of the Master of Suspense, was published in 1985, with a foreword by Robert Bloch.

McCarty and Kelleher's book led me to discard all of the notes on the series that I had compiled over the years. Their volume was a great resource; it lacked air dates and detailed credits and occasionally got plot details wrong, but it was the only place that collected so much information about the series and it made for a very handy checklist. On television, Alfred Hitchcock Presents returned, first on NBC and later on USA, with new episodes that ran on and off from 1985 through 1989. The series used colorized versions of the Hitchcock introductions from the original series and featured new versions of old episodes interspersed with original stories.

My hopes for writing a book on the Hitchcock show appeared dashed but my love for the series continued unabated. My wife and I married in 1988 and moved into an apartment where we spent most nights watching The Alfred Hitchcock Hour in reruns on the USA network. In the 1990s, Alfred Hitchcock Presents began to turn up here and there on emerging cable networks such as Nick at Nite and TV Land. I watched the occasional episode, such as "The Contest for Aaron Gold," but these runs seemed always to start with season one and rerun the same bunch of shows, petering out before reaching the later--and less familiar--seasons.

In 2001, The Alfred Hitchcock Presents Companion by Martin Grams Jr. and Patrik Wikstrom was published, with a foreword by Patricia Hitchcock. Despite receiving mixed reviews, this massive tome contains more information on the Hitchcock series in one place than any other source and is much more detailed than the 1985 book that preceded it. The most exciting development regarding Alfred Hitchcock Presents occurred in 2005, when Universal released season one on DVD. I am sure I was not the only Hitchcock fan who thought his dreams had come true! After decades of watching the shows on TV in syndicated reruns, I could at last possess all 39 episodes of the 1955-1956 season, to watch and treasure at leisure. The production of this first set was not perfect, since they were burned on two-sided DVDs that sometimes caused problems with quality (my copy of "Breakdown" does just that), but it was a thrill nonetheless, made more exciting by the prospect of future releases of the rest of the series.

In subsequent years, seasons two (2006) and three (2007) were released annually, just in time for Christmas. Then the delays began. It took two years for season four to come out (2009) and over two years for season five to appear (early 2012) Each series was a thrill to see, and I can only hope that the rest of the ten seasons will be released in time.

In the meantime, I had been writing about popular culture. My first book, Martians and Misplaced Clues: The Life and Work of Fredric Brown, came out in 1993, and my third, Stealing Through Time: On the Writings of Jack Finney, was published in 2006. In late 2010, I stumbled across the blog, A Thriller a Day, while looking for online reviews of the TV series Thriller, which was just then being released on DVD. I began following the blog and commenting, and this led to an invitation from Peter Enfantino, one of the authors, to write for another blog, bare bones e-zine. I began with a series of articles on Fredric Brown, supplementing my book with material I had uncovered in the years since it was first published. This led to my first series on classic TV, Fredric Brown on TV, which included Brown's work for Alfred Hitchcock Presents along with other series where his stories had been adapted.

When this series ended, I began a series called Robert Bloch on TV, which focused solely on that author's work as shown on the Hitchcock series. By this time, I had discovered that episodes that were unavailable on commercial DVDs could often be found online on channels such as Hulu or You Tube, placed there by fans. I also discovered that the final five seasons of the Hitchcock series were available from other fans on DVDs whose quality was not up to the Universal standard, but whose rarity made them irresistible.

As the Bloch series continued, I decided that I would finally fulfill a lifelong dream and write about the entire ten-year Hitchcock series, dividing it up not chronologically but rather by subject, whether it be by author or by another creative personality. Bloch was followed by a series on William Shatner's appearances on the show (Shatner Meets Hitchcock), then by a series on the Ray Bradbury episodes (Ray Bradbury on TV) and, most recently, by a series on the John Collier episodes (John Collier on TV). Along the way, I made a few decisions.

1. Enough has been written about the introductions by Alfred Hitchcock. The 2001 Companion transcribed all of Hitchcock's introductions, following the trend set by Zicree back in 1982. Yet next to nothing had been written discussing the actual episodes themselves in detail. I determined to focus on the stories rather than the frames.

2. Detailed cast and crew information is easily available on sites like imdb. I chose not to include detailed credits in my articles, instead focusing on important or interesting contributions and giving background on creative talents of interest.

3. Pictures are important. I chose to illustrate each article with a combination of magazine or book covers and screen grabs from the DVDs themselves. I am confident that this represents a fair use exception to any copyrights that exist. The website Galactic Central is an excellent source for old magazine covers.

4. Title cards are not necessary. After reproducing title cards for my first several articles, I gave up the practice because I don't think it adds anything to the analysis and is visually dull.

5. Links are useful. Whenever possible, I include links to a source to purchase a DVD of the episode being discussed or a place to view it online. This allows interested readers to watch the episode that inspired each article.

6. Read the stories or the books. In preparation for each article, I track down and read the short story or book from which the episode was adapted. This allows for a comparison with the filmed episode.

Now that I am committed to doing the entire series, I have decided to change the umbrella title for these articles to The Hitchcock Project. Articles will appear every other Thursday on the bare bones e-zine website for many years to come, as long as the site remains viable and I remain conscious, until every episode has been discussed. When it is all over, I hope to collect the articles into a book, either paper or an e-book. I offer sincere thanks to Peter Enfantino and John Scoleri, founders of bare bones, for providing a place to publish this work, and to everyone who reads and/or comments on the articles. Suggestions for topics are welcome. Henry Slesar, surely the most prolific writer on the series, will be profiled next, in a group of articles that will take about two years to complete.

Every so often I will update the episode guide, which begins below. I will provide links to the articles I have written on each episode in order of their network airing. The episodes will be coded with two numbers, the first representing the season aired, the second representing the order within that season (for example, the first episode of season one is coded 1.1, etc.). Happy reading!

8/29/22: An updated list of episodes discussed is here.