THE STORIES: Sorry, Wrong Number. A mystery thriller; the tale of a neurotic invalid, whose only contact with the outside world is her phone. Over it, one night, because of a crossed wire, she hears plans for a murder, which turns out to be her own. Her frantic efforts to enlist help through the only means at her disposal, her growing terror, and the hints about her own life and personality she lets drop, make this a full character portrait not only of herself but of the unseen murderer, whose identity and motivations are surmised but never revealed. A tour de force for the female star, who commands the stage throughout, this play also picks up through the many phone calls, personality vignettes of the outside world, including gangsters, phone operators, a police sergeant, etc., each of which is distinct and of vital importance to the storyline. The play has been adapted by the author for an easy stage presentation, which should be as telling as the original radio version, although both have been made available in this present printing. (3 men, 4 women, extras, voices, etc.)
The Hitch-Hiker. A ghost thriller; this story has the quality of an anecdote out of American folklore, drawing as it does on the local color and place-names of the United States. It is the tale of Ronald Adams, an average motorist, who sets out to drive from Brooklyn to California, and early on his journey encounters a strange and inexplicable hitch-hiker. His efforts to explain, then avoid, and finally destroy the constantly appearing figure along the highway carry him through several episodes and many states until the adventure finally culminates in an amazing and terrifying climax in New Mexico. The play, like good ghost stories, hovers between reality and unreality. Its mood of deepening horror makes it a fine display piece for a young male actor, and, at the same time, its dashes of local color, its episodic bits of human reality give opportunities for strong acting among the supporting players. (4 men, 8 women, extras, voices, etc.)
