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"Sorry, Right Number"
Short story by Stephen King
CountryUnited States
LanguageEnglish
GenresScience fiction, Drama
Publication
Published inTales from the Darkside (1st release),
Nightmares & Dreamscapes
Publication typeTelevision show (Aired: November 22, 1987)[1]
Media typeTV & Print (Paperback)

"Sorry, Right Number" is a teleplay written by author Stephen King for an episode of the horror anthology series Tales from the Darkside. It is the ninth episode of the fourth season. It was later included in King's 1993 short story collection Nightmares & Dreamscapes, and is the only such work that King has included in any of his anthologies.[2] It appears in script format, and begins with an authors' guide for screenplays and abbreviations.

The Tales from the Darkside episode originally aired in 1987, and starred Deborah Harmon and Arthur Taxier as Katie and Bill Weiderman, with Rhonda Dotson as Katie's sister Dawn and Katherine Britton, Brandon Stewart and Nicole Huntington as the Weiderman children. It was later produced as a short film in 2005, directed and adapted by Brian Berkowitz. The cast included Darrin Stevens, Karla Droege, Michael Brady, Kimberly D'Armond, Karoline Striplin, and Barbara Weetman.

The title plays on the title of the radio play and film Sorry, Wrong Number.

Plot summary

[edit]

Katie Weiderman is talking to her sister on the phone one night. Her husband, Bill, a famous horror novel writer, is in his study trying to find inspiration for a new novel. Her children are arguing about whether or not to watch Spider's Kiss, a gory TV adaptation of Bill's earlier novel.

Katie receives a second phone call. The incoming call is a sobbing and traumatized caller who sputters, "Take... please take..." before the line goes dead. Katie immediately assumes the call came from her daughter Polly, who is away at boarding school, but a call to Polly proves otherwise. Katie also rules out her mother, but she cannot reach her sister Dawn. Katie and Bill rush over to Dawn's house; despite the appearance of forced entry, Dawn is all right and did not call. Assuming that someone must have dialed the wrong number, Katie forgets about the call. That night, Katie finds her husband slumped in his chair, dead from a heart attack. The story then jumps forward in time to Polly's wedding day, ten years to the day after Bill's death. Katie has remarried, but she still misses Bill. On the anniversary of Bill's death, Katie is in Bill's old office and she finds an old VHS tape of Spider's Kiss and puts it into the player. She is immediately overcome with grief as she recalls the events of ten years past. Dazed, she grabs the phone and dials her old phone number. She is startled when the phone is answered by herself ten years previously. She tries to warn her younger self of the tragedy that is about to happen, and tries to say, "Take him to the hospital! If you want him to live, take him to the hospital! He's going to have a heart attack!" In her state of shock, she is only able to say, "Take... please take...," before the line goes dead. She realizes the truth of what happened that night, and the episode ends with Katie sobbing over her lost opportunity to save her husband and a close-up shot of the ominous-looking telephone.[1]

Release

[edit]

The episode is available on VHS as part of volume 4 of the Tales from the Darkside compilation,[3] as well as part of the complete collection released on DVD on October 19, 2010.[4]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Sorry, Right Number

View on Grokipedia
from Grokipedia
"Sorry, Right Number" is a teleplay written by American author , originally produced as the of the fourth and final of the horror television series Tales from the . Directed by and starring Deborah Harmon as Weiderman and as her Bill, the 30-minute centers on a successful horror novelist's who receives a mysterious, panicked phone call from an unknown woman pleading for help, setting off a desperate chain of events to avert an impending tragedy. The story explores themes of fate, regret, and the supernatural through a time-bending twist involving the call's true origin. First broadcast on CBS on November 22, 1987, the episode was King's second contribution to Tales from the Darkside, following his 1986 script "," and it marked one of his early forays into television writing during a period when he was increasingly adapting his works for the screen. Produced by Laurel , it features supporting by Rhonda Dotson, Britton, and others, with Rubinstein's underscoring the eerie atmosphere. The teleplay received positive reception for its clever plotting and emotional depth, earning a 7.0/10 rating on IMDb from 361 user votes as of November 2025, though some critics noted its pacing as deliberately slow to build tension. The script was later published in print form as a novelette in King's Nightmares & Dreamscapes: From the Stories of Stephen King, where it appears alongside 19 other tales, an , and a poem, solidifying its place in his of horror and . An audio featuring a full-cast dramatization was released in 2009 as part of the audiobook Sorry, Right Number and Other Stories, with narrations by Stephen King, Joe Mantegna, Joe Morton, and others, further extending its reach to King's auditory audience.

Overview

Episode details

"Sorry, Right Number" is the ninth episode of the fourth and final season of the anthology horror series Tales from the Darkside. It originally aired on November 22, 1987, via syndication. The episode has a running time of approximately 22 minutes. The teleplay was written by Stephen King. It was directed by John Harrison, who was credited under the pseudonym John Sutherland. George A. Romero served as an executive producer for the series. Key crew members included cinematographer Joseph D. Urbanczyk and composer Ken Lauber for the episode's score, with Donald Rubinstein providing the series' theme music. As part of the final season of Tales from the Darkside, the episode represents one of Stephen King's contributions to the anthology format on television.

Series context

Tales from the Darkside is an American anthology horror television series that aired from to , created by filmmaker and syndicated across various . The show featured standalone episodes of short stories in genres including horror, , and fantasy, often concluding with unexpected twists and , drawing inspiration from anthology formats like . Produced on a modest , it emphasized atmospheric and elements, running for four seasons with 89 episodes plus a pilot. The series marked one of the early television contributions from author Stephen King, who penned the teleplay for "Sorry, Right Number" as an original story for its fourth and final season. This episode was King's second involvement with Tales from the Darkside, following the adaptation of his short story "Word Processor of the Gods" in the first season. During the 1980s, King increasingly explored television as a medium for his work, alongside his prolific output of novels and film adaptations, reflecting his broadening influence in adapting horror narratives for the small screen. Produced by Laurel Entertainment—co-founded by and —the series was overseen by Romero as , who prioritized low-budget productions that delivered chilling, twist-driven tales with ethical dilemmas. "," which aired on , 1987, appeared midway through , leveraging King's established in horror to contribute to the show's legacy during its concluding year. In the broader historical context of 1980s television, Tales from the Darkside emerged amid a resurgence of horror anthology programming, competing with revivals like the 1985–1989 iteration of The Twilight Zone. This era saw a boom in syndicated genre shows that catered to audiences' appetite for episodic supernatural suspense, filling a niche for accessible, self-contained frights outside prime-time network slots.

Plot

Summary

"Sorry, Right Number" is the of the fourth of the horror series , written as an original teleplay by . The story centers on Katie Weiderman, a devoted and , who receives a frantic wrong-number phone call from a distressed woman pleading for help. This unsettling incident marks the beginning of a series of mysterious calls that disrupt her life and draw in her family, including her husband Bill, a successful horror novelist; her sisters Lois and Dawn, who provide emotional support; and her older daughter Polly and younger children Jeff and Connie. As the calls continue, Katie becomes increasingly determined to identify the caller and assist them, leading to heightened tension within the Weiderman household. The family's dynamics are tested under the growing stress, blending everyday domestic concerns with an escalating sense of foreboding. The narrative builds toward a climactic revelation that ties the events together, maintaining a tone of suspenseful family drama infused with supernatural elements. The episode follows the standard Tales from the Darkside anthology format, opening with narration by Paul Sparer to set a chilling atmosphere and concluding with a wrap-up moral reflection.

Structure and twists

The episode "Sorry, Right Number" employs a three-act structure that begins with the setup of an enigmatic late-night phone call received by protagonist Katie Weiderman, establishing domestic normalcy disrupted by supernatural intrusion. This initial act introduces the recurring motif of the telephone as a conduit for dread, with the garbled, desperate plea from an unidentified female voice creating immediate unease without overt explanation. The second act builds rising tension through repeated attempts to trace the call's origin, interweaving family interactions and subtle foreshadowing of tragedy, such as Katie's growing anxiety over her husband Bill's health, which spans years to heighten emotional stakes. The resolution in the third act delivers a time-manipulated payoff, revealing the call's true nature and forcing a confrontation with inevitability. Central to the narrative are several key twists that pivot on temporal displacement and personal revelation. The primary twist discloses that the distressed caller is Katie herself from the future, attempting to avert her husband's fatal heart attack by warning her past self. This introduces a cyclical time loop element, where the event's foreknowledge paradoxically ensures its occurrence, underscoring themes of futile intervention and regret. The emotional payoff culminates in Katie's heartbroken realization five years later, on the anniversary of Bill's death and Polly's wedding day, transforming the mystery into a poignant meditation on loss, with the loop closing as she makes the very call that started the story. Pacing is meticulously controlled within the episode's approximately 22-minute runtime, relying on the telephone's ring as a suspense-building motif to punctuate scenes and propel the narrative forward. The slow, contemplative build in the early acts uses dialogue-driven family moments to foster realism and dread through suggestion rather than action, escalating to concise, rapid reveals in the finale that avoid drawn-out exposition. This technique forces economical storytelling, mirroring the constraints of anthology television while amplifying psychological tension via auditory cues like voice distortion and echoing pleas. The episode's echoes King's characteristic short-story style, particularly in its deployment of everyday objects—like the phone—for twists, akin to time-bending narratives in works such as "The Langoliers," but adapted concisely for television's visual medium. King's teleplay integrates domestic horror with believable character dynamics, using the ringing and muffled audio distortions to evoke visceral dread, transforming a mundane device into a harbinger of doom.

Production

Development

"Sorry, Right Number" was commissioned as an original teleplay by Richard P. Rubinstein, the executive producer of Tales from the Darkside, specifically for the series' fourth season. The script, originally written for Steven Spielberg's anthology series Amazing Stories but rejected for being too downbeat, marked Stephen King's first original screenplay for television, distinct from adaptations of his prior short stories. The teleplay was completed in 1987, amid King's prolific output during the late 1980s, which included novels like The Tommyknockers and further screenwriting ventures following the 1982 success of Creepshow, his debut collaboration with series creator George A. Romero. King's writing process infused the teleplay with deeply personal elements, from his own emotional experiences at the time to explore themes of bonds and sudden loss through a supernatural lens. The centers on a mother's desperate attempts to avert , reflecting King's recurring in domestic horror and the fragility of everyday life. During script approvals, King collaborated closely with Rubinstein and director —both key figures in Romero's production team—to adapt the story for the anthology's 30-minute format, ensuring it aligned with the series' emphasis on twist endings and moral undertones. Pre-production faced challenges in balancing King's signature supernatural horror with the episode's intimate family drama, particularly given the series' constrained resources. Adjustments were made to minimize special effects, relying instead on psychological tension and subtle sound design to build suspense, as the budget was limited to approximately $100,000. This approach fit the tight production timeline while preserving the script's emotional core. As one of King's earliest forays into original television writing after Creepshow, "Sorry, Right Number" helped establish his viability for small-screen projects, influencing later high-profile adaptations such as the 1990 miniseries It.

Filming

The filming of "Sorry, Right Number" was directed by John Harrison under the pseudonym John Sutherland, marking Stephen King's first original television script for the series. Production occurred primarily on a soundstage located in an old mattress factory in Los Angeles, with only one day dedicated to exterior location shooting to evoke the intimacy of a suburban family home. This approach kept the focus on interior spaces, aligning with the episode's emphasis on confined, personal horror. The episode was produced in 1987, adhering to the budgetary limitations of Tales from the Darkside. With a budget of approximately $100,000, the technical execution featured practical methods for the pivotal telephone interactions, including close-up shots of the device and actors' faces to heighten emotional and psychological tension, eschewing major visual effects or gore. Shooting wrapped in five days, typical for a half-hour anthology episode, though scenes involving child actors required careful handling to convey the required emotional depth amid the time constraints. Harrison drew on his prior experience with King's material to prioritize suspenseful pacing over spectacle. In post-production, editors tightened the for a brisk 22-minute runtime, while the addition of an eerie original score and amplified the unsettling atmosphere of the phone calls and dynamics; Harrison composed , integrating subtle, tension-building audio cues.

Cast and characters

Principal cast

The principal cast of "Sorry, Right Number" features Deborah Harmon in the lead of Katie Weiderman, a devoted wife and mother whose life unravels after receiving a cryptic, desperate phone call from an unknown woman. Harmon's portrayal captures the character's escalating panic and deepening maternal instinct as she desperately tries to decipher the call's meaning and protect her . Arthur Taxier plays Bill Weiderman, Katie's and a successful horror , depicting a supportive yet increasingly frustrated family man grappling with his wife's obsession over the mysterious calls. Taxier, known for his extensive television work including recurring roles in operas like , brings a grounded intensity to the role. Rhonda Dotson portrays Dawn, Katie's youngest sister, who provides emotional support but also introduces relational tension amid the family's growing unease. Her role appears in a scene emphasizing familial bonds and the stresses of new parenthood, underscoring the theme of isolation by contrasting Katie's urban life with Dawn's rural exhaustion. Dotson, a veteran actress with credits in thrillers like The Negotiator (1998) and dramatic roles in City of Angels (1998), brings a grounded authenticity to the part, enhancing the episode's focus on disrupted routine. The Weiderman children are played by Katherine Britton as the teenage daughter , emphasizing her innocence and distance from the family crisis while away at school; Brandon Stewart as the young son , highlighting the vulnerability of childhood in the story's supernatural undertones; and Nicole Huntington as the youngest daughter Connie, whose interactions illustrate immediate family care and reassurance amid unease. Britton, known for her early genre work including the farm girl in Back to the Future (1985) and a supporting role in the horror-comedy Night of the Creeps (1986), contributes a fresh-faced innocence to Polly. As a child actress, Huntington later appeared in the miniseries Intruders (1992) and the teen drama Freshman Dorm (1992).

Supporting roles

The episode features a mysterious off-screen voice that drives the narrative's tension, serving as a disembodied presence without visual appearance and effectively blurring the lines between the familiar and the unknown to emphasize isolation. Catherine Battistone provides the voice of the unidentified caller. A prolific voice actress with extensive anime dubbing credits, including roles in Robotech (1985) and Power Rangers Lightspeed Rescue (2000), as well as live-action guest spots on Columbo (1971–1978), Battistone's delivery adds an unsettling anonymity to the role.

Broadcast and reception

Airing and distribution

"Sorry, Right Number" premiered in syndication across the on , , as the of the fourth and final of . The episode benefited from the series' established popularity in late-night slots, where consistently achieved strong ratings for syndicated horror programming during the . Following its initial run, the episode entered syndication reruns as part of the broader Tales from the Darkside package, which aired on cable networks including the Sci-Fi Channel (later Syfy) throughout the 1990s and 2000s, exposing it to new audiences interested in anthology horror. The episode was released on home media as part of Tales from the Darkside: The Final Season DVD set by Paramount Home Entertainment on October 19, 2010, marking the first official video availability for season 4. It is also included in the complete series DVD collection, first issued in 2016 and reissued in 2020. As of November 2025, the full series is available on Amazon Prime Video, in addition to physical media and occasional free ad-supported platforms. Internationally, , including "Sorry, Right Number," was distributed through syndication in and the during the late and , with no notable censorship alterations reported for this . Since , there have been no major re-releases or digital restorations of the beyond the complete series set, though potential high-definition upgrades are discussed in fan communities but not yet realized by distributors.

Critical response

Upon its 1987 premiere, "Sorry, Right Number" received for King's original teleplay, which was noted for its tight and emotional depth in blending horror with . Critics highlighted Deborah Harmon's as Katie Weiderman, describing it as excellent and in conveying escalating desperation and relatability. However, some early feedback critiqued the episode's twists as predictable, particularly the time-loop , which diminished for viewers with similar tropes. In modern retrospectives, the episode has been positively reevaluated, often cited in DVD release commentaries and podcast analyses for its haunting atmosphere and psychological tension. For instance, the Midnight Viewing podcast episode dedicated to the final season lauds King's script for its restraint and emotional resonance, positioning it as a standout in the series' anthology format. It frequently ranks highly in season and overall episode lists, such as appearing in top-10 compilations for its cinematic feel and strong acting, especially Harmon's portrayal of maternal anxiety. Audience reception remains favorable, with an user rating of 7.0 out of 10 based on 361 votes, where viewers emphasize the episode's emotional impact and heartbreaking twist over outright scares. In comparisons to the final season, it is often described as a highlight amid a "mixed bag" of inconsistent entries, per reviews of the DVD set. Coverage is limited by the show's syndicated nature and pre-streaming distribution, resulting in few formal contemporary critiques and reliance on later fan-driven discussions.

Themes and analysis

Core themes

"Sorry, Right Number" delves into themes of time and through its central of a distressing phone call from the , which underscores the Katie Weiderman's inability to alter tragic despite foreknowledge, creating a predestination paradox that traps her in a cycle of what-if scenarios. This mechanism highlights grief as a lingering emotional scar, where even years after loss, the wish for different outcomes persists, portraying mourning not as an endpoint but as an enduring influence on daily life. The episode emphasizes bonds by depicting the Weiderman as a relatable domestic unit fraught with everyday tensions, such as bickering siblings and spousal interactions, which amplify the fragility of these relationships when confronted by . The supernatural intrusion manifests via the wrong number call, serving as a portal to alternate realities and blending ordinary with eerie otherworldliness, a hallmark of King's horror that transforms mundane objects into sources of terror. At its core, the story carries a moral undertone through its anthology twist, stressing the of clear communication in navigating personal crises, as failed attempts to convey warnings ultimately reinforce themes of inevitable fate and prescient leading to inescapable doom.

Interpretations

The teleplay connects to King's larger body of work through its of prescient , echoing the temporal and fatalistic elements in novels like The Dead Zone, where characters grapple with foreknowledge of doom. From a feminist perspective, the stands out in horror for centering a who exercises agency in unraveling and attempting to avert the crisis, contrasting with male-dominated narratives common in the genre at the time. The telephone serves as a metaphor for the disconnectedness of modern life, underscoring how technology both connects and isolates family members amid professional pressures. Scholarly analysis of "Sorry, Right Number" remains limited, with the work primarily noted in studies of King's television output as a pivotal example of his shift toward scripting for anthology series in the late 1980s. Simon Brown's Screening Stephen King: Adaptation and the Horror Genre in Film and Television discusses it within this context, emphasizing its role in King's experimentation with visual horror formats.

Legacy

Adaptations

The teleplay script for "Sorry, Right Number" was published in Stephen King's 1993 anthology Nightmares & Dreamscapes. In 2005, the story received a short film adaptation directed by Brian Berkowitz as part of King's Dollar Baby program, running 19 minutes and featuring Barbara Weetman as Katie. The film remains faithful to the original plot and twist, updating visuals with contemporary technology such as modern telephones and household settings, but it screened primarily at film festivals rather than achieving wide theatrical release. In 2019, Italian filmmaker Mattia Ferragina directed a 7-minute short film adaptation, reenacting a key scene from the story. No major feature films or television remakes have been produced, though a full-cast audio dramatization was released in 2009 as part of the audiobook Sorry, Right Number and Other Stories. The short story appears in various print editions of Nightmares & Dreamscapes, while the 2005 film is available on niche streaming platforms.

Cultural impact

"Sorry, Right Number" exemplifies the effective use of short-form horror in 1980s anthology television, contributing to the syndication success of series like Tales from the Darkside during a boom in the genre. As an original teleplay by Stephen King, the episode highlighted the potential for concise, twist-driven narratives in syndicated formats, blending domestic suspense with supernatural elements to captivate audiences in brief 22-minute segments. Its inclusion in the final season underscored King's growing involvement in television adaptations, helping to elevate the anthology format's reputation for delivering high-impact horror without relying on extended plots. Within Stephen King fandom, the episode holds a notable place for its emotional depth and accessibility, often praised as one of his stronger early TV contributions that reinforced his versatility beyond novels. Works such as this bolstered King's television reputation by showcasing his ability to craft relatable family-centered horror, fostering appreciation among fans for his non-book mediums. The story's later publication in (1993) further cemented its legacy, allowing readers to revisit the teleplay's structure and themes. The episode has been featured in various horror retrospectives, including analyses on sites like and , where it is highlighted as a standout entry in King's oeuvre for its innovative phone-based . Podcasts such as Tower Junkies and Viewing have dedicated episodes to dissecting its and King's scripting style, emphasizing its enduring in horror discussions without spawning major pop culture crossovers. As of , the episode maintains status through streaming on platforms like Prime Video, though the broader digitization of King's early TV works remains incomplete, limiting widespread revival efforts.

References

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