Before Reading
Focus and Motivate
The Hitchhiker
Video link at
thinkcentral.com
Radio Play by Lucille Fletcher
Is seeing
RL 3 Analyze how particular lines of dialogue or
incidents in a story propel the action, reveal aspects
of a character, or provoke a decision. RL 5 Compare
and contrast the structure of two or more texts.
W 1 Write arguments to support claims with clear
reasons and relevant evidence. L 1 Demonstrate
command of standard English grammar when
writing.
summary
Ronald Adams leaves his home in New York
City to drive to California. While crossing the
Brooklyn Bridge, he swerves to avoid hitting a
hitchhiker. As he continues westward, he
encounters this same man with increasing
regularity. His sense of panic increases when
he realizes that no one else can see the man.
By the time Adams arrives in Gallup, New
Mexico, he is beside himself with fear and
uncertainty. He calls home. The woman who
answers tells him that his mother is in the hospital, prostrate with grief over the death of her
son Ronald in a car accident six days before.
BELIEVING?
RL 3 Analyze how particular
lines of dialogue or incidents in
a story propel the action, reveal
aspects of a character, or provoke
a decision.
Occasionally, something happens so quickly or unexpectedly, you can’t
be sure what you’ve seen. Was that a rabbit racing through the field, or
was it just wind in the grass? Did you see a man hiding in the alley, or
did you see only a shadow? To be convinced that something is real, you
need proof, or solid evidence. In The Hitchhiker, a man is desperate for
proof that what he’s seeing can be explained.
DISCUSS Think of something you’ve seen that you can’t explain.
Maybe it was oddly shaped footprints in an empty lot, or a bright shape
flying through the sky. Share your experience with a small group,
and together brainstorm possible explanations. Then tell what proof
you’d need to determine which explanation is the right one.
Is seeing BELIEVING?
Poll students with this question: Does everything have a logical explanation, or do some
things happen that cannot be explained or
supported by proof? Then have groups
complete the DISCUSS activity.
Selection Resources
90
Video link at
thinkcentral.com
See resources on the Teacher One Stop DVD-ROM and on thinkcentral.com.
RESOURCE MANAGER UNIT 1
BEST PRACTICES TOOLKIT
Plan and Teach, pp. 95–102
Summary, pp. 103–104†‡*
Text Analysis and Reading
Skill, pp. 105–108†*
Vocabulary, p. 109*
Grammar in Context, p. 112
Sequence Chain, pp. B21, B45
Cause-and-Effect Diagram,
pp. B16, B38
TECHNOLOGY
Teacher One Stop DVD-ROM
Student One Stop DVD-ROM
Audio Anthology CD
GrammarNotes DVD-ROM
ExamView Test Generator
on the Teacher One Stop
DIAGNOSTIC AND SELECTION
TESTS
Selection Tests, pp. 39–42
* Resources for Differentiation
090-091_NA_L08TE-u01s5-brhitc.indd 90
† Also in Spanish
‡ In Haitian Creole and Vietnamese
1/31/11 7:19:25 AM
Meet the Author
Teach
text analysis: foreshadowing
When a writer provides hints that suggest future events in a
story, the writer is foreshadowing. For example, if a character
says, “Whatever you do, don’t open that door,” you might
suspect that the door will eventually be opened to create a
dramatic effect. Anticipating that event can add to the story’s
suspense, making you more excited to find out what happens
next.
As you read The Hitchhiker, make a chart to note events or
dialogue that might foreshadow what happens later. You’ll
complete the chart at the end of the selection.
Foreshadowing
Events That Were Foreshadowed
Lucille Fletcher
1912–2000
Suspenseful Stories
As a young adult, Lucille Fletcher wanted
to become a novelist. After she took her
first job as a script typist and began reading
scripts by other writers, she decided she
wanted to write plays as well. She was
successful at both. Fletcher penned more
than 20 radio plays, including the wellknown Sorry, Wrong Number and The
Hitchhiker. In addition, she wrote several
novels. Her works were suspenseful, full of
mystery, and often terrifying.
background to the play
reading strategy: reading a radio play
A radio play is a play written for radio broadcast, which means
that it is primarily meant to be heard, not seen. Since listeners
can’t see the actors, radio playwrights give information about the
characters through
• Dialogue, or the words spoken by the actors
• Stage directions, which include instructions to the actors
about how dialogue should be spoken and instructions to the
crew about sounds effects
As you read The Hitchhiker, notice what these elements suggest
about the personality and state of mind of the protagonist,
or main character. Also notice what these elements suggest
about the appearance and actions of the antagonist, or the force
working against the main character.
vocabulary in context
Radio Plays
Though the television was invented in the
1920s, most American households did not
have television sets until the late 1950s.
Before then, families gathered around
the radio to listen to their favorite radio
plays. These plays took the form of dramas,
mysteries, or comedies. Actors at the radio
station read their lines into the microphone
with dramatic flair. Background music
helped set the mood.
Hearing Is Believing
Sound effects were an important part of a
radio play. They were often produced in the
radio studio. Sheet metal, shaken up and
down, replicated rolling thunder. A wooden
match, broken close to the microphone,
sounded like a baseball bat striking a ball.
Coconut halves clapped against wood
imitated the sound of horses’ hooves.
The words in Column A help Lucille Fletcher tell about one man’s
encounter with a mysterious hitchhiker. Match each word with
the word or phrase in Column B that is closest in meaning.
Column A
1. lark
a. guarantee
b. carefree adventure
3. sinister
c. evil
4. assurance
d. sameness
5. monotony
e. place of joining
RL 3
Model the Skill:
foreshadowing
To model analyzing foreshadowing, write
this example on the board:
At last he had what he needed to prove
his theory. Overjoyed, he set the valuable document on his desk. He did not
notice the slight breeze from the open
balcony door behind him.
Say: This passage might foreshadow the
papers being blown out the door.
GUIDED PRACTICE Elicit other examples of
foreshadowing from stories or movies.
RESOURCE MANAGER—Copy Master
Foreshadowing p. 105
R E A D I N G STR ATEG Y
RL 3
Model the Skill: reading a
radio play
Write this example on the board:
Driver. Where are you going, buddy?
Hitchhiker. I’d love a lift to Amarillo.
Column B
2. junction
T E X T A N A LY S I S
Author
Online
Driver. I’m going that way, too. Get in.
Explain that playwrights try to make
dialogue sound like natural speech.
Go to thinkcentral.com.
KEYWORD: HML8-91
GUIDED PRACTICE Have students explain
what stage directions for the actors might
work with the dialogue.
Complete the activities in your Reader/Writer Notebook.
91
VOCABULARY SKILL
L4
vocabulary in context
DIAGNOSE WORD KNOWLEDGE Have all
students complete Vocabulary in Context.
Check students’ answers. (1. b; 2. e; 3. c; 4. a;
5. d) Preview selection vocabulary definitions:
monotony (mE-nJtQn-C) n. tedious sameness
sinister (sGnQG-stEr) adj. suggesting or
threatening evil
PRETEACH VOCABULARY Use the following
copy master to help students understand word
meanings.
RESOURCE MANAGER—Copy Master
assurance (E-shMrQEns) n. a guarantee or pledge
junction (jOngkQ shEn) n. a place where two
Vocabulary Study p. 109
roads meet
lark (lärk) n. a carefree or spirited adventure
the hitchhiker
090-091_NA_L08TE-u01s5-brhitc.indd 91
91
1/31/11 7:19:43 AM
Practice and Apply
read with a purpose
Help students set a purpose for reading. Tell
them to read “The Hitchhiker” to find out why
a mysterious hitchhiker disturbs a man driving
across the country.
T E X T A N A LY S I S
Model the Skill:
Lucille Fletcher
RL 3
foreshadowing
Help students understand foreshadowing
by discussing the effect of Orson Welles’
introduction. Say: In the introduction,
Welles helps heighten listeners’ anticipation
by promising them a spine-tingling presentation. He calls the play a thriller and a
shocker. By saying that the company presents the play “proudly and without apologies” (line 19), he makes listeners expect
something shocking.
CAST OF CHARACTERS
Extend the Discussion What kind of voice
would you expect Welles to use for this
introduction?
Girl
Ronald Adams
Adams’s Mother
Operator
Long-Distance Operator
Voice of Hitchhiker
Mechanic
Henry, a sleepy man
Woman’s Voice, Henry’s wife
Albuquerque Operator
New York Operator
Mrs. Whitney
Welles. Good evening, this is Orson Welles . . .
VOCABULARY
L4
own the word
assurance: What effect does Welles’
assurance have on the listener?
Orson Welles
10
(music in) Personally I’ve never met anybody
who didn’t like a good ghost story, but I know a
lot of people who think there are a lot of people
who don’t like a good ghost story. For the benefit
of these, at least, I go on record at the outset
of this evening’s entertainment with the sober
assurance that although blood may be curdled
on this program none will be spilt. There’s no
shooting, knifing, throttling, axing or poisoning
here. No clanking chains, no cobwebs, no bony
and/or hairy hands appearing from secret panels
or, better yet, bedroom curtains. If it’s any part
20
of that dear old phosphorescent1 foolishness that
people who don’t like ghost stories don’t like,
then again I promise you we haven’t got it. What
we do have is a thriller. If it’s half as good as
we think it is you can call it a shocker, and we
present it proudly and without apologies. After
all a story doesn’t have to appeal to the heart—
it can also appeal to the spine. Sometimes you
want your heart to be warmed—sometimes you
want your spine to tingle. The tingling, it’s to be
hoped, will be quite audible as you listen tonight
to The Hitchhiker—That’s the name of our story,
The Hitchhiker—
1. phosphorescent (fJsQfE-rDsPEnt): glowing with a cold light.
92
unit 1: plot and conflict
differentiated instruction
for english language learners
for struggling readers
Comprehension Support Read the Summary
from the Resource Manager to students and
explain what hitchhiking is and how dangerous it has become. Make sure students
understand that most of the story takes place
in a flashback, as Ronald Adams, the main
character, narrates what has happened to
him.
In combination with the Audio Anthology CD,
use one or more Targeted Passages (pp. 94, 95,
99, 101) to ensure that students focus on key
selection events, concepts, and skills.
RESOURCE MANAGER—Copy Masters
Summary pp. 103–104
92
unit 1 : plot and conflict
092-101_NA_L08TE_u01s5-hitch.indd 92
1/31/11 7:28:19 AM
background
Route 66 In lines 30–31, Ronald Adams
describes his location as an “auto camp on
Route Sixty-six.” In the 1940s, Route 66 was
the primary highway connecting the Midwest
with the West Coast. Its approximately 2500
miles ran from Chicago, Illinois, to Los Angeles
and later Santa Monica, California. It opened
in 1926 and was finally rendered obsolete in
1985 when new interstates bypassed the last
section in use. Featured in songs, ads, novels,
and other elements of popular culture, Route
66 is now considered an important part of the
country’s history.
photo of 1940 ford v8
or close-up shot of car’s tires as
they lead off into the distance
Auto Camps Along with Route 66 and other
major highways came a phenomenon known
as auto camps. Ronald Adams is stopped in
one in Gallup, New Mexico. These were originally sections of land alongside highways that
were roped off for the use of travelers. People
carried their own tents and gear in their cars.
Later, toilets and showers, and eventually cabins, were added to these locations.
Analyze Visuals
Activity What mood, or feeling, is established
by this photograph? Possible answer: The illustration looks foggy and indistinct, creating a
ghostly mood.
About the Art This print, by photographer
Gene Laughter, was prepared using a process
called bromoil. This involves several steps that
result in the ink’s adhering to some parts of
the print and not to others.
for english language learners
for advanced learners/pre ap
Strategy Support: Reading a Radio Play Have students listen to the Audio Anthology CD and follow
along in the text. Tell them to notice the italicized words in parentheses are not read out loud; they give
direction to the actors.
Orson Welles was an actor, writer, director,
and producer with a distinguished career.
He worked in film, television, radio, and
on stage. Encourage students to find out
about his accomplishments.
beginning
intermediate
advanced
advanced high
In pairs, choose a section to read aloud as a
play. (4 lines)
In pairs, choose a section
to read aloud as a play.
(8 lines)
In pairs, choose a section In pairs, choose a section
to read aloud as a play.
to read aloud as a play.
(20 lines)
(30 lines)
the hitchhiker
092-101_NA_L08TE_u01s5-hitch.indd 93
93
1/31/11 7:28:24 AM
Lines 47–60
30
R E A D I N G ST R AT E G Y:
Model the Skill: reading a
RL 3
radio play
Remind students that playwrights use
dialogue to give information about the
characters. Read aloud lines 47–60 and
point out that these lines show that
Adams and his mother have a good relationship. His mother cares about him and
he is concerned about her.
40
Lines 61–68
T E X T A N A LY S I S
foreshadowing
RL 3
50
What potential dangers does Adams’s
mother warn him about? (Remind students to record their ideas in the chart
from page 91.) Possible answer:
Foreshadowing
Adams’s mother warns him against falling
asleep, speeding, and hitchhikers (lines
61– 68).
60
VOCABULARY
(sound: automobile wheels humming over concrete
road )
(music: something weird and shuddery)
Adams. I am in an auto camp on Route Sixtysix just west of Gallup, New Mexico. If I tell it
perhaps it will help me. It will keep me from
going mad. But I must tell this quickly. I am not
mad now. I feel perfectly well, except that I am
running a slight temperature. My name is Ronald
Adams. I am thirty-six years of age, unmarried,
tall, dark, with a black mustache. I drive a 1940
Ford V-8, license number 6V-7989. I was born
in Brooklyn. All this I know. I know that I am at
this moment perfectly sane. That it is not I, who
has gone mad—but something else—something
utterly beyond my control. But I must speak
quickly. At any moment the link with life may
break. This may be the last thing I ever tell on
earth . . . the last night I ever see the stars. . . .
(music in)
Adams. Six days ago I left Brooklyn, to drive to
California . . .
Mother. Goodbye, son. Good luck to you, my
boy . . .
Adams. Goodbye, mother. Here—give me a kiss,
and then I’ll go . . .
Mother. I’ll come out with you to the car.
Adams. No. It’s raining. Stay here at the door.
Hey—what is this? Tears? I thought you promised
me you wouldn’t cry.
Mother. I know dear. I’m sorry. But I—do hate to
see you go.
Adams. I’ll be back. I’ll only be on the coast three
months.
Mother. Oh—it isn’t that. It’s just—the trip.
Ronald—I wish you weren’t driving.
Adams. Oh—mother. There you go again. People
do it every day.
70
80
Mother. I know. But you’ll be careful, won’t you.
Promise me you’ll be extra careful. Don’t fall
asleep—or drive fast—or pick up any strangers on
the road . . .
Adams. Of course not! You’d think I was still
seventeen to hear you talk—
Mother. And wire me as soon as you get to
Hollywood, won’t you, son?
Adams. Of course I will. Now don’t you worry.
There isn’t anything going to happen. It’s just
eight days of perfectly simple driving on smooth,
decent, civilized roads, with a hotdog or a
hamburger stand every ten miles . . . (fade)
(sound: auto hum)
(music in)
Adams. I was in excellent spirits. The drive ahead
of me, even the loneliness, seemed like a lark. But
I reckoned without him.
(Music changes to something weird and empty.)
L4
own the word
1 Targeted Passage
lark: Ask students what they might like
to do for a lark.
94
unit 1: plot and conflict
differentiated instruction
for english language learners
Language: Punctuation and Print Cues Read
aloud lines 44–46 to illustrate the effect of an
ellipsis in a sentence. Students should hear
the trailing off of the speaker’s voice. Explain
that an ellipsis indicates that the speaker does
not complete his or her thought or that there
is a longer pause than would be the case with
a period. Have small groups practice reading
lines 47–53 and 65–77 paying attention to this
punctuation cue.
94
unit 1 : plot and conflict
092-101_NA_L08TE_u01s5-hitch.indd 94
for struggling readers
1 Targeted Passage [Lines 47–83]
This passage presents the transition into the
flashback and hints at the conflict to come.
• What is Adams’s destination? Where and
when did he begin his journey? (lines 47–48)
• Why is Adams’s mother crying? (lines 61–62)
• In what kind of mood does Adams begin his
trip? What happens to change how he feels?
(lines 80–82)
Comprehension Support Explain that much
of the play’s action takes place in the recent
past and is told through flashbacks, or episodes
that occurred before Adams reached the auto
camp in New Mexico. Point out the transition
to the first flashback in line 49. The ellipsis and
Adams’s previous comment cue readers that
the action has moved to the past. Music may
also indicate a change in the time frame. Have
students read to find out where in this play the
action moves back to the present. Ask what
clues help them figure this out.
1/31/11 7:28:27 AM
2 Targeted Passage
90
100
110
120
Adams. Crossing Brooklyn Bridge that morning
in the rain, I saw a man leaning against the
cables. He seemed to be waiting for a lift. There
were spots of fresh rain on his shoulders. He was
carrying a cheap overnight bag in one hand. He
was thin, nondescript, with a cap pulled down
over his eyes. He stepped off the walk, and if I
hadn’t swerved, I’d have hit him.
(sound: terrific skidding)
(music in)
Adams. I would have forgotten him completely,
except that just an hour later, while crossing the
Pulaski Skyway over the Jersey flats, I saw him
again. At least, he looked like the same person.
He was standing now, with one thumb pointing
west. I couldn’t figure out how he’d got there, but
I thought probably one of those fast trucks had
picked him up, beaten me to the Skyway, and let
him off. I didn’t stop for him. Then—late that
night, I saw him again.
(music changing)
Adams. It was on the new Pennsylvania Turnpike between Harrisburg and Pittsburgh. It’s 265
miles long, with a very high speed limit. I was just
slowing down for one of the tunnels—when I saw
him—standing under an arc light by the side of
the road. I could see him quite distinctly. The bag,
the cap, even the spots of fresh rain spattered over
his shoulders. He hailed me this time . . .
Voice (very spooky and faint). Hall-ooo . . . (echo as
through tunnel ) Hall-ooo . . . !
Adams. I stepped on the gas like a shot. That’s
lonely country through the Alleghenies,2 and
I had no intention of stopping. Besides, the
coincidence, or whatever it was, gave me the
willies.3 I stopped at the next gas station.
(sound: auto tires screeching to stop . . . horn honk)
Mechanic. Yes, sir.
Adams. Fill her up.
Mechanic. Certainly, sir. Check your oil, sir?
130
140
150
160
Adams. No, thanks.
(sound: gas being put into car . . . bell tinkle, et
cetera)
Mechanic. Nice night, isn’t it?
Adams. Yes. It—hasn’t been raining here recently,
has it?
Mechanic. Not a drop of rain all week.
Adams. Hm. I suppose that hasn’t done your
business any harm.
Mechanic. Oh—people drive through here all
kinds of weather. Mostly business, you know.
There aren’t many pleasure cars out on the
turnpike this season of the year.
Adams. I suppose not. (casually) What about
hitchhikers?
Mechanic (half laughing). Hitchhikers here?
Adams. What’s the matter? Don’t you ever see any?
Mechanic. Not much. If we did, it’d be a sight for
sore eyes.
Adams. Why?
Mechanic. A guy’d be a fool who started out to
hitch rides on this road. Look at it. It’s 265 miles
long, there’s practically no speed limit, and it’s a
straightaway. Now what car is going to stop to
pick up a guy under those conditions? Would
you stop?
Adams. No. (slowly, with puzzled emphasis) Then
you’ve never seen anybody?
Mechanic. Nope. Mebbe they get the lift before the
turnpike starts—I mean, you know—just before
the toll house—but then it’d be a mighty long ride.
Most cars wouldn’t want to pick up a guy for that
long a ride. And you know—this is pretty lonesome
country here—mountains, and woods . . . You ain’t
seen anybody like that, have you?
Adams. No. (quickly) Oh no, not at all. It was—
just a—technical question.
Lines 84–92
T E X T A N A LY S I S
RL 3
foreshadowing
What happens on the Brooklyn Bridge?
(Have students record this event in their
charts.) Possible answer: A hitchhiker steps
off the path, and Adams has to swerve to
avoid him. His car skids as a result.
Extend the Discussion What might this
event foreshadow?
Lines 105–114
T E X T A N A LY S I S
RL 3
foreshadowing
In what ways is Adams’s encounter with
the hitchhiker both similar to and different
from his previous ones? What does seeing
him a third time mean? Possible answer:
The hitchhiker looks exactly the same. On
the turnpike, however, he hails Adams. This
behavior is different from what he has done
before. Seeing him a third time suggests
that the hitchhiker will reappear frequently
throughout Adams’s journey.
Lines 137–142
READING SKILL
RL 3
reading a radio play
2. Alleghenies (BlQG-gAPnCz): The Allegheny Mountains, a range extending from northern Pennsylvania to
western Virginia.
3. gave me the willies: made me nervous.
the hitchhiker
95
for struggling readers
2 Targeted Passage [Lines 84–119]
This passage presents the major conflict:
Adams is becoming unnerved by the reappearance of the same hitchhiker.
• What happens the first time Adams sees the
hitchhiker? (lines 84–91)
• What is Adams’s theory about how the hitchhiker beat him to the Skyway? (lines 99–102)
• Why does Adams start to get nervous when
he sees the hitchhiker a third time?
(lines 115–119)
092-101_NA_L08TE_u01s5-hitch.indd 95
Concept Support [paired option] Display a
chart similar to the one on page 91. Discuss
the examples of foreshadowing that students
have identified already. Then have them reread
lines 127–160, Adams’s conversation with the
mechanic. Point out the kinds of questions
that Adams asks, and talk about his reasons
for wanting to know this information. Have
students work in pairs to add to their charts
examples of foreshadowing from this passage.
Why does Adams ask his question casually? Possible answer: He doesn’t want the
mechanic to guess that anything might
be wrong.
Foreshadowing
Events That Were
Foreshadowed
The mechanic says
that they have not
had “a drop of rain all
week” (line 130).
The mechanic says
that a hitchhiker
would be a “sight
for sore eyes” (lines
141–142).
the hitchhiker
95
1/31/11 7:28:31 AM
Mechanic. I see. Well—that’ll be just a dollar
Lines 171–176
T E X T A N A LY S I S
RL 3
foreshadowing
What might the presence of the hitchhiker
at a detour indicate for Ronald Adams?
Possible answer: The hitchhiker might be
indicating that Adams’s life is about to take
an unexpected direction.
170
Lines 191–202
R E A D I N G STR ATEG Y
RL 3
reading a radio play
What do the stage directions in this part
of the play help readers visualize? Possible
answer: The stage directions give readers a
mental image of Adams’s panicky movements as he starts the car and jams the
gears, finally speeding off with a spinning of
his wheels.
180
190
tiered discussion prompts
In lines 216–261, use these prompts to explore
Adams’s emotions as his journey progresses:
Connect How would you be feeling after
seeing the hitchhiker five times? Students
may say that they would start to feel confused or nervous.
Analyze Adams says he stops to get a cup of
coffee. What is the real reason that he stops
at the roadside stand? Possible answer:
He thinks he sees the hitchhiker there. He is
desperate to talk to someone and get reassurance that he is not just seeing things.
96
Evaluate How has Adams changed since
leaving Brooklyn? Possible answer: He is
now nervous and uncertain. Traveling this
long distance alone no longer seems like the
fun adventure he expected it to be.
96
220
230
240
unit 1: plot and conflict
for struggling readers
L4
sinister: Have students raise their hands
if they would like to be described as sinister. Possible answer: Most students will
.
not raise their hands because they do not
want to be described as sinister.
210
(sound: car starts with squeal of wheels on dirt . . .
into auto hum)
(music in)
Adams. After I got the car back onto the road
again, I felt like a fool. Yet the thought of picking
him up, of having him sit beside me was somehow
unbearable. Yet, at the same time, I felt, more
than ever, unspeakably alone.
(sound: auto hum up)
Adams. Hour after hour went by. The fields, the
towns ticked off, one by one. The lights changed.
I knew now that I was going to see him again.
And though I dreaded the sight, I caught myself
searching the side of the road, waiting for him to
appear.
(sound: auto hum up . . . car screeches to a halt . . .
impatient honk two or three times . . . door being
unbolted)
Sleepy Man’s Voice. Yep? What is it? What do you
want?
Adams (breathless). You sell sandwiches and pop
here, don’t you?
Voice (cranky). Yep. We do. In the daytime. But
we’re closed up now for the night.
Adams. I know. But—I was wondering if you
could possibly let me have a cup of coffee—black
coffee.
Voice. Not at this time of night, mister. My wife’s
the cook and she’s in bed. Mebbe further down
the road—at the Honeysuckle Rest . . .
(sound: door squeaking on hinges as though being
closed )
Adams. No—no. Don’t shut the door. (shakily)
Listen—just a minute ago, there was a man
standing here—right beside this stand—a
suspicious looking man . . .
Woman’s Voice (from distance). Hen-ry? Who is it,
Hen-ry?
Henry. It’s nobuddy, mother. Just a feller thinks he
wants a cup of coffee. Go back into bed.
differentiated instruction
VOCABULARY
own the word
200
forty-nine—with the tax . . . (fade)
(sound: auto hum up)
(music changing)
Adams. The thing gradually passed from my
mind, as sheer coincidence. I had a good night’s
sleep in Pittsburgh. I did not think about the
man all next day—until just outside of Zanesville,
Ohio, I saw him again.
(music: dark, ominous note)
Adams. It was a bright sunshiny afternoon. The
peaceful Ohio fields, brown with the autumn
stubble, lay dreaming in the golden light. I was
driving slowly, drinking it in, when the road
suddenly ended in a detour. In front of the barrier,
he was standing.
(music in)
Adams. Let me explain about his appearance before
I go on. I repeat. There was nothing sinister about
him. He was as drab as a mud fence. Nor was his
attitude menacing. He merely stood there, waiting,
almost drooping a little, the cheap overnight bag
in his hand. He looked as though he had been
waiting there for hours. Then he looked up. He
hailed me. He started to walk forward.
Voice (far off ). Hall-ooo . . . Hall-ooo . . .
Adams. I had stopped the car, of course, for the
detour. And for a few moments, I couldn’t seem
to find the new road. I knew he must be thinking
that I had stopped for him.
Voice (closer). Hall-ooo . . . Hallll . . . ooo . . .
(sound: gears jamming . . . sound of motor turning
over hard . . . nervous accelerator)
Voice (closer). Halll . . . oooo . . .
Adams (panicky). No. Not just now. Sorry . . .
Voice (closer). Going to California?
(sound: starter starting . . . gears jamming)
Adams (as though sweating blood ). No. Not today.
The other way. Going to New York. Sorry . . .
sorry . . .
Develop Reading Fluency With the assistance of a fluent reader, model reading the
dialogue in lines 178–208. Have the rest of
the class follow along as you read. Point out
the ellipses and explain that a reader should
take a slight pause when he or she comes
to them.
RESOURCE MANAGER—Copy Masters
Reading Fluency p.113
Paired Activity Have students work in
mixed-ability groups to continue reading the
dialogue on pp. 96–97.
unit 1 : plot and conflict
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1/31/11 7:28:35 AM
Analyze Visuals
Activity What is disturbing or unusual about
this image? Possible answer: There are cars
visible in the rear-view mirror, but only a sleepy
little town appears ahead. The perspective of
the photograph is unclear.
250
260
Adams. I don’t mean to disturb you. But you see,
I was driving along—when I just happened to
look—and there he was . . .
Henry. What was he doing?
Adams. Nothing. He ran off—when I stopped
the car.
Henry. Then what of it? That’s nothing to wake
a man in the middle of his sleep about. (sternly)
Young man, I’ve got a good mind to turn you over
to the sheriff.
Adams. But—I—
Henry. You’ve been taking a nip, that’s what you’ve
been doing. And you haven’t got anything better
to do than to wake decent folk out of their hardearned sleep. Get going. Go on.
Adams. But—he looked as though he were going
to rob you.
Henry. I ain’t got nothin’ in this stand to lose.
Now—on your way before I call out Sheriff
Oakes. (fades)
(sound: auto hum up)
Adams. I got into the car again and drove on
slowly. I was beginning to hate the car. If I could
have found a place to stop . . . to rest a little. But
I was in the Ozark Mountains of Missouri now.
The few resort places there were closed. Only an
270
280
290
occasional log cabin, seemingly deserted, broke
the monotony of the wild wooded landscape.
I had seen him at that roadside stand; I knew I
would see him again—perhaps at the next turn
of the road. I knew that when I saw him next, I
would run him down . . .
(sound: auto hum up)
Adams. But I did not see him again until late next
afternoon . . .
(sound: of railroad warning signal at crossroads)
Adams. I had stopped the car at a sleepy little
junction just across the border into Oklahoma—
to let a train pass by—when he appeared, across
the tracks, leaning against a telephone pole.
(sound: distant sound of train chugging . . . bell
ringing steadily)
Adams (very tense). It was a perfectly airless, dry
day. The red clay of Oklahoma was baking under
the south-western sun. Yet there were spots of
fresh rain on his shoulders. I couldn’t stand that.
Without thinking, blindly, I started the car across
the tracks.
(sound: train chugging closer)
Adams. He didn’t even look up at me. He was
staring at the ground. I stepped on the gas hard,
veering the wheel sharply toward him. I could
the hitchhiker
About the Art French photographer Raymond
Depardon (born 1942) has traveled around the
world as a photojournalist, often encountering danger while recording events in troubled
spots such as Vietnam. He also makes documentary films.
revisit the big question
Is seeing BELIEVING?
Discuss In lines 283–288, the hitchhiker has
spots of rain on his shoulders even though it
is a baking hot day in Oklahoma. What might
this be proof of? Possible answers:
• The hitchhiker is not real; he is a supernatural
creature.
• The hitchhiker is a figment of Adams’s imagination and stays as Adams first saw him.
VOCABULARY
L4
own the word
• monotony: Explain that the word monotony has a negative connotation. The
word uniformity has nearly the same
literal meaning, but its connotations are
neutral.
• junction: Have a student draw an example of a junction of two roads on the
board.
97
for english language learners
for struggling readers
Language: Conversational English Patterns
[mixed-readiness pairs] Direct students’ attention to lines 219–260. Explain that the different
speech patterns reflect Adams’s location in another part of the country. Have students work
in pairs to restate these words and phrases in
standard English: Yep (line 223), mebbe (line
229), nobuddy (line 239), feller (line 239), ain’t
got nothin’ (line 258).
Comprehension Support [small-group option]
1. Help students track the passage of time by
having them complete a Sequence Chain for
the first three days of Adams’s trip.
2. Fill in the first box together. (Day 1: leaves
New York, sees the hitchhiker three times,
stops in Pittsburgh for the night)
4. Discuss their charts and have them add
details to Day 3 as they read further.
5. Tell students that after this point, Adams’s
days and nights merge as he becomes increasingly disoriented.
BEST PRACTICES TOOLKIT—Transparency
Sequence Chain pp. B21, B45
3. Then have groups organize the events of
Day 2 and the start of Day 3 through
line 280.
the hitchhiker
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1/31/11 7:28:39 AM
Lines 287–308
T E X T A N A LY S I S
foreshadowing
RL 3
What does this scene suggest about the
chances of Adams’s arriving in California?
Possible answer: He will most likely die
before reaching California. The hitchhiker
seems to be trying to kill him, and Adams is
becoming tired and desperate.
300
tiered discussion prompts
310
In lines 340–386, use these prompts to help
students understand the changes in Adams:
Connect Would you want to be a passenger
in Adams’s car? Why or why not? Students
might say that they would be nervous, especially after he swerves off the road.
Compare What is the girl’s first impression
of Adams? How does it change? Possible
answer: At first, she thinks she is quite lucky
to have been picked up by a good-looking
guy who has a nice car. Then he sees a
“phantom” and tries to “run him down” (lines
359–374). She no longer feels safe with him.
320
Evaluate Is Adams’s reason for wanting to
run over the hitchhiker rational? Explain.
Possible answers:
• No. He wants to run him over to prove he
exists. However, if the hitchhiker is real,
Adams could kill him.
• Yes. If the car goes right through the
hitchhiker, then he is a phantom. If the
hitchhiker is run down and injured, then
he is a real person. It is a desperate test,
but it would give Adams the information
he wants.
330
hear the train in the distance now, but I didn’t
care. Then something went wrong with the car. It
stalled right on the tracks.
(sound: Train chugging closer. Above this sound of car
stalling.)
Adams. The train was coming closer. I could hear
its bell ringing, and the cry of its whistle. Still
he stood there. And now—I knew that he was
beckoning—beckoning me to my death.
(sound: Train chugging close. Whistle blows wildly.
Then train rushes up and by with pistons going, et
cetera.)
Adams. Well—I frustrated him that time. The
starter had worked at last. I managed to back up.
But when the train passed, he was gone. I was all
alone in the hot dry afternoon.
(sound: Train retreating. Crickets begin to sing.)
(music in)
Adams. After that, I knew I had to do something.
I didn’t know who this man was or what he
wanted of me. I only knew that from now on, I
must not let myself be alone on the road for one
moment.
(sound: Auto hum up. Slow down. Stop. Door
opening.)
Adams. Hello, there. Like a ride?
Girl. What do you think? How far you going?
Adams. Amarillo . . . I’ll take you to Amarillo.
Girl. Amarillo, Texas.
Adams. I’ll drive you there.
Girl. Gee!
(sound: Door closes—car starts.)
(music in)
Girl. Mind if I take off my shoes? My dogs4 are
killing me.
Adams. Go right ahead.
Girl. Gee, what a break this is. A swell car, a decent
guy, and driving all the way to Amarillo. All I
been getting so far is trucks.
Adams. Hitchhike much?
Girl. Sure. Only it’s tough sometimes, in these
great open spaces, to get the breaks.
Adams. I should think it would be. Though I’ll
340
350
360
370
bet if you get a good pick-up in a fast car, you can
get to places faster than—say, another person, in
another car?
Girl. I don’t get you.
Adams. Well, take me, for instance. Suppose I’m
driving across the country, say, at a nice steady
clip of about 45 miles an hour. Couldn’t a girl
like you, just standing beside the road, waiting for
lifts, beat me to town after town—provided she
got picked up every time in a car doing from 65
to 70 miles an hour?
Girl. I dunno. Maybe she could and maybe she
couldn’t. What difference does it make?
Adams. Oh—no difference. It’s just a—crazy idea
I had sitting here in the car.
Girl (laughing). Imagine spending your time in a
swell car thinking of things like that!
Adams. What would you do instead?
Girl (admiringly). What would I do? If I was a goodlooking fellow like yourself? Why—I’d just enjoy
myself—every minute of the time. I’d sit back, and
relax, and if I saw a good-looking girl along the side
of the road . . . (sharply) Hey! Look out!
Adams (breathlessly). Did you see him too?
Girl. See who?
Adams. That man. Standing beside the barbed
wire fence.
Girl. I didn’t see—anybody. There wasn’t nothing,
but a bunch of steers—and the barbed wire fence.
What did you think you was doing? Trying to run
into the barbed wire fence?
Adams. There was a man there, I tell you . . . a
thin gray man, with an overnight bag in his hand.
And I was trying to—run him down.
Girl. Run him down? You mean—kill him?
4. dogs: a slang term for feet.
98
unit 1: plot and conflict
differentiated instruction
for english language learners
Vocabulary: Idioms and Sayings [mixedreadiness pairs] Have students work in pairs
to define these phrases from the play:
• what a break this is (line 329), “this is a sudden piece of luck”
• get you (line 339), “understand you”
• keep your eyes peeled (line 378), “stay alert
and watch for something”
Strategy Support: Reading a Radio Play
Explain to students that it is important to
read fluently—that is, accurately and at an
appropriate rate. Fluency improves with
practice. One way to be a more fluent reader
is to re-read something several times. Have
students practice reading and re-reading one
of the longer parts.
• seeing pink elephants (line 397), “imagining
things that don’t really exist”
98
unit 1 : plot and conflict
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1/31/11 7:28:43 AM
380
390
400
Adams. He’s a sort of—phantom. I’m trying to
get rid of him—or else prove that he’s real. But
(desperately) you say you didn’t see him back there?
You’re sure?
Girl. I didn’t see a soul. And as far as that’s
concerned, mister . . .
Adams. Watch for him the next time, then. Keep
watching. Keep your eyes peeled on the road.
He’ll turn up again—maybe any minute now.
(excitedly) There. Look there—
(sound: Auto sharply veering and skidding. Girl
screams.)
(sound: Crash of car going into barbed wire fence.
Frightened lowing5 of steer.)
Girl. How does this door work? I—I’m gettin’
outta here.
Adams. Did you see him that time?
Girl (sharply). No. I didn’t see him that time. And
personally, mister, I don’t expect never to see him.
All I want to do is to go on living—and I don’t see
how I will very long driving with you—
Adams. I’m sorry. I—I don’t know what came over
me. (frightened) Please—don’t go . . .
Girl. So if you’ll excuse me, mister—
Adams. You can’t go. Listen, how would you like
to go to California? I’ll drive you to California.
Girl. Seeing pink elephants all the way? No thanks.
Adams (desperately). I could get you a job there.
You wouldn’t have to be a waitress. I have friends
there—my name is Ronald Adams—You can
check up.
(sound: door opening)
Girl. Uhn-hunh. Thanks just the same.
Adams. Listen. Please. For just one minute. Maybe
you think I am half cracked. But this man. You
see, I’ve been seeing this man all the way across
the country. He’s been following me. And if you
could only help me—stay with me—until I reach
the coast—
410
420
430
440
Girl. You know what I think you need, big boy?
Not a girl friend. Just a good dose of sleep. . . .
There, I got it now.
(sound: door opens . . . slams)
Adams. No. You can’t go.
Girl (screams). Leave your hands offa me, do you
hear! Leave your—
Adams. Come back here, please, come back.
(sound: struggle . . . slap . . . footsteps running away
on gravel . . . lowing of steer)
Adams. She ran from me, as though I were a
monster. A few minutes later, I saw a passing truck
pick her up. I knew then that I was utterly alone.
(sound: lowing of steer up)
Adams. I was in the heart of the great Texas
prairies. There wasn’t a car on the road after the
truck went by. I tried to figure out what to do,
how to get hold of myself. If I could find a place
to rest. Or even, if I could sleep right here in the
car for a few hours, along the side of the road . . .
I was getting my winter overcoat out of the back
seat to use as a blanket, (Hall-ooo) when I saw
him coming toward me, (Hall-ooo), emerging
from the herd of moving steer . . .
Voice. Hall-ooo . . . Hall-oooo . . .
(sound: auto starting violently . . . up to steady hum)
(music in)
Adams. I didn’t wait for him to come any closer.
Perhaps I should have spoken to him then,
fought it out then and there. For now he began
to be everywhere. Whenever I stopped, even for
a moment—for gas, for oil, for a drink of pop, a
cup of coffee, a sandwich—he was there.
(music faster)
Adams. I saw him standing outside the auto camp
in Amarillo that night, when I dared to slow
down. He was sitting near the drinking fountain
in a little camping spot just inside the border of
New Mexico.
3 Targeted Passage
5. lowing: mooing.
revisit the big question
Is seeing BELIEVING?
Discuss In lines 383–391, why is Adams so
anxious for the girl to see the hitchhiker?
What kind of proof would that offer him? Possible answer: If she can see the hitchhiker, then
he will know that he is not crazy. Because she
can’t, he is frightened that he is losing his mind.
tiered discussion prompts
In lines 410–433, use these prompts to help
students understand the literal and metaphorical significance of the sleep references:
Recall When is the last time that Adams
had a good night’s sleep? Answer: In lines
166–167, he mentions having had a good
night’s sleep in Pittsburgh, but he does not
appear to have slept since then.
Analyze What might sleep symbolize?
What does this mean for Adams? Possible
answer: Sleep can refer to death. Adams’s
death might be foreshadowed by the mention of sleep in this passage and throughout
the play.
Evaluate Do you agree with the girl’s parting advice to Adams (lines 410–411)? Why or
why not? Possible answers:
• Yes. Sleep deprivation can produce very
strange symptoms.
• No. He wasn’t sleep deprived when he
first started seeing the hitchhiker.
Lines 435–437
the hitchhiker
99
R E A D I N G STR ATEG Y
RL 3
reading a radio play
for struggling readers
3 Targeted Passage [Lines 371–422]
This passage presents the rising action: Adams’s behavior becomes increasingly odd.
• Why does Adams crash the car into the
fence? (lines 371–372)
• What is the girl’s reaction? (lines 388–391)
• Where does Adams offer to drive her? Why?
(lines 395–409)
• What does he do when she gets out of
the car? (lines 414–419)
092-101_NA_L08TE_u01s5-hitch.indd 99
for advanced learners/pre–ap
How does Adams react when he sees the
hitchhiker emerging from the herd of
steer? Answer: He speeds off.
Analyze Have students track Adams’s change
in attitude and increasing panic using a
Cause-and-Effect Diagram. Fill in the first
box together. (Cause: Adams leaves for his trip
to California. Effect: He is in “excellent spirits”
[line 80].) Have students complete the diagram in groups. Ask students: How might Adams’s behavior continue to change once the
man begins “to be everywhere” (line 440)?
BEST PRACTICES TOOLKIT—Transparency
Cause-and-Effect Diagram pp. B16, B38
the hitchhiker
99
1/31/11 7:28:48 AM
Analyze Visuals
Activity What elements of this photograph
convey desolation or loneliness? Possible
answer: The thick clouds, flat landscape, and
functional buildings create a desolate air.
About the Art American photographer
Andreas Feininger (1906–1999) began his
career as an architect before devoting himself
entirely to photography. He was a staff photographer for the magazine Life and preferred
taking pictures of scenes, such as the one here,
rather than people.
Lines 460–468
T E X T A N A LY S I S
450
RL 3
foreshadowing
What do the images in this passage suggest about Adams’s future? (Remind
students to record their ideas in the chart
from page 91.) Possible answer: All of the
images in this passage are cold, empty, and
lifeless, suggesting a future without hope or
even life.
Line 469
R E A D I N G STR ATEG Y
RL 3
reading a radio play
460
(music faster)
Adams. He was waiting for me outside the Navajo
Reservation, where I stopped to check my tires.
I saw him in Albuquerque6 where I bought 12
gallons of gas . . . I was afraid now, afraid to stop.
I began to drive faster and faster. I was in lunar
landscape now—the great arid mesa country
of New Mexico. I drove through it with the
indifference of a fly crawling over the face of the
moon.
(music faster)
Adams. But now he didn’t even wait for me to
stop. Unless I drove at 85 miles an hour over
those endless roads—he waited for me at every
other mile. I would see his figure, shadowless,
flitting before me, still in its same attitude,
over the cold and lifeless ground, flitting over
dried-up rivers, over broken stones cast up by
old glacial upheavals, flitting in the pure and
cloudless air . . .
What idea does the music communicate?
Possible answer: The music seems to indicate that Adams has reached the end of his
journey.
470
480
(music strikes sinister note of finality.)
Adams. I was beside myself when I finally reached
Gallup, New Mexico, this morning. There is an
auto camp here—cold, almost deserted at this
time of year. I went inside, and asked if there was
a telephone. I had the feeling that if only I could
speak to someone familiar, someone that I loved,
I could pull myself together.
(sound: nickel put in slot)
Operator. Number, please?
Adams. Long distance.
Operator. Thank you.
(sound: return of nickel; buzz)
Long-Distance Opr. This is long distance.
Adams. I’d like to put in a call to my home in
Brooklyn, New York. I’m Ronald Adams. The
number is Beechwood 2-0828.
Long-Distance Opr. Thank you. What is your
number?
6. Albuquerque (BlPbE-kûrQkC): a city in central New Mexico.
100
unit 1: plot and conflict
differentiated instruction
for english language learners
Vocabulary: Suffixes [mixed-readiness pairs]
Explain that the suffix -less means “without”
or “lacking.” When added to the end of a
word, it can change the meaning entirely.
Point out the words endless, shadowless,
lifeless, and cloudless in lines 460–468. Have
pairs define each word based on their knowledge of the suffix. Compare definitions.
100
Culture: Clarify Point out how complicated
making a long distance phone call was at
the time this play is set. As students can see
in lines 482 and 486, a long distance operator was involved. Then a connection had to
be made to the Albuquerque exchange (line
489) and then to the New York switchboard
(line 491) before he finally reached his home
number. That is why it was easier to send
a telegram. Remind students that in line 71
Adams’s mother asks him to send a wire, or
telegram, when he arrives in Hollywood.
unit 1 : plot and conflict
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Adams. 312.
490
500
510
520
Mrs. Whitney. Yes.
Albuquerque Opr. Albuquerque.
Adams. Where’s my mother? Where’s Mrs.
Long-Distance Opr. New York for Gallup. (pause)
Adams?
New York Opr. New York.
Mrs. Whitney. Mrs. Adams is not at home. She is
still in the hospital.
Adams. The hospital!
Mrs. Whitney. Yes. Who is this calling, please? Is it
a member of the family?
Adams. What’s she in the hospital for?
Mrs. Whitney. She’s been prostrated7 for five days.
Nervous breakdown. But who is this calling?
Adams. Nervous breakdown? But—my mother
was never nervous . . .
Mrs. Whitney. It’s all taken place since the death of
her oldest son, Ronald.
Adams. Death of her oldest son, Ronald . . . ?
Hey—what is this? What number is this?
Mrs. Whitney. This is Beechwood 2-0828. It’s all
been very sudden. He was killed just six days ago in
an automobile accident on the Brooklyn Bridge.
Long-Distance Opr. (breaking in). Your three
minutes are up, sir. (silence) Your three minutes
are up, sir. (pause) Your three minutes are up, sir.
(fade) Sir, your three minutes are up. Your three
minutes are up, sir.
Adams (in a strange voice). And so, I am sitting
here in this deserted auto camp in Gallup, New
Mexico. I am trying to think. I am trying to get
hold of myself. Otherwise, I shall go mad . . .
Outside it is night—the vast, soulless night of
New Mexico. A million stars are in the sky. Ahead
of me stretch a thousand miles of empty mesa,
mountains, prairies—desert. Somewhere among
them, he is waiting for me. Somewhere I shall
know who he is, and who . . . I . . . am . . .
(music up)
Long-Distance Opr. Gallup, New Mexico calling
Beechwood 2-0828. (fade)
Adams. I had read somewhere that love could
banish demons. It was the middle of the morning.
I knew Mother would be home. I pictured her,
tall, white-haired, in her crisp house-dress, going
about her tasks. It would be enough, I thought,
merely to hear the even calmness of her voice . . .
Long-Distance Opr. Will you please deposit three
dollars and 85 cents for the first three minutes?
When you have deposited a dollar and a half, will
you wait until I have collected the money?
(sound: clunk of six coins)
Long-Distance Opr. All right, deposit another
dollar and a half.
(sound: clunk of six coins)
Long-Distance Opr. Will you please deposit the
remaining 85 cents.
(sound: clunk of four coins)
Long-Distance Opr. Ready with Brooklyn—go
ahead please.
Adams. Hello.
Mrs. Whitney. Mrs. Adams’ residence.
Adams. Hello. Hello—Mother?
Mrs. Whitney (very flat and rather proper . . . dumb,
too, in a frizzy sort of way). This is Mrs. Adams’
residence. Who is it you wished to speak to, please?
Adams. Why—who’s this?
Mrs. Whitney. This is Mrs. Whitney.
Adams. Mrs. Whitney? I don’t know any Mrs.
Whitney. Is this Beechwood 2-0828?
530
540
550
Lines 532–542
T E X T A N A LY S I S
RL 3
foreshadowing
What does Adams learn when he calls
home? Was this outcome foreshadowed?
(Remind students to record this latest
event in the second column of their charts.)
Possible answer:
Foreshadowing
Adams swerves to
avoid a hitchhiker
on the Brooklyn
Bridge, and there
is a terrible sound
of skidding (lines
90 – 92).
Events That Were
Foreshadowed
Adams learns that
he died in a car
accident on the
Brooklyn Bridge
(lines 540 – 542).
revisit the big question
Is seeing BELIEVING?
Discuss In lines 548–557, what proof does
Adams’s phone call to his home give him?
Possible answer: His call home proves that he is
no longer living a normal life. He seems to be
suspended in a state between life and death.
4 Targeted Passage
selection wrap–up
7. prostrated: in a state of mental collapse.
the hitchhiker
for struggling readers
4 Targeted Passage [Lines 520–557]
This passage presents the play’s climax:
Adams finds out he died six days ago.
• Why does Mrs. Whitney answer the phone
instead of Adams’s mother? (lines 521–527)
• How does Adams react to the news that he
has died? (lines 548–557)
101
for advanced learners/pre–ap
Analyze What might Adams’s journey represent? Ask students to consider what happens
to Adams along the way and the possible significance of the hitchhiker and the conclusion
of the play. Have students create a diagram
that explores the metaphorical or symbolic
significance of his travels and the events that
occur. Ask students to share their insights.
READ WITH A PURPOSE Now that students
have read the selection, ask them to explain
how and why the hitchhiker so upset Adams. Possible answer: The hitchhiker upset
Adams by appearing over and over, making
Adams question his own sanity.
CRITIQUE Are you satisfied with the ending of this play, or should the conflict have
been resolved? Explain.
INDEPENDENT READING
Students may also enjoy reading In the
Middle of the Night by Robert Cormier, a
novel of suspense about a father’s past and a
son’s present.
• What do you think will happen now?
the hitchhiker
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1/31/11 7:29:04 AM
After Reading
Practice and Apply
Comprehension
For preliminary support of post-reading
questions, use these copy masters:
RESOURCE MANAGER—Copy Masters
1. Recall What is Ronald Adams’s original destination?
2. Clarify Why does the repeated sight of the hitchhiker give Adams
“the willies”?
3. Clarify What does Adams learn about his mother at the end of the play?
Reading Check p. 110
Reading a Radio Play p. 107
Question Support p. 111
Text Analysis
For additional questions, see page 99.
4. Make Inferences What kind of relationship did Ronald Adams have with
his mother? Cite evidence to support your answer.
answers
Comprehension
5. Examine Foreshadowing Now that you’ve read the play, is there anything
you’d like to change or add to the first column of your foreshadowing chart?
Make the adjustments and complete the second column. Which use of
foreshadowing most increased your sense of suspense?
1. His destination is California.
2. He cannot understand how the man is able
to travel faster than he is.
3. She has been hospitalized with a nervous
breakdown after the death of her son in a
car accident on the Brooklyn Bridge.
Text Analysis
RL 3, RL 5
Possible answers:
4. Make Inferences Adams and his mother
seem close. His mother worries about his
driving to California and is crying as he says
goodbye. He responds kindly to her concern
and wants to hear her voice when he is in
New Mexico.
5.
common core focus Examine Foreshadowing The comment that Adams’s
mother made about not picking up hitchhikers should be in the first column. The
event that is foreshadowed is the presence
of the hitchhiker, possibly Death, throughout Adams’s journey. Students might add
the terrible skidding noise in line 92 to the
first column of their chart, which foreshadowed the car accident that supposedly killed
Adams. Students might say the inability of
the mechanic and girl to see the hitchhiker
as well as the fresh rain splattered on the
hitchhiker foreshadow the idea that he is
Death or a figment of Adams’s imagination.
common core focus Analyze the
6.
RL 3 Analyze how particular lines
of dialogue or incidents in a story
propel the action, reveal aspects of
a character, or provoke a decision.
RL 5 Compare and contrast the
structure of two or more texts.
Radio Play The stage directions and
dialogue describe the hitchhiker as “drab
as a mud fence,” (line 180) and “drooping a
little” (line 182). He hails Adams for a ride.
Adams gets “panicky” (line 195) and starts
to sweat.
6. Analyze the Radio Play Reread lines 171–208. What do the stage directions
and dialogue tell you about the hitchhiker’s appearance and actions? What
do these elements tell you about Adams’ feelings and actions? Cite specific
details in your answer.
7. Draw Conclusions Who do you think the hitchhiker is? Give proof from
the play to support your conclusion.
8. Compare Across Texts What are some similarities and
differences between the characters, settings, and structures
of “The Tell-Tale Heart” and The Hitchhiker? Present your
answers in a Venn diagram.
“The Tell-Tale Heart” The Hitchhiker
Extension and Challenge
9. Creative Project: Drama With a small group, choose a scene
from The Hitchhiker that you think is especially suspenseful.
Practice performing the scene, remembering to include sound effects and to
follow stage directions. Then perform for the class. Afterward, explain why
your group chose the scene you did.
Is seeing BELIEVING?
If you were Adam, would you have believed your eyes, or trusted that the
hitchhiker you kept seeing was real? Explain.
102
unit 1: plot and conflict
8. Similarities: The main characters believe
they are sane, but their actions appear insane to others. Both stories have suspenseful plots. Differences: The Hitchhiker is set
in several locations in the 1940s. Adams is
a victim, and it is not certain what his fate
will be. “The Tell-Tale Heart” is set in the
narrator’s home. The narrator commits a
horrible crime, and his fate is clear.
Extension and Challenge
9. Performances should follow the text.
Is seeing BELIEVING?
Answers will vary, but opinions should be
supported with reasons.
7. No one else can see him, and Adams’s first
sighting of him is where he supposedly met
his death on the bridge. Therefore, the
hitchhiker may be Death.
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unit 1 : plot and conflict
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Language
grammar in context: Maintain Pronoun Antecedent Agreement
An antecedent is the noun or pronoun to which a pronoun refers. For example,
in the following sentence, the pronoun their refers to the antecedent they:
They took their seats at the café. Be sure to use singular pronouns with singular
antecedents and plural pronouns with plural antecedents. Pair antecedents
ending in one, thing, or body with singular pronouns, such as he, her, she, or his.
In the revised sentence, notice how the pronouns (in yellow) and the antecedent
(in green) agree in number.
L 1 Demonstrate command of
standard English grammar when
writing. W 1 Write arguments to
support claims with clear reasons
and relevant evidence.
Language
L 1, W 1
grammar in context
Before students begin the exercise,
have them pick out the antecedent with which
each pronoun must agree.
Possible answers:
Original:
Adams would ask just about anyone whether they had seen
the hitchhiker.
1. Adams first saw someone holding his bag
on the bridge.
Revised:
Adams would ask just about anyone whether he or she had
seen the hitchhiker.
2. Everyone thought Adams was crazy because
he or she could never see the hitchhiker.
3. Adams’s scary story would make anybody
fear for his or her life.
PRACTICE Correct the pronoun antecedent error in each sentence.
1. Adams first saw someone holding their bag on the bridge.
4. Nobody could have suspected that he or she
got a ride from a dead man!
2. Everyone thought Adams was crazy because they could never see the
hitchhiker.
3. Adams’s scary story would make anybody fear for their life.
RESOURCE MANAGER—Copy Master
4. Nobody could have suspected that they got a ride from a dead man!
Maintain Pronoun-Antecedent Agreement
p. 112
For more help with pronoun-antecedent agreement, see page R52 in the
Grammar Handbook.
reading-writing connection
reading-writing connection
YOUR
Have students create a pros and cons list and
skim the story to find details that illustrate
Adams’s sanity and others that seem to prove
he is insane.
Show your understanding of The Hitchhiker by responding to this
prompt. Then use the revising tip to improve your writing.
TURN
writing prompt
revising tip
Short Constructed Response: Evaluation
Review your paragraph.
Does each pronoun
agree with its
antecedent? If not,
revise your writing.
The play opens with Adams telling the listeners, “I am
not mad.” On the basis of what you learn in the rest
of the play, do you agree with his assessment? Write a
one-paragraph evaluation of Adams’s sanity.
Interactive Vocabulary
Interactive
Revision
Keywords direct students to a WordSharp
tutorial on thinkcentral.com or to other types
of vocabulary practice and review.
Go to thinkcentral.com.
KEYWORD: HML8-103
Assess and Reteach
the hitchhiker
103
Assess
DIAGNOSTIC AND SELECTION TESTS
differentiated instruction
Selection Tests A, B/C pp. 39–40, 41–42
Interactive Selection Test on thinkcentral.com
for struggling writers
1. As a class, fill in the pros and cons list.
Discuss whether the evidence points to
Adams’s sanity or insanity.
2. Help students form a topic sentence. For
example: Although Adams claims that
he is sane, his reactions to events prove
otherwise.
Reteach
Level Up Online Tutorials on thinkcentral.com
Reteaching Worksheets on thinkcentral.com
Literature Lessons 8, 25, Grammar
Lesson 10
3. Have students finish their paragraphs
independently, using details from the
relevant list.
the hitchhiker
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