Suspense
“Sorry, Wrong Number ”
An original radio play by
Lucille Fletcher
Production #: SU-2014-01
American Radio Theater
14700 Firestone Blvd., Suite 122
La Mirada, CA 90638-2925
Tel: 866-792-6728
eMail: [email protected]
URL: http://AmericanRadioTheater.com
Script Date: 10/1/2013
Copyright © 2014 American Radio Theater
All rights reserved worldwide.
Writer Tel: 310-977-6720
eMail: [email protected]
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Suspense
“Sorry, Wrong Number”
Prod. #
SU-2014-01
CAST
ANNOUNCER
The Announcer
THE MAN IN BLACK
Show Host
STEVENSON
Mrs. Elbert Smythe Stevenson, a querulous, selfcentered neurotic woman
1ST MAN
The killer’s associate
2ND MAN (GEORGE)
The hired killer
COMPUTER VOICE
Computer email voice reader
OPERATOR
Telephone operator
SUPERVISOR
The telephone operator’s supervisor
411 OPERATOR
Information operator
911 OPERATOR
Emergency Services operator
SERGEANT MARTIN
Police sergeant who deals with Stevenson
NOTE:
The above list is for a cast of 11.
At least two sound effects artists are also required.
Walla walla artists are not required.
STORY SUMMARY
A neurotic woman overhears a murder plot when the phone lines are crossed. No
one believes her.
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Suspense -- “Sorry, Wrong Number”
TEASER
Suspense does not employ a teaser in its story line and the program.
ACT ONE
MRS. STEVENSON, a neurotic and demanding woman, is at home alone late at
night in her house in a burrough of new York City. She calls her local
telephone OPERATOR, seeking assistance in reaching her husband, who is at his
office, working late. The operator attemps to connect while Mrs. Stevenson
rambles on in self-pity, complaining about her poor health and how she’s been
feeling nervous all day. The phone finally connects when the operator drops
off, but instead of hearing her husband, she hears a man asking for GEORGE.
The name of Mrs. Stevenson’s husband is not George. The line appears to have
been crossed somehow. Mrs. Stevenson overhears the TWO MEN planning the
murder of a woman who will be alone at home later that night. The line is cut
off in mid-conversation. The woman desperately calls the operator back. She
tells the operator what happened and asks that the call be traced. She is
told that the call cannot be traced as it has been disconnected.
The operator offers to connect Mrs. Stevenson to her supervisor, but the
offer is declined. A second attempt is made to connect to her husband’s
office, but the line is busy. Mrs. Stevenson expresses her anger at the
failure, and the operator connects her with the switchboard supervisor. The
supervisor is told about the murder plot and a request to trace the call is
made by Mrs. Stevenson. The supervisor tells her that a private citizen
cannot ask for a trace. Only the police can do that. Stevenson hangs up in
frustration.
Stevenson dials 911. The 911 OPERATOR, upon being told of the murder plot,
conncts the call directly to SERGEANT MARTIN at a local precinct. Stevenson
rambles on about the murder plot. Martin does not take her seriously, but he
takes down her name, her address, and the phone number she was dialing. She
is offended. She demands the police do something, not just merely check with
the phone company. Martin gives her the brush off. Stevenson complains that
the murder is going to take place in her neighborhood. She reoognizes the
area mentioned in the phone call (Second Avenue), a local bridge, a beat
patrolman. Martin says the info is still too vague to take any action on. He
says cynically that they could only take action is she though someone was
plotting to murder her. Stevenson is insulted by that suggestion, saying that
her husband is crazy about her, adores her, has waited on her hand and foot
since she took sick twelve years ago.
ACT TWO
Sergeant Martin tells Mrs. Stevenson the police will look into the problem.
He hangs up. She angrily calls the operator again, asking her to ring up her
huband’s office number again. The phone line is busy. She hangs up. Stevenson
laments about not being able to get out of bed. The phone rings. No one is on
the line. This happens a number of time, each time making Stevenson more and
more nervous. A message comes in from her email, which is read aloud by her
COMPUTER. Her husband is leaving for Boston at eleven that night, or so he
says. Stevenson has the operator dial the police. While the line is ringing,
a man breaks in and kills her. George, the killer, answers Sergeant Martin’s
inquiry, saying, “Sorry, wrong number.”
EPILOGUE TEASER
THE MAN IN BLACK conveys an invitation to our audience to spend another halfhour in suspense again next week.
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Suspense -- “Sorry, Wrong Number”
1.
Suspense -- “Sorry, Wrong Number”
1
3
SCENE ONE: TEASER
(THE MAN IN BLACK, ANNOUNCER)
MUSIC: [LIVE]
BERNARD HERRMAN’S “SUSPENSE” THEME.
4
MAN IN BLACK:
Suspense! (MORE)
5
MUSIC: [LIVE]
“SUSPENSE” THEME CONTINUES UNDER.
6
MAN IN BLACK:
(CONT’D) An American Radio Theater production.
2
Tonight... a tale of terror as Suspense brings
8
you the classic thriller by Lucille Fletcher.
9
“Sorry, Wrong Number” is the story of a woman
10
who accidentally overhears a nefarious murder
11
plot. Our tales of Suspense are calculated to
12
intrigue you, to stir your nerves, to offer you
13
a precarious situation and then... withhold the
14
solution until the last possible moment. And so
15
it is with tonight’s story -- “Sorry, Wrong
16
Number” -- where we again hope to keep you
17
in... (MORE)
18
MUSIC: [LIVE]
“SUSPENSE” THEME UP DRAMATICALLY.
19
MAN IN BLACK:
(CONT’D) Suspense!
20
MUSIC: [LIVE]
“SUSPENSE” THEME OUT.
ANNOUNCER:
Suspense and its classic tale of terror “Sorry,
21
22
Wrong Number” will commence after these
23
24
25
messages.
SPOT BREAK: (LIVE)
[INSERT COMMERCIAL BREAK #1.]
//
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Suspense -- “Sorry, Wrong Number”
7
Suspense -- “Sorry, Wrong Number”
1
MUSIC: [LIVE]
SUSPENSE TEASER BAR UNDER.
2
ANNOUNCER:
And now, back to Suspense, an American Radio
3
Theater production. Tonight’s episode...
4
“Sorry, Wrong Number” continues.
5
6
2.
SCENE ONE: INT. STEVENSON HOME - NIGHT
(MRS. STEVENON, OPERATOR, 1ST MAN, GEORGE)
SOUND:
TOUCH-TONE SOUNDS (275-1000) ARE DIALED,
7
FOLLOWED BY BUSY SIGNAL.
STEVENSON:
Oh, dear...
9
SOUND:
SLAMS DOWN PHONE. PICKS IT UP, DIALS OPERATOR.
10
PHONE RINGS (FILTERED, 4X).
11
OPERATOR:
(FILTER) Operator...
12
STEVENSON:
Operator, I’ve been dialing my husband’s office
13
now for the last three quarters of an hour and
14
the line is always busy. I don’t see how it
15
could be busy that long. Will you try it for
16
me, please? Mr. Elbert Stevenson’s office...
17
Bay Shore 5, one-thousand.
18
OPERATOR:
19
(FILTER) I will be glad to try that number for
you... one moment, please.
20
SOUND:
OPERATOR DIALS 275-1000 UNDER FOLLOWING:
21
STEVENSON:
(RAMBLING, FULL OF SELF PITY) I don’t see how
22
it could be busy all this time. It’s my
23
husband’s office. He’s working late tonight,
24
and I’m alone here in the house. My health is
25
so poor and I’ve been feeling nervous all day.
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Suspense -- “Sorry, Wrong Number”
8
Suspense -- “Sorry, Wrong Number”
3.
1
OPERATOR:
(FILTER) Ringing Bay Shore 5, one-thousand.
2
SOUND:
PHONE RINGS, FILTERED (4X), STEVENSON SIGHS IN
RELIEF, THE RECEIVER IS PICKED UP (FILTERED).
3
4
MAN #1: (FILTER) (A HEAVY, TOUGH VOICE) Hello?
5
STEVENSON:
Hello? (A LITTLE PUZZLED) Hello. Is... is Mr.
Stevenson there?
6
MAN #1: (FILTER) (AS IF HE HAD NOT HEARD) Hello? (LOUDER) Hello?
8
GEORGE: (FILTER) (FARTHER AWAY, WITH DISTINCTIVE QUALITY) Hello.
9
MAN #1: (FILTER) Hello, George?
10
GEORGE: (FILTER) Yes, sir. This is George speaking.
11
STEVENSON:
12
(LOUDER, MORE IMPERIOUS) Hello. Who’s this?
What number am I calling, please?
13
MAN #1: (FILTER) I’m here with our client.
14
GEORGE: (FILTER) (PLEASED) Oh, good. Is everything okay? Is the
15
coast clear for tonight?
16
MAN #1: (FILTER) Yeah. He says the coast is clear for tonight.
17
GEORGE: (FILTER) Okay, okay.
18
MAN #1: (FILTER) Where are you now?
19
GEORGE: (FILTER) In a phone booth. Don’t worry. Everything’s ok.
20
MAN #1: (FILTER) Very well. You know the address?
21
GEORGE: (FILTER) Yeah, yeah. I know. At eleven o’clock the
22
private patrolman goes around to the bar on
23
Second Avenue for a beer.
24
MAN #1: (FILTER) That’s right. At eleven o’clock.
25
GEORGE: (FILTER) I’ve made sure that all the lights are out.
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Suspense -- “Sorry, Wrong Number”
7
Suspense -- “Sorry, Wrong Number”
1
MAN #1: (FILTER) There should be only one light, visible from
the street.
2
3
4.
GEORGE: (FILTER) Yeah, yeah, I know. At eleven-fifteen, a train
4
crosses the bridge. It makes a noise, in case
5
her window’s open and she should scream.
6
STEVENSON:
7
GEORGE: (FILTER) Okay. I understand, I tell you! That’s elevenfifteen, the train.
8
10
MAN #1: (FILTER) Yeah. You remember everything else, George?
GEORGE: (FILTER) Yeah, yeah, I make it quick. As little blood as
possible.
11
12
STEVENSON:
(STEVENSON GASPS IN HORROR.)
13
GEORGE: (FILTER) Because... (AS IF AMUSED) our client does not
wish to make her suffer long.
14
15
MAN #1: (FILTER) That’s right. You’ll use a knife?
16
GEORGE: (FILTER) Yes. A knife will be okay. And afterwards, I
17
remove the rings and the bracelets and the
18
jewelry in the bureau drawer. Because... our
19
client wishes it to look like simple robbery.
20
Don’t worry. Everything’s okay. I never ma...
21
SOUND:
SIGNAL, UNDER.
22
23
STEVENSON:
(CLICKING PHONE) Oh! Oh, how awful! How
unspeakably awful!
24
25
CONVERSATION IS CUT OFF, FOLLOWED BY FAST BUSY
SOUND:
HANGS UP, PICKS UP, DIALS ZERO, RINGS (3X).
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Suspense -- “Sorry, Wrong Number”
9
(SHOCKED) Hello? What number is this, please?
Suspense -- “Sorry, Wrong Number”
1
STEVENSON:
5.
(MUMBLES TO HERSELF) Land sakes, what is taking
them so long?
2
3
OPERATOR: (FILTER)Your call, please?
4
STEVENSON:
(UNNERVED AND BREATHLESS) Operator, I’ve just
been cut off.
5
6
OPERATOR: (FILTER)I’m sorry. What number were you calling?
7
STEVENSON:
(RAPIDLY) Why, it was supposed to be 2-7-5,
one-thousand, but it wasn’t. Some wires must
9
have crossed. I was cut into a wrong number.
10
I’ve just heard the most dreadful thing...
11
something about a... a murder and... operator,
12
you simply have to retrace that call at once!
13
OPERATOR: (FILTER)I beg your pardon? May I help you?
14
STEVENSON:
(FRANTIC) Oh, I know it was a wrong number, and
15
I had no business listening, but these two men,
16
they were cold-blooded fiends...
17
OPERATOR: (FILTER)(PATIENTLY) Uh, what number were you calling,
please?
18
19
STEVENSON:
Well, that doesn’t matter. This was a wrong
20
number. And you dialed it for me. And we’ve got
21
to find out what it was immediately!
22
OPERATOR: (FILTER)What number did you call?
23
STEVENSON:
24
25
Do you mean to tell me that you can’t find what
that number was just now?
OPERATOR: (FILTER)I can connect you with my supervisor.
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Suspense -- “Sorry, Wrong Number”
8
Suspense -- “Sorry, Wrong Number”
1
STEVENSON:
6.
Oh, I think it’s perfectly shameful! Now, look.
2
I was connected with some other number -- and I
3
could hear them, but they couldn't hear me.
4
Now, I simply fail to see why you couldn't make
5
that same mistake again on purpose.
6
OPERATOR: (FILTER)2-7-5, one-thousand?
7
STEVENSON:
8
OPERATOR: (FILTER)I’ll try to get it for you. (MORE)
9
SOUND:
OPERATOR DIALS, THEN BUSY SIGNAL, UNDER.
OPERATOR: (CONT’D)(FILTER) I'm sorry, 2-7-5, one-thousand is
busy. I'll call you in twenty minutes.
11
12
STEVENSON:
(FRANTICALLY CLICKING RECEIVER) Operator!
13
OPERATOR: (FILTER)Your call, please?
14
STEVENSON:
You didn't try to get that wrong number at all.
15
I asked you explicitly and all you did was dial
16
correctly.
17
OPERATOR: (FILTER)I'm sorry. What number are you calling?
18
STEVENSON:
Well, can't you, for once, forget what number
19
I'm calling? Now I want to trace that call.
20
It's our civic duty to trace that call and to
21
apprehend those dangerous killers -- and if you
22
won't...
23
OPERATOR: (FILTER)I will connect you with my Supervisor.
24
STEVENSON:
Please!
25
SOUND:
FILTERED PHONE RINGS (4X).
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Suspense -- “Sorry, Wrong Number”
10
Yes!
Suspense -- “Sorry, Wrong Number”
7.
1
STEVENSON:
(UNDER HER BREATH) Oh, dear ...
2
SOUND:
THE PHONE PICKS UP.
3
SUPER: (FILTER)
This is the Supervisor.
4
STEVENSON:
Oh, uh, Supervsior. I want you to trace a call,
a telephone call, immediately. I don't know
6
where it came from, or who was making it, but
7
it's absolutely necessary that it be tracked
8
down. Because it was about a murder that
9
someone's planning -- a terrible, cold-blooded
10
murder of a poor innocent woman, tonight, at
11
eleven-fifteen.
12
SUPER: (FILTER)
I see.
13
STEVENSON:
(HIGH-STRUNG, DEMANDING) Well, can you trace it
for me? Can you track down those men?
14
15
SUPER: (FILTER)
I'm not certain. It depends.
16
STEVENSON:
Depends on what?
17
SUPER: (FILTER)
It depends on whether the call is still going
18
on. If it's a live call, we can trace it on the
19
equipment. If it's been disconnected, we can't.
20
STEVENSON:
Disconnected?
21
SUPER: (FILTER)
If the parties have stopped talking to each
other.
22
23
STEVENSON:
Oh, but of course they must have stopped
24
talking to each other by now. They didn't sound
25
like the type who would make a long call.
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Suspense -- “Sorry, Wrong Number”
5
Suspense -- “Sorry, Wrong Number”
1
SUPER: (FILTER)
8.
Well -- I can try tracing it. May I have your
name, please?
2
3
STEVENSON:
Stevenson. Mrs. Elbert Stevenson. But, listen…
4
SUPER: (FILTER)
(INTERRUPTING): I have your number from the
caller I-D.
5
6
STEVENSON:
If you go on wasting all this time --
7
SUPER: (FILTER)
Why do you want this call traced, please?
8
STEVENSON:
Wha--? I-- Well -- no reason. I-I mean, I
10
to be done about it. These men sounded like
11
killers -- they're dangerous, they're going to
12
murder this woman at eleven-fifteen tonight and
13
I thought the police ought to know.
14
SUPER: (FILTER)
Have you reported this to the police?
15
STEVENSON:
Well... No. Not yet.
16
SUPER: (FILTER)
You want this call checked purely as a private
individual?
17
18
STEVENSON:
Yes, yes. But meanwhile --
19
SUPER: (FILTER)
I'm sorry, Mrs. Stevesnon, but I'm afraid we
couldn't trace the call just on your say-so.
20
21
STEVENSON:
Oh, for heaven's sake. You mean to tell me I
22
can't report that there's gonna be a murder
23
without getting tied up in all this red tape?
24
Why, it's perfectly idiotic! (BEAT) Well, all
25
right. I'll call the police.
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Suspense -- “Sorry, Wrong Number”
merely felt very strongly that something ought
9
Suspense -- “Sorry, Wrong Number”
9.
1
SUPER: (FILTER)
Thank you. I'm sure that’d be the best way to...
2
SOUND:
STEVENSON SLAMS DOWN RECEIVER.
3
STEVENSON:
Ridiculous! Perfectly ridiculous!
4
SOUND:
PICKS UP RECEIVER, DIALS 911. RINGS (5X).
5
STEVENSON:
(UNDER HER BREATH) The thought of it! I can't
6
see why I have to go to all this trouble.
7
(IMPATIENT AT THE THIRD RING) Oh...!
SOUND:
911 OPERATOR FINALLY PICKS UP.
9
911: (FILTER)
9-1-1 Emergency. What is your emergency?
STEVENSON:
I’ve overheard a murder plot on the phone! It’s
10
happening tonight! I need...
11
12
911: (FILTER)
I’ll connect you to your local precinct.
13
SOUND:
OPERATOR DIALS. RINGS (2X).
14
MARTIN: (FILTER) (BORED WITH HIS NIGHT DUTY ASSIGNMENT): Police
Station, Precinct 43, Sergeant Martin speaking.
15
16
STEVENSON:
Police Department? Ah, this is Mrs. Elbert
17
Smythe Stevenson of 53 North Sutton Place. I'm
18
calling to report a murder. I mean (FUMBLING
19
FOR WORDS) -- the murder hasn't been committed
20
yet, but I just overheard plans for it over the
21
telephone -- over a wrong number that the
22
operator gave me. I've been trying to trace
23
down the call myself -- but everybody is so
24
dense -- and I guess in the end you're the only
25
people who can do anything.
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Suspense -- “Sorry, Wrong Number”
8
Suspense -- “Sorry, Wrong Number”
1
MARTIN: (FILTER) (NOT TOO IMPRESSED BY ALL THIS) Yes, ma'am.
2
STEVENSON:
10.
(TRYING TO IMPRESS HIM) It was a perfectly
3
definite murder. I heard them distinctly. Two
4
men were talking and they were going to murder
5
some woman at eleven-fifteen tonight. She lives
6
in a house near a bridge. (BEAT) Are... are you
7
listening to me?
MARTIN: (FILTER) Yes. Uh, yes, ma'am.
9
STEVENSON:
And there was a private patrolman on the
10
street. He was going to go around for a beer on
11
Second Avenue. And there was some third man --
12
a client who was paying to have this poor woman
13
murdered. They were going to take her rings and
14
bracelets and... and use a knife... Well –
15
it... it's unnerved me dreadfully...
16
MARTIN: (FILTER) I see. (STOLIDLY) When was all this, ma'am?
17
STEVENSON:
About eight minutes ago. (RELIEVED) Then...
then you can do something? You do understand --
18
19
MARTIN: (FILTER) What is your name, ma'am?
20
STEVENSON:
21
MARTIN: (FILTER): And your address?
22
STEVENSON:
(IMPATIENT) Stevenson. Mrs. Elbert Stevenson.
53 North Sutton Place. Five-three North Sutton
23
Place. That's near The Queensboro Bridge, you
24
know and, and... And we have a private
25
patrolman on our street... and Second Avenue -American Radio Theater  [email protected]
Suspense -- “Sorry, Wrong Number”
8
Suspense -- “Sorry, Wrong Number”
1
MARTIN:(FILTER)
And what was that number you were calling?
2
STEVENSON:
Bay Shore 5 one-thousand. But that wasn't the
11.
number I overheard. I mean Bay Shore 5 one-
4
thousand is my husband's office. He's working
5
late tonight and I was trying to reach him to
6
ask him to come home. I'm an invalid, you know,
7
and it's the maid's night off and I hate to be
8
alone, even though he says I'm perfectly safe
9
as I have the telephone right beside my bed.
10
MARTIN: (FILTER) (STOLIDLY) Well, we'll look into it, Mrs.
11
Stevenson, and see if we can check it with the
12
telephone company.
13
STEVENSON:
(GETTING IMPATIENT) But the telephone company
14
said they couldn't check the call if the
15
parties had stopped talking. I've already taken
16
care of that!
17
MARTIN: (FILTER) (FAINT HINT OF SARCASM) Oh, you have?
18
STEVENSON:
(HIGH-HANDED) Yes. And, personally, I feel you
19
ought to do something far more immediate and
20
drastic than just check the call. They've
21
stopped talking! By the time you tracked it
22
down, they'll already have committed the
23
murder.
24
MARTIN: (FILTER) (GIVING HER THE "BRUSH OFF") Well, we'll take
25
care of it. Don't you worry.
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Suspense -- “Sorry, Wrong Number”
3
Suspense -- “Sorry, Wrong Number”
1
STEVENSON:
12.
Well, I'd say the whole thing calls for a
2
search, a complete and thorough search of the
3
whole city. Now, I'm very near the bridge and
4
I'm not far from Second Avenue -- and I know
5
I'd feel a whole lot better if you sent around
6
a radio car to this neighborhood at once!
7
MARTIN: (FILTER) And what makes you think the murder's going to
be committed in your neighborhood, ma'am?
8
STEVENSON:
Well, I -- Oh, I don't know. Only the
10
coincidence is so horrible. Second Avenue --
11
the patrolman -- the bridge.
12
MARTIN: (FILTER) Second Avenue is a very long street, ma'am. And
13
you know how many bridges there are in the city
14
of New York alone?
15
STEVENSON:
Yes, I know--
16
MARTIN: (FILTER) Not to mention Brooklyn, Staten Island, Queens,
and the Bronx.
17
18
STEVENSON:
19
MARTIN: (FILTER) How do you know there isn't some little house
20
on Staten Island on some little Second Avenue
21
You've never even heard about? How do you know
22
they're even talking about New York at all?
23
24
25
STEVENSON:
I know that!
But I heard the call on the New York dialing
system.
MARTIN: (FILTER) Maybe it was a long-distance call you heard.
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Suspense -- “Sorry, Wrong Number”
9
Suspense -- “Sorry, Wrong Number”
1
STEVENSON:
2
MARTIN: (FILTER) Supposing you hadn't broken in on that phone
Oh, don't--
3
call? Supposing you'd got your husband. You
4
wouldn't be so upset, would you?
5
STEVENSON:
MARTIN: (FILTER) A lot of murders are plotted in this city every
day, ma'am. We manage to prevent most of 'em.
8
10
STEVENSON:
But...
MARTIN: (FILTER) But a clue of this kind is so vague -- it isn't
much more use to us than no clue at all.
11
12
STEVENSON:
13
MARTIN: (FILTER) Unless, of course, you think that someone may
be planning to murder you.
14
15
But, surely, you --
STEVENSON:
Me? Oh, I hardly think so. I -- I mean, why
16
should anybody? I'm alone all day and night. I
17
see nobody except my maid, Eloise. The only
18
other person is my husband, Elbert. He's crazy
19
about me... he... he just adores me. He waits
20
on me hand and foot. He's scarcely left my side
21
since I took sick, well, twelve years ago....
22
MUSIC: [LIVE]
“SUSPENSE” ACT BREAK CHANGE.
23
ANNOUNCER:
Suspense, an American Radio Theater production
24
25
will return after these messages.
SPOT BREAK (LIVE) [INSERT COMMERCIAL BREAK #1.]
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Suspense -- “Sorry, Wrong Number”
9
Well, no, I suppose not. Only it sounded so
inhuman -- so cold-blooded.
6
7
13.
Suspense -- “Sorry, Wrong Number”
2
SCENE TWO: INT. STEVENSON HOME - NIGHT
(MRS. STEVENSON, OPERATOR, MARTIN, GEORGE)
MUSIC: [LIVE]
“SUSPENSE” TEASER BAR (8 NOTES) UNDER.
3
ANNOUNCER:
1
14.
And now, back to Suspense, an American Radio
Theater production and... “Sorry, Wrong
5
Number”. Mrs. Stevenson has overheard a
6
telephone conversation where a murder of a
7
woman was being planned. She has tried to alert
8
the proper authorities, but all has been in
9
vain. She is now speaking with Sergeant Martin
10
of local Precinct 43...
11
SOUND:
12
MARTIN: (FILTER) Well, then, there's nothing for you to worry
13
about. Now, if you'll just leave the rest of
14
this to us, we'll take care of it.
15
STEVENSON:
16
FADE IN DIALOG BELOW UNDER LAST LINE, ABOVE.
(NOT COMPLETELY MOLLIFIED) But what will you
do? It's so late ... it's nearly eleven now!
17
MARTIN: (FILTER) (MORE FIRMLY) We'll take care of it, lady.
18
STEVENSON:
Will you broadcast it all over the city? And
19
warn your squad cars to watch out -- especially
20
in neighborhoods like mine?
21
MARTIN: (FILTER) Lady, I said we'd take care of it. Just now
22
I've got a couple of other matters here on my
23
desk That require immediate attention. Good
24
night, ma'am, and thank you.
25
SOUND:
A CLICK AS HE HANGS UP, FOLLOWED BY DIAL TONE.
American Radio Theater  [email protected]
Suspense -- “Sorry, Wrong Number”
4
Suspense -- “Sorry, Wrong Number”
1
STEVENSON:
Oh, you--! You--!
2
SOUND:
STEVENSON SLAMS DOWN THE RECEIVER HARD.
3
STEVENSON:
Idiot! Oh, now, why did I hang up the phone
15.
4
like that? He'll think I am a fool! (PAUSE) Oh
5
-- why doesn't Elbert come home? Why doesn't
6
he? Why doesn't he come home?
SOUND:
SHE SOBS, MUTTERS, DIALS OPERATOR. RINGS (5X).
8
OPERATOR: (FILTER)Your call, please?
9
STEVENSON:
Operator, for heaven's sake, will you ring Bay
Shore 5, one thousand number again?
10
11
OPERATOR: (FILTER)I will try it for you.
12
SOUND:
OPERATOR DIALS UNDER FOLLOWING:
13
STEVENSON:
Well, try! Try! (TO HERSELF) I don't see why he
doesn't answer it...
14
15
SOUND:
16
OPERATOR: (FILTER)I'm sorry. Bay Shore 5, one thousand is busy.
I will...
17
18
FILTERED BUSY SIGNAL.
STEVENSON:
(NASTY) I can hear it. You don't have to tell
me. I know it's busy...
19
20
SOUND:
STEVENSON SLAMS DOWN THE RECEIVER, SIGHS.
21
STEVENSON:
(NERVOUSLY QUERULOUS) If I could only ... get
22
out of this bed for a little while. If I could
23
get a breath of fresh air, just lean out the
24
window and see the street...
25
SOUND:
PHONE RINGS, IS PICKED UP INSTANTLY.
American Radio Theater  [email protected]
Suspense -- “Sorry, Wrong Number”
7
Suspense -- “Sorry, Wrong Number”
1
STEVENSON:
16.
Hello, Elbert? Hello? The caller I-D’s not
2
working! Hello? Hello?! Oh, what's the matter
3
with this phone? HELLO! HELLO!
4
SOUND:
THE PHONE RINGS AGAIN (1X), IS PICKED UP AGAIN.
5
6
SHE SLAMS DOWN THE RECEIVER. A SECOND'S PAUSE.
STEVENSON:
Hello? Oh, for heaven's sake, who is this?
Hello, Hello, HELLO!
7
SOUND:
SHE SLAMS DOWN RECEIVER.
9
STEVENSON:
(TO HERSELF) Oh, who's trying to call me... ?
10
SOUND:
DIALS OPERATOR. FILTERED PHONE RINGS (4X).
11
STEVENSON:
(TO HERSELF, ON SECOND RING) Why doesn't she
answer?
12
13
OPERATOR: (FILTER)Your call, please?
14
STEVENSON:
Hello, Operator, I don't know what's the matter
15
with this telephone tonight, but it's
16
positively driving me crazy.
17
OPERATOR: (FILTER)What seems to be the trouble, please?
18
STEVENSON:
Everything's wrong! The whole world could be
19
murdered for all you people care. And now my
20
phone keeps ringing and ringing and ringing and
21
ringing every five seconds and when I pick it
22
up, there's no one there!
23
OPERATOR: (FILTER)If you will hang up, I will test it for you.
24
STEVENSON:
25
I don't want you to test it! I want you to put
that call through, whatever it is, at once!
American Radio Theater  [email protected]
Suspense -- “Sorry, Wrong Number”
8
Suspense -- “Sorry, Wrong Number”
1
OPERATOR: (FILTER)I'm afraid I cannot do that.
2
STEVENSON:
3
OPERATOR: (FILTER)If someone is trying to dial your number,
17.
You can't?!? And why -- why, may I ask?
4
there is no way to check if the call is coming
5
through the system or not.
6
STEVENSON:
Well, of all the -- and meanwhile I've got to
7
sit here in my bed, suffering every time that
8
phone rings, imagining everything...
10
OPERATOR: (FILTER)I will try to check the trouble for you.
STEVENSON:
Check it! Check it! That's all anybody can do!
Oh, what's the use of talking to you?
11
12
SOUND:
STEVENSON SLAMS DOWN THE RECEIVER.
13
STEVENSON:
(TO HERSELF) Oh, I'll fix her! Of all the
14
impudent... How dare she speak to me like that?
15
How dare she?
16
SOUND:
DIALS OPERATOR.
17
STEVENSON:
(TO HERSELF) Call the operator...
18
SOUND:
FILTERED PHONE RINGS (5X).
19
STEVENSON:
(TO HERSELF, ON SECOND RING) Oh, why does it
take so long?
20
21
OPERATOR: (FILTER)Your call, please?
22
STEVENSON:
Young woman, I'm going to report you to your
23
superiors for the most unpardonable rudeness
24
it's ever been my privilege... Give me the
25
business office at once!
American Radio Theater  [email protected]
Suspense -- “Sorry, Wrong Number”
9
Suspense -- “Sorry, Wrong Number”
1
OPERATOR: (FILTER)You may dial that number direct.
2
STEVENSON:
Dial it direct? I'll do no such thing! I don't
even know the number...
3
4
OPERATOR: (FILTER)The number is in the directory or you may
secure it by dialing Information.
5
STEVENSON:
Listen, here, you... Oh, what's the use!
7
SOUND:
STEVENSON SLAMS DOWN THE RECEIVER.
8
STEVENSON:
Oh, dear...
9
SOUND:
ALMOST INSTANTLY, THE PHONE RINGS.
STEVENSON:
Oh, for heaven's sake, I'm going out of my
mind! Out of my...
11
12
SOUND:
STEVENSON PICKS UP THE RECEIVER.
13
STEVENSON:
Hello?! HELLO! Stop ringing me, do you hear?
14
Answer me! Who is this? Do you realize you're
15
driving me crazy? Who's calling me? What are
16
you doing it for? Now stop it! Stop it! Stop
17
it! HELLO! HELLO! I-I-If you don't stop ringing
18
me, I'm going to call the police, do you hear?!
19
THE POLICE!
20
SOUND:
STEVENSON SLAMS DOWN THE RECEIVER.
21
STEVENSON:
(SOBBING NERVOUSLY) Oh, if Elbert would only
come home!
22
23
SOUND:
THE PHONE RINGS AGAIN SHARPLY (7X), UNDER.
24
STEVENSON:
(TO HERSELF) Oh, let it ring. Let it go on
25
ringing. It's a trick of some kind. (MORE)
American Radio Theater  [email protected]
Suspense -- “Sorry, Wrong Number”
6
10
18.
Suspense -- “Sorry, Wrong Number”
1
STEVENSON:
19.
(CONT’D) I won't answer it. I won't. I won't. I
2
won't, even if it goes on ringing all night.
3
Oh, you ring. Go ahead and ring.
4
SOUND:
THE PHONE SUDDENLY STOPS -- THEN SILENCE.
5
STEVENSON:
(A TERRIFIED NOTE IN HER VOICE) Stopped. Now,
now what's the matter? Why did they stop
7
ringing? Oh... (HYSTERICALLY) What time is it?
8
Where did I put that clock? Here it is. Five to
9
eleven... oh, they've decided something.
10
They're sure I'm home. They heard my voice
11
answer them just now. That's why they've been
12
ringing me -- why no one has answered me...
13
SOUND:
STEVENSON PICKS UP THE PHONE.
14
STEVENSON:
(TO HERSELF) I'll call the operator again.
15
SOUND:
STEVENSON DIALS OPERATOR, FILTERED RING (5X).
16
STEVENSON:
(TO HERSELF, ON SECOND RING): Oh, where is she?
Why doesn't she answer? Why doesn't she answer?
17
18
OPERATOR: (FILTER)Your call, please?
19
STEVENSON:
Where were you just now? Why didn't you answer
at once? Give me the Police Department.
20
21
SOUND:
Operator puts call through. Busy signal.
22
OPERATOR: (FILTER)I'm sorry. The line is busy. I will call you.
23
STEVENSON:
Busy? But that's impossible! The Police
24
Department can't be busy. There must be other
25
lines available.
American Radio Theater  [email protected]
Suspense -- “Sorry, Wrong Number”
6
Suspense -- “Sorry, Wrong Number”
1
OPERATOR: (FILTER)The line is busy. I will try to get them for
you later.
2
3
STEVENSON:
(FRANTIC) No, no! I've got to speak to them now
4
or it may be too late. I've got to talk to
5
someone!
6
OPERATOR: (FILTER)What number do you wish to speak to?
7
STEVENSON:
(DESPERATELY) I don't know! But there must be
someone to protect people beside the police
9
department! A-a-a -- detective agency!
OPERATOR: (FILTER)You will find agencies listed in the
Classified Directory.
11
12
STEVENSON:
But I don't have a Classified! I mean -- I'm...
13
I'm too nervous to look it up -- and I... I
14
don't know how to use the...
15
OPERATOR: (FILTER)I'll connect you with Information. Perhaps she
will be able to help you.
16
17
STEVENSON:
(AGONIZEDLY) No! No! (FURIOUSLY) You don't
18
care, do you, what happens to me? I could die
19
and you wouldn't care.
20
SOUND:
STEVENSON Hangs up receiver. computer beeps.
21
COMPUTER VOICE:
You’ve got mail!
22
STEVENSON:
Oh! Stop it! Stop it! Stop it! I can't stand
any more.
23
24
COMPUTER VOICE:
You’ve got mail!
25
STEVENSON:
(YELLING FRENZIEDLY) Stop it...!
American Radio Theater  [email protected]
Suspense -- “Sorry, Wrong Number”
8
10
20.
Suspense -- “Sorry, Wrong Number”
1
COMPUTER VOICE:
Voice commands enabled. Shall I read the
message?
2
3
21.
STEVENSON:
(IN A MORE SUBDUED VOICE) Yes. Yes. (AS
4
COMPUTER READS EMAIL) I forgot about that silly
5
contraption.
6
COMPUTER VOICE:
Darling. Terribly sorry. Tried to get you for
last hour, but line busy. Leaving for Boston
8
eleven P.M. tonight, on urgent business. Back
9
tomorrow afternoon. Keep happy. Love... Elbert.
End of message. Save, delete, forward?
10
11
STEVENSON:
(BREATHLESSLY, ALMOST TO HERSELF) Oh, no --
12
COMPUTER VOICE:
Save, delete, forward?
13
STEVENSON:
Save!
14
COMPUTER VOICE:
Message saved. No further messages. Good night.
15
SOUND:
COMPUTER BEEPS (1X).
16
STEVENSON:
(MECHANICALLY) Good night. (SUDDENLY BURSTING
17
OUT) Oh, no. No -- I don't believe it. He
18
couldn't do it. He couldn't do it. Not when he
19
knows I'll be all alone. It's some trick --
20
some fiendish trick --
21
SOUND:
STEVENSON DIALS OPERATOR. FILTERED RING (5X).
22
STEVENSON:
(SOBBING) Some trick... why doesn't she...?
23
OPERATOR: (FILTER)Your call, please?
24
STEVENSON:
25
Operator, try that Bay Shore 5, one thousand
number for me, just once more, please.
American Radio Theater  [email protected]
Suspense -- “Sorry, Wrong Number”
7
Suspense -- “Sorry, Wrong Number”
1
OPERATOR: (FILTER)You may dial that number direct ...
2
SOUND:
STEVENSON HANGS UP.
3
STEVENSON:
(WRETCHEDLY) Oh...
4
SOUND:
SHE PICKS UP AND NERVOUSLY DIALS 275-1000
5
DIRECT, SOUNDING OUT THE NUMBERS UNDER HER
6
BREATH. IT GOES THROUGH, FILTERED RING AFTER
7
LONG RING (7X). NO ANSWER.
8
STEVENSON:
22.
Oh... He's gone. He's gone. Oh, Elbert, how
10
SOUND:
ON 7TH RING, SHE HANGS UP THE PHONE.
11
STEVENSON:
(SOBS, PITYING HERSELF) How could you? I can't
12
be alone tonight. I can't. If I'm alone one
13
more second, I'll go mad. I don't care what he
14
says, or what the expense is, I'm a sick woman.
15
I'm entitled. I'm entitled... (PITIFUL SOB).
16
SOUND:
SHE PICKS UP THE PHONE, DIALS 4-1-1. FILTERED
RINGS (3X).
17
18
INFORMATION:
(FILTER) Information. May I help you?
19
STEVENSON:
I... I want the telephone number of Henchley
Hospital.
20
21
INFORMATION:
street address?
22
23
(FILTER) Henchley Hospital? Do you have the
STEVENSON:
No. No. It's somewhere in the seventies. It's a
24
very small, private, and exclusive hospital
25
where I had my appendix out two years ago.
American Radio Theater  [email protected]
Suspense -- “Sorry, Wrong Number”
could you? How could you...?
9
Suspense -- “Sorry, Wrong Number”
23.
1
INFORMATION:
(FILTER) One moment, please.
2
STEVENSON:
Please hurry. And please -- what is the time?
3
INFORMATION:
(FILTER) We no longer offer that service.
4
STEVENSON:
Oh, for heaven's sake...
5
SOUND:
SHE HANGS UP. AFTER SHORT BEAT, IT RINGS (3X).
6
STEVENSON:
(SUFFOCATED VOICE) I won't pick it up. I -- I
won't let them hear me. I'll be quiet and
8
they'll think... (WITH GROWING TERROR) Oh, but
9
if I don't call someone now, while they're
still down there, there'll be no time...
10
11
SOUND:
PHONE HAS STOPPED RINGING. AFTER A BEAT,
12
STEVENSON PICKS UP RECEIVER AND DIALS OPERATOR.
13
FILTERED RING (3X).
14
OPERATOR: (FILTER)Your call, please?
15
STEVENSON:
(IN A DESPERATE WHISPER) Operator. Operator.
I'm in desperate trouble.
16
17
OPERATOR: (FILTER)I'm sorry. I cannot hear you. Please speak up.
18
STEVENSON:
(STILL WHISPERING) I don't dare. I -- there's
someone listening. Can you hear me now?
19
20
OPERATOR: (FILTER)I'm sorry.
21
STEVENSON:
(DESPERATELY) But you've got to hear me. Oh,
22
please. You've got to help me. There's someone
23
in this house. Someone who's going to murder
24
me. And you've got to get in touch with...
25
SOUND:
CLICK OF RECEIVER BEING PUT DOWN ON THE LINE.
American Radio Theater  [email protected]
Suspense -- “Sorry, Wrong Number”
7
Suspense -- “Sorry, Wrong Number”
1
STEVENSON:
24.
(BURSTING OUT WILDLY) Oh -- there it is. There
2
it is. Did you hear it? He's put it down --
3
he's put down the extension phone. He's coming
4
up... (HER VOICE IS HOARSE WITH FEAR) He's
5
coming up the stairs. Give me the Police
6
Department... the police department... police
7
department... give it to me ...
OPERATOR: (FILTER)One moment, please -- I will connect you.
9
SOUND:
CALL IS PUT THROUGH.
STEVENSON:
I can -- I can hear him. He's nearer. (WEAKLY)
10
11
Oh, I hear him, I hear him. Hurry. Hurry.
12
Hurry.
13
SOUND:
AS STEVENSON BECOMES INCOHERENT WITH FEAR AND
14
BEGINS TO SCREAM, A TRAIN APPROACHES AND ROARS
15
OVER A NEARBY BRIDGE. AS IT FADES, A BODY
16
THUMPS TO THE FLOOR. THEN THE TRAIN PASSES AND
17
WE HEAR THE PHONE STILL RINGING AT THE OTHER
18
END. THE TELEPHONE IS PICKED UP.
19
MARTIN: (FILTER) Police Department, Sergeant Martin speaking...
20
Police Department. Sergeant Martin speaking...
21
Police Department. Sergeant Martin speaking.
22
GEORGE:
(SAME DISTINCTIVE VOICE AS IN BEGINNING OF
23
PLAY) Police Department? Oh... Sorry, wrong
24
number. Don't worry. Everything's okay.
25
MUSIC: [LIVE]
UP AND OUT.
American Radio Theater  [email protected]
Suspense -- “Sorry, Wrong Number”
8
Suspense -- “Sorry, Wrong Number”
1
MAN IN BLACK:
25.
And so closes “Sorry, Wrong Number” -tonight's tale of... (MORE)
2
3
MUSIC: [LIVE]
BERNARD HERRMANN'S THEME MUSIC KICKS IN.
4
MAN IN BLACK:
(CONT’D) Suspense! (MORE)
5
MUSIC: THEME CONTINUES UNDER THE FOLLOWING:
6
MAN IN BLACK:
(CONT’D) This is the Man in Black, who conveys
to you our invitation to spend this half-hour
8
in suspense with us again next week. Tonight’s
9
radio play was written by Lucille Fletcher, was
10
updated for the American Radio Theater and
11
directed by Charles Welty.
12
MUSIC: [LIVE]
OUT.
13
ANNOUNCER:
Suspense is an American Radio Theater
14
15
16
production.
STATION BREAK:
[GO TO NETWORK BREAK.]
THE END
17
18
19
20
21
22
23
24
25
American Radio Theater  [email protected]
Suspense -- “Sorry, Wrong Number”
7
Suspense -- “Sorry, Wrong Number”
Cast, Music, Sound
1
2
3
4
5
6
7
8
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
Cast
Announcer ................................................................................... 1, 2, 13, 14, 25
Guest
Computer Voice .................................................................. 20, 21
Information Operator ........................................................ 22, 23
Principal
Mrs. Stevenson .................................................................... 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17,
18, 19, 20, 21, 22, 23, 24
Operator................................................................................ 2, 3, 5, 6, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24
Sergeant Martin ................................................................... 9, 10, 11, 12, 13, 14, 24
The Man in Black ................................................................ 1, 25
Supporting
911 Operator ........................................................................ 9
George ................................................................................... 3, 4, 24
Man #1 .................................................................................. 3, 4
Supervisor ............................................................................. 7, 8, 9
Music
Bernard Herman’s Suspense Theme ...................................... 1
Suspense Act Break Change .................................................... 13
Suspense Teaser Bar .................................................................. 2, 14
Sound
body thumbs to floor ................................................................. 24
busy signal ................................................................................... 2, 6, 19
busy signal (fast) ......................................................................... 4
busy signal, filtered .................................................................... 15
call is connected, filtered .......................................................... 9, 15, 19, 24
click of phone being put down on the line, filtered ........... 23
computer beeps........................................................................... 20, 21
dial tone ........................................................................................ 14
phone is flashed (3X) ................................................................. 4, 6
phone is hung up ....................................................................... 4, 20, 22, 23
phone is hung up, filtered ........................................................ 14
phone is picked up..................................................................... 2, 4, 9, 15, 16, 17, 18, 19, 21, 22, 23, 24
phone is picked up, filtered ..................................................... 3, 7
phone is slammed down .......................................................... 2, 9, 15, 16, 17, 18
phone rings (1X) ......................................................................... 16, 18
phone rings (3X) ......................................................................... 23
phone rings (7X) ......................................................................... 18
phone rings, filtered (1X) .......................................................... 15
phone rings, filtered (2X) .......................................................... 9
phone rings, filtered (3X) .......................................................... 4, 22, 23
phone rings, filtered (4X) .......................................................... 2, 3, 6, 16
phone rings, filtered (5X) .......................................................... 9, 15, 17, 19, 21
phone rings, filtered (7X) .......................................................... 22
touch tones dialed (275-1000) .................................................. 2, 22
touch tones dialed (411) ............................................................ 22
touch tones dialed (911) ............................................................ 9
touch tones dialed (operator) .................................................. 2, 4, 15, 16, 17, 19, 23
train approaches over nearby bridge ..................................... 24
train passes with phone ringing in b.g. ................................. 24
Chicago Radio Theater  866-781-2800  [email protected]
Suspense -- “Sorry, Wrong Number”
9
26.
The Green Hornet: “Suspense“
27.
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Suspense -- “Sorry, Wrong Number”
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American Radio Theater  [email protected]