Sorry, Wrong Number Page #9

Synopsis: Leona Stevenson is sick and confined to her bed. One night, whilst waiting for her husband to return home, she picks up the phone and accidentally overhears a conversation between two men planning a murder. She becomes increasingly desperate as she tries to work out who the victim is so the crime can be prevented.
Director(s): Anatole Litvak
Production: Paramount Pictures
  Nominated for 1 Oscar. Another 2 nominations.
 
IMDB:
7.5
Rotten Tomatoes:
86%
APPROVED
Year:
1948
89 min
13,977 Views


house at 20 Dunstan Terrace...

which I purchased

for Mr. Stevenson.

Here, twice a week after work...

I would come from

your father's Bayonne plant.

And here, Mr. Stevenson

would mail me...

or telephone his instructions

from Cicero.

The character of our work

now became more complex...

inasmuch as I was directly

selling the products...

as well as removing them

from the plant.

A little over

three months ago...

Mr. Stevenson arrived in New York

himself to supervise the work.

But unfortunately,

it was at that time...

that the final chapter of

our enterprise was being written.

Pardon me?

Come right in. Good evening.

This is the professor?

- Wally, this is Morano.

- Morano?

Yes, that's right. You didn't

expect me, did you, Professor?

With the assistance of Mr. Evans...

That is the name, isn't it?

- Yes, sir.

- With the assistance of Mr. Evans...

we'll proceed

with our business.

As I was saying, Stevenson,

according to our information...

and we have accurate sources...

since you decided to

disassociate yourself from us...

you've accumulated

quite a stock...

of which you have been able

to dispose of only one-third.

That leaves quite an amount

hanging around loose, doesn't it?

Where is it?

- I don't know anything about it.

- You don't, huh?

How about you, Professor?

As Mr. Stevenson just said,

we don't know, I'm sorry to say.

Well, so am I.

All right, boys.

- Leave him alone or I'll...

- Hold it, fellas.

Or you'll what, Stevenson?

Look, Stevenson. Size doesn't

count in our business.

We all know you're a big, strong

guy. We all know you can fight.

This isn't the way

you'll settle the difference...

our organization has with you.

Now there's one thing

I haven't told you yet.

We had a...

what'll I call it...

a board meeting last Thursday.

And the vote was seven to one

against you. That's pretty bad.

I'm not saying

I didn't argue the point...

but if you insist on being stubborn

there's nothing I can do.

Stop beating about the bush!

What do you want?

Now you're talking.

Now let's just relax for a second.

I'm sure the professor would like

to get a load off his feet.

It's a long way from here

to Bayonne, isn't it?

It's all right. Mr. Stevenson,

give them what they want.

- You can take everything I've got.

- Shut up!

Since you started your own business,

we've suffered quite a loss.

Now if you were to turn back

what you've accumulated...

and pay us, say, $200,000

for our injured feelings...

I might get the board

to reconsider their decision...

provided you both continue working

under our humble supervision.

You know as well as I do

I don't have that kind of money.

But you've got good connections...

a rich father-in-law, a rich wife.

Lot of good that does. Why do you

think I went into this business for?

But I thought I read somewhere about

your wife being sick, even dying.

So what about it?

She's got insurance, hasn't she,

made out in your name?

I'm pretty sure the board

would give you, say, 90 days...

to raise the money

on something like that.

- Why 90 days?

- Isn't that what the doctor said?

Yes, that's what

he said, but...

- What's that?

- Just a IOU to make it legal.

Everything can be straightened

out without any trouble.

Suppose something happened and

she didn't... I mean, if she got...

I wouldn't worry about it,

Stevenson.

You've got a doctor's word for it.

They know their business.

I wouldn't say you had

much of a choice anyhow.

That happened on the evening

of the 23rd of this past April.

I need not describe

Mr. Stevenson's distress...

when four days ago

the IOU came due.

As I understand it,

Mr. Stevenson saw Mr. Morano...

but his request for an extension

was most heartlessly refused.

I have not seen either Mr. Stevenson

or Mr. Morano since.

And now, inasmuch as I have already

given you the final message...

I believe the rest

explains itself quite simply.

Mr. Evans, where's my husband?

Where's Mr. Stevenson now?

I wish I knew, Mrs. Stevenson.

- If you tried the Bowery number.

- The Bowery number?

That I gave you

in the message.

- If you'll check it over with me...

- I can't! I can't!

I'll repeat it for you,

Mrs. Stevenson, once more.

Point one:
The house

at 20 Dunstan Terrace...

was burned down this afternoon

by Mr. Evans.

Point two:

Mr. Evans escaped.

Point three:

Mr. Morano has been arrested...

so it would not be necessary

to raise the money.

Point four:
It was not Mr. Morano

who tipped off the police.

But it doesn't matter.

Just give me the Bowery number.

The one for Mr. Stevenson.

Point five:
Mr. Evans

is at the Manhattan address.

But he's leaving now and

may be found at Bowery 2-1000.

- Bowery 2-1000.

- Yes, after midnight.

Good night, Mrs. Stevenson.

Thank you very much.

Good night.

Bowery 2-1000.

- Is Mr. Stevenson there?

- Mr. Who?

Mr. Stevenson.

Mr. Henry Stevenson.

- I was told to call by a Mr. Evans.

- Just a minute. I'll see.

- Stevenson's the name?

- Yes, that's right.

Hold the phone.

No, he's not here, ma'am.

Mr. Evans said he might be expected.

Could I leave a message?

A message, ma'am? We don't take

no messages here, ma'am.

They wouldn't do no good.

No? Well, what number is this?

What... What am I calling?

Bowery 2-1000, ma'am...

the city morgue.

- Your call, please.

- Operator, give me the police now.

- Ringing the police department.

- No, wait a minute.

Get me a hospital.

I can't be alone, I'm telling you!

- Hurry! Hurry!

- One moment, please.

Operator! Operator,

what about the hospital?

Hello, operator!

Operator! Operator!

- Bellevue.

- Is this the hospital?

- Yes.

- I want the nurse's registry.

- Whom do you wish to speak to?

- I want the nurse's registry.

I want to hire a trained nurse

immediately for the night.

Pardon me just a second.

And what were you saying?

I said I want to hire a trained

nurse. I need her immediately!

We understand that, but in the first

place this is a city hospital.

All I know is that I'm a sick woman

and I'm all alone...

in this horrible empty house!

I overheard a telephone

conversation a while ago...

about... about a murder...

a murder to be

committed at 11:
15.

I don't know what's happened

to my husband.

If something isn't done,

I'm afraid...

- What was that?

- What was what, madam?

That click just now

on my telephone.

Like someone lifted the receiver

from the extension downstairs.

- I didn't hear it, madam.

- Well, I did.

There's someone in this house.

There's someone in the kitchen

and they're listening to me now...

Who is it?

Who's there?

New Haven is calling Mrs. Henry

Stevenson. Is she there?

Yes, but I haven't

any time to talk now.

I have a person-to-person call

from Mr. Henry Stevenson.

Do you not wish

to accept the call, madam?

Did you say Mr. Stevenson from...

from New Haven?

- Do you wish to accept the call?

- Yes, I'll take it.

One moment, please.

Rate this script:4.7 / 3 votes

Lucille Fletcher

Violet Lucille Fletcher (March 28, 1912 – August 31, 2000) was an American screenwriter of film, radio and television. Her credits include The Hitch-Hiker, an original radio play written for Orson Welles and adapted for a notable episode of The Twilight Zone television series. Lucille Fletcher also wrote Sorry, Wrong Number, one of the most celebrated plays in the history of American radio, which she adapted and expanded for the 1948 film noir classic of the same name. Married to composer Bernard Herrmann in 1939, she wrote the libretto for his opera Wuthering Heights, which he began in 1943 and completed in 1951, after their divorce. more…

All Lucille Fletcher scripts | Lucille Fletcher Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Sorry, Wrong Number" Scripts.com. STANDS4 LLC, 2024. Web. 26 Jul 2024. <https://www.scripts.com/script/sorry,_wrong_number_18541>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Sorry, Wrong Number

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What does "FADE OUT:" signify in a screenplay?
    A A transition between scenes
    B The end of the screenplay
    C The beginning of the screenplay
    D A camera movement