 Lux presents Hollywood. Lever Brothers Company, the makers of Lux Toilet Soap, bring you the Lux Radio Theatre, starring Barbara Stanwyck and Bert Landcaster in Sorry Wrong Number. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. Tonight's play reverses the usual relation between radio and motion pictures. Sorry Wrong Number was first a radio drama and it achieved such success on the air that Hal Wallace decided to make a picture of it. He assigned the author, Lucille Fletcher, to expand her short drama into a full-length screenplay. And the result was a triumph of suspense drama. The rest of the success story you know, because the Paramount picture with Barbara Stanwyck and Bert Landcaster as the stars was one of the top films of the year. Tonight, Sorry Wrong Number completes the circle and comes back to radio with Ms. Stanwyck and Mr. Landcaster in their original screen roles. Just as our drama had a double success story, so has our product, Lux Toilet Soap. It's been a favorite for years in the regular size and now the new bath size has made Lux Soap a hit all over again. The curtain rises now for the first act of Sorry Wrong Number, starring Barbara Stanwyck as Leona and Bert Landcaster as Henry. In the tangled network of a great city, the telephone is the unseen link between a million lives, servant of our common needs, confident of our inmost secrets. Life and happiness wait upon its ring and horror and loneliness and sometimes even death. Operator! Operator! Operator! Your call, please. Operator, I've been ringing Murray Hill 32491 for the last half hour and the line is always busy. Will you ring it for me, please? Murray Hill, please. It's my husband's office. He should have been home hours ago. I can't think why that ridiculous wire should be busy. They always close that office at six o'clock. I am ringing your number. Thank you. Oh, it's busy again. Operator, the line is busy. Now will you please? Hello? Hello, Mrs. Stevenson, please. Hello? I want to speak to Mr. Henry Stevenson. Hello, George. Speaking. Hello, what number is this? Everything looks clear. I beg your pardon, but I'm using this wire. What about that? So awful. That's horrible. You just gave me a wrong number. I was calling Murray Hill 32491, but instead I was cut into some other number that you dialed. The wires must have been crossed or something, and I just heard the most dreadful thing, a murder. Yes, madam. I want you to get that wrong number back for me at once. I'm sorry. I just told you you dialed a number for me and then those horrible men came on and, well, it's unnerved me dreadfully. I'm an invalid and I... I'll connect you with the chief operator, madam. Well, do something, please. Oh, yes, yes, you may. I'm an invalid and I've just had a dreadful shock just now on this telephone, and I'm very anxious to trace the call. It was about a murder, a terrible cold-blooded murder of a poor innocent woman tonight at 11.15. Yes, madam. I was trying to reach my husband's office. He should have been home hours ago. It's almost 10 o'clock. I'm all alone tonight. My nurse has the night off because my husband promised he'd be home by six. About the call, madam. I don't know any of the neighbors as we live permanently in Chicago, and it so happens that the couple I have working for me had some important data rather. I don't know, a movie, I suppose. They said it was promised them three weeks ago. You'd think they'd at least have checked with me before leaving. They know I'm not well. About the phone call, madam. I told you I kept getting a busy signal. Then I asked the operator to call for me. And then, out of a clear sky, I was cut into this ghastly conversation between two killers. I suggest you call the police, madam. Oh, for heaven's sake, all this idiotic red tape. You just sit there and let people die. Oh. Is anyone downstairs? Gertrude. Gertrude, are you down there? Sane, I tell you, a woman is going to be murdered. What a clue. Oh, that would be ridiculous. I mean, why should anybody? Hey. Just a minute. All right. Don't listen to me. Who cares? Oh, Henry, why did you leave me alone? Why did you leave me alone here? Oh, his secretary. Henry's secretary, she'd know. Her number's on the pad. Jennings. Ms. Jennings. Elizabeth Jennings. He was supposed to be home hours ago. What appointment? Where? What young lady? Tell me, Ms. Jennings. I'm Ms. Stevenson. Mrs. Lord? Why? Mrs. Lord phoned here this afternoon. Oh. Yes, the nurse answered. I have the memorandum right here. Mrs. Lord, 4.50 p.m. No. No, thank you, Ms. Jennings. Thank you. Good night, Ms. Jennings. Mrs. Lord. A young lady, she said. Lunch and gone all afternoon. Hello? Mr. Stevenson, please. He's not in. I'm sure I don't know where Mr. Stevenson is. Call back later. Yes, 15 minutes. Yes, yes, I'll tell him. Mrs. Lord, telephone. 4.50 p.m. Murray Hill, 3. 9266. Hello? Is Mrs. Lord in? This is Mrs. Lord. Who's calling, please? Mrs. Henry, you might give me some idea. Yes, yes, but I can't talk now. I can't hear you. Could I call you back? Call me wrong? Leona, this is Sally. Sally Hunt. Sally Hunt? I'm sorry if I sound ridiculous, but I can't talk now. No, no, no. I'll call you back as soon as I can, Leona. Hey, Sally, who was it? Uh, just one of the girls, dear. She wanted a recipe. Hey, Joe, I'd like a bottle of beer. You got any on ice? Oh, no, I'm afraid not. I'll run down to the store. Thanks, honey. And hurry back. Joe was dying. Sally Hunt. Yes, that was long ago. College spring dance. He was Sally's date. He was with her when I met him. Henry. Henry dancing with Sally. Hello, Leona. This, uh, this is Mr. Henry Stevens. Hello, Henry. Well, can I cut in? You don't mind, miss, where I come from, it's the man who does the picture. All right, go ahead. Why don't you get somebody your own speed? I'm sure there are better dances around. Oh, you'll do all right, Henry. Leona knows her way around the floor. Thank you, darling. Well, Henry, let's dance. So your name's Carter, huh? No relation to, uh, J.B. Carter. Distant. He's my father. Your father? Anything wrong with that? Oh, no, no, nothing wrong. What do they call you? The Asperin Eris? You from out of town? Well, that depends on what you call out of town. Oh, I don't know. Harvard? I'm trying to be funny. Okay. What do you call out of town? Grassfield. Oh. What college is up there? No college, miss Carter. Just factories. I never even finished high school. Neither did my father. He always says if a man has talent for making money, why should he waste his time in school? I guess your old man ought to know. What do you say we sit the next dance out? Why? I've got a car, Mr. Stevenson. A brand new one. A Lagonda. Ever drive one? I never even heard of one. Besides, I'm with Sally. Oh, don't worry. She'll never miss you. But maybe I'll miss her. What didn't you think of that? Oh, come on. Don't be silly. For once, I'm not kidding. Neither am I. So long, Miss Carter. Well, Henry, it took me a few days, but I finally got you in my car. How do you like it? Fine. Only we don't go together. It's a lot easier to see you here than, well, with Sally Hunt. I'd never put the two of you together in a million years. Why not? Oh, you're both so different. You belong in different worlds. Yeah. What are you stopping for? Why not? It's nice here. Sure, it's nice here. Take a look. This is Grassfield. Stick around a few years and then see how much you'll like it. What do you do, Henry? I work in a drugstore. Well, that's a coincidence. Sure. I work in a drugstore and your father owns a hundred of them. Would you like to meet him? Say, who are you kidding? Nobody. Dad will like you. You're young, healthy, ambitious. Why don't you stop? What does a girl like you want with a guy like me? Dad's coming to New York next weekend. I'm cutting my classes on Saturday. Want to come with me? I don't know. When you look at me like that, I... Come on, let's get out of here. No, not yet, Henry. Not yet, darling. Like him, honey, but he's nobody, Leon. And what has he got? Nothing. And what did you have, Dad, when you started? Besides, I thought you said he was sort of engaged to that girlfriend of yours, that Sally something. Oh, that's all over with. Dad, I... I love him. Love him? Oh, come on. If I really thought you did, you know I'd be the first one. Oh, no. Don't start telling me that. Leon, what's the matter? You make me laugh. What does it really matter to you if I love Henry or not? All you want is for me to stay here with you for the rest of your life. You're afraid of losing me. Haven't I always let you do anything you ever wanted to do? But marriage is something else. I... I've worked hard. I've built up a big business just for you. And you yourself wouldn't want to see some worthless clock of a husband, a guy who doesn't... Let me alone. Leon, please. You don't care about me. You're thinking only you're hateful, selfish, and hateful. Leon, stop it, dear. You'll make yourself sick again. And what good is your wonderful money and your wonderful business if I'm dead? Yes, that's what you want to do. Drive me into my grave. You don't care just as long as your business is safe. How can you say things like that? Oh, go away. Don't touch me. Don't you dare touch me. Darling, listen to me. I don't mean to... Look, we'll talk it all over again as soon as... Leon, Wilson! Wilson, quick! Call a doctor! Sally Hunt. I took Henry away from her. She couldn't stand it. Even after all these years, she couldn't stand it. Going to him today, seeing him in his office. Hello? Leon? Well, this is all certainly rather odd to say the least. But I had to see Henry again today. I've been so worried about him. Worryed? About what? Well, my... my husband, he's with the district attorney's office. And a couple of weeks ago. Hey, Sally, here in the newspaper about an old boyfriend of yours. Old boyfriend? Ah, remember Henry Stevenson? Oh. Pictures in the paper. Mr. and Mrs. Henry Stevenson, she's the formerly owner Cotterill of Lake Forest, Illinois, have taken her house for the summer in a certain place. Mrs. Stevenson in poor health for several years is here to consult with specialists. Mr. Stevenson is vice president of the Cotterill Drug Corporation. Are you tearing it out for me? Oh, no. No, it may come in handy in the case I'm working on. What sort of a case? Oh, special investigation. Joe's on it, wouldn't he? Henry hasn't done anything wrong, has he? Sorry. I've won too many questions. Hey, don't tell me you're still stuck on that guy. Oh, don't be silly, John. Hello. Anything happen, Joe? And Stevenson fell for her. Oh, well, sure, we'll go. Look, tell Bogey to line it up. Five thousands enough and a hundred dollar bills and make sure they're marked. And for Pete's sake, keep your mouth shut. Thursday, huh? Okay, ten o'clock. I'm sorry, this scene's involved, Leon. Involved? I simply don't know what you're trying to tell me. Well, wait till I finish. I know I didn't have any right to do it, but that Thursday I went to Southbury. I don't know what I expected to see, but anyway, I spotted Fred and his friend Joe from the police. There was another man with them. I guess the one who was to bring the five thousand dollars in marked bills. Well, I followed them. Followed them? Where? Abored the ferry and over to Staten Island. They went far out to a very desolated stretch of beach, nothing but a few broken down shacks in an old deserted house. I had to stay way behind them so they wouldn't see me. But then they went in the house. That gave me a chance to come closer. There was a freshly painted sign out front. Twenty Dunston Terrace, it said. And the name, Evans, W. Evans. Evans? Do you know it? I... Well, we were in back of the house. A man sort of elderly got out of the boat and went into the house. He was carrying a suitcase. A little later my husband came out. Only now he had the suitcase. Well, he didn't come home until late that night. I was dying to ask him what happened, what possible connection it could have with Henry. Well... I... I didn't dare ask him, Leona. But things have happened since, and unless we do something, something drastic, it may be too late. You're five minutes... Just a minute, please. I know I have another nickel. I still there, Leona. I'm here. Yes, I know. And I just didn't seem to be able to connect Henry with it. That's why I finally went to see him today. What did you find out? Well, I met him for lunch. He told the captain he was expecting a very important phone call, and then we sat down. It's been a long time, Sally. Eight years. Tell me, how's dear old Gratzville these days? I don't know, Henry. I haven't been back. So you're married now, huh? Living here in New York? Yes. My husband's with the district attorney's office. Oh. That's why I want to... Henry, what I... But what I'm trying to say is this. A few days ago, I saw a picture of you in the newspaper. Vice president now. Sounds beautiful, doesn't it? Biggest drug business in the country. I was sorry to read that Leona isn't well. Yes. Chicago doctors don't seem to know just what it is. Her trouble, I mean. Henry, what do you do in the drug business? Push buttons, like all other vice presidents. Oh, but I'm serious. So am I. I'm almost as important as the office boy. Don't mean to be inquisitive. I only mean this for your own good. I mean, what for my own good? Well, yesterday my husband was making out a report. You have your phone call, Mr. Stevens. Oh, thanks. Excuse me, Sally. I'll be right back. Well, I waited a while, Leona. But Henry didn't come back. And then I... Operator, but I haven't been talking five minutes. I deposited another nickel. Only a couple of... I am sorry, then. But I haven't any more change. Hello, hello. Leona, I'll have to call you back. But I only wanted to say that Henry never came back to the table and that he is in trouble. Fred's been talking to the police. I've heard him mention Henry's name over and over again. And there's someone else in it, too. That man called Evan. Your five minutes are up, madam. Waldo Evans. He owns that house on Staten Island. I am sorry, madam. I will have to disconnect you. Reverse the charges. Put them on this phone. I'll be later. I'll... This will bring you back to a sorry wrong number. Now, here's Libby Collins, our Hollywood reporter. Well, Libby, that was a gala evening we all had at the premiere of 20th Century Fox's new picture, 12 o'clock high. Yes, indeed. And for one person in particular, it must have been the thrill of a lifetime. I'm thinking about our little luxe girl, Jackie Barnes. The winner of the national contest for the prettiest 15-year-old luxe girl. Jackie was an honored guest at the premiere. She certainly was a radiant youngster. She got more compliments than she could count that evening. Well, that's the way it is with luxe girls, Libby. You know, Jackie was telling me how impressed she was with 12 o'clock high. As everyone was. It's always good news when Gregory Peck heads a cast. And this time, I think he has the best role of his career. Yes, he makes the tough commander of a wartime bomber group, an unforgettable personality. It's a gripping story you feel intensely. The dangerous flying sequences, the day-by-day strain those men endured. The whole cast is magnificent. 12 o'clock high is one picture Libby where the men take the honor. Yes, except for Joyce Mackenzie. She plays the one feminine role, makes her debut in pictures as the Army nurse. There's another lovely luxe girl. She is indeed, John. Like so many successful young actresses, she finds luxe toilet soap gives her complexion just the care it needs. Recent tests by skin specialists prove that luxe soap care really works. In actually three out of four cases, skin became softer, smoother in a short time. No wonder luxe toilet soap is the leading beauty soap, not only in Hollywood, but all over the country. If you haven't tried it, why not begin your luxe soap facials tomorrow? Remember, nine out of ten screen stars recommend this gentle protecting care. Now, our producer, Mr. William Keely. Act two of Sorry Wrong Numbers, starring Barbara Stanwyck as Leona and Bert Lancaster as Henry. It's a moment or so later. Through an open window, the night air rips slowly in Leona's window, heavy with the heat of a New York summer. Leona lies motionless on the bed and the sounds of the night become magnified. The tugboats on the river, the hum of distant traffic, the muffled roar of a train passing over a bridge, and then suddenly... Hello? I can hear you. I'm calling on the one I told you about. But who is Waldo Evans? And for heaven's sake, what's his connection with my husband? I still don't... Oh, that's absurd. My father called me from Chicago this afternoon. He never mentioned a word. Now, look, who's been arrested and why? Three men. And why do you think Henry's one of them? I didn't say... Did anyone say he was going to be arrested? No, not exactly. Then what are you talking about? Why are you calling me like this? Are you still jealous that I took Henry away from you? Can't you bear to see me happy? Can't you stop telling lies and making trouble even now? I can't talk any more. Then I'm right. You are just trying to make trouble. No, no. This is Mrs. Stevenson. I need you right away, doctor. Please, come right over. No. I want you to come over at once. Of action. What are you talking about? What letter? Discuss it now. Do you hear me? Now... Anyway, we discussed your illness at great length. I still don't know what's wrong with her. Well, Mr. Stevenson, your wife's illness seems to date far back to her early childhood. Is that true? Yes, I suppose so. But you knew nothing about it when you married her? No. Not until after a couple of years. You see, we were... we were living with her father then, in Lake Forest. I remember early one morning. Why did you send the maid for my handbag? Why? Because there's something in it that I need. Well, how much money do you want? I'm sorry to disappoint you, Leona, but this time it isn't money. It's simply that I wrote Ferguson's telephone number in your notebook last night. And I want to call them. We have a day for lunch. You know perfectly well you're having lunch with me today. I know, Leona, but I won't be able to make it. This date with Ferguson's rather important. Oh, more important than me, I suppose? Isn't that, Leona? It's just that... well, it's about a job. You have a job. What on earth are you talking about? Leona. Leona, I've been meaning to say this for you to you for weeks. I just don't belong in your father's business. Who says you don't? I do. I say it. Working for your father is like... like running in a dream. No matter how hard you try, you know you'll never get anywhere. I don't want to graft off your charity for the rest of my life. I want a chance. A chance on my own. Leona, you're not getting the chance. I won't have you traipsing around. You hear? Just because Dad doesn't go falling all over himself, you're not going to throw away a million-dollar business like Cotter else for an idle whim. It happens to be my business, too, you know. And to think my own husband turns up his nose at it. Now call Ferguson and tell him you've changed your mind. Go on, Henry. Call him. But I haven't changed my mind. You're still going? Yes. Someday you'll see it'll be better for both of us. Henry! Now that's a little silly, isn't it? Locking the door? You're not going, Henry. Not as long as you're my husband. Oh, come on, Leona. Give me that key. You can't do it. You can't do this to me. Nobody's ever done it. Nobody, nobody. Will you please stop and give me that key? Henry, please. If you love me. If you love me at all. Henry, I beg you. I'll talk to Dad. I'll do anything. Anything you want only. Don't leave me. Don't go away. Give me that key. No! No, I won't. I won't. Your husband told me, Mrs. Stevenson, that in spite of your opposition, he had lunch that day with Mr. Ferguson. When he got home that evening, he said your father was waiting for him at the door, angry and worried. All right, Henry. Come to the library. I want to talk to you. What's the matter? Where's Leona? Leona's in bed. She had an attack. A heart attack. She almost died. A heart attack? Did you too quarrel this morning? Yes, but... But what's that done? Aren't you supposed to have lunch with Leona? Yes, but I had to see someone else. Look, Mr. Carter, if you don't mind, I'd like to see Leona. You'll see Leona when she's ready to see you. Just in case you don't know it, Leona's had a heart condition since childhood. Her mother died of it the day Leona was born. Leona can't stand being treated the way you did this morning. She never has been before, and she's not going to be now by you or anyone else. And what happens if once in a while I have an opinion of my own? I don't give a hoot about your opinions. Henry, have them. Think anything you like. But while you're in this house, you'll do what my daughter tells you to do. I think you should know that the argument this morning was about a very important decision. Don't be a fool. A decision I made as much for the sake of Leona's future as for my own. Was it for her that you had lunch with Ferguson? Well, did you get the job? No. No, I didn't. And I'll tell you why you didn't. It so happens I'm a pretty good customer of Ferguson's. I buy more than $2 million worth of dyes every year, and who do you think he's going to care about, you or me? So that's what happened. Now, who else in Chicago would you like to have lunch with about a job? Oh, face up to it, Henry. Just as long as you're my son-in-law, you're working for me and nobody else. If you really cared for Leona the way I do, you'd have done the same thing in my place. Besides, you haven't done so badly for yourself. I'll go upstairs and see Leona. She's been asking for it. Well, Mrs. Stevenson, as I say, we discussed all these things in my office 10 days ago, your husband and I. I asked Mr. Stevenson how long this heart attack of yours lasted. Oh, she got well right away, doctor. Maybe I... Maybe I should have pulled out then and there, but I didn't pull out. Somehow I couldn't. My father wasn't altogether wrong. I hadn't done too badly for myself. Anyway, from that time on I began to compromise, always with the hope that somehow, someday I'd win out on my own. But it wasn't long before we were right back where we started. Another attack? Yes, sir. I remember one day in particular. I had an idea that I thought that I hoped might help us. Henry, you mean you brought me here just to look at an apartment? Oh, you'd be crazy about it, Leona. Now, come on, let's go in and look it up. I'm not interested, Henry. But you haven't even seen it. Why, there are terraces on all four sides... I've told you a thousand times we don't need an apartment. Leona, Leona, it's not an apartment I'm looking for. What I want is a home, a home of our own. You just can't go on living with your father indefinitely. I don't see why not. There's plenty of room and I like it. Besides, who's going to pay for this little penthouse? Well, I hope eventually I will. Oh, eventually. But in the meantime, it's my money and I'm the one who's going to pay for it. Okay, Leona, let's go. Henry, you're so naive. You're like a little boy with a box of candy. I just can't throw my money away on everything you happen to see. There's a limit. Sure, there's a limit. I'm supposed to follow you around like a pet dog tied to a chain. I'm supposed to like whatever crumbs you want to throw. Oh, don't be ridiculous. Yes, you've got me sewed up 16 different ways for three meals a day in pocket money. That's all you care about. That's all you married me for, my money. I should have known it. I should have known it. Oh, stop it, Leona. Please, just for once, will you listen to me? You hate me. You're bored with me. All you want to do is get away. Okay, I'm bored. Bored stiff. Who wouldn't be with that neat little routine you've got cooked up for me? What do I have? Nothing. Nothing on my own. Not even the studs on my shoulder, the matches in my pocket. Henry, Henry, how can you say this to me? You once told me I'd love this kind of life. Remember? Well, do you want to know something? I do love it. I love it now more than you'll ever know. But I want to be my own boss, profiting by every bit of it, not just a stooge on the outside looking in. Henry! Henry, get me some water. Quick. Listen to me, Leona. Please. It isn't that I want to be without you. I could love you still if only you'd try to understand. Henry, my birds. Henry, the pails and my birds. That attack kept her in the hospital nearly three weeks, doctor. At the time, I... well, I thought it was all my fault. But no matter what I did, her attacks increased in violence and became more frequent. A year ago, Leona... well, she just seemed to give up hope of ever getting well. She took to her bed more or less permanently. It was my idea to come to New York and see you. The doctors in Chicago said she didn't have much of a chance. Anyway, we rented the house on Sutton Place and here we are. And believe me, it's been more and more like a nightmare. Mr. Stevenson, there's absolutely nothing wrong organically with your wife's heart. Nothing wrong? I've examined her thoroughly. And what you've just told me confirms what I've thought from the start. And... And that is... Her condition is mostly mental. Mental? She's what we call a cardiac neurotic. Her attacks are brought on by her emotions, the lack of control, the frustrations. The whole thing is probably quite unconscious on her part. Now, I'm not saying your wife isn't sick. Mentally, she is sick and her attacks are all real enough. But, given the proper treatment, she may snap out of it entirely. Well, I'll... I'll call on her tomorrow. There's a psychiatrist I wanted to see. Doctor, I wish you could wait a few days. I'd like to think this over. Think it over? Yes, you see, she's so easily upset. But I think that, well, maybe I ought to prepare her. You know, get her used to the idea. Well, a few days more or less won't matter, I suppose. Unless... Unless you wanted to write her a letter. It might make it easy for her to take in it. Well, it would give me more time to talk to her. Well, it's an extremely delicate matter, Mr. Stevenson. But if you think you can manage it, let's try it that way. Give me a ring in a couple of days. Meanwhile, I'll write the letter. Thanks, Doctor. Thanks for everything. Well, that's exactly the way I left things, Mrs. Stevenson, ten days ago. As your husband requested, I wrote you the letter. And I'm telling you, I never received a letter. Well, let's not worry about that now. I've told you everything, and now I want you to relax. Do you have that sedative I prescribed? Yes, yes, it's here. Well, then take some. Double the dose and I'll... Lies! Fantastic! What money? Who's more as I'm a terribly sick woman? A chemist. Anyway, late one afternoon, your husband walked into the laboratory. We pause now for station identification. This is CBS, the Columbia Broadcasting System. In a few moments, we'll continue with Act Three of Sorry, Wrong Number. Our guest tonight is Barbara Ann Newton, young Paramount starlet. Aren't you glad, Barbara, you were present at a certain little theater production one evening? A lucky evening for me, Mr. Keely. A talent scout saw me for range first screen testing. And here you are in picture. Yes. And from now on, I'm going to work like mad. Oh, it must be wonderful to be a great actress like... like Olivia DeHavilland. Well, I gather you've seen her new picture of the heiress. Not once, but three times. I can understand why the New York Motion Picture Critics gave Mr. Havilland the award for the best performance of the year. And how did you like Montgomery Clift as the money-conscious suitor in the heiress? He's splendid, so dashing and... and romantic, too. And Ralph Richardson as a stern father is simply perfect. Do you remember the scene where he compares his unpopular daughter sought after cousin? Oh, yes. The party scene where Mona Freeman is the reigning bell. She's like a Dresden doll, so blonde and dainty. Those lavish costumes of the crinoline era suit her beauty very well. Yes, Mr. Kennedy. And she's just as delicate and lovely in real life. Always so beautifully groomed. Real luxe loveliness, huh? Exactly. Mona Freeman gives her complexion daily luxe soap care. And she's really keen about the new bath size cake. Nine out of ten screen stars say they're delighted with this new product of Lever Brothers Company. For a luxurious, refreshing, relaxing beauty bath, you simply can't buy a finer soap. That's the way I feel. I love the nice fragrance that leaves on the skin. Thank you, Ms. Barbara Ann Knudsen. Women who use the generous new bath size luxe toilet soap will agree. Its rich, abundant lather and delicate flower-like fragrance make a wonderfully refreshing beauty bath. So, for all over luxe loveliness, why not get the satin-smooth bath size luxe toilet soap tomorrow? Here's our producer, Mr. William Keely. The curtain rises on the third act of sorry, wrong number, starring Barbara Stanwick as Leona and Bert Lancaster as Henry. Up on the table says ten minutes to eleven o'clock. But Leona Stevenson clutching the telephone listens with mounting the wilderness in fright the voice of a man named Waldo Evans. Well, this is very interesting, Mr. Evans. So, uh, this is where the formula for all our products are developed, huh? That's right. Some of these drugs must be very valuable. Oh, yes, Mr. Stevenson, very valuable. And tell me, what do you do with them? Well, they go into the various cartwell products, sir. And you're the man in charge here, huh? Yes, sir. I see. Well, thanks for your time, Mr. Evans. I was just curious. Thank you, sir. Good night, Mr. Stevenson. And one night, when it was storming, he offered to drive me home. So you're a bachelor, Mr. Evans. Well, I didn't know that. Yes, sir. I live in a rooming house on Chestnut Street. A man all by himself, no responsibilities. Tell me, why do you work so hard? Well, to tell you the truth, sir, because I have a hope, an ideal, you might say. In a few years, I hope to retire. Retire, huh? Oh, I have it all planned, sir. I'm going back to England. I hope to raise horses, sir. Well, not, uh, not raise horses. Just horses, sir. Do you care for horses, Mr. Stevenson? Well, I'm afraid I haven't thought very much about them. Oh, then you're missing a great deal. Well, that's my hope, sir, to live there quietly and raise horses. Why have you waited this long? Money? Money, of course. But someday I'll... Why wait until you're old? What good is a dream when you're too old to enjoy it? Oh, I've thought of that, Mr. Stevenson. I suppose the zest does come out of things with the encroachments of old age. Now you're talking, Wally. My motto is, if you want something, get it now. It's, uh, it's the next turn to the light, Mr. Stevenson, uh, Chestnut Street. You know, Wally, Wally, I've been thinking, there might be a way out. A way out? Yes. To have your little place in England. Everything you want. Indeed, sir. And all you have to do is to make a little mistake every now and then. Mistake? In the laboratory. I've been checking on it, Wally. The way you're set up, no one would ever know. Mr. Stevenson, I... I better say goodnight, sir. Wait a minute. The differences in the amounts of those raw drugs you handle need be so slight that nobody but yourself would ever know. I... I don't understand, sir. Look what you've done to the company all these years. And what have you gotten out of it? There's a tenth of the salary you should be getting. No, no, please, Mr. Stevenson. Now, don't be silly. I've already talked it over with someone else. Talked it over with... with whom? A man named Marano. He can handle all the raw drugs that we can get. And then we split. You, Marano and I. Mr. Stevenson, I just can't believe it. You're a young man. Vice President of the company. A wonderful future ahead of you. You don't make me laugh. Yes, I'm young. Young enough not to waste my life in dreaming. There are things I want to do, big things. And the only way to do them is... I'm sorry, Wally. I thought you were my kind of a person. I trusted you. But... but... What if we were caught? Why should we be caught? We'll make our pile and stop before anyone even guesses what we're not. Marano knows just what to do. Besides, for once there's an advantage in being Kotterl's son-in-law. Yes. Yes, I... I see. I thought you would, Wally. Well, partner, we're in business. And so we started, Mrs. Stevenson. A systematic plan of robbing your father's company. By September of last year, I had banked the sum of $7,500. But then, I received a memo random from the personnel office. Will you please stop your whining? Did you read the memo? You're not fired. They're simply transferring you to the New Jersey plant. But they must suspect. This is a warning. I'm sure of it. I'm through, Mr. Stevenson. Don't care, you old fool. We've been stooges up till now. Marano's plate is for suckers. This is our chance to get rid of him. That transfer of yours is just what I've been looking for. I don't understand. I'll tell Marano you've been fired. That the deal's all washed up. Meanwhile, you're back there in New Jersey. We'll operate on our own and we'll split Marano's share between us. But I'm just a chemist, Mr. Stevenson. I don't know anything about disposing of drugs. But I do. I know all about it. Now listen, the Kotterl plant in New Jersey is in Bayonne. And just across the bay from Bayonne is Staten Island. I happen to know a little about Staten Island. About six weeks later, we began operations, Mr. Stevenson, on Staten Island, New York. Our headquarters was an old abandoned house, 20 Dunstan Terrace. There, twice a week after work, I would come from your father's plant in Bayonne. And there, Mr. Stevenson would telephone me or mail me his instructions from Chicago. A little over three months ago, Mr. Stevenson arrived in New York. A few nights later, when I went to 20 Dunstan Terrace, I found that your husband was not alone. Come right in. We've been waiting for you. Wally? This is Marano. Marano? You didn't expect me, did you, Mr. Evans? Well, neither did Mr. Stevenson. But here I am. You see, I have ways of finding things out. For instance, ever since the two of you broke off our pleasant little association in Chicago, I find you a cumulative rather large bank account. Am I right? What about it? I'm warning you right now, Marano. Don't you try any funny business. Relax, Mr. Evans. I'm warning you. I said, relax. Sure, you're a big, strong guy, Mr. Stevenson, but messing me up won't get you anywhere. You see, I merely represent an organization, but we had what you might call a board meeting, and the vote was 7 to 1 against you. Now, that's pretty serious. That's like a death sentence. Cut it short, Marano. What do you want? Mr. Stevenson, please, give them what they want. Mr. Marano, you can take everything I've got. Shut up. Now, if you were to turn back what you've accumulated, Mr. Stevenson, and pay us $200,000 for our injured feelings, I might get the board to reconsider the decision. You know as well as I do. I don't have that kind of money. But you have such wonderful connections. I mean, you and her father-in-law are very rich wives. Yes, a lot of good that does. Why do you suppose I went into this racket? But I thought I read somewhere about your wife being sick. Very sick. What about her? Well, she has life insurance, hasn't she? Made out in your name. Now, I'm pretty sure the board will give you, say, 90 days to raise the money on something like that. Why 90 days? Isn't that what the doctor in Chicago said? She wouldn't get better? Yes, that's what it said, but... Well, what's that? Well, just a little IOU to make it legal, you see. Everything can be straightened out without any trouble, without any rough stuff. But suppose something happened, that my wife didn't. I mean, I mean, if she got better. I wouldn't worry about that, Mr. Stevenson. You've got a doctor's word for it, haven't you? They know their business. So here, take the pen and sign the piece of paper. What I have just told you, Mr. Stevenson, took place three months ago. I need not describe Mr. Stevenson's distress when the IOU became due last Wednesday. As I understand it, Mr. Stevenson saw Mr. Milano, but his request when extension was refused, already giving you the final message. I believe the rest explains itself quite simply. Mr. Evans, where is my husband? Where is Mr. Stevenson now? I wish I knew. Perhaps if you tried the Bowery number... The Bowery number? What Bowery number? The one I gave you when I first started to talk. I can't, I can't! I'll repeat it once more. Just give me the Bowery number, the one for my husband. Point five. Bowery two, one thousand. Bowery two, one thousand. Bowery two, one thousand. Henry, Henry. Is this Bowery... Is Mr. Stevenson there? Mr. Who? Stevenson, Mr. Henry Stevenson. I was told to call by Mr. Evans. Yes, yes, Stevenson. Hold on. Mr. Evans said he might be expected. Could I, could I leave a message? Message? Oh please, please help me. What number is this? What am I calling? Bowery two. Can it give me the hospital? I can't be alone. I want the nurse's registry. I want to hire a trained nurse immediately for the night. I am sorry, but this is a city hospital. It doesn't matter. I've got to have a nurse. I understand. Conversation, a telephone conversation about a murder. A murder to be committed at eleven fifteen. I, I don't know what's happened to my husband. Just now on my telephone. As though someone had lifted the hook of the extension downstairs. Well, I did. There's someone in this house. There's someone downstairs. And they're listening to me now. Stevenson from New Haven. Do you wish to accept a call madam? Oh yes. Yes, I got it. How's Henry? Right now. I, I'm sure of it. Oh honey. I want you to call the police. Do you hear me? Tell him to come over at once. What do you know? What do you know about a man named Waldo Evans? I talked with him just a little while ago. About you. About me. He told me some terrible things. Some of it sounded insane, but some of it, maybe it was true. He said you'd been stealing from Dad's company. Is that true, Henry? He left some kind of a message for you that the, the house on Staten Island had been burned down and that the police knew everything and that Morano had been arrested and that, Henry, for a criminal, Henry, a desperate man, and Evans said, Evans said you wanted me to, to die. And that money, Henry, that money those people wanted. Why didn't you ask me for it? I, I'd have given it to you gladly if it would have saved your life. I, I, I'll give it to you now if it isn't too late. That's all right. I didn't mean to be so awful to you, Henry. I, I only did it because I loved you and I, I thought you didn't love me and that you'd go away and leave me. Leona. Yes? We want you to do something for me. Will you forgive me first, Henry? Will you? I want you to bring experience in the theater. Our thanks go to this evening stars, Barbara Stanwick and Bert Lancaster. They're coming downstage now for a curtain call. You know, it's good to have you both back. And it's nice to be back. Bill says you got him in bed with the audience, Barbara. In what way? Well, we keep getting letters asking why you haven't been here for so long. And we have to keep explaining that you've made one picture right after another with no time off in between. One thing is sure, Bill. I haven't forgotten the Luxe Radio Theater or Luxe soap. It's my favorite complexion can has been for years. And that's one of the nicest compliments Luxe has ever received. Barbara, tell me if you can. Isn't she wonderful? I sound like Andy Devine. She says she sounds like Andy Devine. Tell me, Barbara, how many pictures have you made that still aren't released? Four, Bert. And what's the first one we'll see? The Hal Wallace production with Alma Jordan. Oh, yes, Wendell Corey's in that too. You know when you and Hal Wallace get together on a picture, we know it's going to be a hit. Bert, I hear you are off for New York in a few days. Yes, I've just finished my own Norma FR production of The Hawk and the Arrow at Warner Brothers. And now I'm going to New York to see a few shows and take a brief vacation. Well, your last vacation you spent out on the road with a circus is an acrobat. Nothing like that this time? Not unless you have to be an acrobat to get tickets to South Pacific. Bill, tell me, what's next Monday's show? Next week, Bert, one of America's best-loved characters will return to this stage. The gentleman I'm talking about is Mr. Belvedere. And our play is the 20th Century Fox hit Mr. Belvedere Goes to College. Naturally, we'll have the original Mr. Belvedere here to play the part, the amazing Clifton Webb. And besides Mr. Webb, we have two other stars, Colleen Gray and the popular Robert Stack. A great comedy and the return of Mr. Belvedere all on next Monday night. Everybody will love it, Bill. Good night. Good night. Good night. And thank you. Ladies and gentlemen, there's a great deal of vague and sentimental talk about the American economic system. But here are some full facts. Since 1910, we have increased the income of each household from $2,400 to about $4,000. And the figures are in dollars of the same purchasing power. We've done it by increased production, and yet we work 18 hours less each week for this extra money. This is the miracle of America. Lever Brothers Company, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday evening when the Lux Radio Theater presents Clifton Webb, Robert Stack and Colleen Gray in Mr. Belvedere Goes to College. This is William Keely saying good night to you from Hollywood. Our play was adapted by S. H. Barnett, and our music was directed by Louis Silberts. Here's a fashion flash from Hollywood. Barbara Stanwick has one of those smart, new, finely pleated nylon nighties that stays in pleat when you wash it. Of course, she insists on Lux Flakes' care for it just as she does for all her lovely lingerie. One of her favorite shades is a pale green orchid. This spring you'll be seeing more and more delicate and unusual colors in slips and nighties. So play safe, wash them with gentle Lux Flakes. Tests prove that wrong washing soon fades colors, often tears delicate lace. Lux Flakes' care keeps pretty slips and nighties new-looking three times as long. Use Lux Flakes to give your nice washables that lovely Lux look. This is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear the Lux Radio Theater presentation of Mr. Belvedere Goes to College. Starring Clifton Webb, Colleen Gray, and Robert Stack. Stay tuned for my friend Irma, which follows over these same stations. This is CBS, the Columbia Broadcasting System.