What Happens At The End Of Sorry, Wrong Number - Radio Script?

2026-01-02 08:16:28 53

3 Answers

Scarlett
Scarlett
2026-01-06 13:27:37
The climax of 'Sorry, Wrong Number' is a masterclass in suspense. Leona Stevenson, the bedridden protagonist, spends the entire script overhearing phone calls that hint at her impending murder. What makes it chilling is her helplessness—she can’t move, can’t convince anyone to take her seriously, and the operators keep dismissing her panic. The final moments are brutal: the line goes dead, and the audience hears her scream as the killer enters her room. It’s not just the murder itself that haunts me; it’s how the mundane setting (a phone call) twists into horror. Agnes Moorehead’s performance in the original radio drama elevates it—you feel every second of Leona’s desperation.

I love how the script plays with dramatic irony too. We know more than Leona does early on, which makes her futile attempts to escape fate even more agonizing. The ending doesn’t offer catharsis—just silence after the scream. It’s a stark reminder of how isolation can be weaponized. The radio medium amplifies this; without visuals, your imagination fills in the terror. I’ve replayed that final scene so many times, and the dread never lessens.
Xavier
Xavier
2026-01-06 16:27:00
That radio script messed me up for days! Leona’s fate is so bleak—she pieces together the plot against her too late, and the system fails her at every turn. The operators treat her like a nuisance, the police don’t act fast enough, and even her husband’s betrayal comes through indirectly via crossed wires. The ending isn’t just about the murder; it’s about how technology (the phone) becomes both her lifeline and her downfall. She’s literally connected to the world but utterly alone. When the killer’s footsteps finally approach, the script cuts off abruptly. No closure, just a scream.

What’s clever is how mundane details build tension. Leona complains about aspirin and dinner earlier, making her vulnerability feel real. The writer, Lucille Fletcher, nails the domestic horror angle—it could happen to anyone stuck at home. I always imagine the killer’s face never being revealed because the real monster is the indifference around her. The radio format’s lack of visuals makes it scarier; you’re trapped in Leona’s head with her. It’s like a precursor to modern horror podcasts.
Charlotte
Charlotte
2026-01-07 06:03:04
Leona Stevenson’s story ends with one of the most abrupt, terrifying moments in radio history. After overhearing plans for her own murder, she’s paralyzed—both by her physical condition and the disbelief of others. The final seconds are merciless: a cut-off scream, then silence. No music, no epilogue. It leaves you hanging in the worst way. What gets me is how ordinary the setup feels—wrong numbers, busy signals—until it spirals into nightmare fuel. The script’s power lies in its simplicity; the horror comes from what you don’t see. I first heard it during a stormy night, and that ending stuck with me for weeks.
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