The Shadow: Murders in Wax (May 15, 1938)

Setting: A 1938 American city, likely New York, centered around a creepy wax museum filled with lifelike figures, with additional scenes in dark alleys, a criminal hideout, or urban streets. The episode uses sound effects like creaking doors, eerie echoes, footsteps, and gunfire to create a chilling, noir atmosphere, evoking the macabre allure of a waxworks.
Plot:
Introduction: The episode opens with the iconic line, “Who knows what evil lurks in the hearts of men? The Shadow knows!” delivered by Orson Welles, followed by his sinister laugh. The narrator introduces The Shadow, a crimefighter with the power to “cloud men’s minds,” setting the stage for a gruesome mystery in a wax museum.

The Crime: The story begins with a series of murders linked to a wax museum, where victims are found dead, possibly posed as wax figures or encased in wax to conceal the crimes. The museum, run by a sinister or eccentric owner, serves as a front for a criminal operation, perhaps involving blackmail, theft, or a revenge scheme. The episode might open with a chilling scene of a visitor discovering a “wax figure” that’s eerily lifelike, accompanied by sound effects of a scream or dripping wax.

The Shadow’s Investigation: Lamont Cranston, as The Shadow, learns of the murders, possibly through Margot Lane or a police contact like Officer Clancy. Using his invisibility and hypnotic abilities, The Shadow infiltrates the museum, navigating its shadowy corridors to uncover clues. He might overhear conspiratorial whispers among the staff or use his mental powers to interrogate a suspect, his disembodied voice adding to the eerie setting. Margot likely aids the investigation, perhaps posing as a tourist or journalist to gain access to the museum’s secrets. Suspects could include the museum owner, a deranged sculptor, or a shady patron with a hidden motive.

Uncovering the Plot: The investigation reveals a larger scheme, possibly using the wax museum to dispose of bodies, smuggle contraband, or target specific victims for their wealth or secrets. The villain, likely a cunning mastermind, exploits the museum’s creepy reputation to deter scrutiny. The Shadow uncovers evidence, such as a hidden chamber or a wax figure concealing a clue, leading to tense scenes of pursuit through the museum’s maze-like halls. Action sequences include a struggle among the wax figures or a chase through the city, with sound effects like shattering glass, footsteps, or police sirens.

Climax and Resolution: The climax features The Shadow confronting the villain, possibly in a wax-melting furnace room or amid a gallery of grotesque figures, using his hypnotic powers to unravel their plan—perhaps forcing a confession or exposing their crimes to the police. The villain is apprehended or meets a grisly fate, such as being trapped in their own waxworks trap. The Shadow ensures justice, with Margot’s help in rescuing a potential victim or alerting authorities. The episode likely ends with The Shadow and Margot reflecting on the museum’s horrors, followed by the closing line, “The weed of crime bears bitter fruit. Crime does not pay! The Shadow knows!” and Welles’s haunting laugh.

Themes: The macabre allure of deception, the hidden evils in seemingly innocuous places, and the triumph of justice over grotesque crime. The episode taps into 1930s fascination with wax museums as eerie settings, blending pulp horror with detective noir.

Cast and Roles:
The Shadow/Lamont Cranston: Played by Orson Welles, delivering a dual performance—suave as Cranston, menacing as The Shadow. Welles’s rich voice enhances the character’s hypnotic powers, particularly in scenes navigating the museum’s creepy ambiance or confronting the villain.

Margot Lane: Played by Margot Stevenson, portraying Cranston’s “friend and companion” and crime-solving partner. Stevenson’s warm, courageous performance likely sees Margot exploring the museum or outwitting suspects, adding a touch of elegance to the grim setting.

The Villain (Museum Owner/Sculptor): An unnamed actor, voicing a sinister or eccentric figure with a chilling, manipulative tone, evoking the creepy archetype of a waxworks mastermind.

Supporting Characters:
Officer Clancy: An unnamed actor, playing a skeptical but cooperative policeman, a recurring figure who may assist or question The Shadow’s methods.

Museum Staff/Visitors: Unnamed actors, portraying nervous employees, unsuspecting tourists, or shady accomplices, with distinct voices to reflect the museum’s eerie diversity.

Minor Roles: A night watchman, a victim’s relative, or a street informant, voiced by the ensemble to add depth to the urban and museum drama.

Narrator/Announcer: Likely Frank Readick or another Mutual announcer, delivering the opening and closing lines, though Welles may handle The Shadow’s signature phrases. The announcer also reads the B.F. Goodrich Tires sponsor message.

Note on Cast: The Shadow credited only stars like Welles and Stevenson, with supporting roles filled by versatile radio actors, often unlisted, per sources like otrcat.com. The ensemble’s performances, heightened for suspense and horror, bring the wax museum’s chilling atmosphere to life.

Production Details:
Music: An organ-driven theme, likely composed by Rosa Rio, opens and closes the episode, with eerie stings accentuating suspense or horror. Creepy, dissonant notes may enhance the wax museum’s macabre setting, typical of The Shadow’s soundscape.

Writer: Likely Arch Oboler or a staff writer under Walter B. Gibson’s supervision, adapting pulp magazine themes to emphasize The Shadow’s mental powers and noir detective work in a horror-infused setting.

Director: Not explicitly credited, but likely overseen by Mutual’s production team, ensuring the fast-paced, thrilling pacing.

Sound Effects: Essential to the episode, including creaking doors, dripping wax, footsteps, eerie echoes, gunfire, and screams, creating a vivid wax museum environment. The Shadow’s invisibility is suggested through vocal filters or sudden silences.

Sponsor: B.F. Goodrich Tires, with a commercial break promoting tire safety, typical of the 1938 summer season.

World and National Events Around May 15, 1938:
To provide context for the broadcast, here are key world and national events occurring in mid-May 1938, reflecting the global and domestic climate that shaped listeners’ perspectives:
World Events:
German Annexation of Austria (Anschluss): Following Nazi Germany’s annexation of Austria on March 11–13, 1938, and the April 10 referendum, May saw intensified anti-Jewish measures, including property seizures and forced emigration in Vienna. U.S. media coverage heightened fears of Hitler’s expansionism and the looming threat of a broader European conflict.

Spanish Civil War: Franco’s Nationalist forces advanced in the Spanish Civil War, with their April Aragon Offensive splitting Republican territory. By mid-May, Nationalists were pushing toward the Mediterranean, supported by Italian air raids. The Vatican’s backing of Franco fueled global debates, with U.S. audiences grappling with neutrality versus intervention, a frequent radio news topic.

Japanese Invasion of China: The Second Sino-Japanese War continued, with Japan launching new offensives in May after the Battle of Taierzhuang (March–April 1938). These campaigns raised U.S. concerns about Pacific stability and trade, widely discussed in news broadcasts.

Sudetenland Crisis: The Sudetenland crisis escalated after Sudeten German demands for autonomy on April 23. In mid-May, Czechoslovakia mobilized troops amid fears of German invasion, prompting diplomatic efforts by Britain and France. U.S. media covered the growing tension, foreshadowing the Munich Agreement (September 1938).

National Events:
March of Dimes: Launched on January 3, 1938, by President Franklin D. Roosevelt, the National Foundation for Infantile Paralysis (March of Dimes) was actively fundraising in May to combat polio. Radio campaigns on networks like Mutual rallied public support, resonating with families concerned about the disease.

Economic Challenges: The 1937–38 recession kept unemployment at 19%. In May, Congress debated the Fair Labor Standards Act, set to establish a 25-cent minimum wage and 44-hour workweek (passed in June 1938). Roosevelt’s New Deal programs and labor strikes dominated news, reflecting economic struggles and recovery efforts.

Superman’s Debut: Action Comics #1 (cover-dated June 1938, published in April) introduced Superman, created by Jerry Siegel and Joe Shuster. By mid-May, the comic was gaining traction, marking the superhero genre’s birth and influencing pulp-inspired radio shows like The Shadow.

Sports and Culture: On May 7, the Kentucky Derby saw Lawrin win, boosting national morale. The film Test Pilot (released April 22), starring Clark Gable, remained a box-office hit, while radio was a dominant entertainment medium. On May 2, Ella Fitzgerald’s “A-Tisket, A-Tasket” became a chart-topping jazz hit, reflecting the era’s vibrant music scene.

Cultural Context: “Murders in Wax” tapped into 1930s fascination with wax museums, popularized by films like Mystery of the Wax Museum (1933), which used wax figures as eerie symbols of death and deception. The episode’s macabre setting resonated with listeners’ anxieties about hidden dangers, paralleling global fears of deceptive regimes like Nazi Germany. The Shadow’s heroism offered escapism for audiences facing economic hardship and international uncertainty, with Orson Welles’s commanding performance amplifying the show’s allure. Minnesota listeners, tuning in via Mutual affiliates, would have connected the episode’s themes of justice and vigilance to local concerns about crime and community welfare, while the wax museum’s horror provided a thrilling escape.