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Elmer McCurdy
Elmer McCurdy
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Elmer J. McCurdy (January 1, 1880 – October 7, 1911) was an American outlaw who was killed in a shoot-out with police after robbing a train in Oklahoma in October 1911. Dubbed "The Bandit Who Wouldn't Give Up", his mummified body was first put on display at an Oklahoma funeral home and then became a fixture on the traveling carnival and sideshow circuit during the 1920s through the 1960s. After changing hands several times (it is not possible in law to own a human cadaver), McCurdy's remains eventually wound up at The Pike amusement zone in Long Beach, California, where they were discovered by crew members for the television series The Six Million Dollar Man and positively identified in December 1976.

Key Information

In April 1977, McCurdy's body was buried at the Summit View Cemetery in Guthrie, Oklahoma.

McCurdy is the subject of the musical Dead Outlaw, which premiered off-Broadway in 2024 before transferring to Broadway in April, 2025.[2]

Background

[edit]

Elmer McCurdy was born in Washington, Maine, on January 1, 1880. He was the son of 17-year-old Sadie McCurdy, who was unmarried at the time of his birth. The identity of McCurdy's father is unknown; one possibility is Sadie's cousin, Charles Smith (McCurdy would later use the name "Charles Smith" as an alias). In order to save Sadie the social stigma of raising an illegitimate child, her brother George and his wife Helen adopted Elmer. After George died of tuberculosis in 1890, Sadie and Helen moved with Elmer to Bangor, Maine. Sadie eventually told McCurdy the truth about his parentage, which caused McCurdy to become "unruly and rebellious". As a teenager, he began drinking heavily, a habit that would continue throughout his life.[3]

McCurdy eventually moved in with his grandfather and became an apprentice plumber. He was a competent worker and lived comfortably until an economic downturn in 1898. McCurdy lost his job and, in 1900, his mother died of a ruptured ulcer and his grandfather died of Bright's disease within the span of two months.[4] Shortly after his grandfather's death, McCurdy left Maine and began drifting around the eastern United States, as a lead miner and plumber.[5]

McCurdy was unable to hold a job for an extended period due to his alcoholism.[5][6] He eventually made his way to Kansas, where he worked as a plumber in Cherryvale. McCurdy then moved to Iola, Kansas, where, in 1905, he was arrested for public intoxication.[7] He then moved to Webb City, Missouri.[5]

In 1907, McCurdy joined the United States Army.[5] Assigned to Fort Leavenworth, he operated a machine gun and was trained to use nitroglycerin for demolition purposes (the extent of this training was likely minimal). He was honorably discharged from the Quartermaster Corps on November 7, 1910.[8]

Following his discharge, McCurdy then made his way to St. Joseph, Kansas, where he met with a friend from the army. On November 19, both men were arrested for possessing burglary paraphernalia (chisels, hacksaws, funnels for nitroglycerin, gunpowder and money sacks). The St. Joseph Gazette reported that during their arraignment, McCurdy and his friend told the judge the tools were needed to work on a foot-operated machine gun they were inventing.[9] In January 1911, a jury found McCurdy not guilty.[10] After his release from county jail, McCurdy embarked on a career in robbery.[11]

Crimes

[edit]

McCurdy decided to incorporate his training with nitroglycerin into his robberies, targeting banks and trains. However, he often failed to correctly determine the proper amount to use, and his robberies were often bungled affairs. After relocating to Lenapah, Oklahoma, in March 1911, McCurdy and three other men decided to rob the Iron Mountain–Missouri Pacific train No. 104 after McCurdy had heard that one of the cars contained a safe with $4,000.[5] They successfully stopped the train and located the safe. McCurdy then put nitroglycerin on the safe's door to open it, but used too much. The safe was destroyed in the blast, as was the majority of the money.[5] McCurdy and his partners managed to net $100–$500 (equivalent to $3,400–$16,900 in 2024) in silver coins, most of which were melted and fused to the safe's frame.[12][5][11]

On September 21, 1911, McCurdy and two other men attempted to rob The Citizens Bank in Chautauqua, Kansas. After spending two hours breaking through the bank wall with a hammer, McCurdy placed a nitroglycerin charge around the door of the bank's outer vault. The blast blew the vault door through the bank, destroying the interior, but did not damage the safe inside the vault. McCurdy then tried to blow the safe door open, but the charge failed to ignite. After the lookout man got scared and ran off, McCurdy and his accomplices stole about $150 in coins that were in a tray outside the safe and fled.[13][14][15] Later that night, the men hopped a train which took them to the Kansas border. They split up and McCurdy made his way to the ranch of a friend, Charlie Revard, near Bartlesville, Oklahoma. He stayed in a hayshed on the property for the next few weeks and drank heavily.[16]

Death

[edit]

McCurdy's final robbery took place on October 4, 1911, near Okesa, Oklahoma, targeting a Katy Train which contained $400,000 in cash that was intended as a royalty payment to the Osage Nation.[17] However, McCurdy and his two accomplices mistakenly stopped a passenger train instead. The men were able to steal only $46 from the mail clerk, two demijohns of whiskey, a revolver, a coat, and the conductor's watch.[18][19] A newspaper account of the robbery later called it "one of the smallest in the history of train robbery" owing to the minimal amount of money stolen.[20][21]

McCurdy was disappointed by the haul and returned to Revard's ranch on October 6, where he began drinking the whiskey he stole.[7] By this time he was ill with tuberculosis, which he had developed after working in mines. He also had a mild case of pneumonia and trichinosis.[11] McCurdy stayed up drinking with some of the ranch hands before going to sleep in the hay loft the following morning.[22] Unbeknownst to McCurdy, he had been implicated in the robbery and a $2,000 reward for his capture was issued.[7]

In the early morning hours of October 7, a posse of three deputy sheriffs, brothers Bob and Stringer Fenton and Dick Wallace, tracked McCurdy to the hay shed using bloodhounds. They surrounded the hay shed and waited for daylight.[22] In an interview featured in the October 8, 1911 edition of the Daily Examiner, Sheriff Bob Fenton recalled:

It began just about 7 o'clock. We were standing around waiting for him to come out when the first shot was fired at me. It missed me and he then turned his attention to my brother, Stringer Fenton. He shot three times at Stringer and when my brother got under cover he turned his attention to Dick Wallace. He kept shooting at all of us for about an hour. We fired back every time we could. We do not know who killed him ... (on the trail) we found one of the jugs of whiskey which was taken from the train. It was about empty. He was pretty drunk when he rode up to the ranch last night.[23]

McCurdy was killed by a single gunshot wound to the chest which he sustained while lying down.[19][24]

Post-mortem commercialization

[edit]
McCurdy's body on display

McCurdy's body was taken to the undertaker in Pawhuska, Oklahoma, where it went unclaimed. Joseph L. Johnson, the owner and undertaker, embalmed the body with an arsenic-based preservative typically used in that era to preserve a body for a long period when no next of kin were known. He then shaved the face, dressed the body in a suit and stored it in the back of his funeral home. As McCurdy lay unclaimed, Johnson refused to bury or release his body until he was paid for his services. Johnson then decided to exhibit McCurdy to make money.[25] He dressed the corpse in street clothes, placed a rifle in the hands and stood it up in the corner of the funeral home. For a nickel, Johnson allowed visitors to see "The Bandit Who Wouldn't Give Up" (at various times, McCurdy was also called "The Mystery Man of Many Aliases", "The Oklahoma Outlaw" and "The Embalmed Bandit"). "The Bandit" became a popular attraction at the funeral home and drew the attention of carnival promoters. Johnson received numerous offers to sell McCurdy's corpse but refused.[26]

On October 6, 1916, a man calling himself Aver contacted Johnson claiming to be McCurdy's long-lost brother from California. Aver had already contacted the Osage County sheriff and a local attorney to get permission to take custody of the body and ship it to San Francisco for proper burial. The following day, Aver arrived at the funeral home with another man calling himself Wayne, who also claimed to be McCurdy's brother. Johnson released the body to the men who then put it on a train, ostensibly to San Francisco. It was instead shipped to Arkansas City, Kansas. The men who claimed to be McCurdy's siblings were in fact James and Charles Patterson, the former of whom was the owner of the Great Patterson Carnival Shows, a traveling carnival.[27] After learning from his brother Charles about the popular "Embalmed Bandit" exhibit, the two concocted a scheme to take possession of the body in order to feature it in James' carnival. McCurdy's corpse would be featured in Patterson's carnival as "The Outlaw Who Would Never Be Captured Alive" until 1922, when Patterson sold his operation to Louis Sonney.[28]

Sonney used McCurdy's corpse in his traveling Museum of Crime, which featured wax replicas of famous outlaws such as Bill Doolin and Jesse James.[29] In 1928, the corpse was part of the official sideshow that accompanied the Trans-American Footrace. In 1933, it was acquired for a time by director Dwain Esper to promote his exploitation film Narcotic![30] The corpse was placed in the lobby of theaters as a "dead dope fiend" whom Esper claimed had killed himself while surrounded by police after he had robbed a drug store to support his habit. By the time Esper acquired McCurdy's body, it had become mummified; the skin had become hard and shriveled, causing the body to shrink. Esper claimed that the skin's deterioration was proof of the supposed dope fiend's drug abuse.[31]

A graphic that shows where Elmer McCurdy has been.
Waymap of Elmer McCurdy's Odyssey

After Sonney died in 1949, the corpse was placed in storage in a Los Angeles warehouse. In 1964, Sonney's son Dan lent the corpse to filmmaker David F. Friedman, resulting in a brief appearance in Friedman's film She Freak (1967).[32] In 1968, Dan sold the body along with other wax figures for $10,000 to Spoony Singh, the owner of the Hollywood Wax Museum. Singh had bought the figures for two Canadian men, who exhibited them at a show at Mount Rushmore. While being exhibited there, the corpse sustained some damage in a windstorm; the tips of the ears, along with fingers and toes, were blown off. The men eventually returned the corpse back to Singh, who decided that it looked "too gruesome" and not lifelike enough to exhibit.[33] Singh then sold it to Ed Liersch, part owner of The Pike, an amusement zone in Long Beach, California.[32] By 1976, McCurdy's corpse was hanging in the Laff in the Dark funhouse exhibition at The Pike.[34]

Rediscovery and burial

[edit]

On December 8, 1976, the production crew of the television series The Six Million Dollar Man was filming scenes for the "Carnival of Spies" episode at The Pike. During the shoot, a prop man moved what was thought to be a wax mannequin that was hanging from a gallows.[35] When the mannequin's arm broke off, a human bone and muscle tissue were visible.[29]

Police were called and the corpse was taken to the Los Angeles coroner's office. On December 9, Dr. Joseph Choi conducted an autopsy and determined that the body was that of a human male who had died of a gunshot wound to the chest. The body was completely petrified, covered in wax and layers of phosphorus paint. It weighed approximately 50 pounds (23 kg) and was 63 inches (160 cm) in height. Some hair was still visible on the sides and back of the head while the ears, big toes and fingers were missing. The examination also revealed incisions from his original autopsy and embalming. Tests conducted on the tissue showed the presence of arsenic, which was a component of embalming fluid until the late 1920s.[36] Tests also revealed tuberculosis in the lung, as well as bunions and scars that McCurdy was documented to have had.[6][20] While the bullet that caused the fatal wound was presumably removed during the original autopsy, the bullet jacket was found. It was determined to be a gas check, a device first used in 1905 until 1940. These clues helped investigators pinpoint the era in which the man had been killed.[36]

Further clues to the man's identity were found when the mandible was removed for dental analysis. Inside the mouth was a 1924 penny and ticket stubs to Louis Sonney's Museum of Crime.[32][37] Investigators contacted Dan Sonney who confirmed that the body was Elmer McCurdy.[32] Forensic anthropologist Dr. Clyde Snow was then called in to help make a positive identification. Dr. Snow took radiographs of the skull and placed them over a photo of McCurdy taken at the time of his death in a process called superimposition.[38] Snow was able to determine that skull was that of McCurdy.[39]

By December 11, the story of McCurdy's journey had been featured in newspapers and on television and radio. Several funeral homes called the coroner's office offering to bury McCurdy free of charge, but officials decided to wait to see if any living relatives would come forward to claim the body. Fred Olds, who represented the Indian Territory Posse of Oklahoma Westerns, eventually convinced Dr. Thomas Noguchi, then the Chief Medical Examiner-Coroner for the County of Los Angeles, to allow him to bury the body in Oklahoma. After further testing to ensure proper identification, Olds was allowed to take custody of the body.[37]

On April 22, 1977, a funeral procession was conducted to transport McCurdy to the Boot Hill section of the Summit View Cemetery in Guthrie, Oklahoma.[17] A graveside service attended by approximately 300 people was conducted after which McCurdy was buried next to Bill Doolin.[40] To ensure that McCurdy's body would not be stolen, two feet (60 cm) of concrete was poured over the casket.[41]

See also

[edit]
  • Jeremy Bentham, whose mummified remains were put on display, in accordance with his will.
  • Jonah Hex, a comic–book character whose post-demise exploits in The Last Jonah Hex Story echo McCurdy's posthumous fate.

References

[edit]

Bibliography

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
Elmer McCurdy (January 1, 1880 – October 7, 1911) was an American outlaw and alcoholic drifter whose brief life of petty crime culminated in a bungled and fatal shootout with law enforcement in , after which his unclaimed, arsenic-embalmed body was mummified and exhibited for decades as a sideshow curiosity before being properly interred in 1977. Born in Washington, Maine, to an unwed teenage mother named Sadie McCurdy, who placed him with relatives shortly after his birth, McCurdy grew up in poverty and later learned the trade of but struggled with from a young age. He enlisted in the U.S. Army in 1907, where he gained expertise in handling explosives during his service as a machine gunner, but was discharged in without achieving much success. After leaving the military, McCurdy drifted westward, engaging in small-scale crimes including a failed in where his explosive attempts damaged the building but left the safe untouched. In early 1911, McCurdy joined a of outlaws and participated in a train robbery near , stealing a modest haul that marked his entry into more organized . By October 4, 1911, he and his accomplices targeted a Katy Railroad near Okesa, , expecting a large but instead netting only $46 in and some bottles of whiskey after blowing open the express . Pursued by a posse, McCurdy fled to a barn near Pawhuska, where he was killed on October 7, three days later, during an hour-long gunfight, shot in the chest by a lawman. With no family to claim his body, it was taken to Johnson Funeral Home in Pawhuska, where embalmer Joseph L. Johnson preserved it using a solution containing to prevent decay, turning it into a makeshift exhibit billed as "The Bandit Who Wouldn't Give Up" that drew paying visitors for several years. In 1916, carnival promoters "adopted" the mummy, dressing it in outlaw attire and touring it across the Midwest and West as part of sideshows with the Great Patterson Carnival Company, later moving to the Museum of Crime in Los Angeles by the . Over the decades, the body changed hands multiple times, appearing in Hollywood films as a , a liquor store display, and finally as a painted mannequin in the dark ride at Nu-Pike in , by the 1960s. The mummy's true identity was uncovered on December 13, 1976, when a crew filming an episode of the television series disturbed the figure, revealing human remains and prompting an investigation by the County coroner, who confirmed it was McCurdy through dental records and bullet wounds matching historical accounts. After legal proceedings involving the state of , McCurdy's remains were transported back to the site of his death and buried on April 22, 1977, in Summit View Cemetery in , under a layer of to prevent further disturbance. His unusual posthumous odyssey has since inspired books, documentaries, and the 2024-2025 Broadway musical Dead Outlaw.

Early Life

Birth and Family

Elmer McCurdy was born on January 1, 1880, in , though the exact circumstances remain unverified due to the lack of a formal from the era. He was the illegitimate son of 17-year-old Augusta "Sadie" McCurdy, an unmarried woman whose family background in rural offered little documentation. The identity of his father is unknown, with some historical accounts speculating it may have been a relative, such as an older cousin, but no definitive evidence exists to confirm this. McCurdy was effectively orphaned from his biological father at birth, leaving Sadie to navigate the social stigma of unwed motherhood in late 19th-century New England. Sadie did not raise him initially; instead, he was placed in the care of her older brother, George McCurdy, and his wife Helen near Washington, Maine, where he grew up believing them to be his parents. This arrangement reflected the era's common practice for illegitimate children, but family records are sparse, contributing to ongoing uncertainties about his immediate lineage. The young McCurdy learned the truth of his parentage around age 10, following George McCurdy's death, after which Sadie assumed more direct parental responsibilities. He briefly lived with his maternal grandfather before the family moved to , but stability was short-lived; Sadie died in 1900 when McCurdy was 20, leaving him without immediate family support and prompting his westward migration. Overall, the paucity of primary documents—exacerbated by the social taboos surrounding illegitimacy—has perpetuated biographical gaps, making McCurdy's early family history a subject of limited but consistent scholarly reconstruction rather than precise .

Youth and Influences

Following George McCurdy's death from tuberculosis in 1890, Sadie, Helen, and the 10-year-old Elmer relocated to Bangor, Maine, where Sadie and Helen supported themselves through domestic work. In Bangor, a hub of the declining lumber industry that had once made it the world's largest lumber-shipping port by the mid-19th century, McCurdy was exposed to the seafaring and logging trades that dominated New England's economy but were waning due to resource depletion and competition from western timber sources. These industries, including shipbuilding in nearby coastal towns, provided limited opportunities amid broader economic hardships in late 19th-century Maine, where rural poverty and industrial shifts contributed to social instability for working-class families like his. Around age 15, McCurdy exhibited early signs of rebellion, including from school and the onset of , exacerbated by the emotional distress from learning his true parentage. Despite briefly apprenticing as a in Bangor—a trade tied to the region's needs—he lost stability by his early 20s, drifting amid personal turmoil and the era's economic pressures that pushed many young men toward . His mother's death in 1900 further isolated him, prompting his departure westward in search of work.

Criminal Activities

Entry into Crime

Following his mother's death around 1900, McCurdy left and drifted westward through and , working sporadically as a and lead miner while struggling with that prevented him from holding steady employment. In 1907, at age 27, McCurdy enlisted in the U.S. Army and was stationed at , , where he received training in handling firearms and the explosive as part of the Corps. He served for three years and was honorably discharged on November 7, 1910. After his discharge, McCurdy and an army acquaintance were arrested on November 19, 1910, in St. Joseph, Missouri, for possessing burglary tools, including bottles of ; McCurdy claimed the explosives were intended for constructing a foot-powered , and he was ultimately acquitted. After his acquittal, he continued drifting westward to , where his familiarity with drew him toward criminal circles. This incident marked his initial documented brush with the law, after which he began associating with small-time groups known as "yeggs" in the Midwest, motivated by financial desperation and his explosive expertise.

Key Robberies

McCurdy's involvement in began after his discharge from the U.S. Army in 1910, when he associated with a of yeggs—small-time outlaws specializing in and train holdups—operating across and . These groups drew from remnants of earlier outlaw networks in the Southwest, though McCurdy's alliances were loose and opportunistic, often involving just a handful of accomplices for specific jobs. His entry into these circles marked an escalation from petty drifting to targeted robberies, fueled by his self-taught knowledge of from army drills. One of McCurdy's earliest significant attempts occurred in early , involving a series of bungled burglaries where he and his partners used excessive explosives to breach safes, often destroying the contents and yielding minimal loot—typically under $100 per job. These failures highlighted his inexperience, as the blasts scattered or incinerated currency and valuables, forcing the gang to flee with scraps. By March , McCurdy had shifted to larger targets, joining two accomplices to rob a Missouri Pacific train (also reported as Iron Mountain Railroad) near , close to the border. The gang halted the train around midnight on March 30, using McCurdy's to blow open the express car safe containing approximately $4,000 in cash. However, the overcharged explosive destroyed much of the contents, fusing coins into slag and scattering bills across the tracks, allowing the robbers to recover only a small portion in damaged bills and coins before escaping on horseback. In September 1911, McCurdy and two accomplices attempted to rob the Citizens Bank in , . After spending two hours breaking through the bank wall with a hammer and chisel, McCurdy placed an excessive charge of on the vault door, which blew the door across the room but destroyed most of the money inside, netting the gang only about $150. Following this partial success, McCurdy's gang attempted multiple train robberies in Territory's border regions throughout 1911, but most proved equally fruitless due to poor planning and timing. In one such effort, the outlaws targeted express cars on the Katy line but repeatedly hit the wrong trains or abandoned hauls when guards raised alarms, netting little beyond passengers' pocket change—often less than $50 per attempt. McCurdy's reliance on and became a hallmark of these operations; he favored large charges for speed, but this reckless approach frequently backfired, earning him a growing reputation as a hapless and dangerous bandit among lawmen and fellow outlaws. Pinkerton detectives noted his pattern of explosive mishaps, which not only reduced spoils but also left unmistakable trails of debris for posses to follow.

Death

The 1911 Shootout

On October 4, 1911, Elmer McCurdy and two accomplices, having associated with a loose of outlaws from prior robberies, attempted to rob a Missouri-Kansas-Texas Railroad (Katy) near Okesa in the of , believing it carried a substantial cash payroll of around $400,000 destined for the . Instead, the boarded the wrong and fled with only $46 in cash, a watch, some personal items, and two jugs of whiskey after a brief confrontation with the conductor. The meager haul and the alert raised by the prompted a swift manhunt, with McCurdy separating from his partners and holing up in a remote hay shed on a near Pawhuska. Three days later, on October 7, 1911, a posse consisting of sheriffs Bob Fenton, his brother Stringer Fenton, and Dick Wallace, aided by bloodhounds, tracked McCurdy to the hay shed where he was reportedly drinking from one of the stolen whiskey jugs. As dawn broke, the deputies surrounded the structure and demanded his surrender, but McCurdy, true to his earlier vow not to be captured alive, opened fire through the walls, igniting an intense hour-long shootout that echoed across the . Lying prone in the hay to steady his aim, McCurdy exchanged gunfire until a single .32-caliber bullet from Stringer Fenton's struck him in the chest, killing him instantly. Upon breaching the shed, the posse discovered McCurdy's body slumped beside an empty whiskey jug, his rifle still clutched in hand and surrounded by spent cartridges. His identity was swiftly confirmed by comparing his features and clothing to circulated wanted posters from his earlier near , in March 1911, solidifying his role as the ringleader of that failed heist. The confrontation marked the end of McCurdy's brief and inept criminal career, which had yielded little beyond notoriety in Oklahoma's circles.

Embalming Process

Following his death from gunshot wounds sustained in a 1911 shootout, Elmer McCurdy's body was transported to , where it was embalmed by local undertaker Joseph L. Johnson. Johnson used an arsenic-based fluid, a common preservative at the time often employed for medical specimens, which effectively mummified the corpse by halting and maintaining a lifelike appearance. This chemical process involved injecting the fluid into the vascular system, resulting in the body's hardened, darkened preservation that would endure for decades. With no to claim the remains—McCurdy having long been estranged from relatives—Johnson retained the body as an unclaimed asset of the . He dressed the mummified figure in original street clothes, placed a rifle in its hands, and stood it upright in an for public viewing, dubbing it "The Bandit Who Wouldn't Give Up" to capitalize on McCurdy's notorious reputation as an . For about five years, until 1916, visitors paid a to peer at the display, turning the embalmed corpse into a local curiosity that drew steady crowds to the establishment. The lack of any claimants solidified the body's status as funeral home property, with the arsenic treatment ensuring its viability for ongoing exhibition without further intervention. This initial presentation marked the beginning of McCurdy's unintended posthumous fame, preserved not just chemically but as a symbol of the era's entrepreneurial spirit.

Post-Mortem Exhibitions

Initial Display and Sale

Following his death in 1911, Elmer McCurdy's body was using a solution containing at the Johnson in , which preserved it in an upright position suitable for public viewing. The process, combined with the 's preservative properties, ensured minimal initial deterioration, allowing the corpse to remain intact for years without significant decay. The body was initially displayed at the as "The Embalmed Bandit," dressed in street clothes and posed with a in hand, where visitors paid five cents for a peek, dropping coins into the corpse's mouth. This local attraction drew crowds for several years until 1916, when carnival promoters James and Charles Patterson, posing as McCurdy's long-lost brothers, claimed the remains under the pretense of providing a proper . The Pattersons instead incorporated the mummified body into their Great Patterson Carnival Shows as a exhibit, promoted as an unnamed mummy and "The Bandit Who Would Not Give Up." Early tours featured the display in human curiosities tents at carnivals in regions including and , where it was presented alongside other oddities to capitalize on public fascination with Wild West outlaws. The arsenic-treated corpse, still clad in its original display attire, showed little wear during these initial travels, maintaining its appeal as a grim, lifelike relic.

Carnival and Museum Tours

Following the initial sale of his embalmed body from the Johnson Funeral Home in , McCurdy's remains were acquired in 1916 by carnival promoters James and Charles Patterson for use in their traveling . The body was displayed as "The Bandit Who Would Not Give Up," featured alongside other curiosities in the Great Patterson Carnival Shows, which toured the Southwest and Midwest regions of the through the early . This exhibition emphasized McCurdy's criminal past, positioning him as a cautionary figure from the waning days of the Wild West era. In 1922, the Pattersons sold the body to showman Louis Sonney, who integrated it into his traveling “Museum of Crime.” Sonney's exhibit, which included wax figures of notorious outlaws, toured the West Coast extensively during the 1920s and 1930s, with McCurdy's mummified form serving as a centerpiece to illustrate the consequences of a life of . By the 1940s, under the management of Sonney's son Dan, the display continued to circulate through carnivals and sideshows across the Midwest and South, enduring rough handling and environmental exposure that contributed to further desiccation of the remains. After Louis Sonney's death in 1949, the body was stored in warehouses for nearly two decades.

Media and Entertainment Use

Hollywood Prop Appearances

In the mid-20th century, Elmer McCurdy's mummified remains transitioned from sideshows and museum displays to incidental use in Hollywood productions, where they were routinely mistaken for realistic props due to their preserved state. This shift began after years of touring exhibitions, during which the body had been treated with chemicals that maintained its lifelike appearance, allowing it to blend seamlessly into sets and promotional displays. In 1933, McCurdy's body was acquired by the producers of the Narcotic as a promotional gimmick to warn audiences about drug dangers; it was displayed in theater lobbies across the country as an example of a "dope fiend's" fate, dressed in tattered clothing and positioned to evoke horror. This marked one of the earliest instances of the corpse being loaned to Hollywood-related endeavors, capitalizing on its eerie authenticity to draw crowds without anyone suspecting it was a real human remains. By the 1960s, the body had been sold to film exhibitor Dan Sonney, who incorporated it into low-budget productions. In 1967, McCurdy appeared briefly as a generic corpse prop in the background of , a carnival-themed directed by Byron Mabe and produced by , where it lay among other elements without drawing attention from the cast or crew. The film's exploitation style suited the prop's history, though its use remained uncredited and unnoticed at the time. McCurdy's final entertainment appearance occurred in December 1976 during the filming of an episode of the television series at the in . Positioned as a hanging figure in the "Laff in the Dark" —painted fluorescent orange and dressed as a gunslinger—the body was assumed to be a until a crew member accidentally dislodged an arm, exposing human bone and tissue. This incident effectively ended the corpse's unintended career in media.

Amusement Park Placement

In the early 1970s, the mummified remains of Elmer McCurdy were acquired by Ed Liersch, a part-owner of the in , where they were incorporated into the park's "Laff in the Dark" funhouse attraction. Positioned as a prop to startle visitors, the body was suspended from a noose on fake within the dark ride, blending seamlessly with the wax figures and other exhibits due to its realistic appearance. Over the years leading up to , McCurdy's corpse endured significant deterioration from accumulated dust, cigarette smoke, and general neglect in the enclosed environment, causing the fluids to further dry out and the form to become brittle. To maintain its eerie effect, park staff periodically repainted the mummy in fluorescent colors—often orange or red—and posed it with a in one hand, enhancing its role as a "hanging man" figure without realizing it was an actual human remains rather than a . This placement marked the final stop in McCurdy's long history of post-mortem misuse, following brief appearances as a prop in Hollywood productions.

Rediscovery and Reburial

1976 Funhouse Incident

In December 1976, a production crew filming an episode of the television series at the Nu-Pike Amusement Park in , encountered what they believed to be a prop mannequin in the park's Laff-in-the-Dark funhouse ride. The episode, titled "Carnival of Spies," featured scenes set in a carnival environment, and the crew selected the rundown funhouse as a filming location due to its eerie, atmospheric setting. During setup on December 8, a crew member attempted to reposition the figure—a glow-in-the-dark painted corpse hanging from a —to accommodate camera angles, causing one of its arms to detach and revealing human bone, , and desiccated tissue beneath the surface. Shocked by the discovery, the production immediately halted filming, as the object was clearly not a but a real , prompting concerns it might be the result of a recent . Local authorities were summoned to the scene, initially treating the find as a potential investigation given the body's preserved state and apparent . The County Coroner's Office took possession of the remains and, on December 9, deputy medical examiner Joseph Choi conducted an autopsy and X-rays, which confirmed an old embedded in the chest—consistent with a from decades earlier—and traces of early 20th-century fluid, indicating the body had been preserved long before its placement in . This examination ruled out any modern foul play and shifted the focus to tracing the corpse's unusual history.

Identification and Burial

Following the 1976 discovery of the mummified body in a Long Beach , which prompted an investigation by the Los Angeles County Coroner's Office, forensic examination in 1977 confirmed the remains as those of Elmer McCurdy through physical evidence including a .32-caliber copper-jacketed jacket embedded in the chest, consistent with the fatal wound from the 1911 shootout, as well as artifacts such as carnival ticket stubs and a 1924 penny found inside the mouth. Identification was further confirmed by forensic anthropologist , who superimposed X-rays of the skull on 1911 post-mortem photographs matching McCurdy's features. Additional corroboration came from historical records of McCurdy's death and embalming, with the presence of early 20th-century arsenic-based embalming fluid aligning with procedures used at the time. Oklahoma officials, including representatives from the Oklahoma Historical Society, collaborated with California authorities to verify the identity and arrange repatriation, leading to the body's transport from Los Angeles back to the state where McCurdy had died. On April 22, 1977, McCurdy's remains were buried in the Boot Hill section of Summit View Cemetery in , in a plain pine casket transported by horse-drawn hearse; by court order, two feet of concrete was poured over the vault to ensure it could not be exhumed or disturbed again. The graveside service was attended by approximately 300 people, including media and local officials.

Legacy

Cultural Depictions

Elmer McCurdy's posthumous odyssey has inspired various literary works exploring the bizarre trajectory of his mummified remains. The 2002 book Elmer McCurdy: The Misadventures in Life and Afterlife of an American Outlaw by Mark Svenvold details the outlaw's transformation into a sideshow attraction, drawing on historical records and interviews to examine the commercial exploitation of his body across decades. Similarly, NPR's 2015 multimedia feature "The Long, Strange, 60-Year Trip of Elmer McCurdy," originally aired as a Snap Judgment episode in 2013, chronicles his corpse's travels through carnivals and museums, emphasizing the ethical quandaries of unclaimed bodies in American entertainment. Ripley's Believe It or Not! has featured McCurdy's story in its publications and online articles since at least the 1970s, presenting it as a quintessential oddity of human curiosity and preservation techniques. Documentaries and podcasts have further amplified McCurdy's tale, often framing it within broader discussions of mummification and Wild West outlaw mythology. The 2015 short documentary An American Mummy: The Tale of Outlaw Elmer McCurdy, produced by the Autry Museum of , uses archival footage and expert commentary to explore how McCurdy's embalmed body became a symbol of ethical lapses in body handling and the commodification of death in . Podcasts like the 2025 Morbid episode "Elmer McCurdy: The Outlaw " delve into the moral implications of his decades-long display, connecting it to lore while questioning the and issues in historical mummification practices. Earlier NPR reporting, such as the 2002 segment "The Outlaw ," highlights ethical debates around the of remains, positioning McCurdy's case as a cautionary example in the of posthumous exhibition. In 2025, McCurdy's story reached theatrical heights with the Broadway musical Dead Outlaw, which premiered at the Minetta Lane Theatre before transferring to the . Created by the team behind , the production portrays McCurdy's afterlife adventures as a satirical commentary on fame and exploitation, earning 7 Tony nominations including for its score and book; however, it won none and closed on June 29, 2025, after 64 performances. This stage adaptation culminates in his 1977 reburial, marking the end of his unintended travels.

Modern Recognition

The case of Elmer McCurdy has contributed to ongoing scholarly and legal debates about body autonomy and the treatment of unclaimed human remains in the United States, particularly highlighting disparities in protections for non-Native American bodies compared to those afforded under the Native American Graves Protection and Repatriation Act (NAGPRA) of 1990. McCurdy's mummified remains, exploited for over six decades or kin involvement, exemplify the historical classification of human corpses as "quasi-property," where next-of-kin or state authorities hold limited custodial rights but face few restrictions on commercialization or display. This framework, rooted in 19th- and early 20th-century , allowed unclaimed bodies—often from marginalized or indigent populations—to be repurposed for profit, raising ethical concerns about and exploitation that persist in modern discussions. Post-1977 analyses, including legal , argue for stronger federal regulations on unclaimed remains to prevent similar abuses, influencing state-level reforms such as New York's 2016 amendments to its anatomy gift laws, which prioritize respectful disposition over medical or commercial use. Following his 1977 reburial in the Boot Hill section of Summit View Cemetery in Guthrie, Oklahoma, McCurdy's grave became a protected site, encased in two feet of concrete and marked with a headstone to deter further disturbance, reflecting heightened awareness of postmortem rights. The site has since drawn tourists interested in Wild West history and macabre lore, promoted by the Oklahoma Historical Society and state tourism resources as a key attraction in Guthrie, a town known for its Victorian architecture and outlaw heritage. This visitation underscores McCurdy's transformation from forgotten outlaw to emblem of historical preservation, with the cemetery drawing visitors alongside nearby sites like the Oklahoma Territorial Museum. Scholarly examinations of McCurdy's and subsequent display illuminate broader early 20th-century practices, where arsenic-based fluids were routinely used by undertakers to achieve long-term preservation, often turning unclaimed bodies into naturalistic suitable for public exhibition. At the time of McCurdy's in 1911, —discontinued in the U.S. by the due to concerns—was a standard technique in rural homes, combining disinfectants with desiccants to halt and create a lifelike appearance for viewing. His case typifies the exploitation of such preserved corpses, where traveling in the late 19th and early 20th centuries profited from displaying "mummified outlaws" or "unknown men" to audiences, commodifying as and preying on public fascination with the . These practices, analyzed in biohistorical studies, reveal how economic incentives and lax regulations enabled the of the deceased, fueling ethical critiques of the era's industry and itinerant shows. McCurdy's story, amplified through cultural depictions, has sustained modern interest in these issues, prompting renewed focus on ethical handling of historical remains.

References

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