Audio version: Download MP3 or use controls below:
|
By 1906, Maud could dislocate an ankle, a knee, and a rib at will. Born with a slightly misshapen chest, she learned to pose it to maximize an illusion of brokenness. One of her eyes was noticeably different in appearance than the other — possibly the result of some old injury — and she could exacerbate that by dilating its pupil at will. And she developed a macabre ability to bite on her gums in a way that produced blood on demand. So Maud took her show on the road. Adopting a foundling baby from an orphanage to use as a prop — she knew a settlement would be far more likely if a baby were involved — she set out with a small group of accomplices, bilking railroad and streetcar companies all over the country and living high on the hog from the proceeds. Sometimes, after a particularly horrific-looking pratfall, she would even call for a lawyer and minister and "make out a will" on the spot. (This was great for convincing railroad agents that she was rich, and therefore dangerous.) She was good enough that she might have gotten away with this for many years, had she not been seemingly unable to stick around after being paid. In case after case, the delivery of a stack of cash transformed her from a catatonic cripple into a hale and hearty specimen leaping aboard an outbound train. Her performances were so lucrative, and her abrupt departures so obvious and galling to the freshly fleeced, that the railroad agents actually formed the Pacific Claim Agents Association specifically to try to spread the word of her antics and share information that might lead to her capture. Which is why, after she was arrested in San Francisco for the Yacolt caper, her subsequent trial in Vancouver turned into such an event. It was a bit like a reunion tour for all the claims agents she’d defrauded in her long and distinguished career. The prosecutor paraded them before the jury, one after the other, describing her performances — the horrible falls, the “blood” gushing from her mouth and nose, the sickening misalignments of knees and ribs, and always the poor wailing baby or toddler who was frightened but uninjured in the crash. The outcome was never in doubt. Off to the penitentiary at Walla Walla went Maud Johnson to serve a five-year sentence. The governor pardoned her out of the joint after two years, and she dropped out of sight. After her release, Maud Johnson appears to have more or less gone straight, immersing herself fully into show business. She appears only sporadically in the newspapers after that, including one time in 1922 when a minstrel’s troupe she’d joined disbanded suddenly and she had to raise some cash by kiting bad checks. But as far as I’ve been able to learn, she never again tried her fake-injury swindle. Or ... maybe she did, having learned from previous mistakes. If so, we'll likely never know.
THERE'S ONE OTHER thing that has to be pointed out before we close this article. That is, the particular unique skills that Maud Myrtle Wagnon Johnson possessed are not the kind of thing that naturally happens in the development of a healthy child. Nobody ever, in the history of the world, just one day went, "Hey, I wonder if I can dislocate my knee and ankle, that would be a kind of cool hobby." No. These skills are the kind of thing that one acquires by having one's knees, ankles, elbows, shoulders forcibly dislocated while still young and flexible enough to recover from the trauma. And eyes that are different sizes, and dilate on demand — that's a known symptom of head injury. The conclusion is kind of chilling, and is a real buzz-harsher after how much fun this story has been. But somehow, at some point in her life, and probably when she was very young, someone broke Maud Myrtle Wagnon. Broke her physically, that is. Psychologically, to judge from her record, she seems to have been pretty much shatterproof.
|
On our Sortable Master Directory you can search by keywords, locations, or historical timeframes. Hover your mouse over the headlines to read the first few paragraphs (or a summary of the story) in a pop-up box.
©2008-2016 by Finn J.D. John. Copyright assertion does not apply to assets that are in the public domain or are used by permission.