Amazing Aerials: Chasing the Barefoot Bandit

A good day flying is any day you get in the air, enjoy the thrill of flight, and return to earth safely without incident. A great day flying is doing the very same, but this time you get to do it with aviation pioneer and legend Dick Rutan. "48 Hours" producer Gregory F. McLaughlin was fortunate to experience one of those days.

As producer/editor for CBS News' "48 Hours", I hit the jackpot of assignments. It was a perfect landing, right on my desk: the story of Colton Harris-Moore, aka the Barefoot Bandit.

For some time, "48 Hours" producers had been following the incredible story of a teenage kid from Camano Island, Wash., who allegedly stole airplanes, crash landed them and survived; a total of five planes and not one hour logged as a student pilot. Each plane theft was more daring than the next.

Photos: Achieving amazing aerials
Photos: Colton's Life, Crimes and Aircraft Sketches
"48 Hours": Chasing the Barefoot Bandit

Our investigation found he had a tough childhood and came from an abusive home. For more than two years, he is suspected of robbing homes and local businesses to survive, taking cash and food. He often did this while barefoot and left drawings of bare feet, earning the moniker, the Barefoot Bandit.

"48 Hours" discovered Colton loved high-performance, single-engine planes. From an early age, he drew stunning replicas of them. Authorities soon learned he also loved the chase. Those two passions would catch up to one another in the Bahamas.

In July, he flew a Cessna 400 over 1,200 miles to the Bahamas, where he crashed landed on Abaco Island. Colton was found days later and after a dramatic boat chase that included police shooting the engine, he was finally captured.

My assignment was to find a Cessna 400 and shoot aerial scenes to help illustrate this incredible story; not the easiest task. Locating a Cessna 400 would be a bit more challenging than finding a Cessna 172. This high-performance beauty also comes with a high price tag. But the bigger challenge, after locating one, is to find a pilot who has the skills and desire to fly tight formation for the shoot. Not many general aviation pilots have those skills.

My first step was to call Mark Smith. Mark is an instrument rated pilot who sometimes refers to his 231 Mooney as the "ice cream truck." The paint scheme says it all. Mark is also a brilliant cameraman and has shot for "48 Hours" for some 20 years. As director of photography, Mark listened to my vision and made a list of what was needed. He and I have worked together before on other aerial shoots; I knew I was in good hands. Mark is a pro and went to work.

Mark then teamed up with CFI Liz DeStaffany; they both fly out of Santa Monica. Days later, I get a call from Mark: "We found your plane." That was great news. Then I was told it was at Mojave airport, a short flight from Santa Monica. That was more good news. Mark saved the best for last, "You'll never guess who owns the plane... Dick Rutan." Dick Rutan! This was simply unbelievable. This is like sending someone out to find any guitarist playing a Fender and bumping into Eric Clapton.

For those who are not familiar with Dick Rutan, you can look at his world famous, record breaking airplane the Voyager, suspended from the ceiling of the Smithsonian right next to Lindbergh's Spirit of St. Louis. In 1986, Dick commanded the Voyager flight with fellow pilot Jeana Yeager into the pages of history. It was a flight that took them nonstop around the globe without refueling. Their trip took just minutes over nine days. They received the Presidential Citizens Medal of Honor from President Reagan just days after they landed.

It was another award for this decorated former Air Force pilot. While serving in Vietnam, Dick flew some 325 combat missions in a F-100F, and earned a Silver Star, five distinguished Flying Crosses, 16 Air Medals and a Purple Heart. Do I think he can handle a tight formation photo flight? I think we got our man and I was one happy man in my New York office.
I headed west and met up with Mark and Liz. We discussed what shots we needed and where to place the cameras in the aircraft. Liz took us through the charts and made her suggestions where to shoot while staying out of congested areas.

Since our time with Dick was limited, just five hours, I suggested we roll many cameras at once. I would shoot the pilot's point of view with Dick flying. Mark rigged a lipstick camera to the walk-up step of Dick's plane. In the air, Liz would fly lead in a Cessna 172 RG. In the plane with Liz was Mark on camera 1 and assistant Brian Wilkinson would roll camera 2.

The other set up, was the takeoff shot. That shot was all about getting access to an active runway while rolling two cameras as Dick took off; a high-speed chase with low odds of being granted permission.

Being a pilot, I knew this would be a tough sell to the airport operations team. But it was a shot I really needed. That moment of breaking free of the earth and headed for sky is a magical moment for every pilot. And I could imagine the adrenaline rush it was for Colton Harris-Moore.The morning of the shoot, Mark Smith loaded up his Mooney with all the gear needed. I had the pleasure to fly the left seat of the Cessna 172 RG, with Liz DeStaffany in the right seat. I had just recently returned to flying. I had been away from this for almost 20 years. Just a couple of months prior to this flight, I made up my mind to get back in the air.

So now with a current Class 3 medical and about three hours logged with my GACE Flying Club CFI John Brook, I was logging time and heading out to Mojave to fly with Dick Rutan. Sweet! But I really wanted to impress and not embarrass. After all, I am surrounded by many skillful pilots. I knew my skills were still a bit rusty, but definitely coming back. Thankfully, a few weeks before, I was up with John and he really put me through the touch-and-go wringer. And I needed it; I was touching down too soon... too anxious to get wheels on the ground. This was on my mind as I climbed into the 172 RG with Liz.

We took off first with Mark next in cue. We headed north and picked up our course heading. In about 15 minutes Mark was next to us. Planes look nice on the ground, but they really look so much better doing what they are designed to do, fly. We flew a loose formation, visibility was 40 miles plus. Liz seemed comfortable with my ability to hold heading and altitude. We were able to shoot a few pictures of ourselves Mojave bound.

After about 15 minutes of loose formation, Mark went back to cruise power and raced ahead. Liz and I discussed approach and runway. The time had come to slow the plane down and get down to pattern altitude. The 172 RG did feel a bit heavier than the 172 SP I fly at home at Long Island Mac Arthur Airport (KISP). Gear down was now an important part of my landing check list compared to the fix gear I normally fly. I lined up on final, gear was down, my airspeed was right, and just a little crosswind. Over the numbers and trying to keep that plane in the air as long as I can before the wheels greet the tarmac. My touchdown was smooth, but I did have a few more knots of speed I should have left in the air and not on the ground. But really not so bad. Liz thought so too. Whew! Thanks, John. The wringer worked.

Time to get to work. The takeoff shot was first on the list.

While Mark and Liz and I were flying to Mojave, our second cameraman, Brian Wilkinson, drove up in the convertible we rented. Brian was going in the back seat with Dick in his Cessna 400, while Mark and I rolled two cameras racing down the runway in the convertible. Liz would be behind the wheel. It was a good plan that almost did not happen.

Security and safety operations had concerns and said no. Their concerns were legitimate; safety for us, safety for Dick and the safety of the White Knight. The White Knight was in the pattern practicing touch and gos. What is the White Knight? It is one of the oddest looking aircraft that has genius Burt Rutan, Dick's brother, written all over it. Mojave airport is the epicenter for the civilian space program. The White Knight is the craft used to practice re-entry.

So the danger for us to cross an active runway and get in the way would be very bad to say the least. We plead our case. We had three pilots in the car, we had a radio to talk to the tower and we know what a taxiway is and an active runway. We had to get our shot before crossing the intersecting active.

Airport officials agreed to let us get our much needed takeoff shot. But before that could happen, we had a safety briefing by Dick Rutan himself. He was all business and spelled out the dos and don'ts. We were all on the same page.

Our biggest concern was not getting enough roll time before rotation. The C 400 is fast and powerful. Our convertible was anything but. Four cylinders were not going to keep up with this plane. I asked Dick if he could hold off on full power for about 15 seconds before he went to full throttle. But asked not to wait too long because we needed him airborne before we had to get off at taxi way.

We strapped in, got cleared from tower and we went for it. My skateboard accelerates faster than that car, but we finally did pick up enough speed. Liz had her foot to the floor and held a pinstripe straight line. We got enough runway roll from Dick, gave him a sign and he went to full throttle. The C 400 sprung into the air with ease. And we got off at the designated taxiway safe and sound and did not violate an active runway. Success!

Pleased with ourselves, we got ready for the next shoot. Air-to-air tight formation was something I was looking forward to. It is an aerial dance that requires well synchronized partners. Dick and Liz have never worked together before. But the plan was for Liz to fly lead and Dick would fly a wing position. It was time for another Dick Rutan briefing. Liz knew the area well and explained where she wanted to lead Dick. As the lead, Liz would handle all communications with air traffic control as a flight of two. Dick of course would talk to Liz and coordinate turns and climbs. The key here was to do nothing unpredictable, to make sure we were both on the same page every second of the flight.

I hopped in back with Dick to shoot the pilot's point of view. Mark and Brian got into the Cessna 172 RG with Liz at the controls. Liz would take off first. The Cessna 172 is much slower than the Cessna 400; much slower. Liz hit the throttle and had a good 20-second head start before Dick hit the firewall.

The C 400 is all about comfort, luxury, high style and high performance. We caught Liz in no time and Dick set up underneath the starboard wing. While in a climb, it was apparent that we were just too fast. Dick made the decision to make a right 360 and to form up at cruise altitude. Passing through the 180-degree point of turn, Dick talked to himself, saying, "OK, Dick. Where are those fighter pilot eyes," as he scanned for the Skyhawk. He was in the moment, doing what he did so well so long ago as a fighter jock in Vietnam. No more than a few seconds pass and then, "Contact, I have you in sight."

Apparently, those eyes were still working quite well. And so were his tight formation skills. Dick gracefully walked his plane closer to the 172. The dance was about to begin and Dick was getting a feel for his partner. Liz was rock steady. I could see Dick following her with a keen eye.

Cameras were rolling and we started running down the shot list: in frame and out of frame, break offs and reforms. All was going well, the comfort level was growing and Dick edged in closer and closer. And then another glimpse from his fighter past, Dick remarks, "I do miss formation flying, this is great." I look out the window and I can almost see Mark's brilliant white teeth. This is the closest I have ever been in mid air to another aircraft.
And I could not be in better hands. Dick had a velvet touch and Liz was so smooth at the controls of her aircraft. This was going better than I had ever imagined.

We got all that we needed from the flight. Mark and Brian did an expert job shooting off the shoulder in a light aircraft. The lipstick cameras worked perfectly. My interior shots of the C 400 captured the point of view we needed.

The viewer was now in the front seat.

Once the shot list was complete, we broke off and returned to base. On the way back, Dick gave me a tour of the desert down low and personal. Steep turns left and right. Look here and look there, never a foot of altitude lost. I was being given a personal tour from a true aviation legend. I had an ear-to-ear grin and so much admiration for the skills he was applying to his side stick.

Dick commented, quoting another pilot, "'Do you know why I like flying? Because I just like looking out the window.' And I do." And with a palpable sense of sincerity and a bit of pity he continued, "I feel bad for all the people down there who do not get to do this." And I thought to myself how fortunate we are, every aviator in the world, that we get to see the earth from above.

And in a sense, Colton Harris-Moore, the self-taught pilot, has the same spirit. What a shame he took the wrong path to do what he loves.
We landed and met up with the crew of the 172. Mark and Brian were checking tape, and fortunately, the pictures did stick. Liz had a big grin.

Dick came over, and in a Yoda kind of way, debriefed the team. It was apparent he had a good time and enjoyed the flight. Weeks later, I asked Dick for a comment about his experience with the crew from "48 Hours." His assistant, Kelly Hall, sent the following on his behalf:

I had a great day filming with the crew! Mark Smith was well organized, and his ability to coordinate all of the different agencies to make the shoot a reality was most impressive. We do a lot of commercials, movies and television filming at the Mojave Air & SpacePort, and working with an incredible team like yours makes it so enjoyable!

I was particularly impressed with Liz DeStaffany's skill and aviation competence. It was an honor to fly with her, and I would fly with her again in a heartbeat.

The professionalism of the entire crew rendered a flawless and fun shooting day. Call on me anytime. It would be a privilege to join your team again. Dick Rutan

That ringing endorsement says it all. I was proud of the team I had at Mojave. Mark and Liz and Brian brought their many skills and talents and their easy to work with personalities. All true professionals. We went in with a plan and when things may have gone wrong, we adjusted and still made it work.

Excuse the pun, but our shoot did get the show off the ground. The excitement of flight is captured and I believe viewers will understand why Colton Harris-Moore was drawn to the skies. It is the one place that the world looks peaceful and serene. Something that Colton was so lacking in his sad life and an experience he may have to wait many years to experience again.

By Gregory F. McLaughlin