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The Woman Who Might Have Been D.B. Cooper

The man is 50 years old, or maybe 40. Either 6-feet 1-inches or 5-feet 9-inches. Nervous or composed.

In the interviews following the event on Northwest Orient Airlines Flight 305 on November 24, 1971, there were few things eyewitnesses could agree on. All authorities could take for an absolute fact is that a passenger who gave his name as Dan—later misidentified by a reporter as “D.B.”—Cooper had boarded the Seattle-bound plane in Portland, Oregon, ordered a bourbon and soda, and then handed stewardess Flo Schaffner a note. When it appeared she wasn’t about to read it right away, Cooper asked her to open it up.

Miss,

I have a bomb here and I would like you to sit by me.

What happened next became a legendary part of the FBI’s case files for nearly 45 years. Cooper demanded $200,000 in ransom and four parachutes, which the airline’s president and authorities gave him. After letting the 36 passengers and two attendants off the plane upon arrival in Seattle, Cooper asked the remaining flight attendants to head to the front of the aircraft while it cruised at an altitude of 10,000 feet toward Reno, Nevada, for a scheduled refuel. Moments later, Cooper disappeared, the retractable stairs in the rear having been engaged to allow for an exit.

A search of the expansive drop zone where Cooper could have landed amounted to nothing. There was precious little physical evidence to follow up on. For decades to come, both the FBI and amateur sleuths tried to find someone who could potentially fit the profile.

They assumed witnesses had gotten at least one detail correct—that the hijacker was a man. But in a small airplane hanger in Puyallup, Washington, two aviation enthusiasts had their doubts. They had struck up a friendship with a fellow pilot named Barbara Dayton. The more Dayton talked, the more her friends suspected the investigation had a fatal misconception. D.B. Cooper was not a man at all, but a woman who disguised herself as one in order to pull off the most audacious air heist in history.

To understand how it might be possible for someone to convincingly portray a man for the purposes of a skyjacking, it helps to understand that Barbara Dayton was born Bobby Dayton in 1926. As a child living in Long Beach, California, Dayton later recalled, she had always been able to more readily identify as female, sneaking looks at her mother’s undergarments and buzzing around her bedroom like Tinkerbell.

When Bobby Dayton was 18, he tried to join the Air Force to satisfy his love for flying; an eye condition disqualified him. Frustrated, he joined the Merchant Marines instead, traveling the world and sneaking cross-dressing sessions on the ship while his peers were sleeping.

After his service, Dayton hopped on a carousel of odd jobs—fishing, machine work, prospector, laborer. Between these gigs and the armed forces, he had picked up parachuting skills; on a few occasions, he helped his father blast through rocks on his property with dynamite. He married once, and then a second time. Money was scarce, and he sometimes joked about robbing a bank.

Irregular flying lessons became more frequent when he got a steady job at a car garage in the late 1950s. Dayton eventually logged enough time in the air to get his private license in 1959. But a commercial license—one that would allow him to merge his passion for flying with a steady income—was out of reach. Twice, he failed the written portion of the test. The math formulas had always stymied him, and he felt the Federal Aviation Administration (FAA) was too focused on formulas and other requirements that he didn't think mattered.   

Bobby went to Johns Hopkins to plead for a gender-reassignment surgery to cure his sense of feeling trapped in the wrong body. They declined. When he made the same effort at Seattle’s University Hospital, they had him evaluated before agreeing to perform the procedure: Bobby became Barb in December 1969.

After a second surgery, Barb convalesced in Renton, near Seattle. Eight days prior to the skyjacking, Dayton visited with hospital staff as part of a follow-up visit. She was lonely and depressed. Money was low and work was scarce. During another appointment two weeks after the incident, a physician noted that her mood had considerably improved. Despite her welfare being set to run out, the hospital's notes read, she was "strangely unworried" about money and seemed disinterested in looking for work. Dayton might as well have had all of the money in the world.  

Bobby Dayton, pre-surgery, compared to composite sketches of Cooper. Legend of D.B. Cooper

In 1977, Dayton was working as a librarian at the University of Washington and tuning up her Cessna 140 on weekends. At Thun Field in Puyallup, she ran into Pat and Ron Forman, a married couple who were just about ready to buy a small propeller plane of their own.

Although Dayton was a loner, she and the Formans developed a friendship over their mutual interest in flying. The couple had her and other pilots over for meals; they sometimes visited her at her apartment in Seattle, which was sparsely furnished. She told them a family inheritance had run out.

Among the pilots in the Seattle area, shop talk would sometimes turn to the Cooper case. Some thought there was no way Cooper could have survived the jump; others believed he had pulled off the perfect crime. At that point, the FBI was no closer to finding a plausible suspect.

When someone voiced an opinion Dayton perceived as silly, she became agitated and vocal. After Ron playfully told her she probably was D.B. Cooper, she sternly told him to never make a joke like that again.

As their relationship deepened, Dayton confided two secrets to the Formans. The first was that she had formerly been a man and had undergone surgery. The second was that she was indeed Cooper.

According to the Formans’ book, The Legend of D.B. Cooper, Dayton told them the following: Feeling resentful of the FAA and mired in a depression following her gender reassignment, Dayton decided to pull off an airborne heist. She drove to a bus station in Woodburn, Oregon, wearing a suit and tie that concealed a blouse underneath. She ran shoe polish through her hair to make it look darker. Her wig was in a paper bag, and a makeshift bomb rigged with dynamite was in an attache case. At the bus station, she parked her car, took public transportation to Portland International Airport, signed a fake name to her boarding pass, and boarded. The ransom demand followed.

After parachuting out, she navigated toward a predetermined landing area near a hazelnut orchard in Woodburn by using lighted checkpoints visible in the night sky en route to Reno. She walked to an irrigation cistern, stashed the money and suit, donned the wig, and returned home. Dayton had borrowed her former gender only long enough to become a hijacker.

Barbara Dayton. Legend of D.B. Cooper

The Formans didn’t quite know what to believe. For one thing, Dayton’s eye color (blue) differed from descriptions (brown) given by witnesses. She was also 5-feet-8, a good deal shorter than some reports of Cooper being over six feet.

Then again, the eyewitnesses had been inconsistent. Dim cabin lights, Dayton told them, could account for the different descriptions of her eye color. And how well could you judge a person’s height while they were sitting down?

Dayton eventually cooled on the Cooper talk, denying she had ever been serious. It’s possible she had been mistaken about the statute of limitations regarding the case. While it was originally set to expire in 1976, officials managed to get an indictment for a John Doe that kept the case open and charges available indefinitely. The Formans believed Dayton didn’t realize that when she made her confession in 1979. 

As Dayton’s interest in flying waned in the late 1980s and 1990s, the Formans saw less and less of her. A lifelong smoker, she died at the age of 76 in 2002 due to pulmonary disease. When the couple approached the FBI with their suspicions, they dismissed it: She was the wrong height. The Formans handed over DNA samples from Dayton’s belongings, but the agency appeared to only have incomplete samples from a clip-on tie Cooper had left behind. Geoff Gray, author of the comprehensive SkyjackThe Hunt for D.B. Cooper, later drove with Ron to the cistern where Dayton had said she stashed the money. It was empty. The Formans believe Dayton might have gambled it away during a stay in Reno, Nevada.

In July 2016, officials formally closed the case on Cooper. Gray, who wrote of several possible Cooper suspects in his book, summed up Dayton’s story: “I can’t prove she was Cooper,” he wrote. “I can’t prove she wasn’t.”

 

Additional Sources:
Skyjack: The Hunt for D.B. CooperThe Legend of D.B. Cooper

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Beyond CSI: 10 Fascinating Forensic Careers
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If you were to believe everything you saw on television about a day in the life of a forensic science professional, it would be all crime scene investigation all the time. As pulse-poundingly exciting as the investigative antics on CSI, NCIS, Dexter, and Criminal Minds may be, the day-to-day duties of forensic professionals aren’t always so cinematic. From accountants to astronomers, here are 10 lesser-known—but entirely fascinating—forensic careers.

1. FORENSIC LINGUIST

From pronunciation to word order, the patterns with which a person communicates are almost as distinct as the sound of his or her voice. Which makes them an identifiable piece of evidence in a criminal investigation, particularly in cases where fraud or plagiarism are concerned. Though the field of forensic linguistics emerged in the late 1960s, it didn’t come into popular use in the U.S. until the mid-1990s, when FBI forensic linguist James Fitzgerald convinced his employer that publishing the Unabomber's “manifesto” could possibly help them catch the man who had killed three people and injured nearly two dozen others with the homemade bombs he’d been mailing to unsuspecting victims for nearly two decades. It worked. Several people called in tips after reading the manifesto, recognizing the writing style, which eventually led them to Ted Kaczynski.

If you've been watching Discovery's Manhunt: Unabomber, you've already gotten a sense of what Fitzgerald's job entails. He's portrayed by Sam Worthington in the series, and Fitzgerald, a.k.a. "Fitz," has been impressed with the series' accuracy. "They are in the high 80 percentile [of accuracy]," Fitzgerald told Bustle, noting that "the Fitz character is a composite character." He describes the series as "a metaphorical look at my role in the Unabomber case, as well as bits and pieces of other agents who did it. It’s relatively factual. I will say, if it is about language analysis that is shown on the screen, that was me. That was the real Fitz."

2. FORENSIC OPTOMETRIST

Diagnosing astigmatism and glaucoma is all in a day’s work for an optometrist. Catching a murderer? Not so much. But Graham Strong has spent more than two decades doing just that, helping to prove the ownership of eyewear evidence left behind at crime scenes. It all started in 1989, when he assisted investigators in proving that the glasses found beneath the body of a murder victim were the same ones that their key suspect was wearing in an earlier mug shot. “I obtained more than 20 measurements that enabled me to conclude that the glasses found at the scene were identical to photographs in every way,” Strong explained of his investigative process. The evidence resulted in a first-degree murder conviction.

3. FORENSIC ANTHROPOLOGIST

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If you’ve ever watched an episode of Bones, you kinda sorta know what’s in a forensic anthropologist’s job description: to help identify and investigate decayed or damaged skeletal remains. If the science in the show seems sound, that’s because (for the most part) it is: The series, which ended its 12-season run in March 2017, is based on the life, work, and writing of Kathy Reichs, who is one of only 100 forensic anthropologists ever certified by the American Board of Forensic Anthropology (she’s also a best-selling author and was one of the show’s producer).

4. FORENSIC ARCHAEOLOGIST

Part Indiana Jones and part Sherlock Holmes, forensic archaeologists work with the police and other government agencies to locate, excavate, and analyze historical evidence, from buried personal items to mass graves. Employing the same techniques they would at a dig site, forensic archaeologists help to organize a crime scene and preserve potential evidence and are being increasingly called upon by organizations such as the United Nations in genocide investigations in Rwanda, Argentina, and Bosnia. 

5. FORENSIC ACCOUNTANT

Some investigators carry a gun; others wield an adding machine. Consider this: When the FBI was founded in 1908, 12 of its 34 original investigators were bank examiners. Today, about 400 of the FBI’s special agents are accountants. Forensic accountants are also found in accounting firms of varying sizes, as well as in law firms and police and government agencies, where they investigate a range of crimes that have been committed in the name of financial gain, which could include anything from murder to securities fraud. 

6. FORENSIC ASTRONOMER

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Not even Copernicus could have likely imagined that the field he pioneered would one day be able to aid in the delivery of legal justice. But the celestial bodies that continue to confound us regular folk have been used in much more practical ways for several centuries now, dating all the way back to Abraham Lincoln’s days as a lawyer, when he successfully defended a client against murder by being able to establish the position of the moon on the night of the altercation (which disproved the testimony of the prosecution’s key witness).

7. FORENSIC ODONTOLOGIST

In the late 1960s, there was a serial killer and rapist on the loose in Montreal who earned the nickname “The Vampire Rapist” because of the signature bite marks he left on the breasts of his victims. That vicious calling card became the undoing of Wayne Boden, the 23-year-old former model who was arrested in 1971 when Gordon Swann, a local orthodontist, was able to show 29 points of similarity between Boden’s chompers and the marks left on the body of Elizabeth Porteous, his final victim. Boden’s conviction was the first in North America to rest on odontological evidence, but certainly not the last; in 1979, forensic odontologist Richard Souviron was a key witness in the prosecution of Ted Bundy for the Chi Omega murders at Florida State University.

8. FORENSIC PATHOLOGIST

Forensic pathologists—medical doctors tasked with examining corpses to determine identity and the cause and manner of death—have found themselves in the spotlight in recent years with the popularity of reality television series like Dr. G: Medical Examiner, which followed Dr. Jan Garavaglia, Orlando’s Chief Medical Examiner, who famously identified the remains of Caylee Anthony. A decade earlier, HBO premiered Autopsy, a documentary series in which Dr. Michael Baden—the former Chief Medical Examiner of New York City—explained the science behind some of the most notorious crimes of the century, including the assassination of JFK, the death of Sid Vicious, and the murder of Nicole Brown Simpson. Lesser-known Autopsy cases examined how maggots, tattoos, breast implants, and chewing gum have all helped solve crimes. 

9. FORENSIC MICROSCOPIST

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The most damning evidence at a crime scene is usually the kind that is impossible to see with the naked eye. Enter forensic microscopy, the science of trace evidence, which can offer valuable clues in solving a crime by examining a variety of substances such as hairs, fibers, soil, dust, building materials, paint chips, botanicals, and food. Skip Palenik has spent a lifetime using microscropy to solve real-world crimes, analyzing trace evidence in the cases of the Hillside Strangler, JonBenét Ramsey, the Unabomber, and the Green River Killer. In 1992, he founded Microtrace LLC, an independent laboratory and consultation firm focused on small particle analysis. 

10. FORENSIC NURSE

Nurses are the first point of contact for many a crime victim, so it only makes sense that they would play an important role in the legal system. From collecting blood and DNA samples to counseling crime victims, the specializations of a forensic nurse can vary, as can their training. Writer-producer Serita Stevens—a forensic nurse herself—explores the field in depth in her book Forensic Nurse: The New Role of the Nurse in Law Enforcement, which notes of the job that “When the human body itself is a crime scene, [the forensic nurse] is the most critical investigator of all.”

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13 Infamous Facts About Bonnie and Clyde
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Clyde Barrow and Bonnie Parker were two of the most popular celebrity criminals of the 1930s (and they had a lot of competition in that decade). More than 30 years later, America fell in love with them all over again through Bonnie and Clyde, a zeitgeist-capturing movie that spoke to the dissatisfaction and unrest that people (especially young people) felt in 1967. And hey, it was the first major film appearance for Faye Dunaway, Gene Hackman, and Gene Wilder, and featured a future Duke of Hazzard (Denver Pyle, a.k.a. Uncle Jesse). On the 50th anniversary of its release, get to know your favorite movie about your favorite outlaws a little better with these behind-the-scenes tidbits. 

1. BEFORE IT WAS MADE IN THE STYLE OF THE FRENCH NEW WAVE FILMS, IT ALMOST WAS A FRENCH NEW WAVE FILM.

Like many young cinephiles of their day, Bonnie and Clyde's screenwriters, Robert Benton and David Newman, were enamored of the French New Wave, the influential movement that included films like The 400 Blows, Jules and Jim, and Breathless. These movies tended to have young, iconoclastic, sexually liberated protagonists and unhappy endings, making the true story of Bonnie and Clyde a perfect fit. Director Arthur Penn wound up using some of the New Wave's aesthetic techniques, too—like quick cuts, zooms, stylized photography, and abrupt changes in mood—making Bonnie and Clyde the first major American film to imitate the style. But before Penn came onboard, the screenwriters pursued two actual French New Wavers: François Truffaut (The 400 Blows) and Jean-Luc Godard (Breathless). Each filmmaker eventually passed on the project, but both offered suggestions that were incorporated into the final product. 

2. FAYE DUNAWAY'S STAR-MAKING PERFORMANCE ALMOST DIDN'T HAPPEN.

Warren Beatty, doing double duty as star and producer, and director Arthur Penn considered many other actresses first, including Tuesday Weld, Jane Fonda, Natalie Wood, Sharon Tate, Leslie Caron, and Ann-Margret. (Back when he was only producing it and not starring in it, Beatty had also considered his sister, Shirley MacLaine, for the role.) Beatty said they were turned down "by about 10 women," though he would later say Weld was the only one they made a firm offer to. When Beatty met Dunaway, he didn't think she was right for the part, but he told her to meet with Penn, who he thought would think she was perfect. Beatty was right. 

3. THE WRITERS HAD NO IDEA WHAT THEY WERE DOING.

Benton and Newman worked at Esquire (as editor and art director, respectively), and had no screenwriting experience whatsoever. But they loved the story of Bonnie and Clyde, which Benton, growing up in the Dallas area, had heard his entire life as part of local folklore. (Benton's father had actually attended Bonnie and Clyde's funeral in 1934.) Benton and Newman didn't have experience writing movies, but they did have a well-connected friend of a friend who put them in touch with the French filmmakers and offered some working capital. It was through these connections that the script fell into the hands of Warren Beatty, who immediately contacted them and set the project in motion. 

4. THE FIRST DRAFTS HAD CLYDE SWINGING BOTH WAYS.

Newman and Benton worked closely with Beatty and Penn in fine-tuning the screenplay, which all four men later described as a positive, low-conflict collaboration. The only major problem had to do with sex. Newman and Benton's version had Bonnie and Clyde having a threesome with C.W. Moss (Michael J. Pollard), a composite character based on several members of Bonnie and Clyde's gang, the idea being that Clyde couldn't perform without a third party. Beatty claimed he had no problem playing a bisexual character, but he and Penn were both concerned that the audience would view Clyde as a sexual deviant and ascribe his lawbreaking to that. But Penn thought the idea of there being some kind of sexual dysfunction in the group was important. Eventually the four collaborators settled on Clyde being impotent. 

5. WHATEVER YOU THINK THE FILM “REALLY” MEANS, YOU'RE PROBABLY WRONG.

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Some viewers interpreted Bonnie and Clyde as a commentary on other issues, but Newman and Benton said they didn't intend it that way. As they wrote in an introduction to a published version of their screenplay, "[People] have told us that Bonnie and Clyde was REALLY about Vietnam, REALLY about police brutality, REALLY about Lee Harvey Oswald, REALLY about Watts. After a while, we took to shrugging and saying, 'If you think so.'" 

6. THE STUDIO THOUGHT IT WAS GOING TO FLOP AND TREATED IT ACCORDINGLY.

Jack Warner, who measured films according to how well they convinced him not to leave the screening room to use the bathroom, hated Bonnie and Clyde. "That's the longest two hours and 11 minutes I've ever seen!" he reportedly said after seeing an early cut. "That was a three-piss picture!" (Also: "This gangster stuff went out with [James] Cagney!") Thinking they had a turkey on their hands, and despite a warm reception at a film festival in Montreal, Warner Bros. dumped the movie in drive-ins and second-run theaters in August of 1967.

7. THE STUDIO'S LACK OF FAITH MADE WARREN BEATTY VERY, VERY RICH.

Thinking the film wouldn't make any money, Warner Bros. offered Beatty a ridiculous deal: a $200,000 salary, plus 40 percent of the gross. Yes, 40 percent. Of the gross, not the net. The film made more than $50 million. 

8. MOVIE CRITICS KILLED THE FILM, THEN SAVED IT.

Warner Bros.' wariness was validated by the early reviews. Variety was lukewarm, and The New York Times' Bosley Crowther, then the most influential critic in America, hated it. HATED it. He wrote about it more than once, and would drop scathing references to it in reviews of other movies. To him, the film’s wanton violence represented everything that was wrong with modern cinema. (It's worth noting that Crowther was 62 years old and had been the Times' chief critic since 1940.)

Early box office reflected the bad reviews. But then came Pauline Kael, a vocal champion for the film who wrote 9000 words about it for The New Yorker. She was soon followed by Newsweek's Joseph Morgenstern, who gave the film a bad review, then retracted it a week later with a new, glowing appraisal. TIME magazine, which had also panned it, recanted and put the film on the cover of its December issue. Word began to spread. Warner Bros. re-released the film into more theaters and, by the end of 1967, it was on its way toward becoming one of the top-grossers of the year. It made most of its money, however, in early 1968, when Warner Bros. put it in wide release to take advantage of its 10 Oscar nominations. (Post-script: Bosley Crowther was removed as the Times' lead film critic in early 1968.)

9. IT TURNED AN OLD SONG INTO A NEW HIT.

Flatt & Scruggs' banjo-heavy bluegrass tune "Foggy Mountain Breakdown" serves as the film's theme music, even though it was recorded in 1949 and is anachronistic for a movie set in the 1930s. Even more anachronistic, though, is the fact that when the song was re-released in conjunction with the movie, it became a hit, reaching number 55 on the Billboard Hot 100 charts. It's now a standard in the bluegrass genre, and is often used in movies and TV when there's a chase scene set in a rural area. 

10. IT INSPIRED SONGWRITERS AS WELL AS FILMMAKERS.

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As Americans fell in love with Bonnie and Clyde the movie, they also became captivated by Bonnie and Clyde the outlaws, and the nation's troubadours took to the airwaves to sing about the tragic lovers. Merle Haggard, Georgie Fame, Serge Gainsbourg and Brigitte Bardot, Mel Tormé, and Bonnie's sister Billie Jean Parker all recorded new songs in the wake of the movie's success, and the aforementioned Flatt & Scruggs wrote an entire album.

11. IT INSPIRED A CLOTHING FAD, TOO.

Faye Dunaway's period costumes caught the attention of the fashion-minded, and soon berets (which hadn't been popular since the '30s) were back in vogue. The trend coincided with French designers wanting to move from mini-skirts to maxi-skirts, and gave women an appealing example of how great a maxi could look. 

12. THE CINEMATOGRAPHER QUIT MIDWAY THROUGH FILMING.

Burnett Guffey, a respected veteran in the industry who'd shot close to 100 movies and had served as president of the American Society of Cinematographers, was frequently at odds with Penn (who was fairly new to film) and with production designer Dean Tavoularis. Not only was Guffey older than most of the crew (he was born in 1905), but the "new Hollywood" visual style that Penn and Tavoularis wanted for the film didn't mesh with his old-school sensibilities.

After butting heads with the director one too many times, Guffey quit and was replaced by another old-timer, Ellsworth Fredericks. But this lasted only a few days, as Fredericks' competent-but-uninspired work made Penn realize how hard Guffey had been trying to capture his vision. He wooed Guffey back to finish the film, for which Guffey would win his second Oscar. 

13. IT CONTAINS A REFERENCE TO THE ASSASSINATION OF JOHN F. KENNEDY.

When Bonnie and Clyde are pumped full of lead in the film's bloody climax, you can see a fragment of Clyde's scalp flying off. Penn and editor Dede Allen both confirmed that this was a deliberate reference to the Zapruder film of JFK's death, which had happened in Dallas, not far from where Bonnie and Clyde grew up.

Additional sources:
Pictures at a Revolution: Five Movies and the Birth of the New Hollywood, by Mark Harris

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