The OTHER Air Force Captured Flying Saucer Retraction

UFOs are nothing more than misidentified conventional objects with a few hoaxes in the mix. That was the message of the notorious anti-saucer article in the April 30, 1949 issue of  The Saturday Evening Post, “What You Can Believe About Flying Saucers” by Sidney Shalett, written with the support and cooperation of the US Air Force. 

The article prompted an interesting response that led to an official investigation. In May Stewart Smith of Baltimore, Maryland, wrote to the Air Force saying he believed that inventor Jonathan E. Caldwell's company was making the flying saucers. The AF's Office of Special Investigations assigned the job to Captain Claudius Belk, and with the help of the Maryland State Police, he made a discovery in an old tobacco barn in Glen Burnie. The news broke on August 20, 1949.

The Air Force made the hasty statement that they'd discovered the origin of the flying saucers. The press went wild. After they had a chance to examine what was actually found, the Air Force issued a retraction, a bit like what had happened two years earlier with the Roswell debris.

An early photo of a Caldwell plane in pristine condition.

UFX is the site of ufologist Joel Carpenter, who passed away in 2014. It hosts Carpenter's 1996 article which is the definitive examination of the case, linked from the home page as, "Roswell: The Sequel." 

Flying Saucers Found In Maryland!

The Glen Burnie Incident: the Air Force's Second Officially Announced Flying Saucer Capture

Part 1: Flying Saucers Found In Maryland!

Part 2: Caldwell's Saucers 

Part 3: The OSI Discovery

Part 4: Glen Burnie's Aftermath 

In Joel Carpenter’s article, he likened the case to the reporting of the 1947 Roswell saucer story, and said:

“The Glen Burnie Incident offers a different perspective on the Air Force's handling of the flying saucer phenomenon circa 1949… The Glen Burnie fiasco also reveals that the problems the Air Force faced regarding flying saucer press relations remained unsolved. Twice within little more than two years senior Air Force officers were forced to issue strong statements denying hasty claims by lower levels that genuine flying saucers had been retrieved.”

That chaotic press coverage is perhaps the most interesting, particularly since we are still dealing with the same kind of problem today. We’ve collected a few examples of the sensational and often misleading newspaper headlines. 

The news coverage from Aug. 20:

An Air Force  spokesman stated: "It Is apparent that both ships would give the appearance of flying discs. They could well be the prototype of what have been reported as flying saucers."

A day later, the Air Force put on the brakes. On Aug. 21, the retraction:

"The Air Force states that the two experimental aircraft found near Baltimore, Md. yesterday have absolutely no connection with the reported phenomenon of flying saucers. Neither its configuration nor its reported characteristics of flight would qualify it to be related to the reports of flying saucers."

Even with the facts in hand, some newspapers continued to spread confusion. The same United Press  story as packaged by two different editors.

A few days late, one editorial tried to take it all in stride, as part of the cost of searching for the truth.

Jonathan E. Caldwell, the "missing" inventor had just moved from Maryland to Nevada. He was still developing aircraft, but he said none of his machines had anything to do with the flying saucers. 

The Project Sign Investigation

Project Blue Book files contain 14 pages of photos on the case and a 53-pages of documents on their investigation, including copies of some of the original newspaper stories. Failing to have a classification for "embarrassing mistake and public relations fiasco," the Air Force designated the case a hoax.

Project Sign: August 17, 1949, Glen Burnie, Maryland 

Dashiell Hammett and Flying Saucers

What did Dashiell Hammett have to do with flying saucers? Nothing, but the characters he created are a different story. One of them is remarkably similar to the legend of the alien bodies record at Roswell, New Mexico. 

Dashiell Hammett is best known for his 1930 detective novel, The Maltese Falcon, which was later made into the classic 1941 film starring Humphrey Bogart as Sam Spade. A few years later, The Adventures of Sam Spade radio program that ran from 1946 - 1951. The sponsor was Wildroot Cream-Oil, who also used Hammett’s character in a series of single-page advertisements in newspapers and magazines disguised as comic strips.

 Although he had nothing to do with the ads, the comics were called, “Dashiell Hammett’s Adventures of Sam Spade,” and the March 19, 1950 episode was titled, “The Case of the Flying Saucer.”

Click here for enlargement

Later the same year, another of Hammett’s characters was drawn into an even bigger story, one about a captured flying saucer and alien bodies - both dead and alive. But first, let’s skip ahead for a moment to 1958.

The Thin Man

Hammett’s 1934 novel The Thin Man had several movies based on the characters, Nick and Nora Charles, and was later the basis for a television series on NBC from 1957–59, starring Peter Lawford and Phyllis Kirk.

Opening credits to The Thin Man

Like with Hammett’s other characters, the series was mostly detective stories, but once again, flying saucers entered the picture. Episode 32 of season one was titled, “The Saucer People.” From a newspaper listing from Aug. 29, 1958:

The Thin Man, starring Peter Lawford. Nick and Nora Charles investigate“The Saucer People.” A scientist claims he has been riding in a flying saucer – thereby hoping to devise a scheme for fleecing thousands from their life savings. 

Unfortunately, we were not able to locate a copy of the episode itself.


Secret Agent X-9 and the Captured Saucer of 1950

Along with artist Alex Raymond (the creator of Flash Gordon), Dashiell Hammett created the Secret Agent X-9 newspaper comic strip in 1934.

Hammett left the series after the first year, but it continued a successful run in the hands of other writers and artists until 1996. From 1945 to 1960, the series was written and drawn by Mel Graff, who finally gave X-9 a name, Phil Corrigan. In May to July 1950, Graff featured a story where X-9 was drawn into a sensational case involving a captured flying saucer and the aliens found inside.

STTF reader ISleepNow posted a video on YouTube titled, Secret Agent X-9 "The Day After Aztec," saying, “These panels of the Secret Agent X-9 comic strip… were originally published in May through June of 1950 making them the earliest significant flying saucer story as far as newspaper comic strips were concerned. But of greater concern was the possible truth lying behind them.”

4-minute video of X-9 on the captured saucer case.

The final strips were not included, but we've located some key selections to finish X-9's saucer adventure.

In the final episode, X-9 is briefed on the astonishing truth about flying saucers, but we readers lacked the security clearance to be included.

Mel Graff's story about little alien men was very much influenced by Frank Scully's 1950 book, Behind the Flying Saucers, and the hoax on which it was based. The book was also the basis for the legends of Hangar 18 and aliens found in crash near Roswell,

X-9 was back to dealing with more traditional spy business, but later there were at least two other UFO episodes. In Sept. 1966 by Robert Lubbers (aka Bob Lewis), the strip below shows X-9 with "Tracking Control" monitoring a UFO’s entry into the earth’s atmosphere.

In the hands of writer Archie Goodwin and artist Al Williamson, in 1978, the series featured another UFO storyline, with Corrigan investigating the abduction of the USA's top scientists.

The Stuff that Dreams are Made of

No, Dashiell Hammett didn’t write about saucers, but his novel The Maltese Falcon was about a struggle over a priceless relic that turned out to be a counterfeit. That’s something very similar to the situation ufologists often find themselves in, and a bit like the ending of the Humphrey Bogart movie version of Hammett's s novel.

The Texas UFO Crash Debris Photo from July 1947

A Robertson Panel of another sort, the Texas UFO mystery metal of 1947.

Leonard Robertson of Perryton, Texas, witnessed a UFO explode in late July 1947, and afterwards he was able to recover a large fragment of it. The incident occurred shortly after the flying disc story in Corona and Roswell, New Mexico, only about 250 miles away. The Texas news appeared on the front page of the Amarillo Daily News on August 6, 1947:

Perryton Man Displays Proof of Saucer Story

PERRYTON, Aug. 5 - Leonard Robertson, former Perryton city marshal and now with O. A. Schuster of the Perryton Gas Company, has proof that he really saw something flying through the air recently.

Robertson just realized today that he might be in possession of a flying disk or something odd that flew through the air with the greatest of ease - until it exploded almost in his face. He took his find to Mr. Schuster and Sheriff W. H. Lance, but they haven't been able to help him.

Here's Mr. Robertson's story:

"I was riding my motorcycle south into Dumas - I believe it was July 25 - when something bright in the sky to my left attracted my attention. I pulled off the road and saw a strange object floating over a field about a mile away. It was kind of oval and looked to be about 15 or 20 feet in circumference. It looked something like a big bubble.

"While I was watching it, the durned thing exploded. I saw pieces falling in all directions. I decided to see if I could find some of the pieces so I rode down a side road and walked into the field where I thought the thing fell. This is what I found."

Mr. Robertson displayed a piece of what looked like aluminum, but was much lighter. It was about 30 inches long and 24 inches wide and slightly curved. There were two small holes in it and the center appeared to have been burned. Two of the edges showed where they had overlapped another piece.

There was neither number nor name of any kind on the piece of material.

Mr. Robertson plans to go back and see if he can find more evidence to back his saucer story.

Amarillo Daily News, Aug. 6, 1947

A photograph of the UFO debris taken by Sheriff W. H. Lance appeared in the follow up story on page 5 of the Aug. 9th paper:

Salvage From Mystery Blast

What is it? Leonard Robertson of Perryton discovered this strange object in a field near Dumas recently. He says it is part of a strange object he watched explode near where he was riding his motorcycle. The material is lighter than aluminum and it has two small holes and a burned spot in it. Mr Robertson said the object appeared to be globe-shaped. He couldn't find any other pieces. 

Amarillo Daily News, Aug. 9, 1947

We could wish for a more detailed description of the fragment. "Lighter than aluminum," but rectangular and "slightly curved," does not sound like foil from a rawin target, or part of a balloon. Like Mac Brazel before him, Robertson didn't put much significance on the debris until he, "realized today that he might be in possession of a flying disk or something odd..." 

While it's possible that the report might have been a joke or a hoax, it seems unlikely that Robertson would target his employer and the local sheriff. Robertson’s report apparently went no farther than the local sheriff, and there is no mention of the incident in Project Blue Book files. There was no subsequent press on the UFO incident, and the debris truly can be said to have come from a saucer that time forgot. 

If there are any readers in the Amarillo area, we ask you to make inquiries to find out what became of this physical evidence.

UFO and Alien Movies: It Came from Hangar 18

Continued from Roswell Reborn: The Hangar 18 Legacy

Epilogue: The Hollywood Legacy, Hangar 18 to Close Encounters and Back Again

Robert Spencer Carr’s resurrection of the Aztec legend paved the way for Leonard Stringfield’s UFO crash/retrieval studies, and the revival of Roswell by Stanton Friedman, William Moore and Charles Berlitz. Carr’s crash story was part of the UFO revival that led to a boom in space-based science fiction movies such as Star Wars and Close Encounters of the Third Kind, and also was exploited in the movie Hangar 18 which was based on the Aztec legend itself.

UFO Crashes and The Movies

The first saucer crash movie was based on John W. Campbell, Jr’s story “Who Goes There” from Astounding Science Fiction, August 1938. It was adapted into the 1951 movie The Thing from Another World where the spaceship in the story became a flying saucer for the film. The Thing, in the first half, has a few similarities to the premise of Frank Scully’s book, Behind the Flying Saucers; the military’s attempt to recover a crashed flying saucer from a remote location, the retrieval of an alien body from it for scientific examination, and the premise that there’s a UFO cover-up. Like Scully’s book, the film also gets in a few jabs at the Government’s denials of flying saucers.

The Aztec story doesn’t provide the kind of exciting storytelling opportunities that Hollywood likes, though. It starts off dramatically, but essentially, it’s the story of entering a tomb, so the movies focused on the UFO stories with live aliens. One notable exception was The Bamboo Saucer was a 1968 film but based on a script from the 50s. It’s a Cold War parable about two teams from the US and Russia fighting for possession of a flying saucer that landed in China. The crew died off-camera and were cremated by locals before the action begins, so we never see the aliens, just the technological wonder of their saucer. There’s no Hangar 18 in sight, but the story has some Aztec in its DNA.

The 1968 novel, The Fortec Conspiracy by Richard M. Garvin and Edmond G. Addeo featured a plot that had many similarities to the Aztec legend. Bodies from a flying saucer crash were hidden in a laboratory at Wright-Patterson Air Force Base in Ohio. Unlike Carr’s version, in the book, the alien bodies weren’t frozen, but pickled in glass tubes. Carr claimed not to have read the book, but said it was based on a true story. He was a Hollywood veteran, and may have kept up with the industry news to know of the development of the novel as a motion picture.

Daily Independent Journal (San Rafael, CA) December 27, 1973

Richard M. Garvin of Mill Valley, an advertising agency executive, will have his novel “The Fortec Conspiracy,” made into a major motion picture. Both he and his collaborator, Ed Addeo of Mill Valley, will be given bit parts in the film. Garvin’s novel, a science fiction work dealing with UFO’s, was published in 1968 and has sold a quarter million copies in paperback. It will be filmed by Cine Arts Studios in Hollywood and released through 20th Century Fox. Garvin is a vice president at Richardson Seigle Rolfs & McCoy Inc. advertising firm in San Francisco.

The news was also reported Publishers Weekly and in science fiction magazines such as the Monster Times and Luna Monthly #349, Autumn 1973, which also said, “Top actors selected for the lead parts include one of the of the major names from Star Trek.” Fascinating, but like many optioned film projects, The Fortec Conspiracy died in development without ever being made, but it was just one of many saucer movie projects gestating.

Close Encounters of the Third Kind

The renewed interest in UFOs started by the 1973 Pascagoula abduction case led to the Flying Saucer Symposium, which gave Carr the platform to thrill the public with a sensational UFO cover-up story. The energy spilled over to reinvigorate the entertainment industry’s interest in flying saucers, and provide Steven Spielberg the chance to fulfill a dream.

As a teenager in 1964, Steven Spielberg had made a full-length amateur science fiction film about UFOs, Firelight. As a professional director he returned to the topic in the early 1970s when he had enough clout to begin choosing his own projects.

“Before he started filming Jaws, Spielberg had signed a development deal for something called Watch the Skies (the closing words from The Thing from Another World, 1951), based on a short story he wrote in 1970 called “Experiences.” In the summer of 1973, producer Michael Phillips (The Sting) started talking about science fiction films with Spielberg, and it was Phillips and his wife Julia who set up the deal with David Begelman at Columbia Pictures. Paul Schrader was hired to write the script in December 1973.”

America's Film Legacy by Daniel Eagan (2009)

However, production complications led Spielberg to choose to direct Jaws before Close Encounters of the Third Kind, chiefly because his “UFOs and Watergate” concept had yet to be developed into a finished story. In an interview in the July 1982, Esquire magazine, Paul Schrader discussed working on the screenplay for Close Encounters of the Third Kind. “I was the first of a series of writers. Steve was the last. When I was first approached, Steve had in mind to do a Watergate-like expose of a government cover-up of the fact that flying saucers existed.”

1973 was the year Maj. Donald Keyhoe’s book, Aliens from Space was published, the book that climaxed with Robert Spencer Carr’s plan for initiating a close encounter. Steven Spielberg and his team were aware of the current UFO literature, and influenced by recent events which would have included the headline news that Robert Carr was making in 1974. Carr talked about the UFO situation as being “Saucergate,” and the finale of Close Encounters appears to be the Hollywood version of Carr’s Operation Lure concept.

In Paul Schrader’s first version of the CE3K script, the protagonist, Paul VanOwen, discusses an idea to contact UFO occupants:

“Well look, we haven’t had any success trying to communicate. We beam radio signals, math problems, tonal scales; no response… Well, we’ll have to entice them to come to us. Stop chasing them. Lure them close enough so we can observe and decipher.”

With this idea, “Project Entice” was initiated, a decoy saucer and lighted panels are built at a remote location to lure UFOs into contact. Schrader’s story was scrapped in favor of a new script, but the concept of Project Entice was reworked, incorporated into the climactic scene in the final film.

In a July 23, 1976 interview with The Clearwater Sun, Carr once again described his vision for Operation Lure:

“I believe we should build a safe landing zone on the highest mesa... and assure the aliens it is not an ambush. I feel confident they would land. I’d like nothing more than to see... intelligent conversation, with the immensely wise little beings that pilot flying saucers.”

Close Encounters of the Third Kind was released in December 1977. There’s no public record of what Bob Carr thought of the Spielberg movie, but he must have loved it. Carr’s Operation Lure dream come true, at least in theatres, peaceful contact with "our friends from space.”

Contracts with Ufologists

In 1977, two film companies, Sunn Classic Pictures  and Scotia American Productions, were researching projects for documentaries based on the UFO crash story. An article in the newsletter of Citizens Against UFO Secrecy (CAUS) by editor by Todd Zechel showed how Hollywood seemed to be having an influence on UFO research:

Just Cause, April 1978 Vol. 1, No. 1 “Nuts and Bolts Making a Comeback”Despite the steady drift toward (and off) “The Edge of Reality,” physical evidence cases have been making a strong bid for the spotlight of late. Just as everyone was concluding crashed saucers were as much an anachronism as Venusian scoutcraft, suddenly Scully-like stories have reared their nasty heads. Apparently, motion picture companies such as Sunn Classics and a lot of loose dollars have encouraged a revival of “Wright Field" rumors.

The Scotia American Productions film was to have been Skywatch. A piece of art promoting it appeared in the May 1978, UK magazine Starburst.

T. Scott Crain wrote a letter to the Jan. 1981, MUFON Journal about his research contribution to the motion picture industry’s saucer efforts:

Back in March 1977, the production managers of Sunn Classic Pictures contacted a number of selected UFO researchers around the country to do research on various UFO related topics, mainly where, if it exists, is the military holding UFO hardware, and who has the inside facts about what has been going on. UFO researcher Leonard Stringfield, I, and several others were asked to sign a contract to do exclusive research on those questions for Sunn so they could produce a nonfiction film based on the facts showing how the military has captured a UFO and kept this information from the public.

Richard Hall (editor of the MUFON Journal) replied with further details:

Sunn Classics also contacted me, Walt Andrus, Larry Bryant, and others at various stages of researching a UFO movie. Originally it was to be a general documentary. At that stage, I signed a contract and provided material on a number of CE-II cases. Gradually, Sunn Classics saw "sensation" value in the "crashed saucer" stories and focused on them. Meanwhile, Scotia American Productions, New York, was working on a rival documentary (with Todd Zechel as research director). I did considerable research in the National Archives for Scotia. Later, Scotia also began seeking "sensation," and Sunn Classics negotiated with them to take over the film altogether. I do not know the exact deal that was struck, but do know that Scotia acquired the Sunn Classics research files. The Scotia film, also tending toward fiction last I knew, never was completed.

Hangar 18: The Motion Picture

The product that emerged from the documentary research was instead a fictional film, Hangar 18. However, it was advertised as an exposé of a true story, and the film opened with the statement:

“In spite of official denials, rumors have continued to surface about what the government has been concealing from the American public at a secret Air Force hangar. But now, with the help of a few brave eyewitnesses who have stepped forward to share their knowledge of these events, the story can finally be told.”

The Cover-up Classic Ingredients:
Crashed UFO, Space Hieroglyphics,
ET Bodies, and an Alien Autopsy 

Hangar 18 updates the Aztec story to the present day of 1980, with a US Space Shuttle launch of a satellite colliding with a UFO, causing it to crash. The news is too hot to release, but in the movie, it is because the turbulence might derail the re-election of the US president, so it’s covered up. The flying saucer is recovered in secret, and taken to Hangar 18 (in the southwest, not at Wright-Patterson) where they open it to find the alien bodies - there’s even an alien autopsy. The aliens are full sized, but like Carr’s little men, these aliens share our DNA. They are ancient aliens, our ancestors.

In the end credits:

“The producers wish to express their appreciation to the following persons and organizations: Aerial Phenomena Research Organization, The Center for UFO Research, Ground Saucer Watch, NASA, Rockwell International, City of Big Spring, Texas.”

Like with Close Encounters, Robert Spencer Carr’s story lives in Hangar 18, but only the darker portions of it. The movie was awful, but was financially successful… and had a huge advertising campaign, so almost all consumers were aware of the premise of the film:

“The government is concealing a UFO and the bodies of alien astronauts. Why won't they tell us?”

Where Credit Is Due

The most powerful legacy of Robert Spencer Carr is in the Roswell UFO crash story, which millions saw depicted on NBC’s Unsolved Mysteries presentation of September 20, 1989, “Legend: Roswell Crash.” The story was later dramatized for the first time as a Showtime TV movie Roswell on July 31, 1994. Another notable TV production was the 1995 Roswell “Alien Autopsy” film, a hoax with roots that reach back to the stir caused by Carr’s 1974 radio interview.

As Seen on TV.

Much of Carr’s early success came in his motion picture writing, but since most of it was behind the scenes as a researcher, he felt he did not receive enough recognition or credit for his work. His UFO concepts of Project Lure, Hangar 18, and the UFO crash cover-up were the foundation for countless television and movie projects. Sadly, none of them give Robert Spencer Carr a word of credit.

Just as the Aztec and Hangar 18 legends were endlessly are told and copied in ufology, once they were assimilated into Hollywood, the same thing happened with the celluloid versions. Storytellers may die, but the tales live on.