Subject: IUFO: Full JPL Transcript, Pt.1 Date: Tue, 21 Apr 1998 12:03:40 +0100 Transcript of Art Bell and 'Kent', 17th April '98 --------------------------------------------------------------- ART BELL: Uh, Alright, in the last hour, for those of you who did not get to hear it, Linda Moulton Howe interviewed Dr. Mark Carlotto during the photograph enhancement work from the photographs taken by Dr. Malin. Dr. Carlotto was lamenting the fact that they were taken at a forty-five degree, in other words the face on Mars was taken at a forty-five degree angle from the spacecraft to the face and he was lamenting of course the haze that Dr. Malin now admits was in that photograph as well. Now the obvious wish would be that that they had taken a photograph of the face from a spot directly above the face so that we might duplicate what we had previously so many years ago, twenty-two years ago with the Viking images, and judge whether or not we had the same thing. Well, what if we do have those photographs. I received a detailed, three-page fax from, I will call him Kent for now, in Ohio earlier today. Linda Moulton Howe talked to Kent at my bequest and feels what he has to say is solid as a rock. Kent was a Jet Propulsion Laboratory Employee who was just fired. He's on the line now, Kent, welcome to the program... 'KENT': Hi, Art. ART: Hi. I think we should begin this story by finding out how you came to be employed by JPL. Apparently you were in the... what branch of the Military were you in? KENT: I was in the Army, ART: The Army? KENT: I was stationed over there in Germany for four and a half years, and, uhm, while I was there I was supposed to, I had gone through the series of clicks and checks to get a security clearance. I had a Secret or better... ART: Secret or better security clearance, and the reason for that? KENT: The reason for that was, that I was a driver there for thirty-seven transportation group right there in Kaiserslaughten (?) , right there at Klabercocern (?), and, ahm, I was there during the early eighties during the Pershing II missile buildups, and anyone that hauled the missiles had to have a secret clearance. ART: If you haul Pershings, you'd better have a clearance. KENT: Yessir. ART: You were in the Military for how long? KENT: Er, total of six years. ART: Six years? Alright, how long ago did you get out, by the way? KENT: I got out in April of '85. ART: April of '85, OK. Ahm, what did you do after you got out? KENT: Well, I got out, and I got a driving job there for Brock's Transport there out of Los Angeles. I had originally "ETS" 'd out of the Army at Fort Lewis. I was up there with the 109th MI Battalion. I certainly enjoyed the Northwest, and everything else, and I wasn't married and single and everything, and had a little bit of money in the bank, and had bought a vehicle so I just travelled down I5 and kinda picked up stakes down there in Southern California for a little while, and got my "Chauffeur's licence", Brock's Carriers whatnot, you know, they were a common carrier. ART: And how long were you there? KENT: I was employed there for approximately until '92. ART: Until '92. KENT: Right. ART: Then what? KENT: Then, I didn't like being over the road all that much so I went ahead and got a courier job right there in the Los Angeles area for a courier company 'Audabezuza' and, uhm, and then through that courier company there was, I heard of an opening there to JPL...and... ART: That's the Jet Propulsion Laboratory in Pasedena? KENT: Yessir, the Jet Propulsion Laboratory in in Pasadena, California ART: OK, so you were a courier applying to JPL to do what? KENT: I was basically applying there to be a gofer. ART: Gofer this, gofer that... KENT: Yes, sir. ART: Go for coffee, go for... KENT: Well, I didn't really do the coffee bit, I was basically your usual errand boy, I didn't bring chinese takeout or anything, but, uhm, I was your basic errand boy there. I ran errands for the upper mucky-mucks and the bigwigs and er, just basic everyday stuff. ART: Alright. You were employed by JPL as about what date? KENT: Ah, June 13th '97. ART: And apparently they liked the fact you were ex-military, you'd been a courier, you had a secret clearance or better, and they liked all of that, and hired you. KENT: Yes, uhm, a gentleman by the name of Mr. Skyler hired me down there, and he had made the comment, he said they liked the fact I had a secret or better security clearance there in the Military. And, uhm, I had made the statement, you know, gofer, and he said you might be handling some sensitive documents here and there. I say, OK, no problem. ART: How long were you in the employ of JPL? KENT: How long was I there? I was employed there for approximately ten months. ART: Ten months. Alright, something obviously, er, got in the way of continued employment at JPL so I guess it's time for you to tell that story. You were given something for Federal Express, is that right? KENT: Yes, one of my duties was to Federal Express out photographs, and the day in question I was given a... they give us photographs, they're in between two thin sheets of cardboard. ART: Makes sense, that's right. KENT: ...And they roll them up very loosely there, and my job is to take the photographs and put them into the Federal Express cylinders, put the cap onto the federal express cylinder, seal it, take it down to the lady where the Federal Express machine is, and fills out the labels, and puts them into the outbound box for Federal Express. ART: Makes sense. KENT: The day in question I was given these photographs. ART: What was the day in question, by the way? KENT: April 14th. ART: April 14th of THIS year, in other words just a few days ago... KENT: After receiving the photographs I immediately went over to the Federal Express supply closet which, there's other people that have access there, and we were all out of photograph cylinders. So, then I called Federal Express and the lady answered the phone and I told her that I needed some FedEx supplies to include some photo cylinders. ART: Mhm... KENT: And, uhm, she had said OK the courier will bring them by, and, so then I didn't have much to do until Federal Express got there, so I went into the Break Room, I like sitting there by the window there at the back table, and, anyway, I was sitting there drinking some hot chocolate when the Maintenance Tech guy walked in, you know, we've always seen each other in halls or whatever, we always gave the guy the greeting of the day and everything, so we didn't really KNOW each other, you know, but we've seen each other before. So he comes into the Break Room and he says, 'Taking a break a little early?' and I told him I was waiting on FedEx. So he had gone to the coffee machine and got himself a cup of coffee, and he was, er, right-handed, and the photographs in question were right there on the side of the table, and, uhm... ART: Now these were the photographs that were in your possession to be turning over to FedEx? KENT: Yes, and I set them down onto the table so that I could eat my crackers and hold my book. ART: OK. KENT: ...And I set them down right there at the edge of the table, and the gentleman who came to sit down, to, you know, we were talking, he had sat down, and he's right-handed, and his cup, when he set down the coffee cup onto the table, the photographs rolled off the table at a diagonal area, and, uhm, one of the photographs had completely come out of, the, between the two cardboard sheets. ART: Mhm. KENT: And, he looks down there, and says, "Hey, look, it's a picture of a mask down there!" ART: A mask? KENT: A mask. ART: Uhuh. KENT: And, uhm, so I bent over to pick up that picture. I sat it down on the table and I had to unroll that so I could put that picture back in there. ART: Right. KENT: There was a total of nine photographs in there. ART: Nine photographs. KENT: Nine photographs. Two were of masks, and others were of structures. ART: When you say a mask...what do you mean? KENT: Ahm, well, it was a full aerial shot of a face. And, the, ART: Er, excuse me, excuse me, Kent, THE FACE ON MARS? KENT: Yes, it was the Face on Mars. ART: Were there dates on these photographs? KENT: Yes, there were dates on the photographs. ART: What were the dates? KENT: One was dated April 2nd, and there was another one there of th eother maskwhich was dated April 2nd as well. ART: April 2nd... April 2nd. And now this was, lets be sure what we're talking about, which you call a mask , of the Face on Mars, obviously, taken from what angle? KENT: Well, it was almost a direct overlook, the Face was just to the side of the center of the picture itself, and... ART: ...Not at a forty-five degree angle? KENT: No, no, not at a forty-five degree angle, I mean, if you look at this picture, you know, you put a mask down on a sandbox, you take a picture of it, and maybe you just offset it, you take a picture of this and there it is. ART: And there it was, huh, in great relief, you could see it quite clearly? KENT: Oh, yes, definitely, I mean there is a picture, you know, Frankenstein's head, it's very flat, and there is like a headdress right there. And then you come down and you got the eyebrows there, you got two eyesockets, holes there where the nostrils go, then you got the mouth, with uh, like a mediocre chin on it, and then high cheekbones. And, uhm... ART: ...Two photographs of The Face? KENT: Yes, but one was, you know, looked like it was taken right there in broad daylight and it was copper-coloured. ART: In other words, when you say broad daylight, when you looked down at the Face, and I've seen many pictures of the Face on Mars, Viking, and the new images, uhm, the sun was directly into the features? KENT: Yes, it was totally defined, there was no shadows in the eye sockets. ART: Oh my. Alright, and the other photographs? KENT: Right, the other photographs, were, one of the photographs we looked at, OK, now picture World War II, bombed out cities of Germany... ART: Yessir. KENT: The buildings, they're all bombed out. And there was a structure on there that had no roof on it whatsoever. OK, it was kind of oblong shaped. ART: You're saying it was a building minus a roof? KENT: Yes, and, uh, there was, ahm, one of the walls had been knocked out, like say if you went inside and had a sledgehammer or something and was knocking out the wall, there was like a rock, you know there was rocks or something that was coming out from that wall. ART: My God. KENT: ...That was laid down and strewed out all over the place. ART: Alright, so there was nothing ambiguous about it, would you know you were looking at a structure minus a roof and part of one wall? KENT: Oh, yeah, that's a no-brainer. ART: OK. KENT: And, uhm, Then, uh, a few of the other photographs had what they'd be looks like pyramidic structures, uhm, and the Maintenance Tech guy gave me even a comment, he says, "If you look at these pictures real good it looks like pictures of Egypt" and I looked at them and said, "Egypt's not red, is it?" and, uh, so at that time I didn't know what I was looking at. And about that time, you know, when we were looking at the pictures I heard an "OH MY GOD!" and one of the bigwigs, he was standing right there in the doorway. And then he said, "OH MY GOD" again, now we were like, five or six paces away from the doorway, and.. ART: Mhm... KENT: He was at the doorway to the Break Room. And, this, a good-sized man would take five or six paces to get to where we are, it took him three steps to get there, and uhm, he's giving us a few unpleasant subtleties there as he's putting the photographs back in between the cardboard, and he immediately rushes out there with them. An then, so then a couple of minutes had gone by , the Maintenance Tech had told me he'd get me in trouble... HE didn't get me in trouble, you know, and everything else. And so, he had to go back to work, and then two or so minutes later, there's a lady that walked in, and she told me to report back to Mr. Skyler's office immediately. ART: Uhuh. KENT: So, I'd gone up to Mr. Skyler's office and he really started chewing my butt, big-time, and then he said, "What, er, (blank) are you looking at pictures from Mars?" ...I didn't know I was looking at Mars pictures, ART: Oh, he said Mars? KENT: Yes, HE said Mars, maybe it slipped out, I don't know, but, uhm, he said, "Go on back and do what you're gonna do" and then about quarter to two that afternoon he calls me back up to his office there and he tells me er, to clean my stuff out, and he said that, er, "Your services are no longer needed here." I said, OK, I gave him a few little rebuttals there, and he says, "Nuh, I don't wanna hear it," he says, "Your duties are perfectly clear." ART: Did he say why you were being terminated? KENT: Uhm, because of unsatisfactory job or job-related issues. So, it wasn't... I knew what I was being fired for, because one of the bigwigs down there didn't like me looking at them pictures. ART: Had you explained to him how the accident had occurred? KENT: Yes, I did. Yes, I did, and he said, "it doesn't matter, you should have just put the picture back in there, we don't need..." he said, no not him now, the other bigwig I heard down there in in the cafeteria, "We don't need the American public looking at those pictures." ART: Kent, uh, where were these photographs going? KENT: A lot of the photographs were being sent to Washington, DC. Some of the cylinders were being sent to the United Nations, there was even one cylinder that I know of for a fact that was, because I was the one who put the label on myself, and it was going to Langley. ART: The CIA? KENT: Er, well, yeah, obviously. ART: Now, you obviously now know exactly what those photographs were, you know why you were fired, can you understand the implications of what you're saying? KENT: Yes, I do. ART: What made you decide to get hold of me? KENT: Well, immediately after I got fired I went home, and my neighbour there, he works for Wells Fargo, and he's got a night job. ART: Mhm. KENT: So, he gave the greeting of the day, you know, he says, "You're home early, aren't you?" and I says, "yeah" , so I went upstairs and I made coffee, and I told him, I sat down there and I told him the whole story. ART: And in the end he's just sitting there with his mouth open, he says, "I got the perfect guy you need to talk to" KENT: "Who's that, I said, I don't really want to talk to anybody" He says, you need to talk to Art Bell" and so he satarted going into this elaborate thing about your show, and what it consists of, and, you know, what you talk about. ART: Please be sure and thank him for me. KENT: I will definitely do that, and then I was talking to some other people and they told me definitely to do that, so he gave me your fax number along with your phone number to call, so I just decided I'd go ahead and fax, because there's more anonymity in faxing, ART: Are you worried, about your own safety? KENT: Uh, not really because I was in an army, you know, and I took self-defence courses, but as far as my immediate safety from our government, uh, a little bit, because of the simple fact that after that day he had left and gone to work, and I went ahead and gone out that night, I like to eat out a lot. So I came back to my apartment and I went upstairs, you know, and I'm a single guy and I'm a lousy housekeeper ART: On that note, hold on, we'll come back to you after the break... ART: Uh, My guest is Kent... he was, until just a few days ago, a Jet Propulsion Labratory employee in Pasadena. He saw some photographs that we all wish we could see. Kent, are you there? KENT: Yessir. ART: That's OK, the military's still with you, I can tell - I'm just Art - Kent, um, you understand, don't you, the implications of what you're saying? KENT: Yes I do, and, uh, like I was saying before we went to the break there, I went back upstairs, and I'm not the best housekeeper, and I just have an ordinary telephone, one of them fancy things,and, uh, I went to go over there to call Mom, I noticed my phone had been moved, because I don't dust, well I do dust, but dust just piles up around there. ART: (Laughs) I understand. KENT: I noticed that the phone had been moved, I mean it wasn't in the same place, I mean I could just tell that by looking at the circle underneath the phone where the phone used to be... and.... ART: And you live alone, right? KENT: And , I'm a confirmed bachelor, and so I immediately got suspicious, and I started looking around at other things right around in my immediate surrounding right there around the couch and I noticed the lamp had been moved, and I said, wait a minute here, something ain't right, and I took the cover off the receiver of the phone there and there was this little black, looked like a little microchip in there, and I immediately hung up the phone, I unplugged it from the wall socket there, too, and I packed up my bag, and, I, uh, put something in my pick-up and went down to the Airport and flew out here... (illegible) ART: So that's how you left the house? KENT: That's how I left the house, I didn't want to have anything to do with these, I was sitting there thinking, you know, who do I talk to, who do I tell, I mean, I mean, is this thing that big, so that people are going to be looking at me, ART: Apparently, this is the 18th of April, this occurred, what, in the afternoon of the 14th of April? KENT: Er, when I left? ART: When you got fired. KENT: Oh, yes, I got fired at quarter to 2. ART: Quarter to 2. KENT: Yes, I specifically remember, becaause I looked at Mr. Skyler's digital clock, and it read 13:45 while I walked out of the office. ART: A couple of details, this is so important, Kent, the photographs, you say in your fax, were in colour? KENT: Yes, there were some other landscapings by it that were different shades of copper colour - I call it coper, some might call it rust or something like that. And, uhm, ART: Reddish. KENT: Yes, definitely, and, er, they were high resolution photographs, I mean you could plainly see that they were taken, like, if you took a picture of the Washington monument with a 35 - millimetre camera, that's how clear it was, and it was plainly taken from an aerial, from an aerial shot, and, uhm... ART: ...And this official clearly said, We don't need the American people to see these? KENT: Um, yah, one of the upper mucky-mucks, the suit guy, when we were in the Break Room, boy, you wouldn't believe some of the stuff they talked about in there, he had plainly said, quote, "We don't need these pictures to get out to the American Public" ART: (Whispers) God... So, what are you going to do now, Kent? KENT: Uhm, I'm going to go someplace where I know that I'll be safe, my backyard sort of speak... place where I grew up... ART: Mhm. KENT: And, uhm, it’s a big country, and at least up there, at least I’ll know where I’m at, and I’ll know that I’m gonna be OK there anyway. ART: Alright. You, er, during the months you were at JPL you must have made some friends , some acquaintances. KENT: Yes, I did. ART: People you worked with, that sort of thing? KENT: Uh, yeah, but mostly I kept to myself, I did my job, I kept my mouth shut just like I was told to do. ART: Where I was going with that, Kent, was, is there anyone you can think of Kent, that you can prevail upon to back your story up, to themselves tell what they know, KENT: The Maintenance Tech, I don’t think it would be nice to give his name out over... ART: No, no, don’t do that. But if you were to contact him privately yourself, this is, er, we all want to believe , Kent, that our American Government is levelling with us. There are many people who have suspicions that for some time, particularly NASA, has NOT been levelling with us. You would seem to have evidence of that being true. KENT: Can I tell you something, Art? ART: Sure. KENT: Here, back in July of last year things were, I mean, things were really busy around there, I mean, they were ready to run 24 hours around the clock, and I had come in and I had got set on a courier, and I had come back, and I immediately went into the Break Room, and, uhm, there was two gentlemen sitting there, and they were looking at another photograph just like the ones that I have rolled up. And, they were looking at some kind of a half -way structure, or something that had crumbled down. And, I’m assuming myself personally, that was taken by the Sojourner. And, uhm, they were plainly looking at something and I was over at the coffee machine and I was just glancing over their shoulder just briefly to look, and it was a perfectly defined, like a broken down, great big giant brick structure, is what it was, and they were trying to define it, and one of the gentlemen says, "Are you going to release this?" and he says, "Ain’t no way I’m releasing this, I ain’t taking the heat on this" he says. So, I put some of these conversations together and you just remember certain things that you hear. ART: Alright, anything else you can think of that you heard while you were there, of that same sort? KENT: Ahm, no, but there was a lot of excitement there, uh, perluding to March 31st, and I know this because I had gotten called in to do some special things on Saturday, which doesn’t normally happen for me, I’m a Monday through Friday type of guy, and they asked me if I would work on Saturday, and I said, sure, no problem. And, uhm, they were really getting excited about this. ART: Mhm. KENT: And, they were talking about a probe up there on Mars right now. And, one of the things that they were discussing was that any of the high - resolution photographs come back, and the guy was saying, "Well, we can milk up the photographs any way we want to " What they said was, "Milk ‘em up" I don’t know what they meant by that, I was assuming , my own personal assumption, that they could mess them up or whatever, however they were gonna do that, and I was just sitting there, wondering why they were going to do something like that, you know, uhm, milk up a photograph or something. ART: Kent, do you want to give your last name or hold that out? KENT: I would rather not right now, Mr. Bell. ART: Here’s what I want you to do. KENT: Yes. ART: Find a way to keep in touch with me. Wherever you go from there, find a way to keep in touch with me, number one, you know my fax number KENT: Yes. ART: So you know how to get through that way, KENT: Yes. ART: Try and contact this other person, see if he’s willing to come forward, tell him what you know, and see if he will then sort of ‘jump on the bandwagon’ with you, because that would definitely help Your story comes out quite straight to me, Kent KENT: Do you ever, do you ever feel like the loneliest guy on the island? ART: I’ve had those moments, Kent. Listen I thank you for doing all this, the American people can sit out there now and judge for themselves. KENT: Can you do me a favour, please? ART: I’m listening. KENT: Would you thank Linda Howe for me? ART: I sure will. KENT: And, uhm, thank you, Mr. Bell. ART: Take care, Kent. KENT: Yes, sir. ART: Right, there you have it, and we’ll sort of let it hang out there for all of you to judge. END OF TAPE _____________________________________________________________________________ Visit Ash's Mural Gallery at: http://www.geocities.com/SoHo/Museum/3517/Ash/index.html -> Send "subscribe iufo " to majordomo@world.std.com -> Posted by: Ashley Rye