Original subtitles

(dramatic music)

- [Narrator] Tunis, a North African city

of tradition and transformation.

And at its heart, a museum with secrets dark and strange.

How to cheat death in the Sahara,

how to kill a gladiator,

how the catapult toppled an empire,

and the surprising location of a galaxy far, far away.

Secrets hidden in plain sight

inside the Bardo National Museum.

(dramatic music)

If you travel down the boot of Italy,

and stand on the southern tip of Sicily,

you can see Africa.

Across the water is a nation called Tunisia.

Just 300 kilometers wide,

Tunisia stretches south from the Mediterranean

through fertile farmland that becomes dry steppes

and finally, the desert wastes of the Sahara.

Tunisia combines European, African,

and Middle Eastern influences.

A blend of cultures that is reflected

in the Bardo National Museum.

Inside is evidence that Tunisia was colonized by the Arabs.

Before them, the Romans.

Before them, the Carthaginians.

And throughout Tunisia's history,

Berber tribes have made its deserts their home.

(Jawa screeches)

A few decades ago, these deserts

were invaded by another tribe

led by a Hollywood director named George Lucas.

Lucas chose Tunisia as the shooting location for Star Wars.

The desert became the planet's Tatooine,

a name borrowed from a nearby town.

This is what's left of the movie's spaceport.

- [Stormtrooper] We don't need to see his identification.

- These aren't the droids you're looking for.

- [Narrator] Not far away is the set

for Luke Skywalker's boyhood home,

the Lars Homestead.

- [Owen] Luke!

Luke!

- [Narrator] Every year, the sets attract

Star Wars fans from around the world.

- Everybody loves the movie, you know?

It's very famous, in Korea too.

- [Narrator] When this set fell into decay,

some super fans teamed up to repair it.

For them, it's a revered icon,

with Tunisia just a convenient backdrop.

But in reality, the connections

between Star Wars and Tunisia run deep.

- Aunt Beru, Uncle Owen?

- [Narrator] Where to find them is a museum secret.

The investigation begins with

an arrival at the Tunis Airport.

Terry Cooper, a British science fiction illustrator,

has made the Star Wars pilgrimage several times.

- I saw Star Wars in 1977 as an eight year old,

and that's one of the, obviously a big blockbuster

at the time and changed the way films were made.

And it kind of changed my life,

because as an eight year old watching a film like Star Wars

just tells you anything is possible.

- [Narrator] On this trip, Terry's guide

will be a young man from Tataouine.

The town, not the planet.

His name is Rad Adallah.

Rad is also a Star Wars fan,

but he sees it from a Tunisian perspective.

- So as you see, it looks just like the Lars Homestead,

and that's originally from the Muslim architecture.

There is one there, one there,

one up there.

- [Narrator] This architecture appears in Star Wars,

with the addition of an extra sun.

- [Terry] I think it was a very wise move

for George Lucas's part.

There was this completely alien culture

and feel to these buildings

that no one had ever seen,

and it was very clever of him to take that at the time.

- [Narrator] Down these stairs

is another Star Wars connection.

For centuries, Berber tribes built dwellings

underground to beat the heat.

It looks like a Star Wars set, but it's a real home.

The couple who live here have turned one room

into a tiny museum.

- It has all the traditional Berber things,

like the traditional art and craft, carpet.

- [Narrator] The woman of the house weaves cloth

in the traditional Berber way.

- And here we have the Berber cloaks.

- Okay.

- You just put it as a robe.

- And over your head, like this.

- Exactly. - Okay.

You can see where they got the Jedi knights idea.

- [Rad] Yep.

- [Narrator] But while traditional Berbers

are nomadic traders, the Jedi are warrior monks,

who strive to become one with an unseen force.

- Through the force, things you will see, other places.

The future, the past.

- [Narrator] The Jedi are mystics,

and it so happens that the Star Wars sets

are near the spiritual home of Islamic mystics called Sufis.

Sufis are famous for a whirling dance

that looks a bit like a Jedi fighting move.

But the connection here is not the spinning.

The Jedi religion may have been inspired by Sufi beliefs.

- They even sometime have a vision

for the future.

They can see the future. - Okay.

- This is the myth. - So it's like the miracles.

- Exactly.

- [Narrator] When night falls, Terry and Rad

accept a rare invitation to witness a Sufi ritual

that few outsiders have ever seen.

Some Muslims think that Sufis

are not true followers of Islam,

but Sufi master Munia Masa strongly disagrees.

(speaks foreign language)

(singing in foreign language)

(speaks foreign language)

(singing in foreign language)

- [Narrator] Sufis believe that music

can help believers achieve a higher state of being.

(speaks foreign language)

(chanting in foreign language)

- [Narrator] These men are all hoping

that the change will happen to them,

and for one believer, it does.

(chanting in foreign language)

He appears to have fallen into a trance state.

The Sufis believe he's been touched by the divine.

- [Terry] It creates a big impression on people,

even on me, because it strengthens

and reinforces their beliefs,

and it underlines the seriousness

and the devotion to their faith.

- [Narrator] Before Terry heads home to England,

he wants to pay a visit to the Star Wars set one last time.

He not only likes it,

he was one of the super fans who restored it.

- [Terry] Pretty good, actually.

The weather's beginning to take its toll,

but it's no longer as bright as it was.

- [Rad] Yeah.

- [Terry] The first time I ever went there,

I felt like I'd stepped through the screen into the film,

because it's all around you.

The heat, the sand, the look of the place,

the exotic locations.

You feel like you're standing

right in the middle of Tatooine.

If Luke Skywalker went to the country Tunisia,

the first thing he would say was

it looks just like my home.

- [Narrator] Up next, the secret of

conquering an impenetrable wall.

(dramatic music)

Inside the Bardo National Museum,

one gallery displays artifacts found

just a few kilometers away,

in the ruins of the ancient city of Carthage.

23 centuries ago, Carthage controlled most of North Africa.

Its biggest rival was the powerful Roman Empire,

and its best general was a man named Hannibal.

(horn fanfare)

In 218 BC, Hannibal led an army of men and elephants

around the Mediterranean to attack Rome.

(soldiers shouting)

He won many battles.

But finally lost the war.

After his death, Roman legions sailed to North Africa,

bent on revenge.

But the city was protected by a formidable wall.

- The Romans siege on Carthage, and they tried to

breach the walls from different sides.

There was a triple wall, doubled by triple trenches.

But walls which were nine meters thick.

- [Narrator] Over a three year siege of the city,

Rome's heaviest weapons failed to break through.

Its army suffered massive casualties,

but historians know the Romans took Carthage somehow,

because today, within the ruins of the city,

there is evidence that its buildings were destroyed.

How the Romans conquered Carthage is a museum secret.

The investigation begins at the museum,

with the arrival of British historian Tracy Riehl.

Tracy believes she will discover the key

to Rome's conquest of Carthage

in an artifact recovered off a nearby coast

at the bottom of the sea.

- An ancient ship probably got blown off course in a storm

and sank off Mahdia on the coast of Tunisia.

- [Narrator] In a storeroom of the museum,

she finds salvaged items from an ancient Roman shipwreck.

This case holds what she was hoping to find,

a bronze cylinder from a Roman catapult.

- They're the key part of the machine

because if we find a washer,

we can reconstruct the rest of the catapult,

just on the basis of that one part.

- [Narrator] You might expect it

to look something like this.

But the museum's reconstruction isn't nearly so big,

and that's just what Tracy expected.

- Quite a large proportion of the archeological evidence

is for small caliber weapons

that could be carried by one person.

- [Narrator] The catapult is powered by rope,

bound tightly into a spring.

- And if I pull it back, you'll get some idea.

Pull, you get some idea of the discharge velocity.

- [Narrator] Tracy knows that catapults like this one

were used during the siege of Carthage,

but their tactical value

can't be determined inside the museum.

So she heads to Coventry, England,

where Roman reenactors have built

rope-powered catapults of various sizes.

Today they will be put to the test,

with the help of historian Lenn Morgan.

- Maneuver this up.

- Hello, I'm Tracy.

- Tracy, nice to meet you.

- And you, and you.

I've heard a lot about your machine.

- Yeah the big one, we call it the beast.

It's two libra, or two pounder stone thrower, ballista.

And the smaller machine

is the smallest catapult, the arrow shooter.

And the further one is a three span catapult.

Each of these machines are the standard pieces of equipment

that would have been used in a Roman army.

- [Narrator] During a siege, the beast would have lobbed

small balls into the city.

Creating havoc.

But not knocking down the walls.

- They also are very good, obviously,

dropping into a mass crowd of warriors

or whatever, you know, enemy.

Try that.

- Oh okay, can I go the other way around?

Because I--

- [Narrator] Tracy believes the smallest catapult

might have been fired almost like a rifle.

Again, not useful for knocking down walls.

But what about the mid-size model?

The one most like the catapult in the museum?

It's light, and easy to set up,

but it requires an expert hand to prepare it for battle.

- To the bowstring, and then push the snake

into position to lock it.

Ratchets go back on.

Number two would start winding on.

And you place the bolt in position on the slider,

and fit it back into the trigger.

- [Narrator] The first target

will be a double sheet of steel.

Tracy has never fired this catapult before.

- Right, okay.

- [Narrator] Even so, she scores a direct hit.

- Well done.

- At his feet, at his feet where we hit him.

- Got him in the foot. - Yeah.

- So that's the point of impact.

Got a hole on the first sheet,

and a hole through the second sheet.

So that's 1.2 millimeters, and we've punched through.

- [Narrator] This suggests the catapult's real purpose.

- So it's anti-personnel.

It's the small scale stuff.

They probably would've been used for wall clearing duties.

- [Narrator] At the siege of Carthage,

the Romans finally stopped trying to go through the walls,

and began to build a firing platform.

- The whole idea was that you're higher than the city wall

so that your troops can shoot down on the defenders,

and the Carthaginians first thought was

oh this is impossible.

They'll never achieve it.

But the Romans were nothing if not persistent.

- [Narrator] When the platform was complete,

Roman soldiers rushed to the top,

carrying catapults in pieces.

They assembled their weapons, and began to fire.

Carthaginian arrows were no match

for the powerful and accurate catapults,

which took out the defenders one by one.

The Romans didn't need to knock down the walls,

because they could now scale them with impunity.

And when they did, the story takes a darker turn.

Still evident back here, in the ruins of Carthage.

- [Man] Bones, thousands of them.

- [Tracy] They're all over aren't they?

- Here are a good example, could be a tibia.

You know, a leg.

So there you see a shoulder bone.

Here you have another one there.

Could be human.

- [Narrator] The Romans believed there was only one way

to ensure that Carthage never threatened their empire again.

Every building was razed,

every man, woman, and child was slaughtered.

It was the first genocide in recorded history,

and it may never have happened

without the catapult.

(dramatic music)

Up next, did the priests of Carthage commit child sacrifice?

(dramatic music)

(ominous music)

Inside Tunisia's Bardo National Museum,

the gallery of Carthage contains the likeness

of a pagan god named Baal Hammon.

Since the first century AD,

Baal has been associated with a dark ritual.

Witnesses describe priests holding babies above a fire,

as music drowns their mothers' screams,

the young ones are hurled into the flames.

These terrible events were recorded

by ancient Greek and Roman historians.

Then, in the early 20th Century,

in the ruins of Carthage, archeologists discovered evidence.

Near the city's main cemetery,

they found a smaller one they named the Tophet.

Tophet is Hebrew for roasting place.

Here, they pieced together stone markers,

including one that is now in the Bardo Museum.

It shows a priest grasping a tiny child.

- This was for many scholars the evidence

that these Carthaginians were sacrificing their babies.

- [Narrator] Then, in the 1970s,

PBS filmed American researchers

as they excavated the cemetery's graves.

The team was led by biblical archeologist Lawrence Stager.

A young anthropologist named Jeffrey Schwartz

was put in charge of collecting the bones.

- It seems fairly certain that

in fire individuals were placed in the urn.

This one is reasonably burned.

- [Narrator] There were 540 tiny skeletons,

revealing the scale of the horrors reported in antiquity.

- Some of the classical sources suggest

that the infants were thrown in alive.

- [Narrator] Today, the people of Carthage

are remembered as baby killers.

But the real truth is a museum secret.

Our investigation begins with the arrival

of an older, grayer Jeffrey Schwartz,

who has come to revisit the research he did as a young man.

- I started my career doing more biblical archeology

than anything else.

And had been trained to analyze

human bones, and animal bones.

- [Narrator] After his team's initial findings

were made public, he began looking for bones

that might fit together.

- Got some ribs, I've got neck vertebrae.

You can piece together pieces of face.

It's just wild to bring these things to life that way.

- [Narrator] Jeffrey discovered that many urns in the Tophet

contained the bones of more than one child.

This does not match the ritual burial

described in some classical sources,

which he and others were beginning to doubt.

- [Narrator] Jeffrey decided that

to uncover the whole truth, he would need to look

beyond the Tophet cemetery to determine

where the rest of the Carthaginians were buried.

In museum archives, he found a surprising answer.

The main cemetery of Carthage contained adults,

but no young children at all.

- The general population

in the main cemetery starts at about five,

and that's where my sample more or less stops.

- [Narrator] And since natural child mortality was high

in ancient times, Jeffrey wondered if the stone marker

in the museum could have a different interpretation.

- It's been interpreted as this is a priest

bringing a child to be sacrificed,

but there isn't just one interpretation of it.

You look at this little thing,

it looks slumped over in this priest's or this person's arm.

It has absolutely no facial expression whatsoever.

So another way you can interpret it is

this was a dead child, or infant,

and it was being taken to

a special burial place.

- [Narrator] Jeffrey theorized that the Tophet

was simply the graveyard

where all the young children of Carthage were buried.

Not an evil sanctuary for baby sacrifice.

His colleagues reacted with shocked disbelief.

- I was confronted by people who are really wedded

to the sacrifice.

Everything here had to be sacrificed.

- [Narrator] To find proof

that babies died from natural causes,

he made detailed measurements of every bone.

Many seemed extremely small.

He wondered if they might be the bones of fetuses

that had died in the womb.

Jeffrey knew for every live birth,

the moment of birth is recorded in the teeth.

- Before you're born, enamel is laid down

in a certain wavy pattern.

And the first insult you have in your life

is when you're born.

It's a big shock, and you actually see

a break in the wavy pattern

in the microstructure of the teeth.

And that's called the neonatal line.

- [Narrator] More than half the samples

from the Tophet cemetery lack the neonatal line.

This is definitive proof that most babies

in the Tophet were stillborn.

So they weren't roasted alive in sacrifice.

They had already died, and were brought here for cremation.

This suggests a culture that cared deeply

for children, even the unborn.

- It gives a more realistic picture

of the Carthaginians I think.

There was something special about this place,

and it was a place to receive the young,

no matter how they died.

- [Narrator] Jeffrey has rejected some of the assumptions

he held when he was younger,

and as he continues to delve into the past,

to investigate the archeological record,

he takes with him the lessons he learned in Carthage.

- I think what I've relearned is to use your own eyes.

Not to accept received wisdom,

and to just to do as good of science as you can,

and let the cards fall where they may.

(dramatic music)

- [Narrator] Up next, the secrets of the gladiator games.

(crowd cheering)

(dramatic music)

Inside the Bardo National Museum,

there is evidence that when Rome ruled Tunisia,

North Africans enjoyed Roman style entertainment.

The men in this mosaic are gladiators.

They were involved, along with exotic animals,

in a violent spectacle called the gladiator games.

(crowd cheering)

In Hollywood depictions,

the games take place in Rome's Colosseum.

Before a bloodthirsty crowd, lions devour Christians.

Unlucky slaves do battle.

And the emperor gives

the deciding thumbs up, or thumbs down.

It appears to be all about pain, and death.

But how the gladiators really lived and died

is a museum secret.

Our investigation begins 200 kilometers south of the museum

in the town of El Djem.

While most movies show only Rome's Colosseum,

in reality similar amphitheaters

were built in every Roman colony.

El Djem's Colosseum is one of the biggest anywhere.

This local guide knows why.

They decide to build this colosseum to say to Rome

that they have a lot of money,

and they can build a colosseum like the Colosseum of Rome.

- [Narrator] The massive architecture

extends well below the ground.

And from this hall, they go up

the lions with hand lift to arena

to start the game.

- [Narrator] Not far from the animal cages,

gladiators prepared for battle.

And today, it's where several men

are preparing for gladiator school.

They aren't actors or stuntmen.

They're historians, who strive to recreate

the authentic fighting techniques.

In Roman times, gladiators were owned

by private games promoters,

who spent great sums on weapons and training.

They hoped to make a profit on ticket sales.

Movies that imply that the emperor

put on the games are wrong, and so is this.

The famous thumbs down gesture?

Never happened.

The sign for death was something else.

(speaks foreign language)

- [Narrator] The Hollywood version

comes from a French painting of the 19th Century.

It was never seen in a real colosseum,

and the gesture for mercy was different too.

(speaks foreign language)

- [Narrator] In the movies, the fights are no holds barred,

but Roman mosaics reveal the presence of referees.

(speaks foreign language)

(intense music)

- [Narrator] A referee's job

was to keep opponents from killing each other.

(speaks foreign language)

- [Narrator] Games promoters

wanted their gladiators to stay alive,

especially those who impressed the crowds.

The best gladiators were revered,

like today's sports heroes and movie stars.

And they might even see their names in stone.

The artist who made this mosaic

portrayed specific famous gladiators,

and even captured their post-game banter.

(speaks foreign language)

(dramatic music)

- [Narrator] And while in the movies,

only unknown Christians face wild animals,

in reality animal fighters

were often the most famous gladiators of all.

(speaks foreign language)

- [Narrator] The animals did not have an easy meal.

In fact, they were almost always killed.

(crowd cheering)

The festival of violence would climax

with a battle between two stars.

Their goal was not to kill or maim each other,

but to put on an exciting show.

So serious wounds were rare, but they did happen.

In the movies, this is the moment

when an emperor might allow the loser to live

to recover from his wounds.

But in reality, serious wounds couldn't be treated,

and everyone in the colosseum knew it.

The wounded man would gesture for a decision,

and so to end the gladiator's suffering,

the games promoter would make the sign for death.

(speaks foreign language)

- [Narrator] As the gladiator committed suicide,

it's likely the crowd fell silent,

but not for long,

because in the Roman Empire, the appetite

for violent entertainment was insatiable.

And so the show must go on.

(crowd cheering)

Next on Museum Secrets, a very desirable Roman bath.

(dramatic music)

Inside the Bardo National Museum,

this gallery reveals how the people of Carthage

and North Africa were changed by the Roman conquest.

The mosaics are in a Roman style,

but were made by colonized North Africans.

They displayed Roman mosaics in their homes,

and worshiped Roman gods.

But for those who aspired to be Roman in every way,

there was a problem.

True Romans washed, networked, and flirted at public baths.

This pleasurable tradition required

hundreds of liters of water per person per day.

In Rome in Italy, there was plenty of water

to achieve the Roman lifestyle,

but North Africa is a dry land for much of the year.

For the 500,000 people of Roman Carthage,

there was hardly enough water to drink,

let alone for public baths.

When Emperor Hadrian learned of the shortage,

he demanded that Roman Carthage be supplied

with abundant water without delay.

How did his subjects tackle the problem?

That is our museum secret.

(horns honking)

The story begins in Tunis, a modern city

built on the ruins of Roman Carthage.

Its water supply is pumped up from reservoirs,

and the nearby Miliane River watershed.

But in ancient times, these were not viable water sources

because the Romans didn't have pumps.

The city required water from a high elevation

so it could flow by gravity alone.

Such a source existed

at the sacred mountain spring called Zaghouan.

Roman engineers were sent

to make this water flow to Carthage,

and today, British historian Olie Martin

has come here too, to find out what they did.

- I mean it's amazing.

I often think of the person that was

given the job to start with, you know?

And you think where do you start with all of this?

- [Narrator] Water can only be seen

at the bottom of a deep shaft.

But in ancient times, water filled this pool

300 meters above Roman Carthage.

- Well assuming that for now have found the best source,

here we now need to look across that plain

and the first thing we need to do really

is get an idea, roughly,

of which direction we need to build it.

- [Narrator] The direction is northeast,

the distance is 75 kilometers.

In Rome, engineers had constructed

long, gravity fed aqueducts.

Here, they would need to adapt this technology

for North Africa's rough terrain.

- Of course it's highly unlikely that your aqueduct

is gonna be able to run in a straight line.

The whole thing is gravity run,

so it must be a nice, sloping gradient

good enough to run the water,

but not too steep.

This is where you need your expert surveyors

to walk this ground and see

where they could get this decent gradient.

Do you go around the hill?

Do you tunnel through the hill?

Do you go over the valley by bridging it?

So all of these are problems that the Roman engineers

have got to think about.

- [Narrator] Once the engineers made a general plan,

they needed precise curves and angles.

And so they employed a Roman innovation,

a surveyor's tool.

- So here we have a groma,

almost the symbol of a Roman engineer really.

Now to get a straight line,

which is what this thing is used for,

you simply stand here

and you're gonna line up those three strings.

We're gonna send an assistant out with the pole,

however far we want him to,

move him left and right

until the pole is lined up with the three strings,

and there we have a straight line.

Now the other thing you can use it for

is to measure 90 degrees, a right angle.

- [Narrator] This tool allowed the engineers

to produce a blueprint of the shortest possible route.

It snaked around mountains, over valleys,

and through hilltops for 128 kilometers.

For an aqueduct this long,

the gradient had to be just two meters per kilometer.

To the unaided eye, the slope appears horizontal,

and so another Roman invention was needed.

- Here we have a chorobates,

an instrument for measuring level.

It's basically a level plank.

We have four plumb lines hanging down,

and in the center we have a trough

which we are gonna fill with water.

As long as the water touches the top of all four sides,

we know it must be level.

- [Narrator] Armed with their level and blueprints,

the engineers announced that building could begin.

(dramatic music)

Roman overseers enslaved North Africans to do the job.

As a colonized people, they had no right to refuse.

For 10 long years, they dug tunnels,

hauled stone, and erected arches

until they numbered in the thousands.

And then the engineers' design was put to the crucial test.

From the sacred pool of Zaghouan,

water flowed briskly down half-buried pipes,

and then more slowly through channels, over valleys,

and through hillsides.

The precious water crept along, kilometer after kilometer,

until it crossed above the Miliane River,

into the stone reservoirs of Roman Carthage.

But how much water had been delivered?

Was there enough for a Roman bath?

Or only enough to drink?

The answer is hidden in plain sight in the Bardo Museum.

In Roman mosaics, images of fish and ocean waves

were used for the floors of Roman baths.

Their presence in Carthage

reveals that the aqueduct was a success.

- In many ways we think of the Romans

as all conquering people.

We all hear about the Roman Army and stuff like that,

and perhaps sometimes we don't remember

that the Romans were also great engineers.

To have been able to achieve this

2,000 years ago is quite amazing.

- [Narrator] And their achievement

provided a colonized people

with even more than a pleasant bath.

It gave them the Roman lifestyle.

By the emperor's command, those who lived as Romans

could be granted the rights of Roman citizens,

who could not be enslaved.

In a dry land, water is valuable,

but human rights are priceless.

Next on Museum Secrets, how to stay alive in the Sahara.

(dramatic music)

(doors creak)

The Bardo National Museum displays treasures

of Tunisia's Islamic heritage.

There are several pages of an ancient holy book

known as the Blue Qur'an.

They are among the most valuable

paper artifacts in the world.

And near the scripture,

there's an example of Islamic science.

This astrolabe is an Arab take on a Greek invention.

(speaks foreign language)

- [Narrator] Astrolabes were used by Arab seafarers

to navigate the ocean,

and by those who dared to enter the Sahara Desert.

When sighted on the noonday sun,

an astrolabe reveals a traveler's distance

from the equator, and from your destination.

It's an important tool for navigation,

but it won't help you survive.

The Sahara is one of the most

unforgiving environments on earth.

And historians believe it's getting worse.

- The story of the Sarah since climate change occurred

about 5,000 years ago, is that the level of groundwater

has gradually gone down.

The Sahara has been a high powered desert

for the last 5,000 years.

- [Narrator] How to stay alive

in the Sahara is a museum secret.

Our investigation begins

with a gathering of Berber tribesmen.

Caravan leader Fausi Buali and his crew

are preparing to enter the Sahara.

It may look like they belong here,

but they are as vulnerable in the desert as anyone.

Luckily for them, their ancestors

domesticated the camel.

In the past, Berbers braved the desert

for trade and profit.

A camel caravan from one side to the other

was a four month journey.

- There must have been caravans of hundreds of camels,

perhaps even thousands of camels

in the peak years, and it says a lot I think

about the consumer demand in the Central Sahara.

They wanted Roman tableware, that nice, red, glossy pottery

and things like textiles, salt, the dates from the oases.

And we know that gold from West Africa

is one of the key commodities.

- [Narrator] The camel is well-suited

to these long desert caravans

because of the large amount of water

it can store in its hump.

- [Narrator] But that's only one of its adaptations.

- The camel has this extraordinary splay-toed foot

which is very effective in traversing sand.

It also has well-adapted eyes and ears and lips

and whiskers that sort of keep out the dust

when it's blowing around.

It also has the ability to vary its body temperature

in a way that other mammals simply don't have.

Its body temperature can go

from about 89 degrees Fahrenheit

up to about 110 degrees Fahrenheit.

Well that would kill you or me.

- [Narrator] Requiring only spiny grass for fuel,

the camel provides reliable transport between water sources

that are sometimes hundreds of kilometers apart.

In the Sahara, if a lone traveler loses their camel,

they can easily die.

So if a camel wanders off,

it's critical to know how to find it.

- [Narrator] But while Berbers

depend on their camels for survival,

the camels depend on the Berbers too.

- Even your wonderful camels,

they cannot endure without finding a water source.

You've got to know where the water sources are.

That's the crucial thing.

(camels grunting)

- [Narrator] In the desert, survival can depend

on convincing a camel to cooperate.

This camel is ready and willing.

(camel grunts)

This one, not so much.

(speaks foreign language)

- Camels are extraordinary animals,

but they also have very nasty tempers.

- [Narrator] Experienced Berbers

do not respond with anger or abuse,

because camels, like elephants, never forget.

(speaks foreign language)

(men snoring)

(camel bellows)

- [Narrator] Unlike the caravans of old, Fausi's convoy

is not involved in trade.

He and his men make their living

by taking tourists on expeditions

deep into the Sahara.

The purpose is not to get to the other side.

The desert is the destination.

- [Narrator] As it has been for thousands of years,

understanding the interdependence of humans

and the natural world

is the secret of survival in the Sahara.

In this place where ancient enemies meet,

for every mystery we reveal,

far more must remain unspoken.

Secrets of the Holy Spirit, and of the bravest hearts,

hidden in plain sight inside the Bardo National Museum.

(somber music)