All language subtitles for Ancient Aliens SP s01e07 Alien Codes and Messages.eng

NARRATOR: Massive figures
thatcan only be seen

from the sky.

ANDREW COLLINS:
The geoglyphs were only really revealed

ANDREW COLLINS:
The geoglyphs were only really revealed

once aircraft
got up into the air.

NARRATOR:
Mysterious symbols that recur again and again.

DAVID CHILDRESS:
There is a message for us

that we have been
missing all this time.

NARRATOR:
And complex mathematical principles

encoded within
elaborate crop formations.

LINDA MOULTON HOWE:
What in the world

is making these patterns
and why?

NARRATOR: Could hidden messages
exist all around us?

NARRATOR: Could hidden messages
exist all around us? And if so, have they been left

And if so, have they been left

by an otherworldly civilization?

GIORGIO A. TSOUKALOS:
These are messages from elsewhere,

and elsewhere, in my opinion,

and elsewhere, in my opinion,
means of extraterrestrial origin.

means of
extraterrestrial origin.

NARRATOR:
There is a doorway

in the universe.

Beyond it is
the promise of truth.

It demands
we question everything

It demands
we question everything we have ever been taught.

we have ever been taught.

The evidence is all around us.

The future is
right before our eyes.

The future is
right before our eyes. We are not alone.

We are not alone.

We are not alone.
We have never been alone.

We have never been alone.

NARRATOR:
While exploring the ancient lava fields of Harrat Khaybar,

amateur archaeologist
Dr. Abdullah Al-Saeed

amateur archaeologist
Dr. Abdullah Al-Saeed comes upon a number

comes upon a number

of what appear
to be stone walls,

each approximately
three feet high.

From the ground level,
Dr. Al-Saeed concludes

that the structures have no
discernable pattern or purpose.

That is, not until
four years later,

when he obtains satellite photos
of the very same area.

What he sees astounds him.

There, detectable from the sky,
are a vast collection

of more than
400 stone enclosures.

Known to the local Bedouin
as the "Works of the Old Men,"

these mysterious structures
are quickly examined,

and are revealed to stretch
for hundreds of miles.

COLLINS:
They were within what's referred to

as a lava field of activity.

And they're generally
described either as kites...

...or as gates,

which are more
rectilinear forms of them.

And there are literally
hundreds of these.

In fact, they stretch
all the way from Saudi Arabia,

right the way across
to Jordan, and into Syria.

HUGH NEWMAN:
They're kind of like angular pyramids, almost,

going off into the distance
like runways,

widening at one end, and being
shorter at the other end.

NARRATOR:
Although no record exists

indicating when these
structures were built,

indicating when these
structures were built, who built them or why,

who built them or why,

the predominant theory among
mainstream archaeologists

is that they were constructed
for hunting purposes

is that they were constructed
for hunting purposes many thousands of years ago.

many thousands of years ago.

What we think they are,
are prehistoric hunting sites,

What we think they are,
are prehistoric hunting sites, where gazelle and other animals

where gazelle and other animals

would be driven
into the enclosure,

and then, on the outsides
of the enclosure,

pits were dug, and the animals
would fall into the pits.

The kites, when you
visit them on the ground,

are really hard to find.

In the air,
you get the whole pattern.

There are literally
thousands of them.

And they must have been
in use for thousands of years.

And they must have been in use for thousands of years.
And why did they fall into disuse?

And why did they
fall into disuse?

That's an answer
we haven't yet got.

NARRATOR:
Although the theory that the stone structures

were used for hunting purposes
is compelling,

ancient astronaut theorists
argue that if these structures

were really used
for hunting gazelle,

the walls would have
needed to be

more than three feet high,
since a gazelle

can leap more than
ten feet into the air.

Instead, they suggest
that because the structures

are only viewable
from the air,

they should
be considered geoglyphs.

PAUL BAHN:
A geoglyph is just basically a drawing on the landscape,

usually quite large scale.

Most geoglyphs are in deserts,
and in deserts,

you get a phenomenon
which we call desert varnish.

It's just a natural dark patina
that builds up on the surface.

So, if you move
the dark parts to one side,

expose the lighter soil
or sand underneath,

that is one way
of making a drawing.

The second basic technique
is to use the dark stones

and pile them together
to make shapes.

Geometric shapes,
animal shapes or whatever.

And the third basic technique

is simply a combination
of the two.

You move things to one side
to expose lightness,

you use the dark stones
to make patterns.

So, you get very nice
combination of the two.

In recent years,
thanks to modern technology,

In recent years, thanks to modern technology,
and particularly satellite photographs,

and particularly
satellite photographs,

there has been an explosion
in new discoveries

of geoglyphs that
we didn't know about before.

COLLINS:
The interesting fact about all of these

is that they point
towards the sky.

And what might this tell us?

Well, the first thing
is that many of the geoglyphs

that we know today
were only discovered

once aerial survey started
in around the 1920s.

once aerial survey started in around the 1920s.
All of them were only really revealed

All of them
were only really revealed

once aircraft
got up into the air.

And this tells us something
very, very important.

BAHN:
Most geoglyphs really only make sense from above.

It therefore seems that
they would be messages

to something non-human,
something up there.

NARRATOR:
When the now legendary Nazca Lines of Peru

were first discovered in 1926,

they were considered
a unique phenomenon.

But now, with the benefit
of satellite imagery,

thousands of ancient geoglyphs

are being found
all over the world.

In Kazakhstan,

in the southwestern
United States,

in the Atacama Desert
of Chile

in the Atacama Desert
of Chile and in Bolivia.

and in Bolivia.

COLLINS: Almost everywhere
around the world,

we find what are
known as geoglyphs,

whether they be
the Nazca Lines in Peru,

British geoglyphs,
to those in the Middle East,

they're something
that are virtually

universal around the world,
and they have been appearing

for many hundreds of years.

NARRATOR:
But why would ancient people,

in so many different
locations around the world,

all be making signs that can
only be seen from above?

We don't know for sure
what ancient peoples

were trying to communicate
through geoglyphs,

but the most important thing is

the amount of time and effort
that went into building them.

the amount of time and effort
that went into building them. They're not quick sketches.

They're not quick sketches.

They're, many of them,
whole community projects,

and the time that you spend
working on them

is time not spent
gathering food,

is time not spent
gathering food, not spent defending your land.

not spent defending your land.

It's time not spent
looking after your children.

So, the first thing
that they communicate

is, to the community itself,

is, to the community itself,
what is important to the community.

what is important
to the community.

NARRATOR:
But could there be another,

even more incredible,
explanation?

Is it possible that
these ancient geoglyphs

were created,
not for a terrestrial purpose,

but for an extraterrestrial one?

Ancient astronaut theorists
say yes,

Ancient astronaut theorists say yes,
and suggest further clues can be found

and suggest further clues
can be found

by examining similar
shapes and symbols

by examining similar shapes and symbols
that occur on a much smaller scale.

that occur
on a much smaller scale.

Geoglyphs are
gigantic-sized versions

Geoglyphs are
gigantic-sized versions of what we know as petroglyphs,

of what we know as petroglyphs,

the most obvious
being the rock art

that we'd see on surfaces
of stone rock around the world

that date back many,
many thousands of years.

Petroglyphs are images
carved into stones,

Petroglyphs are images
carved into stones, or incised or hammered away.

or incised or hammered away.

They occur all over the world,

from Australia, up through Asia,

Europe, Africa,
through the Americas.

NARRATOR:
Perhaps more intriguing than the petroglyphs themselves,

are the eerie similarities
between them

are the eerie similarities
between them and their geoglyphic siblings.

and their geoglyphic siblings.

We see certain symbols
recurring again and again.

We see certain symbols
recurring again and again. There are many geometric forms.

There are many geometric forms.

These take the form of spirals,

of concentric rings, and other,

more rectilinear
or abstract designs.

They're something that are

They're something that are
virtually universal around the world.

virtually universal
around the world.

NARRATOR:
Is it possible that the thousands

of mysterious petroglyphs
and geoglyphs

found throughout the world

were intended to be
a form of communication

between early humans
and extraterrestrial visitors?

Ancient astronaut
theorists believe

that proof of such
a profound idea does exist,

and it can be found by examining

and it can be found by examining
an ancient story associated

an ancient story associated

with one of the oldest
petroglyphs ever discovered.

Northwest Nevada. 2013.

In the dried-up bed of
what was once Winnemucca Lake,

In the dried-up bed of what was once Winnemucca Lake,
researchers take carbonate samples

researchers take
carbonate samples

from a series of recently
discovered limestone boulders.

They are covered with what
appears to be ancient carvings.

Some of the petroglyphs
are believed to be

depictions of ancient
shipping techniques,

but others are much more
difficult to identify.

Even more mysterious is the fact

that the local Paiute people
say the petroglyphs

were not created
by their ancestors,

were not created
by their ancestors, but by a race of giants.

but by a race of giants.

CHRIS HEGG:
The Paiutes said that, initially,

they did not create petroglyphs,

that an ancient race
called the Si-Te-Cah did.

The Si-Te-Cah was
a race of giants

that was said to have
been white-complected,

having red hair,
and well over seven foot tall.

The Paiutes explained
that these giants

lived on the lake,
in Pyramid Lake,

on floating cities.

And each Paiute legend
has their own versions

of how petroglyphs
were originally created,

but they remain, to this day,

unaware now of what
a lot of that language was,

like most tribes in the world.

NARRATOR:
Samples of the petroglyphs

were taken to the University
of Colorado at Boulder,

where scientists performed
a series of radiocarbon tests

where scientists performed
a series of radiocarbon tests to determine their age.

to determine their age.

The results are astonishing,

and reveal
the petroglyphs were etched

between 10,500
and 14,800 years ago,

between 10,500 and 14,800 years ago,
making them the oldest petroglyphs

making them
the oldest petroglyphs

ever found in North America.

WILLIAM HENRY:
When we look at petroglyphs,

with their incredible spirals,
the doorways,

with their incredible spirals, the doorways,
the strange beings that are featured,

the strange beings
that are featured,

the stories that are told,
it suggests that they all have

an origin with
extraterrestrials themselves.

NARRATOR:
Could the petroglyphs found at Winnemucca Lake

really have been created
by an ancient race

really have been created
by an ancient race of extraterrestrial giants?

of extraterrestrial giants?

If so, what were they
intended to represent?

A map indicating
their planet of origin?

Or was it an alien form
of hieroglyphics

Or was it an alien form of hieroglyphics
which, when deciphered, could teach us

which, when deciphered,
could teach us

profound lessons
about mankind's past?

Perhaps further clues
can be found

by examining the most
mysterious geoglyphs of all.

Incredible markings that are
invisible to the naked eye.

NARRATOR:
Palpa, Peru. December, 2017.

Researchers use
state-of-the-art drones

to photograph
the famous Nazca lines

with high-resolution cameras.

COLLINS:
This is new technology being employed

to search the landscape,

and to try and find
what the human eye

has not been able to notice,
and not even from airplanes.

NARRATOR:
What the researchers find amazes them,

as the HD camera reveals dozens
of additional geoglyphs

that had never been seen before.

COLLINS:
They include a huge serpent,

and also a giant fish,

both of which
are cosmic symbols.

NEWMAN:
The thing is, with some of the figures found in Palpa,

they think they could be older
than some of the Nazca figures,

because they're on hillsides,

and it's known that
the Paracas culture,

who were around
before the Nazca,

going back to probably 800 BC,
or even earlier.

It does suggest that
there was more cultures

than just the Nazca people

creating these
effigies and lines

in that part
of the whole Nazca region.

NARRATOR:
More geoglyphs created by cultures

stretching back
nearly 3,000 years?

But who were they?

What were they
trying to communicate?

TSOUKALOS: One has to wonder
why did our ancestors

create these things
if they can only

be appreciated from the air?

Because here is the thing:

Sometimes it has been proposed
that the Nazca lines

were crests of different tribes,

of different societies.

But if I were a society leader,

and I had my crest
created on the ground,

but I could not see it,

I would not be
very happy with that.

That many of them can
only be seen from the air,

that suggests to me
that many of the geoglyphs

that suggests to me
that many of the geoglyphs were, in fact, created

were, in fact, created

in order to contact
someone up there.

COLLINS: The ancients were
trying to represent

that which they believed
was coming from the cosmos,

and that they themselves
were trying to communicate

or make the link
with these cosmic beings.

NARRATOR:
For ancient astronaut theorists,

the link between
the Nazca lines

and extraterrestrial
communication is an obvious one.

They believe ancient man
would have no reason

to make such
detailed and elaborate

representations of life on Earth

unless they were trying to
communicate with someone.

They also cite recent images
recorded on Mars

as evidence which
supports their claims.

Certainly, the photographs
that have been taken

Certainly, the photographs
that have been taken by the Mars orbiters,

by the Mars orbiters,

and the landers, and the rovers,

would suggest there are
actually geoglyphs on Mars.

These geoglyphic formations
are structural,

like we see with
the American Indians,

the mound builders,
those types of formations.

We're also finding
pictographic images

like the face on Mars,
which have facial features.

ERICH VAN D�NIKEN:
We have wonderful pictures of the surface of Mars,

and definitely on
the surface of Mars

we have some stone circles.

No, nature does not
create stone circle.

Nature could make
one stone circle,

but not three or four
put together.

NARRATOR: Of particular
interest to researchers

is a recently discovered
geological anomaly

that strongly resembles
a species of bird.

In 2002, a member
of the Cydonia Institute

In 2002, a member
of the Cydonia Institute discovered a parrot formation

discovered a parrot formation

in the Argyre basin area
of Mars.

After two geologists
and three veterinarians,

one being an avian specialist,
examined the formation,

they confirmed that
the parrot formation

had over 17 points
of anatomical correctness,

all adhering to
the proper shape, size,

all adhering to the proper shape, size,
and orientation to a real parrot.

and orientation
to a real parrot.

The same motif can be seen
on a copper plate

produced by the Hopewell Indians

that features the same type
of parrot formation

with an upraised wing.

NARRATOR:
Could the mysterious, parrot-shaped formation

on the surface of Mars
really offer a link

to the thousands of geoglyphs
found here on Earth?

And, if so,
does it offer evidence

that extraterrestrials
have been using them

as a form of
communication with humans

for thousands of years?

Ancient astronaut
theorists say yes,

and believe that the various
geoglyphic depictions

of animals, humans and birds

may not have been intended
as mere artwork,

but as a form of language.

NARRATOR:
Elkab, Egypt. June, 2017.

A team of researchers
from Yale University

and the Royal Museums
of Art and History in Brussels,

make an historic find.

While exploring
this ancient city,

they discover a number
of rock art carvings

which, after closer examination,

date back an estimated
5,200 years.

making them the oldest

monumental Egyptian hieroglyphs
ever discovered.

Using combinations
of various shapes and symbols,

including representations
of humans and animals,

hieroglyphics is regarded

as a highly sophisticated
writing system,

where every symbol,
and combination of symbols,

has a specific meaning.

When we look at the hieroglyphs
of ancient Egypt,

they seem to have
come from nowhere.

No one knows
where they came from,

no one knows who they
really were designed for

or for their purpose.

They just appeared
out of nowhere.

So where did these come from?

Were they sort of
just divinely inspired?

Was there some other reason,
was it some gods that emerged

and arrived and presented
them with this information?

NARRATOR:
The term "hieroglyphics" literally means "holy writing,"

and ancient Egyptian texts
say it was a gift

given to them
from the god Thoth.

There are legends
from all over the world

that sky gods
have come down to Earth

and given information
of science and learning,

and also communication,
and of language to people.

And early language and alphabets
are these symbols.

RAMY ROMANY:
We're here in Luxor Temple,

and the hieroglyphs here

and the hieroglyphs here
are so interesting.

are so interesting.

Most people would think that
ancient Egyptian hieroglyphs

is more like emojis
and-and symbols,

where the sun and a cow
would meet the sky,

and you have
this picture of the sky...

It's not pictures
next to each other.

It's not pictures
next to each other. It's a proper language.

It's a proper language.

It's a language
that has such precision

that people from
all over the world,

can translate it
with the same exact meaning.

All this language was
from the god of knowledge.

That's what ancient
Egyptians believed,

that god Thoth
gave them the language,

with all it has.

with all it has.
And the kings then used it

And the kings then used it

to also communicate
with their gods.

Ancient Egyptian kings
knew for a fact

that their gods
understood hieroglyphs.

As described
in the Pyramid Texts,

ancient Egyptian religious texts

that date back more
than 4,000 years,

a meteoric iron object
called the Benben stone

was reported as having
descended from the heavens

like a firebird.

Even Egyptologists agree

that this type of a shape
descended from the sky...

...and made
a controlled landing.

The Benben stone opened,
and people walked out.

The Benben stone opened,
and people walked out. The first creator gods.

The first creator gods.

Now when I hear
a story like this,

I wonder if this thing

may have been
some type of a craft

because it is very
reminiscent of the top

module of an Apollo rocket.

The Benben came with
hieroglyphic inscriptions on it,

and it was the first form
of hieroglyphic language,

the gift from the gods.

This was the language
of the gods.

NARRATOR:
Did an otherworldly spacecraft

bring the language
of hieroglyphics

to the people of ancient Egypt
thousands of years ago?

And if so,
could there be a connection

between hieroglyphs
and the various individual

figures of animals,
shapes and symbols

found in the world's
petroglyphs and geoglyphs?

CHILDRESS:
It would seem that these petroglyphs and geoglyphs

are ultimately part of
this universal language

that's the forerunner
of hieroglyphic

and pictographic languages too,
like the Chinese for example.

When we're really
able to understand

these geoglyphs and petroglyphs,

we may find that
there is a message for us

that we have been missing
all this time.

One day, hopefully,
we will find that knowledge

and know that message.

NARRATOR:
If hieroglyphs actually represent

a type of ancient
alien language,

could their earliest examples
exist carved in to rocks,

and etched in desert sands?

And if so, just what were
our ancestors trying to convey?

Perhaps further clues
can be found

by examining our own
attempts to communicate

with unknown intelligences
in the cosmos.

NARRATOR: Arecibo Observatory,
Puerto Rico.

November 16, 1974.

Early pioneers of SETI--

the search for
extraterrestrial intelligence--

aim the world's largest
radio telescope

at a cluster of stars
25,000 light-years away

to send a transmission out
into the cosmos.

The coded signal consists
of binary digits--

zeros and ones--
that form a message

designed to notify other
potentially advanced beings

designed to notify other
potentially advanced beings of our existence.

of our existence.

This message into space,
it was encoded

in what's called binary code
'cause it's the simplest around.

Listen, we're trying to
send a message to the aliens,

and because you don't know
anything about them,

you have to make this
as obvious as possible.

Now here's the message over here
that was actually sent in 1974,

and it starts off with
teaching the ABCs to the aliens.

Well, not ABCs,
the one-two-threes,

because right up here
are the numbers

from one to ten, but in binary,

and anybody who has
thought about binary

should be able
to figure that out,

including the aliens.

Right underneath
that is this funny thing

here has the numbers one,
six, seven and so forth.

Those are the atomic numbers
of the elements

that make up our bodies:
hydrogen, carbon,

that make up our bodies:
hydrogen, carbon, nitrogen, oxygen and phosphorus.

nitrogen, oxygen and phosphorus.

NARRATOR:
The coded message also contained

NARRATOR:
The coded message also contained information about our DNA,

information about our DNA,

information about our DNA,
the figure of a human,

the figure of a human,

a graphic of the solar system

and a graphic
of a radio telescope.

For decades,
SETI scientists wondered

if their cosmic message
would ever be received,

or answered.

Then, nearly 27 years later,

there appeared to be a response.

Hampshire, England.
August, 2001.

Next to the Chilbolton
Radio Observatory,

two crop formations
appeared in a field.

Both were unlike
any other ever found.

They were both pixelated,

meaning that when
you're on the ground,

you couldn't perceive
what the crop circle was.

But once from the air, you could
readily identify the pattern.

COLLINS:
One of the crop formations that appeared

at Chilbolton in 2001
was a face,

but the other one was far,
far more interesting

because it greatly
resembled the message

that had been sent in 1974.

There were very, very subtle
differences between the two.

They looked identical,
but when you actually

looked at them,
the differences gave a key

that seemed to be, uh,
almost like an answer.

NEWMAN:
One of them was the fact that the human being

that we sent out,
when it came back,

it had what appeared to look
like some kind of Grey alien,

with a large head
and a small body.

It also had a different
system of planets,

which is suggesting
it's a different solar system,

and also it had a different
DNA sequence as well.

and also it had a different
DNA sequence as well. And so, just these three things

And so, just these three things

really caught my attention
because either it was...

it was a brilliant hoax,
or it was actually a message

that came back
and was a response

to that original SETI message
way back in the 1970s.

COLLINS:
And all of these suggested to the crop circle community,

and the media, that we
really had received a reply

to the Arecibo message of 1974.

Can we see it as a reply?

Yes, indeed, it was.
But actually, who created it

and their exact purpose
will remain a mystery.

NARRATOR:
Some think the reply may have been to tell us

that we were on the right track,

communicating in the universal
language of the cosmos:

binary code.

A German mathematician,
Gottfried Leibniz,

is credited with defining
binary code in the 17th century.

In turn, Leibniz is said
to have credited his inspiration

to the 5,000-year-old
Chinese text of I Ching,

an ancient oracle code used
to communicate divine guidance.

DOMINIC STEAVU:
The I Ching is a kind of cryptic

oracular inscription that
you're supposed to decipher,

and it was heavily used
in divination in early China.

The numerical symbols or values
are actually tied to

a semi-mythical figure
by the name of Fuxi,

who is perhaps the earliest

legendary ruler of China.

The history or origin
of the I Ching

is very interesting because
it is said that this knowledge

was imparted on Fuxi
by an otherworldly being.

NARRATOR:
According to ancient Chinese myth,

Fu Xi lived around 3000 BC.

He and his sister
were the sole survivors

of a great flood, and together
they repopulated the Earth.

COLLINS:
And it was said that one day,

he was on the Yellow River,

and a water dragon
appeared to him,

and that on the back
of this water dragon

was revealed to him
the eight trigrams.

was revealed to him
the eight trigrams. NARRATOR:

NARRATOR:
These eight trigrams are the foundation of the I Ching.

They are made up of a series
of broken and unbroken lines,

They are made up of a series
of broken and unbroken lines, a distinct binary code.

a distinct binary code.

CHILDRESS:
Fuxi was given the information of the I Ching,

what was essentially
a binary code.

It's basically proven that this
kind of mathematical binary code

is what is going to drive
all computers in the future.

And this is something
that extraterrestrials

on other planets
and other galaxies

must also be using.

Some have surmised that
the idea for the binary code

was gleaned from the I Ching.

It's a very curious thing,

especially the idea
that the basics of the I Ching

was imparted
by another type of being.

NARRATOR:
Could the I Ching have been an attempt by extraterrestrials

to set up a common communication
language with mankind?

Might this also
support the notion

that the crop circles
in Chilbolton

are an actual alien
response to the signal

that SETI sent out
into the cosmos in 1974?

And have extraterrestrials
been leaving messages

here on Earth for us to discover
for thousands of years?

Ancient astronaut
theorists say yes,

Ancient astronaut theorists say yes,
and point to evidence that crop circles

and point to evidence
that crop circles

are not just
a modern-day phenomenon,

but have been appearing
for centuries.

NARRATOR:
Turin, Italy. June 23, 2015.

Pilot Silvio Sirotto reports

Pilot Silvio Sirotto reports
that while flying over a wheat field

that while flying over
a wheat field

directly in the flight path
of the local airport,

directly in the flight path
of the local airport, he spotted a mysterious design

he spotted a mysterious design

seemingly pressed
into the crops.

Investigators are baffled
as to how the design

could have been created
without any detection

in such a high-traffic area.

To date, it remains a mystery,

but it is only one example
of a strange phenomenon

that has been
going on for decades,

and possibly much, much longer.

Over 10,000 crop formations
have been found worldwide.

They have been reported
in over 50 different countries,

and on nearly every
continent on Earth.

Commonly known as crop circles,

the formations are designs
pressed down into fields.

They range from small circles,
to elaborate pictograms

They range from small circles,
to elaborate pictograms hundreds of feet across.

hundreds of feet across.

They have been found
in various crops,

including wheat, barley,

oil seed rape and corn.

And they've been making
worldwide headlines

since the mid-1960s.

One of the first in 1966,

it was Tully,
Queensland, Australia.

A farmer heard a buzzing sound,

A farmer heard a buzzing sound,
and literally saw this big, round,

and literally
saw this big, round,

maybe 30-feet diameter
craft, disk,

rising up out of
what, essentially,

was marshy, reedy ground.

And it goes up and disappears,
and left behind a circle.

CHARLES MALLETT:
Beginning in Tully, Australia,

there seems to be
a kind of a smattering

of these circular impressions,
relatively simple,

but in several locations
around the world.

but in several locations
around the world. 1960s, '70s, '80s,

1960s, '70s, '80s,

liberal sprinkling of circles.

1990, bang,

and the whole thing
goes planet-wide.

NARRATOR: By 1991,
over 2,500 formations

had been reported across
23 different countries.

HOWE:
As an investigative reporter

who began about
three decades ago,

trying to get to the bottom
of this phenomena,

I remember
getting these photographs

and reading that
there were no footprints.

No one was walking around,
because if they had,

No one was walking around, because if they had,
we would have seen broken stalks.

we would have seen
broken stalks.

Everybody was raising
this question:

"What in the world is making
these patterns and why?"

They had scientists
and meteorologists in the field,

and it was really fascinating.

People really got into it
in a big, big way.

POPE:
Nobody knew what to make of this.

Politicians, scientists,
the UFO community,

Politicians, scientists, the UFO community,
everyone was scratching their heads

everyone was
scratching their heads

and saying, "What's going
on here? What is this?"

Some people thought that
it was extraterrestrial.

Others thought
it was a meteorological

phenomenon of some sort.

And other people said,
"Well, it must be a hoax."

NARRATOR:
On September 9, 1991,

two retirees from
the English countryside,

Doug Bower and Dave Chorley,

came forward with an admission

that they were behind
the crop formations.

Using nothing more
than a board and strings,

the hoaxers demonstrated
their technique

for pressing down the crop
to form a design.

HOWE:
I won't forget when the news came

that there were
these two men saying

they were responsible
for all the crop formations.

And immediately,
because of all the work

And immediately,
because of all the work that I had been doing was,

that I had been doing was,

well, they weren't
traveling to 23 nations.

Number one.

Number two:
They were off-kilter.

Number two:
They were off-kilter. They were not geometric.

They were not geometric.

And for those of us who have
been in real crop formations,

there's just no comparison.

MALLETT: Doug and Dave,
"The men that conned the world."

That was the headline
in our local newspaper here,

and these two men came forward
and said, "We done it all,

we've made all the crop circles
since 1976, everything."

Most people pretty much
swallowed that

Most people pretty much
swallowed that hook, line and sinker.

hook, line and sinker.

POPE:
There are some theories that Doug and Dave

were just government stooges,

that the plan was to
bring the whole subject

into disrepute, to discredit it,

and to make the media
just go away.

NARRATOR:
But could it be that there is

more to the crop
circle phenomenon

than a modern-day hoax
orchestrated by pranksters?

Ancient astronaut
theorists say yes,

and suggest that
crop formations are not,

in fact,
a modern phenomenon at all,

but can be traced back
hundreds of years.

JONATHAN YOUNG:
There is a report from the year 815

of the Bishop of Lyon,

a warning notifying
another priest

who was going to
take over his parish

that the locals
are involved in something

he considers devil worship.

They're gathering seeds in
a flattened circle of the crops

and using them
in fertility rituals.

DAVID WILCOCK:
There are some very strange accounts in the 1600s.

One of the original scientists,
Dr. Robert Plot,

reported seeing crop circles
appearing on his land

in Staffordshire, England.

And he actually drew diagrams
of what he was seeing.

We also have the infamous
legend in the 1600s

of the so-called Mowing Devil.

(thunder crashes)

TSOUKALOS:
One of the first crop circles ever reported

was a mowing devil
that was in England,

going through the wheat fields.

There's actually a woodcut
that shows what,

for all intents and purposes,
looks like a crop circle,

but has this black creature that
just runs around with the horns.

So the idea was, in folklore,
that some thing or someone

laid down this formation
in a wheat field,

and that goes back
all the way to 1678.

Some even have suggested
that there may be

a description of a crop circle
in the Dead Sea Scrolls.

HENRY:
In the Dead Sea Scrolls is a cryptic reference

to a light that leaves
a mark on the ground.

Interpreters ask is it possible

that the marks on the land,
specifically on the barley

and the lentil,
are crop circles?

NARRATOR:
Is it possible that crop circles

have appeared for hundreds,
if not thousands, of years?

And if so, could it be that,

while some of these formations
have been exposed as hoaxes,

many others are connected
to otherworldly beings?

many others are connected to otherworldly beings?
Perhaps further clues can be found

Perhaps further clues
can be found

by exploring eyewitness accounts

of the crop circle phenomena.

NARRATOR:
Salisbury, England.

July 7, 2007.

Local paralegal and crop
circle researcher Gary King

spends the night
camping out on Knap Hill,

an area known for sightings
of mysterious orbs

and other strange occurrences.

It was the 7th of July, 2007,

so, because it was
kind of an auspicious date,

the 7/7/07,
we decided we'd come here.

I came here with my girlfriend
to do a night watch.

So, we arrived here, and then,
about 3:00 in the morning,

we had a big white
flash of light

which completely
encompassed the sky.

(static crackles)

And about 20 minutes after that,
we looked and we could see

this crop circle
laid out in front of us.

The field it appeared in
was this field here,

to the right, that's yellow now.

It was actually in wheat

the year that it occurred,
but they rotate the crops.

And, it started from way back
at near those trees,

and came over
the brow of this hill,

and it was absolutely enormous.

NARRATOR:
The crop formation extended

NARRATOR:
The crop formation extended 1,033 feet long

1,033 feet long

and 490 feet wide.

The over two-acre design

The over two-acre design
contained 150 individual circles,

contained 150
individual circles,

contained 150
individual circles, the largest 164 feet across.

the largest 164 feet across.

I have no idea what made it.
What I do know, though,

is that people
with boards didn't make this.

NARRATOR:
Gary King's experience is just one of many

NARRATOR: Gary King's experience
is just one of many first-hand accounts of designs

first-hand accounts of designs

that mysteriously appear
in a short period of time.

It is documented that there are
approximately 70 cases of people

having an eyewitness sighting

of the formation
of a crop circle

where they are literally
standing there in the crop,

and it just spontaneously
forms in front of them.

There is a loud tweeting sound
in a lot of cases,

There is a loud tweeting sound
in a lot of cases, and then this sort of crackling

and then this sort of crackling

electrostatic charge
on the crops,

and then you just watch as,
almost like an oriental fan

is unrolling, just--
(whooshes)--

is unrolling, just--
(whooshes)-- the crops just fold down,

the crops just fold down,

and in a matter of three
seconds, it's all finished.

NARRATOR:
Crop circle researchers cite

that many of these
eyewitness accounts

include sightings
of strange lights

in and around a formation.

I myself have seen several,

and they are astonishing
in their brightness.

We are dealing
with intelligent plasmas

that are sending
and receiving information

for another intelligence
of unknown origin.

Orbs of light are a commonly
associated phenomenon

with crop circles,
and this goes all the way back

to the story
of the Mowing Devil in 1678.

The sighting of lights
is often associated

with these phenomenon,
and they do seem to suggest

something we don't understand.

The ghost lights,
the will-o'-the-wisp sightings

represented some force of nature

we had not entirely acknowledged
or given sufficient respect to,

some mystery that we need
to come to grips with.

It could be an actual craft,
or it could potentially be

something like the stylus
from an extraterrestrial hand

that is somewhere far away,
but this light is

the projected form
of a technology

being used from the safety
and comfort of space.

NARRATOR:
Just what purpose do crop circles serve?

Are they an interstellar code?

Or could they be
extraterrestrial messages

left for humans
to study and decipher?

Winchester, England.
August 15, 2002.

A crop formation
bearing the image

of what appears
to be a Grey alien

of what appears
to be a Grey alien emerges in a wheat field.

emerges in a wheat field.

At the bottom right corner
of the image

is a disk-shaped object

containing what some believe
to be binary code,

a computer language consisting
of ones and zeros.

There was a crop formation

that unmistakably looks like

an extraterrestrial,
the proverbial Grey,

with the almond eyes
and the triangular-shaped head.

And there's also, at the bottom,

there seems to be
a computer disk,

and what looked like
binary code.

The message allegedly says,
"Beware the bearers

"of false gifts
and their broken promises.

"Much pain, but still time.

"There is good out there.

"There is good out there.
"We oppose deceivers.

"We oppose deceivers.

Conduit closing."

It was warning humanity

It was warning humanity
about the deceivers, about dangers.

about the deceivers,
about dangers.

TSOUKALOS:
It essentially shows that they are trying to

somehow communicate with us.

So, the idea is that perhaps,
some of these crop circles,

indeed, are messages
from elsewhere.

indeed, are messages
from elsewhere. And elsewhere, in my opinion,

And elsewhere, in my opinion,

means of
extraterrestrial origin.

NARRATOR:
Could it be that some crop formations

serve as a medium for
extraterrestrial communication?

Many crop circle
researchers say yes,

and suggest further
evidence of this

and suggest further
evidence of this can be found by examining

can be found by examining

the advanced
astronomical, scientific

and mathematical equations
contained within them.

One formation
had everyone baffled,

and people were saying,
"Well, what is this?"

Then a mathematician
had a look at it,

and said, "Wait a minute,
that's a representation of pi,

and it's correct down to
ten decimal places."

It's a representation of pi
in a geometric sense.

It's kind of interesting

because the way
you get pi out of it

is the lengths of
the different arcs

is the lengths of the different arcs
in each segment and what happens is

in each segment
and what happens is

there's these little notches
in the spiral

that let you know
you're at the end of an arc,

so you actually have to

measure the arc lengths
as you go around,

and their lengths
give you the digits of pi.

And there's a little circle
to give you the decimal point.

So it's a really interesting
example of using geometry

as a code for representing
digits and numbers.

POPE:
It just shows the level of knowledge,

mathematical knowledge,
geometric skill

that goes into
making these things.

Many of the most
famous crop circles

actually derive from
fractal patterns.

The Mandelbrot set...

the Julia set.

To make these, you have
to have knowledge of math.

Mathematics is, of course,
the universal language.

If we ever encounter aliens,

they're not gonna speak
English or French or German.

We'll speak,
and we'll communicate,

via mathematics.

Could crop circles,
as some believe,

be an attempt
from an alien civilization

to reach out
and communicate with us?

NARRATOR:
If extraterrestrials are leaving messages

NARRATOR:
If extraterrestrials are leaving messages

for humanity
within crop circles,

why aren't they being studied
by government agencies?

According to ancient
astronaut theorists,

it's very possible
that they are.

And as evidence,
they point to NASA documents

And as evidence,
they point to NASA documents that suggest ancient rock art

that suggest ancient rock art

could actually be a form
of alien communication.

NARRATOR:
Washington D.C.,

May, 2014.

May, 2014.
NASA researchers, in conjunction

NASA researchers, in conjunction

NASA researchers, in conjunction
with SETI scientists, publish a manual

with SETI scientists,
publish a manual

enlisting archaeologists
and anthropologists

in the search for evidence of
extraterrestrial communication.

The 300-page document, entitled

"Archaeology, Anthropology
and Interstellar Communication,"

details means and methods

beyond binary code
and radio signals

that scientists should consider

as potential communication
from extraterrestrials.

Singled out in the document
are rock art and carvings,

Singled out in the document are rock art and carvings,
including the Neolithic petroglyphs

including
the Neolithic petroglyphs

of Northumberland, England.

Although the document
does not directly attribute

the art to extraterrestrials,

it does propose the possibility

that it could be tied
to otherworldly communication.

Throughout the world,
there are petroglyphs

and other rock art

that are actually quite similar
all over the Earth.

We have to wonder if there's not
some parallel that's going on.

TSOUKALOS:
I think that we have to start looking at these symbols

and ask, "How did it originate,
and from where?"

NARRATOR:
Roswell, New Mexico.

September 4, 2004.

While tracking deer
in the desert

just 11 miles from
the famous Roswell crash site,

Robert Ridge
came across an object

sticking out of the sand.

A small, triangular-shaped rock

that is completely
uniform in color,

and has a circular design
on top of it

that isn't etched into the rock,

but actually protrudes from it.

Thought it was really cool
when I first picked it up.

Um, then, got it to
the truck, brushed it off,

and then I was like,
you know, in awe.

And I was like, pinching myself.
"What is this?"

I thought it was very unique
and very special

right off the get-go,
and I still do.

NARRATOR:
The Roswell Rock, as it has come to be known,

measures roughly one and a half
inches thick by two inches wide.

Meticulously etched out of
the face of the triangular stone

are circles and crescents.

Robert Ridge is convinced
that this symbol

is meant to convey a message,
and after studying the rock,

he discovered
an uncanny correlation

between the symbols
and the magnetism of the stone.

ROBERT RIDGE:
We found the rock has magnetic properties.

A friend of mine
kept hounding me about it.

And he finally brought
a magnet of his own,

And he finally brought
a magnet of his own, and said, "Here, do this."

and said, "Here, do this."

So we did, and we found out
that it has, uh...

So we did, and we found out
that it has, uh... it's pretty cool.

it's pretty cool.

NARRATOR:
But with all the strange qualities

NARRATOR: But with all
the strange qualities that the Roswell Rock possesses,

that the Roswell Rock possesses,

what researchers find
most fascinating

is that the design
protruding from its surface

has also been found in England,
nearly 5,000 miles away.

WILCOCK:
The pattern of the sun and moon inside the circle

that we see on the rock

is precisely the same

as what we see
in a crop circle formation,

dating to 1996,
in Southern England.

The crop circle appeared
eight years before

Robert Ridge discovered
the Roswell Rock,

a fact that has led
some to suggest

the rock is simply
a manmade copy.

One of my best friends
said it looks like

a hippie made it
and threw it out in the desert.

So I wanted to examine it.

So I wanted to examine it.
We did a 3D CAT scan of the rock.

We did a 3D CAT scan
of the rock.

And that's how we found out
it hasn't been painted.

This hasn't been
stuck to the top of the rock.

It's not an appliqu�.
It's a part of the rock.

It doesn't have a magnet inside.

NARRATOR:
Ancient astronaut theorists also contend

that if someone had
made the rock as a hoax,

it's unlikely they would
have left it half-buried

in the middle of the desert,
where it may never be found.

But what has truly convinced
Robert, and many others,

that the rock is not
a manmade fabrication,

is a comparison that was
done under a microscope

between the Roswell Rock
and a sandblasted replica.

RIDGE:
We started looking at it under magnification.

It blew me away.

I was like, "Wow. What is this?"

It's proven to be everything
I thought it was so far,

in my opinion.

NARRATOR:
One of the first researchers to investigate the connection

between the Roswell Rock
and the crop circle in England

was investigative journalist
Linda Moulton Howe.

She is convinced that
within the design is a message.

If we are dealing
with advanced intelligences,

and you assume that
throughout the universe,

and you assume that
throughout the universe, all solar systems, all galaxies,

all solar systems, all galaxies,

there have to be some...
We'll call them baselines.

Moons, suns and skies
would be the common denominator.

Something is trying to
teach us humans

about astronomy.

The moon and the sun,
and the tracking of the symbols,

this is reflecting
past, present and future.

this is reflecting
past, present and future. And that comes back to

And that comes back to

And that comes back to
what is on that rock.

what is on that rock.

Well, some people would say
that that is a date.

NARRATOR:
A date? But why?

Could there be a message
encoded in the design

on the Roswell Rock that reveals

some significant turning point
that lies ahead for mankind?

WILCOCK:
It could be that the extraterrestrials

responsible for
making crop circles--

Which is... I-I believe
that's what's happening--

actually generated this rock,

created this near
the Roswell crash

so as to get us
asking the right questions.

A little bread crumb here,
and a little bread crumb there,

and we're being brought
closer and closer to the truth.

NARRATOR:
Is it possible that the design that appears on the Roswell Rock

and in the crop formation
in England

is actually an attempt
by extraterrestrials

is actually an attempt
by extraterrestrials to communicate with humankind?

to communicate with humankind?

Ancient astronaut
theorists say yes,

and they suggest that
further proof of alien contact

can be found in the mantras

and mandalas of ancient India.

PEOPLE (chanting):
Aum...

NARRATOR:
Aum is a sacred sound in the Eastern religions

of Hinduism, Buddhism,
and Jainism.

of Hinduism, Buddhism, and Jainism.
PEOPLE (chanting): Aum...

PEOPLE (chanting):
Aum...

DEEPAK SHIMKHADA:
Hindu concept of cosmic sound is simply Aum.

Aum is made of three letters:

"A," "U," and "M."

Those three letters combined
makes the sound, "Aum."

PEOPLE (chanting):
Aum...

SHIMKHADA:
And the whole universe resonates with the sound, "Aum."

LAYNE LITTLE:
Aum is not just found in Hinduism and Vedic tradition.

It's very much used in Buddhism,
it's utilized in Jainism

and also in Sikhism as well.

And it is the most common
and most sacred of all mantras

in all of these traditions.

NARRATOR: The concept of Aum
first appears in the Vedas,

the religious texts that form
the foundation of Hinduism.

According to the texts,
specific vibrations

created through ritualistic
chanting, singing and prayer,

can provide
a direct connection

between humans
and the gods themselves.

The importance of sound
in Hinduism and Buddhism

is very, very vital.

(chanting)

SHIMKHADA:
Without sound, you cannot pronounce a mantra.

Mantra is combined words
made into invocation.

NARRATOR:
As described in the Vedic texts,

the gods provided humankind
with a visual aid

to remember these sacred sounds:

elaborate patterns
called mandalas.

PRAVEEN MOHAN:
Mandalas are mnemonic devices

used to aid meditation,

often in tandem with chanting.

What's interesting is that,
in Hindu temples,

we have a visual
representation of mandalas.

So, what they're doing is
they're essentially translating

So, what they're doing is
they're essentially translating sound into visual patterns.

sound into visual patterns.

In modern technology, these
are called Chladni patterns.

NARRATOR:
In 1787, German physicist Ernst Chladni,

known as
the "Father of Acoustics,"

published his seminal work

Discoveries in
the Theory of Sound.

In it, Chladni describes
an experiment

that shows how vibrations can
create exotic geometric shapes.

We've got this thing
called the Chladni plate,

after the scientist
who invented it.

It's a thin metal plate,
like a sounding board,

and we've got a transducer
attached to the bottom of it.

And they spread sand
over the top of this plate.

And when you start
playing certain tones...

(tone reverberates)

...and those sand particles

will start to bounce around
and dance around,

and they start to form these
mathematical circular patterns.

(tone continues)

And as we move up
through these frequencies,

the sand goes into, kind of,
a chaos, in-between state,

and then it arrives
at this next pattern.

(tone's frequency increases)

And the higher
the frequency you go,

the more these patterns
become more complex.

(tone's frequency increases)

(tone's frequency increases)
(tone stops)

(tone stops)

NARRATOR:
In the 1960s, Swiss scientist Hans Jenny

was experimenting
with Chladni patterns,

when he noticed
an extraordinary connection.

when he noticed
an extraordinary connection. Jenny tried it with Aum...

Jenny tried it with Aum...

(Aum tone sounds)

...and it generated an image of

a circle with
a dot in the middle.

That itself is actually
very interesting

because the most fundamental
elements of any mandala

will usually be a circle with
a dot marking the cosmic center.

NARRATOR:
Today, the patterns made by frequencies

are known as cymatics.

MOHAN:
In modern technology, we are able to create

visual representations
of sounds.

What is remarkable is that
we see the same patterns

in Hindu temples,
in ancient Indian structures.

At the Sri Ranganathaswamy
Temple in Southern India

are 40 ornate statues
carved from monolithic columns.

The statues depict
leaping animals,

The statues depict
leaping animals, and above them, vimanas,

and above them, vimanas,

vehicles that, according
to ancient Hindu texts,

vehicles that, according
to ancient Hindu texts, were flown by the gods.

were flown by the gods.

The word "vimana,"
in ancient Vedic text,

means flying machines.

In Hinduism,
it is clearly established

that the gods come down
from the sky using vimanas.

In the temple of Srirangam,
these carvings show

many different types of vimanas.

And what's really
unique is that,

under these vimanas,
we are able to see

some very interesting
patterns of mandala.

NARRATOR:
Some researchers believe these mandalas

represent more than
just an artistic flourish.

According to legend,
each type of vimana

can be activated with
a specific type of mandala.

If we crack this visual code,

if we crack
this cymatic pattern,

we might actually
unlock the secret

to power these vimanas.

NARRATOR:
Could it really be that mandalas hold within them an alien code?

A code utilizing
harmonics and vibrations

to unlock
advanced communication,

and possibly even
engineering principles?

Ancient astronaut
theorists say yes,

but they suggest alien messages

have gone well beyond
symbols and figures,

and are found encoded
into the designs

of our most sacred structures.

- (bell tolls)
- NARRATOR: London, England.

1971.

After years of studying
ancient philosophical teachings

relating to the Egyptian
mystery schools,

author John Michell unearths
evidence of an ancient code.

A numerical and geometric code
seemingly embedded,

not only in the sacred
structures of ancient Egypt,

but also in the Hebrew world,
and in the plans

for the heavenly city
of New Jerusalem.

McGOWAN:
John Michell was a scholar, he was a mystic,

he was a genius and a very,
very prolific author.

he was a genius and a very, very prolific author.
He had an incredible understanding

He had an incredible
understanding

He had an incredible
understanding of Earth geometry and geography.

of Earth geometry and geography.

But what John Michell
is most famous for

is the New Jerusalem diagram.

NARRATOR:
By carefully examining the physical description

of New Jerusalem
in Revelation 21,

Michell uncovered
a sacred design.

At the core of Michell's diagram
is the squaring of the circle,

At the core of Michell's diagram
is the squaring of the circle, and the division of the circle

and the division of the circle

into equal sectors:
A zodiac wheel.

And the positioning of 12 gates
to the Heavenly City,

three on each side
of the square,

representing the 12 tribes
of Israel.

CHILDRESS:
This is also a geometric figure,

and John Michell claimed
that this would be, uh,

how the New Jerusalem
was to be built in the future.

And that all this
was encoded in Revelations

in a mathematical,
geometric way.

NARRATOR:
In his book The Dimensions of Paradise,

Michell proposed
that this sacred geometry

represented the order
of the universe.

represented the order of the universe.
Ancient astronaut theorists suggest

Ancient astronaut
theorists suggest

that this exact same
geometrical concept

can be found halfway around
the world in Nazca, Peru.

Here in the desert,

among the many
plant and animal glyphs,

is a geometric design
that looks much different

from the rest
of the Nazca lines.

from the rest of the Nazca lines.
It is called the Sun-Star and Cross.

It is called
the Sun-Star and Cross.

CHILDRESS:
The Nazca Sun-Star glyph

is one of the most interesting
glyphs to be seen at Nazca.

And, in fact, because
it's in a remote area,

the Palpa Valley, it's not
actually seen by many tourists.

But it is, by far,
the strangest,

and most mathematically precise

and most mathematically precise
of all of the diagrams at Nazca.

of all of the diagrams at Nazca.

NARRATOR:
The Sun-Star and Cross glyph

is a precisely formed
star polygon

made of two squares
surrounding a perfect circle,

all sharing
the same center and diameter.

Inside the grid
are wheels within wheels,

and squares within squares.

The design mirrors not only
New Jerusalem's sacred geometry,

but also offers up
yet another connection.

When you look at it,
it's very obviously

what is called a mandala.

Or a yantra,
in ancient India or Tibet.

What a mandala,
yantra glyph is doing

in remote desert of Peru
is very interesting.

TSOULAKOS:
It's a very sacred symbol.

It's this idea
of being connected

It's this idea
of being connected with the realm of the gods.

with the realm of the gods.

And then we have to,
once again, ask ourselves,

"Well, what was
the realm of the gods?"

It's very interesting
to note that,

It's very interesting to note that,
seen from the sky, it is very similar,

seen from the sky,
it is very similar,

seen from the sky,
it is very similar, not identical but very similar,

not identical but very similar,

to, for example, the layout
of the temples at Borobudur.

NARRATOR:
The Buddhist temple of Borobudur

lies over 11,000 miles
west of Nazca, in Indonesia,

and is laid out with
a series of precise circles

and is laid out with a series of precise circles
within a platform of perfect squares.

within a platform
of perfect squares.

TSOULAKOS:
One has to wonder if somehow all these sites are connected,

because that is what the ancient
astronaut theory excels in.

That people in our ancient
past were not isolated.

They had contact
with each other.

In the end, there is
an extraterrestrial connection.

COLLINS:
Is this something that was taught by the ancients,

from one culture to the rest,
and they incorporated

these divine cities,
these New Jerusalems?

Or is this something
that may have been given

to us by some
divine intelligence?

Is it possible that
the New Jerusalem design,

the Sun-Star and Cross of Nazca,
the Temple of Borobudur

and other geometric structures
around the world are encoded

with similar mathematic
and geometric principles?

And if so, are they part of
an alien message that is meant,

not only to inform us
of our celestial origins,

but to guide us
towards a reconnection?

Perhaps a key
to understanding the relevance

of this sacred code
can be found by examining

of this sacred code
can be found by examining the astrological alignments

the astrological alignments

of mysterious sites
throughout the world.

Isolated in the Pacific Ocean,

more than 2,000 miles
off the coast of Chile,

lies one of the most
mysterious places on Earth:

Easter Island.

This tiny landmass is home

This tiny landmass is home
to nearly 900 monolithic stone statues

to nearly 900 monolithic
stone statues

to nearly 900 monolithic
stone statues carved out of volcanic rock.

carved out of volcanic rock.

2,564 miles to the east,

2,564 miles to the east,
isolated 7,000 feet above sea level,

isolated 7,000 feet
above sea level,

are the ruins of a mysterious
lost city of the Inca

are the ruins of a mysterious
lost city of the Inca called Machu Picchu.

called Machu Picchu.

And 10,742 miles away,

on the opposite side of
the world, lies Mohenjo-daro,

a site where ancient
astronaut theorists believe

a nuclear explosion may have
occurred in the distant past.

Curiously, as discovered
by researcher Jim Alison,

these three sites
fall in a straight line

these three sites
fall in a straight line around the center of the Earth.

around the center of the Earth.

And, with just
a minor margin of error,

it also runs through
a number of other

it also runs through
a number of other mysterious ancient sites.

mysterious ancient sites.

McGOWAN:
We have the Giza plateau, we have Nazca,

we have Angkor Wat in Cambodia.

All of these
extraordinarily important,

powerful, sacred places were
all built in a straight line.

powerful, sacred places were
all built in a straight line. Now this cannot be an accident.

Now this cannot be an accident.

This cannot be a coincidence.

NARRATOR:
The line also encompasses the ancient Sumerian city of Ur,

the ruins of Petra, Jordan,

and Persepolis, the capital
city of ancient Persia.

TSOULAKOS:
There are all these different sites

that seem to line up,

even if it's a minute
degree of deviation,

it's never a massive
distance from that line.

NARRATOR:
How is it that so many important ancient sites

across the globe
all follow this line?

What could possibly
explain this coincidence?

This is bizarre
because only a people

capable of flight

or, at least,
being able to look at maps

or, at least, being able to look at maps
would be able to do such a thing.

would be able
to do such a thing.

Could it be because
some of those points

were, in fact, places
where our ancestors

made contact
with extraterrestrials?

There has to
be something important

in the location
and the geography,

in the geometry,
that indicated to our ancestors

that this is sacred ground,

that this is a powerful place
to put these sacred sites.

NARRATOR:
Ancient astronaut theorists say

evidence of
extraterrestrial intervention

can also be found
by looking at how early humans

aligned their most important
sites with the stars.

At the Giza plateau in Egypt,

the layout of the three
Great Pyramids aligns perfectly

with the belt stars
of the constellation Orion.

Orion's Belt is made up
of two bright stars

Orion's Belt is made up
of two bright stars and a third dimmer star,

and a third dimmer star,

which is offset
a bit to the left.

which is offset a bit to the left.
It's exactly what you see on the ground,

It's exactly what
you see on the ground,

It's exactly what
you see on the ground, two large pyramids in alignment

two large pyramids in alignment

with a third pyramid offset.

It looks like they wanted to

build stars on the ground,
if you like.

NARRATOR:
Also aligned with these stars

are the ancient city of
Teotihuac�n in Central Mexico...

...the Hopi villages
in the American Southwest...

...and the Thornborough Henges,

a Neolithic landscape complex
in Northern England.

Could it be merely coincidence

that so many ancient cultures
throughout the world

that presumably had
no contact with each other,

all built their
most important sites

by using celestial alignments?

Look, this is not something

that can be explained
away as a coincidence.

It's time for us to responsibly

take a look at what
we're really seeing,

and understand that there
is a worldwide, intelligent,

highly mathematically-precise
plan behind these designs.

CHILDRESS:
The idea that even ancient buildings

are encoded with information,

and that where they
sit on the planet

is also part
of an intricate code,

is also part
of an intricate code, is a fascinating idea,

is a fascinating idea,

and one that we're just
beginning to understand.

NARRATOR:
Could it be that the curious location

NARRATOR:
Could it be that the curious location

and alignments of
ancient sacred sites

were actually meant to serve
as a form of communication?

But if these alignments
are meant to convey messages

from an
otherworldly intelligence,

much like the mysterious
images and symbols

found throughout the world,

just what might
these messages be?

Perhaps further clues
can be found by examining

our own attempts to communicate
with future generations,

and protect them
from grave danger.

NARRATOR:
Kanda, the Republic of Macedonia.

There, isolated on a hill
in the middle of a vast steppe,

sits a giant geoglyph
depicting a symbol

known as the "cosmic egg."

According to ancient mythology,

it is the great egg
of the universe

from which a powerful deity
is often hatched or born.

COLLINS:
The concept of the cosmic egg is universal.

But what's so interesting
is that a multi-national team

who have been
investigating this site

have come to the conclusion
that it's orientated towards

have come to the conclusion
that it's orientated towards the constellation of Cassiopeia.

the constellation of Cassiopeia.

Cassiopeia represents
the queen of heaven.

NARRATOR:
In addition to the alignment of the egg

with the Cassiopeia
constellation,

many scholars believe that
the symbol contained in the egg

represents that
of the cosmic god Se.

HENRY:
He represents the all-seeing god.

Macedonian myth says
that the god Se

was the child
of the great cosmic mother

was the child
of the great cosmic mother and the supreme god father.

and the supreme god father.

NARRATOR:
While there are various theories

as to who made
the cosmic egg geoglyph and why,

ancient astronaut theorists
agree on one point:

That this geoglyph,
like the thousands of others

That this geoglyph,
like the thousands of others found all across the world,

found all across the world,

was intended to be more
than simply a work of art

or indicate a place of worship.

It was intended to
communicate something

of great, possibly
intergalactic, importance.

It would
seem that extraterrestrials

arrived on Earth,
and then taught humans

the meanings of these symbols.

And then humans
then used these symbols

to try and contact the
extraterrestrials themselves.

Either as giant geoglyphs
on the ground,

Either as giant geoglyphs on the ground,
to even just petroglyphs on the rocks.

to even just petroglyphs
on the rocks.

Ancient astronaut theorists
suggest that the notion

that petroglyphs and geoglyphs

could represent
a form of communication

taught to humans
by alien visitors is supported

by our own relatively modern
science of Semiotics.

It is the study
of signs and symbols

mankind will need to use
when trying to communicate,

mankind will need to use when trying to communicate,
not only with future generations,

not only with
future generations,

but with extraterrestrials.

EDGAR GARCIA:
Pictographs are more than pretty simplistic pictures.

They are in fact, another way
of communicating entirely,

not only on Earth,
but in a spacecraft

sent to deep space
to communicate, perhaps,

with beings we have no idea
about how they speak,

with beings we have no idea
about how they speak, write, or make signification.

write, or make signification.

NARRATOR:
In 1991, the United States Department of Energy

assigned two teams of experts

to the task of devising
a marking system

to the task of devising a marking system
for the Waste Isolation Pilot Plant,

for the Waste Isolation
Pilot Plant,

or WIPP,
a nuclear waste facility

located in the salt beds
of the Delaware Basin,

located in the salt beds of the Delaware Basin,
26 miles east of Carlsbad, New Mexico.

26 miles east
of Carlsbad, New Mexico.

The project
attempted to find ways

of communicating
the hazard of the plant

to humans living
in the distant future.

Humans who may have developed
entirely new languages

or other forms of communication.

One prominent member
of the project

was space artist and science
journalist, Jon Lomberg.

Lomberg had previously worked
on NASA's 1977 Voyager mission,

helping to determine
what sounds and images

should be included
on a pair of golden disks

being sent into deep space.

They put together
a panel of people

from a wide variety
of backgrounds...

...including me as an artist,

...including me as an artist,
and as somebody who had experience

and as somebody
who had experience

trying to communicate
with extraterrestrials.

The idea being was,
if we can come up with a way

of communicating
with extraterrestrials,

then communicating
with humans 10,000 years

or a half million years away
should be a piece of cake.

NARRATOR: Through their
research, the teams determined

that simple images are
the most universally recognized,

but some can only be understood
when paired with other images.

We knew that there were
certain elements of human art

We knew that there were
certain elements of human art that had appeared so widely

that had appeared so widely

that you could assume
everybody would understand them.

And they were the comic strip.

The idea of a series of images
where first this happens,

and then this happens,
and then this happens,

and then this happens,
and then this happens, you find that all over.

you find that all over.

From ancient Egypt,
to the plains tribes,

From ancient Egypt,
to the plains tribes, to the Bayeux Tapestry.

to the Bayeux Tapestry.

The idea of telling
a story with pictures

seems to be something
that everybody knows.

So we used the linear story,
and the stick figure,

to try to explain
the meaning of symbols

to try to explain
the meaning of symbols like the poison symbol

like the poison symbol

like the poison symbol
or the nuclear radiation trefoil

or the nuclear radiation trefoil

or the nuclear radiation trefoil
or the "Do Not" sign.

or the "Do Not" sign.

None of these are universal,
but they're easily

explained with
a little comic strip.

The whole
of written human history

The whole
of written human history is only 5,000 years old.

is only 5,000 years old.

It's only by
the most incredible efforts

that we're able to read
the earliest human languages.

So, trying to guess
how people are going to

understand things
10,000 years from now

requires incredibly
imaginative thinking.

Symbols are universal, and thus,

when we're looking
at hieroglyphs

or petroglyphs on rock

or geoglyphs,

we have to also recognize

that there are
universal symbols.

We may look at them today
and not be aware

of exactly what they mean.

Just possibly,
some of them could have been

influenced by external sources,

non-terrestrial intelligences,

non-terrestrial intelligences,
perhaps even extraterrestrials.

perhaps even extraterrestrials.

These messages
potentially contain

tremendous knowledge
for humanity.

It could be
something very simple

like point yourselves at
this particular star system,

or meet us at this
particular time and place,

and just imagine if we
don't get that message

and just imagine if we
don't get that message and don't make that meeting,

and don't make that meeting,

or don't look to that
particular star system.

Humanity could be
in the balance.

Could it be that
the petroglyphs and geoglyphs

found all over the world
are not only examples

of how early humans
communicated with each other,

but their attempt to replicate

a more sophisticated form
of extraterrestrial language?

Ancient astronaut
theorists say yes,

and believe
the evidence can be found

by investigating UFO encounters

in which witnesses reported
seeing hieroglyphic writing

in which witnesses reported
seeing hieroglyphic writing on alien spacecraft.

on alien spacecraft.

NARRATOR:
Rendlesham Forest.

NARRATOR:
Rendlesham Forest. Suffolk County, England.

Suffolk County, England.

December 26, 1980.

Near an airbase leased to

the United States Air Force
by the R.A.F.,

strange lights
are reported on the horizon.

Two U.S. servicemen
are dispatched to the site

to investigate what they believe

to investigate what they believe
could be a possible downed aircraft.

could be a possible
downed aircraft.

Some U.S. servicemen,
at a base called Woodbridge,

saw a strange light
over the forest,

saw a strange light
over the forest, and went to investigate.

and went to investigate.

And in a clearing,
came across this landed craft.

One of them saw this
strange sequence of symbols

One of them saw this
strange sequence of symbols upon the side of it.

upon the side of it.

The object then rose up
and disappeared out of sight.

What were these hieroglyphs?

Were we meant to see them?
Were we meant to record them?

There are some very famous cases

of hieroglyphs being seen

on the side
of what appeared to be

flying saucers or UFOs.

Another UFO incident
where hieroglyphs

were seen on the side
of a strange craft

took place at Kecksburg,
in Pennsylvania.

On December 9th, 1965,
a fireball was seen

streaking through the skies
of Michigan and Ontario,

streaking through the skies of Michigan and Ontario,
and then crashing in Pennsylvania.

and then crashing
in Pennsylvania.

And this became known
as the Kecksburg UFO.

But what they said
that they found

on this bell-shaped object

were strange hieroglyphic
writing all along the base.

Very similar
to the early pictographs

and petroglyphs and geoglyphs
that we find all over the world.

NARRATOR:
Could the details of these, and other UFO reports,

provide proof that
the geoglyphs and petroglyphs

found all across the world
were actually inspired

by alien encounters
in the distant past?

I believe that one day
we will break the entire code

of the ancient language
locked away

in the petroglyphs, geoglyphs,
and even megaliths of the world.

And in it,
we may find information

And in it,
we may find information that is vital to mankind.

that is vital to mankind.

CHILDRESS:
We may find that there is a message for us

that we have been
missing all this time.

One day, hopefully,
we will find that knowledge,

and know that message.

It may be that there's a sort of

metaphysical time lock
or a timeline

for us to fully understand
what those messages are.

NARRATOR:
Is there evidence of contact

from alien visitors
all around us,

hidden in plain sight?

Could ancient rock carvings,

massive geoglyphs,

massive geoglyphs,
and even modern-day crop circles

and even modern-day crop circles

contain important information
left for humankind to decode?

Perhaps extraterrestrials

have been communicating
with us all along.

And once we are able
to decipher the messages,

we will have
the key to reuniting

with our ancestors in the stars.

with our ancestors in the stars.
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