All language subtitles for 1. Mysteries of the Ancient Ones.ENG

(eerie music)

- [Child] Reality Films.

♪ To the earth you must return ♪

- [Man] Dragons and Rings.

- [Narrator] Walking the hills and dales,

the breadth and depth of England's
green and pleasant lands,

you're bound to stumble,
at some point or another,

into the center of a ring of
weathered and ancient stones.

Some recumbent, some still
standing like the teeth

of a long-dead dragon
that haunted the land.

But who built them, and why?

♪ I have spoken to the serpent ♪

♪ And listened to her words ♪

♪ Seen her glimmer in candlelight ♪

♪ Kept silent what I heard ♪

(haunting music)

- [Narrator] These questions
have been considered

and debated by historians
and archeologists alike

since William Stukeley
first charted the avenues

and structures of Avebury
Stone Circle in Wiltshire,

and brought them back
into public consciousness.

And yet were they really erected by druids

marking the position of the planets,

or megalithic man tracing
the serpentine course

of Mother Earth's power lines?

♪ Kept silent what I heard ♪

♪ Kept silent what I heard ♪

- [Narrator] Crop circles, an
apparently modern phenomenon,

may hold the key to understanding
these dragons and rings,

but to answer these and
many other questions,

we're going to have to
stretch the fabric of reality

and look at what really
makes the universe tick.

(haunting music)

In 1921, the rambling
enthusiast, photographer,

and antiquarian Alfred
Watkins had, as he put it,

a flood of ancestral memory.

He was looking at a map
of his local Herefordshire

when it occurred to him
how ancient landmarks

and prehistoric places appeared
to be in a straight line.

After spending some years
studying these alignments

and photographing them, he
wrote about his discoveries

in his book, "The Old Straight Track,"

and adopted the name ley lines.

Ley literally means a
woodland clearing or meadow,

and comes from the Anglo-Saxon word leyr.

This has nothing to do with

the current understanding
of the phrase ley line,

and yet maybe Watkins was on to something,

because the word ley is
etymologically linked

to the word leoht, meaning fire and light.

Combining these meanings
gives us an understanding

of Watkins' perspective.

A cleared space open to the light,

like, for example, a
trackway through the woods,

with the hills being marked by beacons.

More recently, the word
ley has become linked

with the apparent lines of
energy that trace their course

across the surface of the planet,

and are known by the ancients
as chi, or dragon lines.

But how do we find them,
and what do they do?

♪ My path ♪

♪ The same as yours ♪

♪ In doubt I am the one truth ♪

- [Narrator] The most conventional way of

detecting ley lines is through
the archaic art of dowsing,

but yet again, we have blundered into

a minefield of misinformation.

Most dowsers use rods or pendulum as their

stock in trade tools, though
many ingenious devices

have been developed or discovered

that do the job as well, or better.

However, and it is a big however,

contrary to a lot of public opinion,

the rod or pendulum neither
moves of its own accord

or is possessed by spirits.

It is us who move it.

Human beings sense far more information

about their surroundings
than they actually use.

For example, the visible spectrum of light

that we day to day
acknowledge is a fraction

of the entire range of
light, and excludes all

but a small part of the
ultraviolet and infrared spectrum.

Our senses still pick up that information,

but our brains exclude it as
not useful for our survival,

and so don't include or
process that information.

In the same manner, our
bodies sense water flow

by the electromagnetic and
geodetic currents it creates.

Indeed, one particular tribe

claimed to detect water by smell.

However, we block out that information,

and disregard its importance.

Subliminally, though,
we can still tap into

that information, and ask our subconscious

to indicate those messages by way of

minute muscle responses measured
by a rod held in tension

or a weight held freely
between finger and thumb.

You can make a pendulum
from anything heavy,

like a ring tied on a length of cotton,

and try for yourself, by
asking your subconscious

to make minute muscle movements

to enable the pendulum
to swing in response.

With a little practice,
you can ask yourself

to swing the pendulum in
response to questions,

presence of water, and
even hidden objects.

If you were to take a quartz crystal,

you might well expect the pendulum

to swing in response to its
presence, or assumed energy.

With two crystals, you
might well experience

an interaction between them,

and here comes a second misconception.

Are the crystals talking to each other,

or exchanging energy?

Well, yes, and absolutely no.

To have a better understanding
of the processes involved

and what we are observing, we
first need to examine the work

of the 20th-century psychologist

and scientist Wilhelm Reich.

(haunting music)

Using a high-quality
microscope for its time,

Reich was continuing
the research established

by H. Charlton Bastien, a
contemporary of Louis Pasteur,

on decaying food.

He noticed that under high magnification,

he could see luminous blue-green globules

being released by the decaying food,

and described these as some
form of biological ether.

He likened this to bions,
a form of nanobacteria

which appear to be neither
living or non-living,

which had been first named
and researched by Bastien.

Although pleased with
his rediscovery of bions,

Reich found side effects of
the observation occurring.

His eyes started to burn,
causing a form of conjunctivitis,

and his skin began tanning.

He tried numerous ways of
shielding his experiments

to both protect himself
and contain the bions,

and by 1940, he had found
that the best method

was to surround the
material by an insulated box

using layers of organic
and inorganic materials.

In the meantime, Reich had
decided that the particles

he could see through the microscope

were actually an unidentified
energy or radiation form,

which in turn caused the
conjunctivitis and tanning.

It was only whilst experimenting

with a minute source of
radiation in the same box

that he began to notice strange effects.

In his report of 1951, published
as "The Oranur Experiment,"

Reich noticed that a Geiger
counter placed in the box

he was now calling an accumulator

recorded a constant increase in radiation,

until it finally jammed.

Simultaneously, huge amounts
of oppressive-looking

storm clouds gathered around the vicinity,

whilst a strange
electrically-charged purple glow

could be seen at night emitting
from the surrounding area.

Even when the radioactive
material was removed

from the accumulator, the
effects continued to increase,

with the laboratory animals
dying unexplainedly,

scientists and members
of staff falling sick

and finding themselves in depression,

and eventually, the surrounding
vegetation and trees

bending like rubber,
blackening, and dying.

Even stranger were the appearances of

unidentifiable animated lights in the sky,

which at the time Reich saw
as interplanetary craft,

but later referred to as
ea, or primordial energy.

The energy that Reich had found,
firstly in his accumulator

and later in the surrounding
environment and sky,

he named orgone, and deduced that it was

the energetic building
block of the universe.

Using his colleague, Sigmund Freud's,

psychotherapeutic techniques,

he studied the relationship
between orgone flow

in the human body and physical
and psychological illness,

and as a result of over 20
years' worth of experimentation,

he felt able to suggest
a number of properties

of this energy.

He noticed that not only
was it present everywhere

and in everything, and
that it had no measurable

inertia or weight, but he also felt that

it was the medium in which light moved

and electromagnetic and
gravitational fields

exerted force.

He observed that under
the right conditions,

which turned out to be
neither rare nor unusual,

matter could be created
from the superimposition

of tiny streams of orgonic
energy, and more importantly,

the presence of
consciousness and volition,

that is, life itself, would arise.

♪ I am told the secrets ♪

♪ To be told ♪

♪ I let the mystery unfold ♪

♪ In our dreaming or fantasy ♪

♪ All that was hidden ♪

♪ Is now given to you ♪

♪ Open to you and me ♪

♪ When you are dreaming ♪

♪ Reality changes ♪

(haunting music)

- [Narrator] One of the
most impacting results

in these experiments for us is that

this life force energy
accumulates between layers.

The more layers, the more accumulation,

and that this energy has electromagnetic

and gravitational components,

both of which we are sensitive to.

Thinking back for a minute
to our pair of crystals

sharing an apparent
interaction, this, then,

is the first part of the
answer we're looking for,

but again, not the whole picture.

We have to bring to bear the work

of the 19th century mathematician Maxwell

and his equations of electrodynamics.

There are four versions
of Maxwell's equations

which are taught as
standard to every physicist

and engineer up to and indeed
beyond higher-level degree.

They have been accepted as the standard

by even Einstein himself,
and form the basis

of his time and space theories.

They are, however, a bastardized editorial

of an original 20 postulated equations.

Calculated by Maxwell on the foundation of

his predecessors' work, like Faraday,

and seen as too complicated by his peers,

he was forced to simplify
them, and reduce the complexity

of their apparently erroneous components.

These were then edited
by Oliver Heaviside,

and further symmetrically
regaged by Hendrik Lorentz.

However, it is these so-called
insignificant components

that proved to be of most consequence

in terms of how we evaluate
our physical world,

both with and without them.

The most important of
which is the fact that

conventional science,
based on the accepted

Maxwell equations,
measure time as a linear

step frame element, with gravitation

and electromagneticism as separate paths

operating in an inert time-space vacuum.

However, Maxwell originally postulated

that time wasn't flat, but curved,

and secondly, that space wasn't a vacuum,

but rather a mass-free
force which operates

in this curved time to effectively create

force and mass as we understand it,

and subsequently, matter.

To make that easier to understand,

let's put it into a
slightly different model

using a theory developed in
the late sixth century BCE

by the Greek philosopher
and scientist Pythagoras.

It is thought that Pythagoras discovered

the mathematical laws of the triangle,

but evidence of triangular mathematics

and its relationship to the circle

can be found in the structure
of the pyramids in Egypt.

These predate him by another 2000 years,

and produce important harmonic proportions

in their chambers.

However, Pythagoras and
his students believed

that numbers were the ultimate reality.

We have all heard the famous
Rene Descartes phrase,

"I think, therefore I am."

But what does it mean?

Every time we look in the mirror,

we see a reflection of ourselves.

Every time we listen to ourselves
speak, we hear ourselves.

Every time we touch a part of
ourselves, we feel ourselves.

We think that we know that we exist

because we sense ourselves on all levels.

In other words, to know we exist,

we have to have a reflection,

or second point to compare ourselves to.

♪ Give everybody back ♪

♪ Give 'em back, give 'em back ♪

♪ I thought this was your life ♪

♪ Real life, real life ♪

♪ I hate science fiction ♪

♪ Hate science fiction ♪

♪ 'Cause it's scary but exciting ♪

- [Narrator] The Pythagorean philosophy

takes as a starting point for the universe

a single unique point that needs,

or indeed generates, a
second reference point

to compare itself to.

Because the second point is effectively

a part of the first, they are linked,

so joining these two
reference points together,

we arrive at a line of singular dimension.

But how long is that line?

How long is a piece of string?

For that line to be measurable,

it needs a third reference
point to measure itself against,

and of course, that third reference point,

within the same field,
establishes the length of the line

plus a second dimension of width,

creating a single planar field.

From its own perspective,
it has no height or depth

until it can be viewed from
another reference point,

which, by its nature, creates solid.

But again, how big is that solid?

We still don't know how large it is

until we use another reference point

to rotate or moderate,
and it is that fourth

reference point we call time.

The dimension that the
solid moves through.

With the awareness of time comes volition

and relative movement in space,

which, by the way, with the reproduction

of units from a parent,

the ability to perceive and
react to the environment,

and the evolution of the
unit in the direction

of higher development, have been cited as

the four main qualities
that typify living things.

This, then, defines the apparent limit

of the human consciousness,
as at this stage,

humankind has no reference point

to establish the shape of time itself,

and is merely able to see
it as a series of snapshots

arranged by the brain as best
it can in a linear fashion.

This leads to a number of
thoughts and observations.

Referring to the two-dimensional model

that we can understand,
imagine for a minute

a group of beings whose
perception leads them

to see their world like
a flat piece of paper,

with no apparent height.

And imagine a pen lying on that paper,

representing a three or
more dimensional being.

How big would it appear to be?

The answer is the size
of the edge of the pen

where it meets the paper.

Now, if you stood the pen on
its tip, touching the paper,

how big would it seem?

The size of the tip of
the pen on the paper.

If you stuck the pen through
the paper, how big would it be?

The size of the hole it makes
going through the paper.

And finally, if you held
the pen away from the paper,

how big would it appear to be?

It wouldn't be visible to the
two-dimensional beings at all.

Our first observation, then, is that from

our three-dimensional human perspective,

beings that can operate
in four or more dimensions

only present the aspect of themselves

that interacts in our
three-dimensional perspective.

♪ Look into the face of the void ♪

♪ Learn about yourself ♪

♪ Innocence personified ♪

♪ Or to gravity itself ♪

(eerie music)

- [Narrator] How many times
have you been driving home,

and before you know it,
you're back in no time,

and have missed most of the journey?

Conversely, how many times
do you sit in a traffic jam

for absolutely hours, moving
at naught miles an hour,

tapping your fingers on the dashboard,

check the clock, and find
only two minutes has passed?

♪ Travelers, here we meet ♪

- [Narrator] To offer an explanation,

let's go back to our imaginary

two-dimensional piece of paper world,

and imagine two two-dimensional beings,

Mike and Phil, in their
two-dimensional cars

at one side of the piece of paper.

Both cars are identical.

Same construction, size,
weight, and engine.

Both Mike and Phil start off from one side

of the piece of paper and travel

in an identically straight line

at exactly the same speed and velocity

and arrive at the other
side of the piece of paper,

except Phil gets there first.

How can that be?

Well, only being able to
perceive the two dimensions

of width and length, neither Phil nor Mike

are aware of height, so
neither of them notice

that the piece of paper world is not flat,

and rather is quite curvy,
and for Mike to arrive last,

he's actually taken the route that has

the most dips and rises.

This is a reasonably good model of time.

Like a piece of paper or
string, it rises and falls,

and can indeed be bent back on itself

and form all kinds of
incredibly torturous shapes.

But from our perspective,
we can't see that,

and our brains do their
best to arrange it linearly.

♪ Secrets there beyond ♪

♪ The universe is open to all ♪

♪ Questions in the mind ♪

♪ Answers rooted deep in our hearts ♪

- [Narrator] So what is the
next dimension beyond time,

and how can we access it
to see time as it truly is,

with a beginning, middle, end,
and all the curves and bends?

(haunting music)

To answer that, we need
to go back to Maxwell,

and note firstly that each new dimension

is at a right angle
rotation to the previous.

Secondly, from Pythagoras, the
extrapolation of dimensions

would appear to be infinite.

But most scientists who have studied this

seem to agree that there
are probably only 11.

Thirdly, the next dimensions from time

can be loosely grouped together as G,

which is the mass-free force
that acts on curved time

to create matter, or what
Reich referred to as orgone.

Hence it can be seen in a simple way

that it is this G that is the sixth point

that defines time, and
therefore length of space

and reality as and beyond how we know it.

Now we can go back to our two crystals

with a new understanding
of what is happening,

and add some more variables
and absolutes to the equations.

It would seem from Reich's research

that the two crystals are
acting with the air between them

like layers in an orgone
accumulator, that is,

they are drawing or creating energy

within their own microsystem.

This can be compared to what happens

with something called a standing wave.

All energy displays itself as a waveform

with a frequency and length,

and the length of a waveform
that divides equally

between the distance of two
objects that acts as reflectors

bounces off one, meets itself coming back,

and amplifies itself, thereby
continually building up

and creating a standing wave.

This is how most musical instruments work.

For example, in a flute,
air is vibrated down a tube,

and the holes in the tube are
a precisely calculated length

such that they create a
standing wave of sound

at particular frequencies that
represent particular notes.

This doesn't just happen with
sound, but light, current,

magnetism, gravitational
attraction, and so forth.

In fact, we are being not only presented

by a plethora of varying and
different types of energy

but also standing waves
which amplify that energy,

and this is what seems to be happening

with the two crystals.

All substances activate
differently with energy,

and we know from the technology used

in digital watches and computers

that crystal has particular properties

that work within these energy forms

and therefore act upon
them to manifest change.

We notice that each new dimension occurs

at orthogonal right
angles to the previous,

and this is exactly what Maxwell observed.

That just as, for example,
a magnetic field in a wire

is at right angles to the current flow,

other fields and wave forms exist

at concurrent dimensional right angles,

all of which are merely an expression

of the mass-free force of the universe

acting on curved time.

What this actually means is
that these energies aren't,

then, limited between the two crystals,

but that they generate
more lines of energy

on either side of the crystals,

which you can discover by using

your dowsing rod or pendulum.

(singing in foreign language)

Now, for a minute,

let's imagine a single dimension space

with two points of singularity in it,

like our two crystals.

Each of these points
is already accumulating

and generating energy from the mass-free

energetic element of the universe,

which is projecting at right
angles from its single line

as well as out either end,
seeking a new point to join.

So what happens next?

The points not only parent new points

in their own singular dimension,

but new points in new dimensions

at orthogonal right angles
to the single dimension.

Now, we have an almost infinite matrix

of super-fine energy points
and energy lines that,

by its nature, defines the universe,

exactly what Maxwell
observed in his equations.

However, each of the
super-fine energy lines

is reacting with others,
in some cases amplifying,

in others dampening, and in even others,

the two energy forms combine

to create an entirely new one,

all the time generating new
points at their intersections.

What we end up with is a
matrix-like superstructure

made of an infinite variance
of energy types and forms,

but what were the original points

and where did they come from?

♪ I hope you'll never forget ♪

♪ Hope you never forget, yeah ♪

♪ Behind the lines ♪

♪ Behind the lines ♪

- [Narrator] To answer
this, we have to look at

a relatively new field of
science called quantum theory.

Quantum theory came out
of the scientific drive

to discover the smallest unit

that was the building block
of the universe as we know it,

and quarks, these
so-called building blocks,

were discovered less
because they could be seen

under an amazing high-powered microscope

and more because of their
effect on other things.

Two highly interesting points
arise out of this research,

the first being that quarks
seem to act simultaneously

like both a wave and a particle,

and secondly, that they seem to react

to the expectations of the experimenter.

So although the building blocks
of the universe are matter,

that is, material, they
are also pure energy,

and therefore appear coincidentally

as Maxwell premised over 100 years before

as a direct result of the
mass-free energetic component

of the universe itself.

If we allow ourselves to be
limited to thinking of time

as linear, then science
has wasted a lot of it

searching for a Big Bang
and linear point of origin,

when in fact the universe
and all of creation

has simply existed forever.

(haunting music)

In the beginning was the word, sound.

In other words, there was
energy, and therefore matter,

and in that respect God,
creation, the multiverse itself,

is the mass-free universal energy

that saw the reflection of
itself and saw that it was good.

When quarks were first discovered,

the various scientists responsible

set up different tests to
determine their properties,

and yet when they compared the results,

they didn't correspond.

After much consultation,
the only common factor found

was the expectation of the
person conducting the experiment.

This led them to conclude and then prove

that quarks, the energetic
building blocks of the universe,

were reacting to that expectation.

This has led people like Michael Talbot

and many others to think
that the universe is not only

a holographic presentation
of the energetic universe,

that is, that we take
in all of the stimuli

from our various senses
and project it back out

to form what we consider as reality,

but that we manifest and
create our own universe

through the act of
filtering those stimuli.

Additionally, it cannot only
be seen that the universe

is a co-creation of us,
and therefore itself,

but that it is a living, thinking being

with the infinite memories of its various

dimensional possibilities stored

in its multidimensional matrix.

This ties in directly
to Reich's observation

of what he called orgone,
as a living, thinking energy

that seems to react to
our thoughts and intents.

♪ Are you so sure that you are right ♪

♪ Echoes divide, silence by light ♪

♪ Lost is my wisdom ♪

♪ Black or white ♪

(singing in foreign language)

- [Narrator] Humans, and indeed all life,

are made out of these
same building blocks,

which means that we are also
multidimensional energy beings,

but here comes the crunch.

As energetic beings,
we're therefore perceiving

and interacting with the energy
of the whole of creation,

and yet we only see a small part.

Why, and more importantly, what is it

that defines our version of reality?

(energetic music)

In our present state of evolution,

we're quite capable of
perceiving each and every string

of the curved time
mass-free energetic state

of the universe, but we choose,

or perhaps have conditioned
ourselves to choosing

to only possess a minute
part of that information.

Think of the pretty much infinite range

of light energy again, from
ultraviolet to infrared,

and compare that to the
so-called visible spectrum.

That only gives you a vague
idea of what we are missing,

and importantly, choosing to register.

The same goes for the
spectrum of sound energy.

Dogs, we know, for example,
can hear far higher

in the audio spectrum, and a
flower looks totally different

to a bee as it sees a
UV version of what looks

much like a targeted landing site.

Smell and touch are based
on chemical information,

and the chemical particle
is merely an energy wave

appearing to act like a solid.

Touch is actually based on a
number of energetic messages

to the brain, such as heat
and electromagneticism,

but the sense of touch
or pressure is generated

from the sense of gravitational repulsion

between one object and another.

What really happens in
the energetic brain,

and in reality in the whole body

as a personal matrix building
block of a sense of self,

is that all this information
is received, interpreted,

and finally projected back
onto those energy levels

that are being recognized as senses

in a three-dimensional
holographic representation

of what we collectively agree is reality.

Or, to put it another way,
the energy we interact with

we define as physical, because
it is of a similar wavelength

and type, and therefore
not only seems more real

but defines our reality.

And it is three-dimensional
because we choose

not to acknowledge the
whole, and therefore,

the mass-free component,
as part of that reality.

At this level of evolution and perception,

we can only project a
snapshot three-dimensional

holographic representation
of our universe,

and as our tools are
designed within that reality,

then that is all they will show.

Or is it?

♪ Lost inside your mind is the old way ♪

♪ That shall set you free ♪

♪ Lost to everyone, because you see ♪

♪ That you can move along ♪

♪ Lost inside your mind is the old way ♪

♪ That shall set you free ♪

(haunting music)

- [Narrator] Before we
look at how we can and do

realize our true multidimensional states

and the surprising technology
that has been in place

for tens, maybe hundreds
of thousands of years

to enable us to do this,
I'd like to briefly examine

the etymology of the right angle.

Apart from frequency, the right angle

seems to be one of the
keys to this mystery,

being the orthogonal angle at
which each of the dimensions

and energy types presents to its parent.

The right angle is often
represented by the letter L,

sounding or spelt El.

The name El is listed at
the head of many pantheons,

including Aramaic,
Phoenecian, and Ethiopian,

and is a northwest Semitic word for God,

the father of gods, or the God.

It is the root of many words, for example,

Elohim, the Hebrew for Gods,

Il, the supreme god of the Canaanites,

and Elus, a counterpart
to the Greek Cronus, time.

It finds its way into Celtic mythology

in the form of the goddess Belisama,

the most brilliant,
otherwise known as Bridgit,

the consort of Belenus,
or Bel, the shining one.

We have discovered, then,
that what we call ley lines

are in fact an infinite
series of multidimensional

energy nodes and subsequent threads,

and that those that seem strongest to us

define our version of
what we call reality.

The Indian philosophers called this world

that we see, literally, illusion.

What happens then if we
take our multidimensional

interactive crystal
nodes, scale them up into

man-sized and bigger crystallized stones,

and insert them into this
reality matrix of ley lines?

Well, first of all, they
become part of that matrix,

creating new interactions.

In the Reichian sense,
they accumulate orgone,

or life energy, between themselves,

as well as further amplifying that

by creating standing waves.

These interact with the energetic
matrix of the ley lines,

creating further electromagnetic
gravitational currents

at orthogonal right angles,

which reach out into space at all levels.

Add a few more stones to create a ring,

and you not only
establish a ring of energy

and all its component right angle parts,

but also a central vertical core current,

reaching up and down through
the dimensional levels.

The stones themselves
become a representation

of the 3D reality we perceive,

much like the Pythagorean
dimensional points

that define height, breadth,
and width, and in themselves

act not only to define a
sacred or special space

within the multidimensional universe,

but simultaneously lock
it into this reality

as well as act as a
multidimensional gateway

to all other realities.

This is why they are often
aligned to the stars and moon,

and most importantly,
elements of the solar cycle,

because it is precisely
these quarter points

that would have defined man's reality

in relation to his material
needs for day to day survival.

♪ Open your eyes, it's time to rise ♪

♪ What was it that you dreamed ♪

♪ Was it far away or yesterday ♪

♪ Will it be or has it been ♪

- [Narrator] In the Pythagorean model,

it is next node of time that serves

to determine how that 3D space interacts

within the multidimensional universe,

and we find the physical representation

not a long way from a stone circle

in the form of a king or key stone.

According to sacred geometry,

measurement in sacred
space is very important

in how that space is defined according to

ancient numerological
systems and the association

between number and sacred
as well as secular concepts.

What I believe is happening here is that

the proportional dimensions of a space,

defined by its component stone parts,

create or amplify particular frequencies,

again much in the same way
that the relative position

of holes in a tube
create sound frequencies

when the tube is blown that
correspond to a musical scale.

The king or key stone
fulfills a similar role

in its interaction with the parent circle

in defining how the circle can be used

to access multidimensional space.

Bearing in mind the intent of its creators

and how the universe can be modeled

on the thoughts and emotions of humans,

it is possible to see that
if man were so inclined

and able to understand these
harmonic relationships,

they would be able to
tune into the energy grid

of the planet and choose very carefully

those places to build
not only stone circles,

but other standing stones
and other structures

that were not only isolated
multidimensional gateways

but also have an interaction
between each of them,

joining them into a massive
world-covered superstructure,

like a gigantic intergalactic computer.

♪ It's a sign of the times ♪

♪ A sign of the times ♪

- [Narrator] Many ancient
cultures have mythologies

that not only tie their
place of birth or origin

to the stars and particular star systems,

but also the place where
their spirits go to at death.

It is interesting to note that many people

entering stone circle or burial mounds

notice an elevated sense of consciousness,

often tuning into beings
from another dimension,

such as fairies, pixies,
and extraterrestrials,

and sometimes even
noticing time anomalies.

It is much more likely that
we are tuning into higher,

and indeed lower, states of living energy,

and holographically
projecting a representation

of that energy into our
three-dimensional reality.

Astral projection, or
out of body experiences,

similarly take us into altered states

of reality and consciousness,

where a person finds themselves lucidly

interacting in another
time, place, or reality.

This process again is
found to be amplified

or manifested within stone circles

and other similar structures.

♪ Gather all the people ♪

♪ Gather all the people ♪

♪ Gather all the people ♪

♪ Gather all the people ♪

♪ Gather all the people ♪

(haunting music)

- [Narrator] And now, we're
back where we started,

in the center of a ring of ancient stones.

An interdimensional
time capsule built tens,

maybe even hundreds of
thousands of years ago,

but was it by chance or
by accident or by design?

Are we alone, or is the
truth really out there?

(singing in foreign language)