Original subtitles

What is something that all of the ritual magicians have been telling

us when they watched Hellier?

We're doing an initiation. We're doing some kind of a ritual.

[Greg] I tried to find one of the best books about initiations that I could find.

Something that was modern.

What I landed on was 'The Archetype of Initiation - Sacred Space, Ritual Process,

and Personal Transformation'. These are all lectures and essays by Robert Moore.

So one of the things I have to lay out is this is not a paranormal book whatsoever,

but reading this book has given me so many thoughts and ideas

about paranormal phenomena.

He has a lot of really interesting things to say about synchronicity.

I wasn't looking at synchronicity when I got this book.

The guy that wrote this book is a Jungian psychologist, so, he,

Jung is the guy who coined the term synchronicity,

so synchronicity is something that popped up after he started looking at the idea.

This guy says, in terms of a ritual initiation,

"Synchronicity is a sign of being in the process of an initiation,

not necessarily anything other than a byproduct of being

in the middle of an initiatory experience". That is what synchronicity is.

[ ♪ Thoughtful piano music ♪ ]

[Greg] If it's a call, if you really are part of a call, it's always scary.

The call is always scary.

If it's not scary, it's not really a call.

♪♪♪

[Slow piano notes]

[car engine starting]

[Piano notes begin to speed up]

[ ♪ Wildnisgeist by Timothy Renner ♪ ]

"It will have blood, they say. Blood will have blood.

Stones have been known to move, and trees to speak".

[Greg] The fuck is going on out here? [Tyler, laughing] Oh, man!

[Greg] that's fuckin... [Karl] that feels like a fucking sign, man

[Greg chuckles] Oh boy!

[Tyler] That's fucking weird [Greg] It's so crazy too cause we did not

take Strawberry Road earlier when we came scouting yesterday.

[Greg] I don't even know why it used Strawberry Road.

-Yeah we never went this way at all.

[Karl] Whoo! [Greg] heart pumping a little bit..

[Karl] That tree's got me now

♪♪♪

[background water sounds]

[Dana] One of the things that I really wanted to do is some sort of a ritual,

and it looks as if, it would make sense if that ritual would happen inside of a cave.

So the ritual itself is sixteen steps.

[Dana] Each one of these steps is a way to kind of let the phenomena know

that we're there to communicate and to learn as much as we possibly can from it.

[Dana] The second step is no iron, so no iron jewelry,

I know that that can be difficult with camera equipment,

but as long as we're not wearing any iron, that would be really good.

And Iron is basically a repellant of the Fae, so it's something that we

should kind of eliminate as much as possible

cause they just won't come around if there's iron.

[Greg] The main goal of that ritual was the invocation of Pan.

whether you wanna see it as the god Pan, or you wanna see it as

the energy or spirit of Pan, the spirit of all, of this, this

thing that has seemed to be hovering a lot of what we've been doing.

It was...

As I understand it, it was meant as an official introduction.

♪♪♪

[ ♪ Guitar plucking and mechanical drone ♪ ]

[Dana] Step three is when we are approaching the cave,

we have to clap our hands as much as possible. It sounds kind of silly,

I realize it sounds kind of silly, but Pan doesn't like to be snuck up on.

So in older rituals, a lot of the time they would walk up to the caves

just clapping their hands, just to let them, let Pan know that they were

approaching so that he wasn't startled by them.

Which I think is just fun, and I think it's kind of a cool way to bring in

like some of the older traditions.

[Everyone clapping]

[Tyler] After a year of prepping, learning how to go into these caves,

descend into these weird, strange realms, we finally have the day, when we are

going to descend and see for ourselves what this location entail.

[Dana] The entrance didn't even look real, it looks like a movie set.

It looks like this beautiful, massive cave that just sort of appears in the

middle of nowhere and you have to kind of trudge through a creek

and through the woods to find it, and then suddenly there's this massive

opening and it just sort of, beckons you inside cause there's a perfect bend

so you just want to see what's around every corner.

[Tyler] We finally reach the point where we had the means of entering it properly,

so finally having the chance to experience this firsthand,

was a great amount of closure for me. To be inside of this space.

I felt a buildup of everything, we had been working toward.

I in particular was excited for anything. I was ready to see anything,

I was ready to experience anything, and after hearing all these stories,

whether that be these strange, underground cultists, or these creatures,

I think I was prepared to see anything. I wanted to, I wanted to see something.

Even though--even though I think that would have provoked fear

in the greater group, I think I wanted something overt to happen.

I was almost expecting it.

[Dana] The interesting thing about Pan is he was never worshiped in any

one specific place. They didn't have permanent altars erected for him,

they didn't have temple spaces for him. Pan was worshiped in nature.

He was worshiped out in the forest and he was worshiped in caves specifically

so it was very important that we worship and make some kind of a connection

with Pan in that space because that's his space specifically,

so if he was going to meet us anywhere, it was going to be in a cave.

[Connor] Going in there to, sort of conjure this ancient entity,

is an intimidating aspect, and in a way, challenges my belief system a little bit.

and so I had to take it in stride,and had to sort of sit back and think,

you know, I'm going to see, as an investigator, with this God given

curiosity, what's going on here. So, I decided to sit back with my own

personal protection, and feeling a protection myself, to sit back

and wait, and see what happens.

[Dana] The next step is to cast a circle.

So traditionally in magic, one of the things that many magic practitioners

will do is something called a circle casting.

And it's the idea that you're creating an energetic circle around your space.

So basically, these white candles, we're gonna use them as our outline.

So that we don't accidentally cross it.

And you really just do it through visualization and through a lot of

physically drawing a circle around the space.

And the reason that you would do that, is if you wanna envision it

like a 3-D bubble that goes above us and below the ground, and it's basically

an energy circle to contain energy. So, when you're doing spellwork,

or any kind of ritual work, the idea is you're raising energy, you're putting

intention out into the universe, into the atmosphere around you,

and if you don't have a circle, a lot of the time what can happen is that

energy will just easily dissipate. So you're raising it, and it's literally

just dissipating and you're not able to kinda, contain it and put intention

into it. So the first thing we'll do is, we will cast a circle, an energy circle,

[Dana] Now that we have our four quarters, and our directions,

we're just gonna use the rest of the candles just to create an outline

for us. And again that's just so that no one, accidentally steps

outside of the circle.

[Dana] This is exhausting.

This is not a normal environment to do something like this. So it's like,

you lose your energy so fast.

[Dana] So the other thought behind the circle, is on top of the fact that

you're creating a safe space where you can raise and put your intention out.

It's also a protective space, because when you practice magic there are

certain types of energies and different types of spirits that might be...

"what’s going on over there?" They'd be curious about it, so they can be drawn

to that space. So the idea again is this circle is protective, not only for you,

but for them. It keeps your space as contained as possible while you're

practicing magic because in a lot of cases, in the moment of practicing

magic, you could be very vulnerable because you're meditating, or you're

focusing on one thing specifically and you're not always aware of what's

happening around you. So again, we're going to create that circular

sacred space.

[Dana] So now that we have our circle outlined, once we light them,

you can visualize them like a perimeter, basically.

[Dana] The fourth step is we're gonna dedicate the cave for that time period,

of night, to Pan. We're going to create an altar space for Pan.

This whole rock's gonna be the altar space, so I just wanna know

which directions to put our four quarters.

[Dana] And for that we're going to need a handful of different things,

and I have all of them. Oak, grains, seashells, wine, honey, grapes,

obsidian, carnelian, cakes, those types of things.

And they're all going to go on some sort of an altar space

that'll be in the center of the ritual space.

[Dana] So the next step is, we're going to, every tool that we use

for the ritual we're gonna dress with cinnamon and Vetiver oil

and those are two oils that have often been associated with the Green Man,

with Pan, and that's going to basically turn everything that we use in the

ritual space into ritual tools. So anything that we bring in with us,

just a little dab of those oils basically anoints it so that it deserves to be

in ritual space. [Greg] Should we anoint the camera?

[Dana] Yeah, if we can, just everything that we bring in with us, just a

little drop of it, even just a tiny little bit, and it's basically

showing that we are utilizing these tools for ritual purposes.

We're gonna burn mug wort. Mug wort is a herb that is used to open the

third eye. So it's just gonna help like, raise our vibration and help us kinda

align with this type of energy. And, I'm going to basically just

walk the perimeter, and as I do that, I'm just going to be visualizing

a bubble above us, and a bubble below us, and it's basically just

going to kind of be containing us.

So there's just a really simple little chant that I'm gonna do as I go.

That's just sort of a centering chant. It's just meant to kind of draw in

the elements and to attune us with the elements.

Earth is my body.

Air is my breath.

Fire is my spirit.

Water is my blood.

Earth is my body.

Air is my breath.

Fire is my spirit.

Water is my blood.

Earth is my body.

Air is my breath...

[Greg] I think one of the best ways to think about this too, is, and I was

talking about this outside, think of Pan as one of the ultraterrestrials.

We're trying to have a conversation with one of the ultraterrestrials.

He's just another face of them.

Crowley communed with Pan before he tried to talk to Aiwass

or any of the higher entities. So, he's just maybe the boss.

So we're just talking' to him, we're talking to upper management,

to try and see if we can have a conversation with him and maybe

whoever else might pop in. And one of the traits of Pan, in all of the

literature you read, is that when he's called, he typically shows up.

[Dana] Air is my breath.

Fire is my spirit.

Water is my blood.

Ok... Done! [Dana takes a deep breath]

[Out of breath] So that's... our circle cast

The next step is called Calling the Quarters.

And it's basically inviting the four elements, and the four directions,

to join us in magic and in our, whatever it is that we're doing.

[Dana] So traditionally, it's an invitation to the elements,

and the elemental spirits, to join our magic.

[whispers] Ok

[Dana] What WAS that?

[Greg chuckles quietly]

[Dana] The next step is something that is often referred to as

calling the quarters, or the corners, it just depends on who you're talking to,

and it's the idea that we're going to dedicate one, or four sections of

our circle to each one of the elements.

On the altar, we have four directions. Each one of the bowls represents

each one of the four elements.

So in earth, we have salt.

In air, we have incense.

In fire, we have a candle.

And in the direction of water, we have water from the little pond underneath.

So it's basically, each one of them is meant to represent

each one of the elements.

And, it basically gives them a place in our space to reside.

So you're giving them like a home to reside in the space.

[Dana] There's a set chant that basically I'll do at that point

to invite those specific elements to our circle.

I call upon the element of earth, to join us, in our magic circle,

to bless our circle,

I call upon, the element of air, to bless our magical working.

I call upon, the element of fire, to ignite our magic.

And I call upon the element of water, to bring emotion, to our space.

[Lighter snicks]

[Whispers] Okay.

So the eleventh step will be a welcoming to Pan to join us, or an invocation.

And we can all do it together, I can do it, it's completely

up to everybody and how we feel in the moment.

What I was thinking is, for the invocation,

I was thinking about it a lot, actually over the past couple of days.

And I uh...

I think... I kind of want Greg to do it.

I want him to lead us in it.

[Greg] Waaait a minute.

-Because I feel like I spent the past couple days like reaching out

to Pan and I didn't really feel him connecting much with me.

And I don't know if that's not because

I wasn't the person to bring that to this space?

So I thought it would be nice if you led us

in the invocation or in the invitation

if you're comfortable with it, if you're not comfortable with it

you don't have to do it. I don't mean to put you on the spot,

I just, I've been thinking about it and I feel like if

he's going to answer to any one of us it's probably

going to be you since you since you were the one

who sort of

brought him to us.

As long as you're comfortable with it.

You don't have to do it.

- No, I'll do it... - Okay.

[Greg] I'd never done an invocation before.

I practice magic, here and there.

But it's very... it's probably what people would consider chaos magic.

It's very eclectic, it's things from here and there

that I feel comfortable doing.

I've never... I've never performed ritual magic.

I've never done an invocation.

I'm not a very religious person anymore. I was raised

very religious.

But as anyone who was raised very religious,

they know that something like that was a big deal.

And uh I had to think about it. She said listen if you don't want to

do this you don't have to. I just think that

you're the one who was doing all this research on Pan,

you are the one that feels this connection so strongly,

I think it makes sense that you do the invocation.

So I.. I did.

Before I say it, I thought about it for a long time and I wanted

it to be something that made sense for us,

made sense for our case, but also made sense for Pan, sort of

being a bit of a forgotten god in a lot of ways.

So it's: I honor thee [Greg repeats]

and thy ancient tune [Greg repeats]

by the blessed altar [Greg repeats]

forgotten [Greg repeats]

and lone. [Greg repeats]

Yeah.

I honor thee [Greg repeats]

and thy ancient tune [Greg repeats]

by the blessed altar [Greg repeats]

forgotten and lone. [Greg repeats]

[Greg sighs] Hold on.

♪ atmospheric synth ♪

I honor thee

and thy blessed tune

at the ancient altar,

forgotten and lone.

I honor thee

and thy blessed tune

at the ancient altar, forgotten and lone.

I honor thee

and thy ancient tune

by the blessed altar,

forgotten

and lone.

[louder] We honor thee,

and thy blessed tune

at the ancient altar

forgotten and lone.

Blessed be Pan

Io Pan

we invoke thee!

We honor thee

and thy blessed tune

by the ancient altar, forgotten and lone.

We honor thee!

and thy blessed tune!

at the ancient altar, forgotten and lone!

Blessed be Pan!

Io Pan!

Io Pan!

Io Pan, we invoke thee!

We invoke thee!

We honor thee!

And thy blessed tune!

At the ancient altar forgotten and lone!

We honor thee! And thy blessed tune!

At the ancient altar! Forgotten and lone!

Blessed be Pan!

Io Pan!

Io Pan, we invoke thee!

♪ eerie music fades out ♪

[Dana] I just felt like a weird, intense

energy just creep in real fast.

I wasn't expecting it at all it just went "wheeew" [wind noise]

[Connor] From that direction? - Yeah.

[Tyler] I feel really chilled.

- Yeah. Is that where the cold air came from?

- I don't know, I feel really cold.

A lot colder than it's been.

[Dana] It was like, [wind noise]

[Dana] Are you ok?

- Yeah, I'm just... stirred up.

[Greg] It was... uhh

it was very weird.

I don't know, I still... I've thought about it a lot since we did it.

I don't know, I don't know how to... um.

it was really emotional for me to do that.

it was uh

I don't know, it seems silly to say but I felt it happen.

Whatever "it" was, I felt it happen.

And it was there and I felt it and I was getting really emotional about it,

um, I'm getting emotional thinking about it now.

It was um

it was really impactful.

I could feel

I don't know, I was shaking. I was literally shaking.

It was just uhh

really weird.

There was a strange effect that began to occur

inside of that cave. And it was experienced by me,

and Connor, and I believe Karl, all of us collectively

inside of this bubble.

The temperature started to greatly decrease, I started to get chills

as this invocation started kicking in.

And it felt like something was passing through.

[Greg] Do you think we should play the tones now?

[Dana] Yes, oh, that's what we should do! Yes.

- We'll do that first? - Yeah.

- Let's do this here.

[Dana] Oh my god, I can't believe we're about to do this.

- I know

I mean, it's interesting that we actually are being

told to make these tones, and now we are going into a cave.

And here's an entire academic breakdown

of why those noises are important.

So basically, what this paper by Nektarios-Petros Yioutsos

is saying is that

we need to go into these caves and we need to clap,

we need to make noise, we need to drink,

we need to actually make this cave into a giant instrument

for the ritual. That's exactly how these people used to use it.

Uh so we need to play the tones,

probably as Pan pipes

and see what happens.

We think what you heard was a C, an A, and an F.

[singular piano notes ring out]

[Dana] Bing, bing, bing. [Tyler] Bing, bing, bing.

I enjoy this. [Dana] Again!

[Greg and Tyler make three bing noises]

[Dana] You got a handle on it

play those sounds.

When I saw Dana in person next, I sat down with her

with a little piano on a computer, and

gave her my idea, is it,

I thought it was maybe C, A, F.

[Dana] It was the first one it wasn't the second one.

[Connor] And so I was playing those notes,

played different versions of them up and down the keys until

she found ones that matched what she heard

over the box.

[playing notes on piano]

Yeah. That sounds like, it sounds like it.

[three piano notes -over speaker in cave - C, A, F]

[Connor] I turned it.

[piano notes continue, begin to play at the same time]

♪ ♪ ♪

[notes being played on a flute, singularly then together]

♪ ♪ ♪

[Dana] The tones, when I heard them in the cave they made

me really emotional.

I wasn't expecting to feel that way, it actually

surprised me.

And it felt...

it felt almost sad but it...

in the moment I realized that it felt familiar to me.

As if the tones, the energy of the tones felt... like

this entire experience has felt.

It's sort of beautiful, and very frustrating, and

embodies a lot of different complexities.

[Greg] The tones were weird, they made me sick.

The tones made me feel sick and I don't think I was

the only one that felt that way.

Um, they were...

strange and grating, almost.

[tones resonating over speaker]

[Karl] I hated the tones. They made me

so anxious. So much anxiety, I wanted to crawl out of my skin.

I don't know why.

It just... all I wanted was for them to be off. For it to be over.

I'm kinda dizzy.

- I know I was just going to say I feel really...

like I feel like I'm vibrating.

- I feel kinda wobbly. - Me too.

[Dana] Yeah I feel a little... nauseous.

- A little sick to my stomach, yeah.

[Connor] Made me feel maybe a little bit nauseous, a little bit uneasy.

And a lot of people were just saying that they wanted the tones to

be turned off, so

after it ran through the cycle for about half an hour we

let the tones kind of fade away.

[Dana] Uf, it makes me feel nauseous.

- We could do something else.

[group mumbling while Greg walks around]

♪ "Wildnisgeist" By Timothy Renner

[Dana] So once we finished with that,

I have a section here that's basically breaking bread.

So we're going to drink wine,

we're going to eat, we're going to break bread with Pan

basically. And make merry with Pan.

Because he loves that kind of stuff. So,

in that moment it's a really wonderful way too because

one of the ways to kind of begin to wind down your magic

is to actually eat food, because eating food is incredibly grounding.

So ingesting food, ingesting wine, will begin to ground you

back down into the waking reality.

And it's a really nice way to do that, and it's also another huge sign of

respect and just a lovely way to kind of

commune with those types of energies.

[Dana] After the invocation, we played the tones,

and we tried to engage with

whatever was there as much as we could.

And I remember getting really frustrated. And

feeling almost...

really pissed off because I remember thinking, like

"we're doing all the things we're supposed to be doing.

How come nothing is really happening?

Why isn't anything happening?"

- I'm just frustrated. - Why?

- I don't know. - Why?

Just the general feeling of frustration.

[Tyler] And the longer we were in that space,

the more I wanted to crawl out of my skin.

I don't know, there's just something that feels "off."

I get the frustration.

that's being felt I just feel like maybe something is off.

I wanted to crawl out of my skin and I had this realization

in my own mind.

We talk about initiation.

And we talk about getting through things and pushing through

and sticking to the path.

I had this thought that maybe

that frustration was a part of this.

Is this part of it?

Like, is this what we have to do before we leave, is like

find some way to turn this around?

How do we get in a better headspace?

Getting through that. [Dana] Ah.

We've got to get through it. - Get through this feeling.

- Yeah

- Get through this feeling - Because if we don't get through it

we're just going to be frustrated always.

- Yeah. Then you get stuck. I don't want to get stuck like this.

- No, nope.

[snaps] - Bingo. [Dana and Connor chuckle]

- We have a choice!

We're all here. That's amazing, isn't it?

[Greg] I'm having a fuckin blast - We've gone this far.

Look at this place.

Let's actually celebrate something,

this is still important.

[Dana] Celebrate activity! - Let's celebrate activity

[Connor] Celebrate activity!

So let's get out of this headspace and be happy.

This is an amazing thing.

♪ Synth-style Hellier theme ♪

Connor?

[Connor laughs] It's good wine.

- That's what I mean, we've got to laugh!

[Greg] Let's go deeper in the cave [Tyler] Let's go deeper in the cave!

[Greg] That's what I was thinking, let's go deeper in the cave.

[Dana] You're right, Tyler.

-We have the choice. I feel fine.

[Connor] Yeah

[Dana] So after we do that, I will thank and farewell the quarters

so we'll release the four quarters that we've invited to the circle,

Let's say thank you, to all of the creatures,

all of the living creatures, the toads and the spiders and

everything else that was here with us.

Say thank you to the spirits who were here with us,

the watchtowers who were here with us,

the elements that were here with us,

the archetypes that were here with us,

the energies that were here with us,

and the gods that were here with us.

And say thank you, and farewell,

and merry meet, and merry part, and merry meet again.

And then we'll ground the circle,

so we basically will visualize the circle kind of dissipating

and going back down into the earth.

And then at the very end when we're done with everything,

I think we can take a lot of the things that we were going to

bring with us that we've used in that ritual space

and create what would essentially be like a permanent altar for Pan

in that cave and just let it be there.

Obviously it won't be upkept but that's fine, because I think it's

the intention of saying "this space was dedicated to you for a night,

and we're going to leave this here as a memory of that dedication,

so if you ever want to come back again, that energy will still be there."

♪ synth bells ring out

[Greg] He talks about how successful transitions require

ego death and rebirth.

And he literally basically says, he lays out that heroism

is bullshit, and those things don't lead to

actual rebirth.

Optimal frustration is what you need for a good

[Tyler laughing]

for a good, liminal experience.

For a good ritual. Optimal frustration.

[Tyler, laughing] I was going to say, isn't that Greg Newkirk?

[Laughing] Optimal frustration!

[Greg] It's constant start and stop, constant dead end.

I think now I realize that this stuff is leading to something bigger

and bigger than all of us and it's something worth doing, but

at the time it sometimes didn't really feel like it.

Liminal states have what he calls

"communitas." It's a social experience that you only get

in liminal states.

I feel like our experience with Hellier, a lot of us didn't really know

each other very well.

But going through that experience and going through what we're

doing now I think we have that sense of communitas.

He gives the New York blackouts as an example of that.

Where everything goes out, everybody is sharing that experience,

and they all kinda go "we're in this together, it's an experience that

nobody else will be able to experience along with us,"

it's something that bonds a group together.

We're literally going through that type of thing right now.

That's fascinating to me.

We're hitting all the steps of a ritual initiation.

I slowly get the picture, that sometimes paranormal

experiences are forced initiatory experiences.

When things start happening around people that are in a chronic liminal state

they experience poltergeists, they experience all kind of weird stuff,

it's trying to force an initiatory experience.

And maybe that's part of "Hellier."

Maybe there's some sort of a forced initiation that's happening.

For what purpose? For what illumination? I don't really know.

I am now more sure than I was ever before, that

we are doing some sort of an initiation.

Who our steward is?

That's the interesting part. Don't know.

[ ♪ Upbeat music fades out ♪ ]

As Greg said, it felt like something happened.

But it seems to me like

that something was part of a larger process.

And maybe that's why we haven't results yet

is because we're still in the middle of the ritual.

It might be bigger than us.

Bigger than just that cave that night. It might be this project itself.

The results of the ritual might not even happen to us,

I keep thinking about this idea that they might happen to the audience at home

in watching this as part of the ritual.

And the implications to that idea,

of being part of a bigger ritual,

were only furthered

when we went to Detroit

to hear from Connor

about a breakthrough that he made.

[Highway traffic in distance]

♪ Thoughtful music buildup ♪

It always irked me, and sat in the back of my mind,

that we weren't using these numbers correctly.

And so in order to try to find the answer to the numbers that

Terry was telling us to use,

I decided to play with them in different contexts.

And my girlfriend stepped in,

and we started to play with the numbers mathematically

one night.

And as we're doing that, we start to notice a pattern.

Over and over again.

With different applications mathematically to this

series of numbers.

I didn't know what this pattern meant, and I didn't have

context for it.

So, for context, I reached out for some help

from an old friend.

I understand that it's a strange car ride to come up here from

Cincinnati to Detroit,

to meet with Mr. John Tenney.

And that is because we have some information that we think

um, is very relevant and pertinent to the case.

We think that we have

cracked

the numbers.

[Greg] I thought we'd gotten the symbolic message

from the numbers

which was "maybe there's something symbolic about Brown Mountain?

Here's this balloon that says you're going in the right direction,

um, maybe do the abduction experiment again,

that's where I was with them. I was fine, I was happy with that.

I've learned to be happy with that.

So

to find out that there was another meaning to the numbers was

a shock.

Yeah, it was a shock and it's a whole other can of worms.

So you're fairly convinced at this point that they're not GPS coordinates?

-They're not GPS coordinates, they're not coordinates, no.

-I don't think so.

-It is very odd that they're that close to Brown Mountain, coordinate wise.

That's potentially a very major synchronicity.

- Yeah.

-If they're not coordinates, then that's bizarre in itself, right?

- Yeah, I mean that's the only reason we thought they were coordinates

is because it just seemed the obvious solution.

-Let's look at that second contact:

"The ink and black are isolated still and third order M.I.A."

Just that sentence alone, appears very directly, as Karl figured out, to be

a reference to Indrid Cold still being here on Earth.

But what does that also tell us?

It tells us that he was still in contact with Indrid Cold in 2012.

Which is not that long ago.

We know that he met him way back when.

But he's still HERE he says.

Of course we've learned that potentially Indrid Cold might have

had something happen.

That all said, let's look at that next sentence.

Something that we always thought,

and it potentially still is, but we always have thought of it

as like a metaphor.

"bare in mind for every door closed a wind w must be opened.

The door is closed. The window is open.

When you plug that sentence in to the cipher,

the secret cipher of the UFOnauts, that he uses in the previous sentence,

that adds up to the value of 1025.

- As a whole sentence?

- As a whole sentence. - Ok.

-So you plug that entire

bizarre sort of sentence there.

Once you get that high in the cipher,

there's only a few sentences that it actually lines up with in

the "Book of the Law."

And the sentence that it lines up with is:

"The man and the name of thy house is 418. The end of the hiding."

So. That may be a sort of hidden cipher value

that was sitting right in there all along.

But the point is we have to sort of realize

"oh, wait maybe there's something else there,

maybe there's something more interesting,"

[Greg] And what was the Book of the Law sentence again?

-"The man and the name of thy house is 418. The end of the hiding."

Feels like an address. [Dana] Yeah.

In addition, "I am 49 place"?

418, 1 + 8 is 9, there's another one there too.

So I don't know what to do with that.

But I'm just pointing out that that's an interesting thing to note.

That's worth noting, now here comes the big bomb at the end:

"use the numbers."

Ok, that sentence has haunted all of us for YEARS now. [laugh]

When I got all of this a week and a half ago,

um, like I said, I tried to look at it with fresh eyes.

So how could, if I just gave you a number,

and you didn't know anything about the qabalah,

ritual magic, like, you're a ghost hunter.

I'm going to give you something simple.

And when I looked at it simply, thinking that way,

that's when it all seemed to come together.

So let's look at the numbers themselves.

The numbers are...

3-6-0-0-2-5-0-5

8-1-9-0-6-8-4-0.

Ok.

It's a long set. We notice immediately that there's a lot of zeros.

But if we don't think that they're coordinates,

and we don't think that it's anything else that's very simple,

the next thing to do is to apply

math.

And do the simplest, easy, number math that you can.

For a 30 year old ghost hunter to figure out.

Do a magic square.

Just lay them out in a magic square. - Ok.

And then start adding and subtracting.

So all of this stuff is very similar to numerology

where you're essentially converting letters to numbers,

and then adding them up until you have a single digit between 1 and 9.

[Connor] 3, 6, 0, 0,

3 + 6 = 9. So there's a 9.

2 + 5 + 0 + 5 is 12,

1 + 2 is 3.

8 + 1 + 9 + 0 is 18, 1 + 8 is 9.

6 + 8 + 4+ 0,

1 + 8 is 9.

So that's that value there, let's take the second value and then lets

add all of these up.

9, 18, 27... 30.

So the single digit here would be 3 + 0 = 3.

You do the same thing going down,

and you end up with the values 19, 20, 13, 5.

10 + 2 is 12, + 4 is 16,

+ 5 is 21.

2 + 1 = 3 as well.

So that's interesting.

But who knows, maybe that's just the way that it happens.

Well shoot, let's take the entire string of numbers and add them all up.

3 6 0 0 2 5 0 5 8 1 9 0

6 8 4 0 = 57.

5 + 7

[Tenney] is 12.

1 + 2, is 3.

1 + 2, is 3.

Let’s look at just half the number.

3 + 6 + 0 + 0 +2 + 5 + 0 +5 = 21.

2 + 1

is 3.

8 +1 + 9 +0 + 6 + 8 + 4 + 0

which is the second half of the sequence, is 36,

3 + 6... is 9.

They always come out to 9's or 3's. - Right.

Halves, quarters, the entire thing.

There's a 9, there's a 9, 1 + 2 is 3, there's a 3,

1 + 8 is 9, there's a 9.

Ok.

Let's take all of the prime numbers.

And as Tenney added up all the primes of each of these individual

they add up to 193.

Also interesting. There's another 93.

So, one of the first things that I wanted to do is make sure that this

isn't just a statistical...

something that happens every now and then with a string of numbers.

So we ran it through,

and my sister helped me out with this, Michelle,

we did 50 different random number sequences,

and only one of them came out to 9's and 4's.

About a 2% chance that this could potentially happen.

So what I did is I called Tenney, and I said "hey,

you know, Chelsea and I were sitting there, we figured this out it's,

I don't know why, but I'm seeing a lot of 9's and a lot of 3's.

That's something that I also told Allen Greenfield.

And what's the first thing that he said?

93 in the cipher equals... "Hellier."

93 shows up repeatedly, and with gusto.

[Connor] You break down the numbers, no matter what quadrant

you split the numbers into, they all become either 3 or 9.

- 93. Hellier. - Which is... interesting. Yeah.

- You are adding to the credential.

So what we're left with, is a whole lot of 9's and 3's

and no context with what to do with that.

So

at this point we're sitting there with a lot of 93's and no context.

Well, what did Greenfield say? That 93 is something, is a number that's

extremely relevant to people who are into Thelema, right?

[Greg] Thelema.

-And he joked about it, and we kinda joke about it sometimes too,

where it's like what a weird...

It's sort of their slogan, like summed up in a number, right?

I mean, do you know that 93 is a significant number to Thelemites,

which I'm not, anymore, but

[Greg] Back then I wouldn't have, absolutely not.

- Well there's a jargon in Thelemic circles.

Thelemites will great each other with "93", "93", "love" and "will"

-Crowley would actually sign his letters "93" sometimes.

I mean it's a VERY relevant number to people who are into this kind of stuff.

93 = Hellier, if you run it through the cipher it also comes out to

the phrase "is a key also", which is interesting.

Then, what happened is, we're staring at the numbers

and you can't ignore another sequence...

This big old' 31 here.

31 times 3 is,

93.

So there's another 3, there's another 93.

31 x 3 is 93 is also something that people who

are into Thelema have really

sort of taken because

"31" is a reference to "Liber 31."

Which was written by Aleister Crowley's apprentice Frater Achad

and it's a whole other jumbled mess of these writings, right?

When you look at "Liber 31", which was written by Achad,

just take this book

and look at "Liber 31," which was

as delivered by a being called...

[Greg] 93...

418.

So there's both of those numbers again.

- What the fuck...

[Tyler] Holy shit!

"The man and the name of thy house

is 418."

- Weird.

[Greg] What are the odds of that...?

[Tenney] Exactly.

- Both of them. It's intentional.

[Connor] Yeah.

- Like it has to be intentional, right?

- It certainly feels intentional.

[Tenney] And this is something, again, about looking at something simple.

Break away, and just say, "ok we've got these numbers

what do we do with them?"

Let's say you did

or you did, one of you did run a simple number square, right?

And you realize that 31 was important to start at.

Right?

So that's telling you, this book, right?

And then it starts giving you 3's, 3's, 3's, and 9's.

Right? Sometimes 93, sometimes 39.

But it's definitely giving you 3's and 9's, right?

If 31 is the book we're supposed to be looking at,

then what's the 3 and the 9?

Like why is that important?

Well, it's the 3rd chapter.

9th verse.

So you look at the 3rd chapter and the 9th verse,

and the 9th verse is:

"Lurk! Withdraw! Upon them!

This is the Law of the Battle of Conquest, thus shall my

worship be about my secret house."

[Connor] So, is that a phrase that's familiar to Gr...

is that a phrase that's familiar to you at all?

That's ok if it's not. It kind of peaked my interest,

- It feels familiar...

[Tyler] The "Law of the Battle of Conquest" is also a chapter

in "Secret Cipher", the book itself, which was attributed to Wriste's writing.

- Fuck outta here.

- Which is literally about his interception...

- Fuck. Outta here.

- This is un-believable!

[Tenney] He's not talking about the interview, he's talking about

the chapter BEFORE the interview.

- Yeah! The chapter, the chapter before it.

[Connor] Right at the top of the interview,

in front of our faces the whole time.

93 directs you not only to these writings of Thelema, and the occult,

and stuff that Terry was interested into,

but literally is a reference to "The Law of the Battle of Conquest

is the work of our friend and comrade-in-arms who goes

by the name Terry R. Wriste."

[Greg] Get the fuck out of here! This whole fuckin' time.

- It was right on the top. - Right there.

In the chapter, Terry references a particular passage

in another book by Crowley, there's a couple of paragraphs.

About "The Book of Lies,"

which contains 93 chapters.

And

these last two chapters are about Terry going out and doing a ritual

and the ritual is called

"The Star Sapphire."

The blue star.

[Greg] Well I mean, what's the context of finding it's a blocked path...

[Connor] It's a star. - It's a star?

- Yeah.

- A blue star. Blue star, mountain green.

[Connor] Oh yeah, he was doing a Sirius ritual...

[Greenfield] Yeah, well he was very into that.

He said it himself: it's a blue star.

- So the blue star,

is essentially the content of the chapter that Terry was

potentially trying to get you to read the whole time.

- And we're literally finding blue stars

- I know. - on blocked paths.

In the forest.

[Tyler] Oh my god.

[Tenney] Terry is not the first person to come up with 93.

He's basing it on 100 year old occultists.

And occultists before them were coming up with the same numbers.

And it's not that they were all figuring it out,

it was that something older than all of them

is revealing itself to them saying "yes you're on the right path."

And they recognize it's relevant.

And now it's doing it to all of you.

It's THAT thing, it's the phenomena,

saying "yes."

[Tyler] So even though it seems like the numbers are cracked,

what I think is vitally important to note

is that at the end of the day

I went to that area of Brown Mountain,

or the outskirts of it, believing those were coordinate points.

And something still happened.

So what does that mean

thinking that the phenomena is taking notice?

Where maybe it doesn't matter

exactly what threads we're following,

but we're taking the initiative to follow the path

and to put in that effort.

And being shown that what we are doing is important.

[Greg] So the question

the question then is

what's the next step?

[Connor] There's a potential that Terry wanted us to do that,

so you read the ritual, and what I did is I called Dana,

and she's been researching the ritual itself.

The ritual, as it's read,

I don't understand any of it.

I don't understand this, I'm not sure you did,

it's something that's pretty...

pretty bizarre and in-depth.

I don't have a very strong background in ceremonial magic,

and I don't practice Thelema and I don't really know a lot about it.

And so it's a bit scary when

you have this very distinct ritual

sitting in front of you that it looks like you're supposed to be doing.

And you have the understanding at least to know that

it would take months if not years to work up

to even being able to attempt a ritual like that.

And to do it out of order would be incredibly dangerous

to every single one of us.

So it wouldn't be something that we would want to sort of just

dive head-first into.

When you look at the ritual Dana noticed something interesting

which was the phrase "N.O.X." which shows up a lot,

- What is it?

- Nox. - N-O-X

So, again, this isn't my wheelhouse,

it's not the kind of magic that I practice,

so I don't understand a lot of it.

But from the very basic amount of research that I did,

"nox" or "n.o.x." is usually referred to as "The Night of Pan."

- Fuck outta here! - Oh my god, What?!

It's a mystical state

that is meant to represent ego-death.

Oh, that's interesting.

It's literally referred to as "The Night of Pan,"

it's a process within the ritual.

It's something that you have to master before you even attempt this ritual

because there are elements to the Star Sapphire

it's not a beginner's ritual, you have to learn how to do

a lot of the things that are contained within it.

And

the N.O.X. or nox is one of those those signals.

[Tenney] No, I, I honestly, I do believe, I don't think

that when you talk about like

Sapphire Star ritual and stuff, again I think that these are nods

that these are the directions that you're going

in... are correct.

But I don't think it wants old magic.

I think it wants something new.

-So, that said, what do you think we're supposed to do with this?

- I personally think that you're supposed to do a ritual.

But I don't think that that ritual exists right now.

-So the one, and the one thing, and again,

I'm trying to understand this ritual as much as I possibly can

but if there was one thing that I could kind of take away with it

again, knowing about this for like 24 hours

is that the Star Sapphire, it's an invoking ritual.

So it's meant to invoke something, to bring about something.

- Who are we supposed to invoke or what are we supposed to invoke?

[Dana] I don't know. Pan?

[Karl] The rebirth of Pan.

-Yeah.

The only Greek god that's dead...

-Asleep for a long time...

-Yeah. Dead.

-Right.

I mean it's... it's...

It's at the point where

is that a synchronicity?

Or is that just... a slap in the face?

It's beyond

it's beyond hinting at this point.

It's obvious. It's an absolute fact

that this is connected.

I don't know, there's no way to even deny it,

we could try and deny it at this point, but to do that would just be stupid.

We would just be being ignorant on purpose.

ALL of these things, everything that we've been doing now,

for two years

is

on purpose.

Even the dead ends

are all on purpose.

It's... it's all

being guided.

♪ acoustic guitar and humming

[Connor] Suddenly these numbers, this research, is pointing to

something much more than strange creatures in caves in Kentucky.

[Dana] If Hellier was

... a symptom.

I think Somerset

is an aspect of that symptom.

But I think there's more, and layers, going on there.

And I think those layers have had time to bleed into each other.

I think there are still things in Somerset that we could do.

The question is do we want to do them.

And I don't know the answer to that right now, I'm too close to it right now.

I'm gonna have to think about it for a while, and I think we all are.

I think that question will be answered differently by each and every one of us.

I'm sure that some of us will say "nope, I'm done I feel good.

I'm done with Somerset."

I don't know if I can answer that one yet.

[Dana] I know that whatever is happening in Somerset is not going to stop

happening anytime soon.

And it's probably just going to continue

growing, and the stories will continue to spread.

And people will continue to have experiences.

And hopefully that little piece of our ego-death that happened in that cave,

and working with Pan, was enough to create some ripple of

healing in that space.

I don't think we're done in any of the places we've gone.

I think we'll go back to every single one of them. For some reason.

I think

there are places we have yet to go,

and there are places that we've been. And at one point in time,

throughout this journey, we're going to have to come all the way back again.

And I don't think that we're done with any of them.

♪ "American Monsters" By Sunspot

[Greg] We have a whole box of tools now.

You know, Karl has the lines,

we have power names, we have rituals,

we have numbers,

we have a whole checklist of things.

We have maps,

we have geomagnetic anomalies,

we have cave systems,

we have the tones.

We've been given all of these things to use.

I can look at those maps, and I can look at a geomagnetic anomaly,

I can look at a name, I can look at a cave system.

I can look at how it works in the cipher.

"What does this name come out to in the cipher?"

If that name comes out to a specific number,

I'm fairly confident I could

drive to that town, and find something weird there right away.

THAT's what we've been given.

We did not have that two years ago.

And I think that's part of the reason we've been doing all of this.

[Tyler] I just hope it provokes wonder.

I hope it...

I hope if anything it gives people the strength

to not stop asking questions.

Because I don't think enough people do.

And I think the people this resonates with are the people that ASK questions.

How can you make progress if you don't?

[Connor] So everything is pointing us to

this phenomena having a larger face,

that Greg thinks he might be seeing a little bit through his research.

But

the phenomena itself, I mean the goblins, Indrid Cold,

other cave creatures, things like that,

the town of Hellier and everything that happened there,

you quickly start to realize

was just a symptom.

Of something larger.

Which Terry was telling us from the very beginning.

The next phase...

is following through.

And finding a window that's open,

if not potentially opening a window ourselves.

♪ "American Monsters" By Sunspot ♪

Are you ready for this? [Dana] Mmhm.

We met a kid at the Mothman Festival whose name was Levi.

And he immediately made an impression on us because he

had us sign a tin can.

And then he started talking about Keel.

And he really likes Keel's work, and he said

"You know there's a pamphlet Keel wrote and sold at UFO conferences in the 90's

called 'Flying Saucer Subculture.'

I think you guys would really be interested to see the cover."

So eventually I reached out to Doug Skinner, who runs johnkeel.com,

because Doug did the art

that's on the cover of this.

And he was very nice and he said "I will send you a copy."

"The Flying Saucer Subculture" by John Keel,

and the cover depicts a party

with all these different famous aliens,

there's a guy doing hypnosis,

there's a Venusian,

there's a Dero,

but what's crazy is

what's that and what is he holding?

[Dana] It's a goblin holding a tin can.

-That is a Kentucky goblin holding,

not just a tin can, one of the tin can robots

that Keel wrote about. One of the tin can chimeras.

This came out in 1994.

But of all the people, of all the entities to be holding a tin can,

- it happened to be the goblin.

- It had to be a Kentucky goblin.

- That's insane.

- Is that even a synchronicity?

- I don't know what that is! [laughing]

- Well what is it?! What do you call that?