Original subtitles

(contemplative orchestral music)

- [Narrator] Istanbul, a city of masks and bazaars,

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

Engines of destruction,

(cannon booms)

(stone crashing)

ancient high technology, a deadly dinner,

and a madman in the harem, secrets hidden

in plain sight inside the Topkapi Palace Museum.

(contemplative orchestral music)

(static crackling)

(contemplative orchestral music)

At the nexus of Europe and Asia,

Istanbul is the gateway to the Middle East.

(man chanting in foreign language)

On a hill overlooking the city stands a magnificent museum

visited by two million people every year.

They come to marvel at opulent treasures

in what was once a sultan's palace named Topkapi.

In Arabic, Topkapi means cannon door.

How and why Topkapi Palace came to be here

is our first museum secret.

The story begins with a Muslim sultan named Mehmed II.

His weapons can be seen in the gallery of armor.

- This object is one of the most beautiful examples

of the classical Turkish sword design.

If you see, it has a little curve.

This sword tells us that he was a warrior king.

(reflective orchestral music)

- [Narrator] In 1453, at the age of 23,

Mehmed commanded a vast Islamic Ottoman Empire,

but at its center, where Istanbul stands today,

was the Christian city of Constantinople,

the last remnant of the Byzantine Empire.

Its location on the Bosphorus Strait gave it

control of trade between Europe and the East.

And over a thousand years, its surrounding walls

had thwarted 23 would-be invaders.

- The walls of Constantinople were absolutely extraordinary.

There was nothing like them in the medieval world.

Here we are standing on the great city walls,

land-walls, of Constantinople, on one of the towers.

And we're looking down the line of walls that run to the sea

on one side and into a small bay on the other.

(dramatic orchestral music)

- [Narrator] The bay is called the Golden Horn,

and in times of war, a great chain was stretched

across it to keep out enemy ships.

- The Byzantines were used to sieges,

and they were expert at defending their city.

- [Narrator] Constantine XI was the 101st Byzantine emperor.

He warned his Christian subjects

that should the Muslims ever conquer the city,

they would brutalize survivors

and force them to convert to Islam,

assuring them of eternal damnation.

Constantine was determined not to let that happen.

Mehmed arrived on April 6th, 1453,

with an army of more than 80,000 men and 320 ships.

He was confident he could conquer the city

that had withstood so many previous attacks,

but his men discovered that there was

more to Constantinople's walls than met the eye.

(soldiers shouting)

Attackers had to ford a moat and cross

a 20-meter terrace to reach the wall.

As they battered or tried to climb it,

they would be showered with arrows.

Those who made it over would discover a second inner wall,

higher and more formidable than the first.

- They would be met with a hale of fire,

javelins, Greek fire, bolts, rocks.

It was an absolute killing field for them.

- [Narrator] The traditional tactic of climbing

and breaching walls was proving futile,

but Mehmed had come prepared with new and powerful weapons.

- So what he brought in terms of military technology here

is obviously the cannons.

The largest cannon he had is called Shahi,

the grand or the royal cannon.

It was throwing cannonballs of 600 kilograms.

- [Narrator] This monster cannon's barrel was

20 centimeters thick and close to 10 meters long,

made of solid bronze.

(explosions booming)

Its cannonballs could travel

over a kilometer to reach their targets.

(fuse hissing) (cannons booming)

Its blast was deafening.

Even Constantinople's thick walls

could not withstand a direct hit.

- Although initially the wall was ruined,

the Byzantines quickly developed a very successful defense,

which was to replace the stone with earth rampart.

The effect of this was to absorb

the impact of the cannonballs.

It was rather like throwing a stone into mud.

And this made it perhaps a little bit dispiriting

to the Ottoman troops who, as quickly as they demolished

a section of wall, saw it being replaced

with something which still worked reasonably well.

- [Narrator] Thousands of Mehmed's troops continued to die

as they advanced on the walls, hoping the cannons

would finally give them the advantage they needed.

(soldiers shouting) (explosions booming)

Day after day, the assaults became stronger and louder.

- When the Turks attacked,

one of their psychological weapons was noise,

a wall of noise moving towards the city.

(soldiers shouting) (explosions booming)

- [Narrator] The cannon blasts

shook ships and rattled bones.

They were joined by the strange sounds

of Ottoman battle cries

and the high-pitched whine of Ottoman horns.

(upbeat horn and percussion music)

- This would have come from their Janissary band,

drums, trumpets, cymbals.

It would have been an awe-inspiring sound you encounter,

and certainly drained the blood out the defenders.

(dramatic orchestral music)

- [Narrator] Though the Byzantines were tiring,

their great walls stood firm, but the defenders

would soon discover that Mehmed had another card to play.

- On the morning of the 21st of April, 1453,

it was a Sunday, they were going to church.

They look casually over the seawalls into the Golden Horn,

and they saw, to their horror, the ships rolling one by one

into the water behind the chain.

- [Narrator] To outflank the naval defenses

of Constantinople, Mehmed slid his ships

down the hill on greased planks and logs.

(wood creaking)

- And it was a moment of panic

and sheer amazement at what Mehmed had done.

(bells tolling)

- [Narrator] Mehmed knew his bold maneuver

would strike a psychological blow.

- He was very well informed about the way that they thought,

and he realized that the morale of the people was probably

a crucial factor in the way that this was going to play out.

- [Narrator] Weeks passed.

(insects chirping) (reflective synth music)

On the 53rd night of the siege, as the moon was waning,

a partial eclipse turned it blood-red.

Inside the city, Constantine's subjects panicked.

- And this struck them with absolute fear.

It seemed to be possibly a symbol.

A crescent moon seemed to be possibly

a symbol of the Ottoman Empire.

(mysterious synth music)

- [Narrator] Suspecting the eclipse might demoralize

the defenders, Mehmed ordered an all-out attack.

(soldiers shouting)

- He marched his men forward in waves

in a kamikaze attack to take the city.

(metal banging)

- [Narrator] Constantine and his best men

were there to meet them. (soldiers shouting)

- And he locked the gate behind him

and hung the key around his neck,

so they would do or die with their back to the wall.

- [Narrator] Constantine's courageous maneuver

would prove futile.

- One man, known to history as Hassan,

managed to plant the flag of Islam on the battlement,

and it put heart into the Ottoman troops.

(doors bang)

They swam forward and they just simply overwhelm

the exhausted Byzantine defense.

- [Narrator] The walls that had protected Constantinople

for a thousand years had finally been breached

by the superior forces and tactics

of the young sultan named Mehmed.

- And it's at the moment that he passes

through this gateway that he takes on the title

by which he's known to the Turks as the Conqueror.

- [Narrator] Mehmed converted the city's largest cathedral

into a mosque.

It seemed that Constantine's worst fear was coming true,

but if he'd lived to see what Mehmed did next,

he would have been surprised.

The conqueror put away his sword

and met with leaders of all the city's religions.

- He is the one who made the meeting

with all the other churches and asked them

to tell their faith to him and promoted their faith.

- [Narrator] Christians were allowed

to worship their god in peace.

- That's absolutely a legacy of Mehmed II,

of a man who had an imperial vision and who managed

to keep all these people of different worlds,

different languages, and religions under one power.

- [Narrator] And in a city that has grown

far beyond its protective walls,

many Christians live here still.

The cosmopolitan character of Istanbul began

with Mehmed's multicultural vision.

And as for the secret of why Topkapi Palace was built

in this location, Mehmed needed a place

where he could spot would-be invaders,

and we suspect he just enjoyed the view.

(dramatic orchestral music)

Up next, the secret of the oldest map of the New World.

(dramatic choral symphony music)

Topkapi Palace was the center

of the sprawling Ottoman Empire for almost 500 years.

In the 20th century, when it became a museum, an army

of curators began to catalog the treasures of the sultans.

In a bundle of papers, one scholar

noticed this faded document.

It is clearly a map, but the coastlines

are not immediately familiar.

But to geologist Steve Dutch, the map is a marvel.

- It shows Europe and Africa.

The coast of Brazil is reasonably recognizable.

And it's unusual in several respects.

It's one of the fist maps that shows

the Americas in much detail.

- [Narrator] Initially, it was hailed

as the long-lost map of Christopher Columbus,

the chart of his voyage of 1492,

but it can't be because the writing is in Turkish.

The date translates as 1513, and that's

very strange because as of 1513,

no Arab explorer had sailed west of Africa.

And at the same time, Columbus's maps were secured

in a castle in Spain for Spanish eyes only.

So how does this map exist?

And what is it doing in Topkapi Palace?

Those are our museum secrets.

(cannon booms)

The story begins in 1453, as Sultan Mehmed the Conqueror

takes control of Constantinople

and the sea lane just beyond his palace door.

(contemplative orchestral music)

Control of the Bosphorus Strait gave his Ottoman Empire

a monopoly on trade with India and China,

including unique imports still for sale today

in Istanbul's famous spice market.

(people chattering)

- The spice trade was a one-directional trade actually.

(speaks in foreign language) It was a one-directional trade

from the east towards the west.

- [Narrator] Yusuf Civelekoglu is the grandson of one

of the first Topkapi historians to see the New World map.

- They would come on ships or on caravans, and in Istanbul,

they would change into vessels to Europe.

The kind of spices which were traded were like pepper,

saffron, dried ginger, turmeric.

It was a necessity for the cold winters of Europe,

where you had to conserve your food for survival purposes.

(contemplative orchestral music)

- [Narrator] The spice trade monopoly

made the Ottoman Empire rich, but Europeans grew tired

of paying the Ottoman's sky-high prices, so some,

like Columbus, sought a new route to Asia by sailing west.

- The Ottomans were interested

in what the Europeans were doing in the West

because they felt that this was competition.

They knew that their monopoly

was put into question.

- [Narrator] To discover what Columbus had found,

the reigning sultan assigned his admiral, Piri Reis.

- His full name was Hadji Piri Ahmed Muhiddin Reis.

The Hadji means he made the pilgrimage to Mecca.

Piri means he was an elder.

Ahmed Muhiddin was his given name,

and then Reis means a captain or a chieftain.

- [Narrator] But Piri Reis wasn't an explorer.

He had a different skill.

(both speaking in foreign language)

Yusuf relies on this skill when navigating

the difficult waters of the Bosphorus.

He consults a copy of a map drawn

by Admiral Piri Reis 500 years ago.

- Here is a tower which is still to be seen,

and you have here the Bosphorus going further north.

A modern map of Istanbul would be

not very different from this.

(contemplative orchestral music)

Today, the sea lane is crowded with ships from many lands,

just as it was in the time of Piri Reis.

As an Ottoman admiral, he could order

the seizure of any ship in the harbor

to search for charts and interrogate the crew.

- This could be one of the Venetian traders in Istanbul,

who brought with him a chart.

When any ship was seized, one of the main objectives

was to go immediately to the bridge

before the charts are destroyed.

(quill scratching)

- [Narrator] From these sources,

Piri Reis pieced together New World coastlines,

and he drew some of the creatures and monsters

that sailors claimed they saw.

(creatures growling)

But there were large regions missing.

Piri Reis couldn't complete the map

without learning what Columbus had discovered.

- One of his sources is a Spanish slave

who has been with Columbus several times

on the voyages to the Americas

and who has described these coastlines for Piri Reis.

(water lapping)

- [Narrator] This inside information

was just what Piri Reis needed,

and it makes his map our closest link

to the long lost map of Christopher Columbus.

- It manages to achieve a really remarkable degree

of internal consistency, and I describe this

as a first-class piece of naval intelligence.

- [Narrator] When Piri Reis presented his map to the sultan,

the Ottoman ruler was surprised

by the existence of new lands and delighted

that the western edge stopped short of revealing

a new trade route to the spice-rich lands of Asia.

- This map was considered extremely valuable also

by the strategists of the empire, by the sultan himself.

He must have been excited.

- [Narrator] It meant that for a while at least,

the sultan could keep his Asian spice monopoly,

and thanks to an able admiral, the Ottomans had learned

the outlines of the New World without leaving home.

Next on Museum Secrets,

a Turkish delight becomes a deadly dessert.

(dramatic choral symphony music)

Topkapi Palace Museum is peaceful at night,

but when the sultans lived here,

it's likely they had trouble sleeping.

- Being a very elevated person in that period

would have been a struggle and quite frightening.

There would always be people who were out to get you.

- [Narrator] A traitorous vizier, a jealous wife,

or an ambitious son, many had a motive to murder a sultan.

And during the Ottoman Empire, 10 murderers succeeded.

Jason Goodwin thinks about palace murderers quite a lot

because he sets his novels right here in Topkapi

in a continuing series featuring

a Turkish detective named Yashim.

Today, he's here to find a museum secret,

the best way to kill a sultan,

for research purposes only of course, and he thinks

the sultan's bathroom might be a good place to start.

- Perhaps there, he's at his most vulnerable.

So even the heart of his own palace, he can never be

quite, quite free of his kind of night terrors.

- [Narrator] But his guide, curator Ganan Gimeli,

thinks Jason is on the wrong track.

- Sultans always used to live in these places

because for security, he always lock by himself.

- I see, so he went...

When he was bathing, he bathed by himself.

- Mm-hmm.

- And this screen like this, so he goes inside and he shuts.

- Yes.

- Does like he lock himself in?

- Uh-huh.

(mysterious flute and synth music)

- [Narrator] Inside his gilded cage,

a sultan would be hard to kill,

so Jason will need to think up a new murder scheme.

He decides to think on a full stomach by having

a meal at this well-known Istanbul restaurant.

Here the food is prepared just as it was in Ottoman times.

Owner Batur Durmay is determined

that every dish should be fit for a sultan.

- Did you find these recipes or,

I mean, were the search for this?

- Actually first, we started off with just the dish names.

From 20 to 40 different dishes were placed on the table,

and a sultan would pick up three, four, five

that he fancied, and he would taste them.

The rest would go back to the kitchens, untouched.

(upbeat orchestral music)

- [Narrator] As Jason enjoys the meal,

his author's mind is hard at work.

He's wondering if it might be possible

to tamper with the sultan's food.

To find out, he heads to the sultan's real kitchen.

The sultan's meals were cooked

in these rooms in Topkapi Palace,

along with the meals for the sultan's entire court.

- There were about 5,000 people

who needed to be fed everyday in Topkapi Palace,

so the kitchens were correspondingly huge.

- [Narrator] After an incident in the 15th century,

when Mehmed the Conqueror dropped dead in his chair,

the kitchen was reorganized to enhance security.

- There was one kitchen reserved entirely for production

of food for the sultan and only for the sultan.

The moment it leaves the kitchen,

it's covered in a cloth and this cloth is tied with a ribbon

so that no one can tamper with it between the kitchen

and wherever he happens to be,

which could be quite a long way.

- [Narrator] The only chance for tampering would be

at the moment the food is prepared,

and the would-be assassin would need to choose

poison that wouldn't change the taste

or color of the sultan's food.

Jason thinks he might discover

a possible poison in Istanbul's spice market.

He doesn't really expect to find it on display, but he hopes

one of the vendors might have some useful information.

- When I'm writing my detective stories,

I'm always looking for some sort of poison

I can use for the murder and--

- Poison? - Yeah.

- Oh, really? - Yeah.

Can you think of anything good?

- I have poison like this.

Do you wanna try?

Turkish poison, very spicy.

(Jason laughs)

Or the burn.

- You just want me kinda gasping, huh?

- Yeah.

- You know, we were interested

in the ancient times in the harem.

- Yes.

- When the women tried to kill each other

and maybe poison each other, yeah, yeah.

- Melissa tea we have, Melissa.

- What is that?

- (mumbles) Melissa.

- Okay. - Melissa here.

- So this is good, if someone is trying to get you,

then you drink the Melissa tea and you feel calm.

- Absolutely.

- [Jason] Is there anything that in old times

that the people would use as a poison?

- Killing's too dangerous.

(Jason laughs)

I know because I don't like this is killing.

- [Jason] No, no, no.

- [Narrator] Understandably, some of the shopkeepers are

a little shocked at Jason's questions

or suggest options that didn't exist

in the sultan's time, like this roach poison.

- Okay.

So you just sprinkle that around you, okay.

Yeah, you might dust the sugar

onto somebody's baklava maybe, yeah.

- [Narrator] Clearly that won't work,

but Jason isn't out of nefarious ideas yet.

- The women in the harem, they had creams and powders

things for their hair, things to make their skin lighter

or to make their skin softer.

(ominous orchestral music)

- [Narrator] In their skin whitening powder,

the active ingredient was white arsenic.

The arsenic would be invisible

on top of this traditional Ottoman dessert,

and the sultan wouldn't taste it because arsenic is sweet.

But unfortunately for Jason,

the sultan's kitchen had one more safeguard.

- There was the head taster guy.

One of his duties was to guard

that no one interferes with those dishes.

- [Narrator] So if the sultan's dessert

was laced with arsenic, the only person

who would die would be his food-taster.

Poison may not be the best way to murder a sultan after all.

- There were lots of other opportunities

for kinda skullduggery.

- [Narrator] In a palace full of potential murderers,

for even the most careful sultan,

there was no guarantee of getting to dessert.

(sultan gasps)

(contemplative orchestral music)

Next on Museum Secrets, rebuilding the world's

first robots from the 13th century.

(dramatic choral symphony music)

Inside the Topkapi Palace, only a fraction

of the museum's vast collection is on display.

Many of the most important artifacts

are preserved in the archives, and one is so fragile

that it is rarely brought into the light.

It dates to 1206 A.D.

These fanciful, colorful drawings suggest it might be

an illustrated children's book, but it isn't.

(birds chirping)

Historian Bert Hall has been studying

the Topkapi book for decades.

- The Book of Ingenious Devices was written

by Ibn al-Razzaz al-Jazari early in the 13th century.

It is a kind of encyclopedia or treatise

that covers a number of different devices.

(mysterious flute and drum music)

- [Narrator] In the book's preface,

al-Jazari claims that every drawing is of a device he made

to bring delight to the sultan's court.

But many have a level of complexity

that seems impossible in the 13th century.

Are they pipe dreams

or did the ingenious devices really work?

That is our museum secret.

Our investigation begins in Europe in the Dark Ages.

There weren't many devices here, ingenious or otherwise.

Most of the ancient science of the Greeks

and Romans had been forgotten.

But in the Islamic world, Arab scholars

preserved and studied ancient science.

- At a time when Westerners had all but forgotten about it,

the Muslims were working towards new generations

of evermore ingenious devices.

(contemplative orchestral music)

- [Narrator] Nearly all of al-Jazari's devices

involve the flow of water.

This may be because mechanized irrigation

is a necessity in a dry land,

but there may also be a spiritual dimension.

- From the Islamic prospective,

the Koran speaks very highly about water,

and in particular there's a verse that really stands out

and God Almighty says, water is the source of life.

(fountain hissing)

- [Narrator] In al-Jazari's devices, water is a source

of power, but are they just designs or do they really work?

To find out, Bert Hall has decided

to try to make one of his own.

(door knocks)

In Toronto, he enlists the help of Chris Warrilow,

a film and stage props-maker.

- [Bert] I'm amazed at all the stuff you've got here.

- [Chris] Why, thank you very much.

- Well, this is a medieval drawing

from the work of al-Jazari.

This is for handwashing, and the idea is

it's designed as a model of a servant

that pours water over the user's hands.

Then the water drains out,

and the servant offers the user a towel.

- This the only thing that we have to go by?

- This is the best that we have to go by.

There's other versions of this, but they don't give you

any more information than this one does.

- Okay, okay, oh.

- So where do you think we go from here?

- (chuckles) I would say a hardware store.

(both laughing)

(contemplative orchestral music)

- [Narrator] Chris is not the first to try

to reconstruct al-Jazari's devices.

A few can be found in the Museum

of the History of Science and Technology near Topkapi.

Like the mechanical servant girl,

many of these devices feature human figures.

- Remember, at an age before television,

to see something that looked like a human being

going through motions that looked like human motions,

banging a drum, ringing a bell, playing a flute,

that sort of thing, was quite the spectacle.

- [Narrator] But none of these models move.

Chris hopes to have more luck with his servant girl.

But why was so much ingenuity

devoted to simply offering a towel?

The answer can be found in a mosque.

(man chanting in foreign language)

For the ritual that every Muslim must perform

before answering the call to prayer.

(water splashing)

- We have to make ablution and the specific method

of washing through the water that brings

the purification before we commence

our prayers and our acts of worship.

(contemplative orchestral music)

- [Narrator] In the 13th century,

when a sultan purified himself,

a servant would be standing by to give him a clean towel.

The mechanical girl was designed to do

this work without human assistance,

and that makes her a kind of robot.

If Chris can make her work, it will mean

that al-Jazari designed the first robot in history.

- I'm interested to see if something can be made

with modern materials that would imitate

the actions of a design that's almost a thousand years old.

- [Chris] Oh, hi, Bert.

- Hi, Chris, what do you got for me?

- I really hope this meets with your approval.

- [Bert] Oh, wow!

I'd love to see it working.

- Okay, alrighty, so we start with dumping

our water in our first tank on top.

This is our main reservoir.

(water splashing)

- Can I pull the plug? - Pull that little plug.

- Can I do it? - Straight up and there we go.

(contemplative synth music)

(water splashing)

You may wanna step back. (laughs)

So it will fill up our basin almost to the brim

before it starts siphoning out.

So you now have a few moments to wash your hands.

- Yes.

- Almost overflows. - There it goes.

Almost overflowing and starting to float.

It's starting to float.

- [Chris] We should see our attendant

offer us the towel, and there we go.

- [Bert] Oh, I see.

It works slowly then, very impressive.

- [Chris] Wanna do it again?

- Yeah. (water splashing)

- There it goes.

It was a bit of a concern that it wasn't going to work.

I really couldn't test the individual pieces

as I was putting it together, but it works. (laughs)

- [Narrator] This means that using only water

as a power source, al-Jazari created

the first working robot in history,

and the robot is far from his most complex invention.

Some transmit water power

through an elaborate interplay of levers and gears.

- Would there have been anything

of this nature in Europe or elsewhere?

- Not really, we know that things like this were given

by Muslim rulers as gifts to Christian rulers.

They served the same function of public admiration,

a kind of mechanical marvel to look at.

(dramatic orchestral music)

(machine whirring)

- [Narrator] In their own marvels,

Europeans adapted some of al-Jazari's mechanical technology,

including his most farsighted innovation,

now known as the crankshaft.

(engine rumbling)

Today, the crankshaft is an essential part

of every truck and automobile,

technology that a Muslim visionary shared with the world

in his book of ingenious mechanical devices.

(dramatic orchestral music)

Up next, secrets of the harem.

(dramatic choral symphony music)

The Topkapi Palace Museum was once

the hub of the Ottoman Empire.

Three centuries ago, the palace grounds

were as crowded as they are today,

with courtiers, generals, scientists, and slaves.

But down a long pathway lay a part of the palace

that only the sultan and a select few could enter.

The name of this place might be

the only Arabic word you know, harem.

- Nobody knew what went on inside the harem.

That was absolutely secret.

The word, harem, means forbidden.

It's a forbidden area.

- [Narrator] Harem, the word conjures

Hollywood fantasies of sex slaves and orgies,

all to please the all-powerful sultan.

(women laughing)

And in the real harem, the sultan

had many women to do his bidding.

(Ganan speaking in foreign language)

Today, Ganan Gimeli is the harem's curator.

(contemplative orchestral music)

- [Narrator] The room seemed designed

to encourage sexual passion.

(Ganan speaking in foreign language)

- [Narrator] But in one wing of the harem,

bars on the widows hint at a different story.

The rooms beyond are locked, each one, a prison cell.

This museum secret will reveal who is imprisoned here

and what happened when they got out.

(bars clanking)

Women were brought to the harem

when they were very young, snatched from their homes

in outlying Christian regions of the Ottoman Empire.

- Be brought in, they would convert to Islam,

and they would go through a whole process of education.

It's a very beautiful place, but it's

actually quite a severe environment,

and I often compare it, it's like

a kind of really tough girls boarding school.

- [Narrator] Just how tough can be seen in this spartan room

where women of the harem wrote messages 300 years ago.

- [Narrator] The inscription reads,

"When someone lost a mirror, I was accused of stealing it."

- [Narrator] After receiving her education,

a young woman would be presented to the sultan.

She would soon discover that the sultan

didn't just have sex on his mind.

- The idea really behind the harem for the sultan

was that he should have heirs,

and that's why it's not as sexy as we like to think

because really it was just about procreation.

And it wasn't about having great time while you did it.

It was just about getting boys out.

- [Narrator] Any son of a sultan was in line for the throne,

so when a new sultan was declared, all his brothers

and half-brothers were potential sultans, too.

Every new sultan began his reign

by eliminating the competition.

- The guy who took power immediately had

all his brothers rounded up and killed

so that there would be no dissension in the state

so that he would rule unchallenged.

- [Narrator] Even the sultan's youngest brothers

would be put to death.

(boy grunts)

- The killing just got sort of too gross,

and people were offended.

19 boys, perfectly healthy, good boys,

and they're kind of taken out to the burial grounds

and they go through the streets of Istanbul

and everybody starts wailing, and this is a terrible event.

- [Narrator] Revulsion led to a ban on such brutal killings,

but the sultans still needed a way to contain

their brothers' designs on power.

And that brings us back here to these barred windows.

- Behind us here is what is referred to

as the notorious kafes or the cage.

The new idea was that the brothers

would drag out their existence here.

(reflective orchestral music)

- [Narrator] One of the first boys

to grow up in this prison was Ibrahim I.

(child crying)

Locked up with his siblings when he was just two years old,

Ibrahim was given food and shelter but little else.

(woman crying) (door banging)

He was deprived of love and even human contact.

After 22 years, when he was told the sultan had died

and he was next in line for the throne,

Ibrahim believed it was a cruel joke.

(body thuds) (man groans)

He refused to budge until someone proved

that the old sultan was really dead.

When Ibrahim walked out into the sunlight,

he struggled to adjust.

(birds chirping)

- He just went on a major spree.

- [Narrator] Like a sultan in a Hollywood movie,

he tried to make up for lost time.

He had sex with a new partner every night,

ignoring his official duties.

And as for the prison where he suffered

for so long, he expanded it.

- And actually not just

in this kinda handsome-looking building

but in a whole ward, a rather kind of dingy,

little hovels up above the corridors.

So you had nephews and uncles

and brothers and all these guys

who were living in various states of neglect.

(insects chirping) (fire crackling)

- [Narrator] So many years in the cage

had unhinged Ibrahim's mind.

He began to suspect his harem was unfaithful.

What he did next was insane.

- So they were all taken to the edge

of the Bosphorus out on a boat.

Weights were put round their feet,

and they were thrown into the water where they all drowned.

(water splashing)

A fishermen, later on that day,

he dived down and found himself, to his horror,

amongst this sort of grove of beautiful women,

all bowing gracefully with the passing tide.

(haunting synth music)

- [Narrator] When the news reached the palace,

Ibrahim's courtiers took drastic action.

They marched him back to his gilded cage in the harem

where he was discreetly strangled.

(contemplative orchestral music)

To give a man nothing and then to give him everything is

a recipe for disaster, and perhaps that's

why the sultan's harem really should be forbidden.

Up next, the secret of winning an unwinnable war.

(dramatic choral symphony music)

Topkapi Palace did not become a museum

because the Ottoman rulers wanted it that way.

In fact, the sultans might still be here today

except for one miscalculation.

In World War I, the reigning sultan backed the Germans.

Even after his army was crushed by the Allies,

he made no attempt to make peace.

After the war, a popular uprising replaced

the Ottoman Empire with the Democratic Nation of Turkey.

The sultan fled not just from his palace

but from the country.

The Turks were proud of achieving freedom,

but it came with the loss of identity.

If they were no longer Ottomans, who were they?

Turkish archeologists sought the answer

in the distant past, looking for evidence

of a Turkish culture before the Ottoman Empire.

And today, their discoveries are on view here

in the archeological museum just outside Topkapi's walls.

The finds are over 2,500 years old.

Historians believe they were all made

by a people called the Hittites.

But their works exhibit so much variety

that they do not reveal a single cultural identity.

Were they warriors, scholars, hunters, or something else?

That is our final museum secret.

We begin our investigation in the dessert valley

of Tell Tayinat, where archeologists have spent decades

digging methodically layer by layer into the past.

- So what we're looking at here is actually

the remains of a temple from the Neo-Hittite period,

from the ninth to late eighth century.

The actual temple itself was rather modest,

comprised of two small rooms.

(tractor rumbling)

- [Narrator] The temple was the center of a Hittite town.

- And we know it was destroyed in 738 B.C.

by the Assyrian Empire-builder, Tiglath-Pileser III.

- [Narrator] This Assyrian stone carving shows Assyrians

cutting off the heads of the vanquished Hittites.

- It's essentially meant to intimidate,

to signal to the local vanquished community

that if you did not toe the line,

that's what you could expect to happen to you.

- [Narrator] It appears the Turkish identity

may be linked to a defeated people.

But what about the Hittites' earlier history,

say 300 years before?

- Well, okay, so we've been working on exposing

the rest of this room and the rest of the architecture.

- So we have actually a room here that we've excavated

down to the floor and then a second room here

of some large building that we've just begun to uncover

that's part of, could be an administrative building.

It could be a palace maybe.

- [Narrator] These earlier Hittites

lived on a grander scale.

- So they produced beautiful works of art,

large sculptures of lions and reliefs

of various mythological scenes.

It looks like their religious traditions.

- [Narrator] They protected their treasures

behind high walls.

- They produced these monumental citadels

with massive fortifications,

large beautifully-carved sculptural reliefs.

So they were into monumentality in a remarkable way.

- [Narrator] And these pottery vessels suggest

they paid for it all with agriculture and trade.

- I actually think that there were probably quite sedentary.

They built large cities, they were good farmers.

- [Narrator] So perhaps the Turkish identity is

routed in trade and monumentalism.

But when we dig even deeper into Hittite history,

the picture changes once again.

Hittite tablets from the 13th century B.C.

tell of army of chariots, the fighter jets of their day.

Like the Ottomans, the earliest Hittites used their might

to expand their empire across the Middle East.

They even threatened mighty Egypt.

In 1275 B.C., the legions of Pharaoh Ramses II attacked.

(horses clomping)

Both sides put everything they had

into the battle, 5,000 chariots in all.

(metal clanging)

Casualties mounted.

Neither side could gain advantage.

It seemed they were fated to battle

each other into oblivion.

(soldiers shouting)

And at this moment, the Hittites did something

no Ottoman would ever have done.

It was the defining moment for the first Turkish people

and for their enemy as well.

What happened is written in the Hittite language

on this stone tablet in the archeological museum.

And in Cairo's Egyptian museum,

the same text is inscribed in Egyptian hieroglyphics.

- Both sides retreated, and I think they realized

they probably couldn't control or dominate the other,

and so instead they reached a diplomatic agreement,

a detente, if you will, to leave each other alone.

- [Narrator] The agreement is commemorated

at UN headquarters in New York as proof

that peace is possible even in the Middle East.

(explosions booming)

And if the Turkish people are still looking

for something to define them, they can take heart.

Along with all the Turkish people

have given to civilization, their ancestors wrote

the world's first peace treaty.

In this palace filled with treasures of the past,

for every mystery we reveal, far more must remain unspoken,

secrets of the brightest minds and of the darkest souls,

hidden in plain site inside the Topkapi Palace Museum.

(dramatic orchestral music)

(contemplative synth music)