Original subtitles

NARRATOR: Massive figures thatcan only be seen

from the sky.

ANDREW COLLINS: The geoglyphs were only really revealed

ANDREW COLLINS: The geoglyphs were only really revealed

once aircraft got up into the air.

NARRATOR: Mysterious symbols that recur again and again.

DAVID CHILDRESS: There is a message for us

that we have been missing all this time.

NARRATOR: And complex mathematical principles

encoded within elaborate crop formations.

LINDA MOULTON HOWE: What in the world

is making these patterns and why?

NARRATOR: Could hidden messages exist all around us?

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

And if so, have they been left

by an otherworldly civilization?

GIORGIO A. TSOUKALOS: These are messages from elsewhere,

and elsewhere, in my opinion,

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

means of extraterrestrial origin.

NARRATOR: There is a doorway

in the universe.

Beyond it is the promise of truth.

It demands we question everything

It demands we question everything we have ever been taught.

we have ever been taught.

The evidence is all around us.

The future is right before our eyes.

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

We are not alone.

We are not alone. We have never been alone.

We have never been alone.

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

amateur archaeologist Dr. Abdullah Al-Saeed

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

comes upon a number

of what appear to be stone walls,

each approximately three feet high.

From the ground level, Dr. Al-Saeed concludes

that the structures have no discernable pattern or purpose.

That is, not until four years later,

when he obtains satellite photos of the very same area.

What he sees astounds him.

There, detectable from the sky, are a vast collection

of more than 400 stone enclosures.

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

these mysterious structures are quickly examined,

and are revealed to stretch for hundreds of miles.

COLLINS: They were within what's referred to

as a lava field of activity.

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

...or as gates,

which are more rectilinear forms of them.

And there are literally hundreds of these.

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

right the way across to Jordan, and into Syria.

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

going off into the distance like runways,

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

NARRATOR: Although no record exists

indicating when these structures were built,

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

who built them or why,

the predominant theory among mainstream archaeologists

is that they were constructed for hunting purposes

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

many thousands of years ago.

What we think they are, are prehistoric hunting sites,

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

where gazelle and other animals

would be driven into the enclosure,

and then, on the outsides of the enclosure,

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

The kites, when you visit them on the ground,

are really hard to find.

In the air, you get the whole pattern.

There are literally thousands of them.

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

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

And why did they fall into disuse?

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

NARRATOR: Although the theory that the stone structures

were used for hunting purposes is compelling,

ancient astronaut theorists argue that if these structures

were really used for hunting gazelle,

the walls would have needed to be

more than three feet high, since a gazelle

can leap more than ten feet into the air.

Instead, they suggest that because the structures

are only viewable from the air,

they should be considered geoglyphs.

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

usually quite large scale.

Most geoglyphs are in deserts, and in deserts,

you get a phenomenon which we call desert varnish.

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

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

expose the lighter soil or sand underneath,

that is one way of making a drawing.

The second basic technique is to use the dark stones

and pile them together to make shapes.

Geometric shapes, animal shapes or whatever.

And the third basic technique

is simply a combination of the two.

You move things to one side to expose lightness,

you use the dark stones to make patterns.

So, you get very nice combination of the two.

In recent years, thanks to modern technology,

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

and particularly satellite photographs,

there has been an explosion in new discoveries

of geoglyphs that we didn't know about before.

COLLINS: The interesting fact about all of these

is that they point towards the sky.

And what might this tell us?

Well, the first thing is that many of the geoglyphs

that we know today were only discovered

once aerial survey started in around the 1920s.

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

All of them were only really revealed

once aircraft got up into the air.

And this tells us something very, very important.

BAHN: Most geoglyphs really only make sense from above.

It therefore seems that they would be messages

to something non-human, something up there.

NARRATOR: When the now legendary Nazca Lines of Peru

were first discovered in 1926,

they were considered a unique phenomenon.

But now, with the benefit of satellite imagery,

thousands of ancient geoglyphs

are being found all over the world.

In Kazakhstan,

in the southwestern United States,

in the Atacama Desert of Chile

in the Atacama Desert of Chile and in Bolivia.

and in Bolivia.

COLLINS: Almost everywhere around the world,

we find what are known as geoglyphs,

whether they be the Nazca Lines in Peru,

British geoglyphs, to those in the Middle East,

they're something that are virtually

universal around the world, and they have been appearing

for many hundreds of years.

NARRATOR: But why would ancient people,

in so many different locations around the world,

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

We don't know for sure what ancient peoples

were trying to communicate through geoglyphs,

but the most important thing is

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

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

They're not quick sketches.

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

and the time that you spend working on them

is time not spent gathering food,

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

not spent defending your land.

It's time not spent looking after your children.

So, the first thing that they communicate

is, to the community itself,

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

what is important to the community.

NARRATOR: But could there be another,

even more incredible, explanation?

Is it possible that these ancient geoglyphs

were created, not for a terrestrial purpose,

but for an extraterrestrial one?

Ancient astronaut theorists say yes,

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

and suggest further clues can be found

by examining similar shapes and symbols

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

that occur on a much smaller scale.

Geoglyphs are gigantic-sized versions

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

of what we know as petroglyphs,

the most obvious being the rock art

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

that date back many, many thousands of years.

Petroglyphs are images carved into stones,

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

or incised or hammered away.

They occur all over the world,

from Australia, up through Asia,

Europe, Africa, through the Americas.

NARRATOR: Perhaps more intriguing than the petroglyphs themselves,

are the eerie similarities between them

are the eerie similarities between them and their geoglyphic siblings.

and their geoglyphic siblings.

We see certain symbols recurring again and again.

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

There are many geometric forms.

These take the form of spirals,

of concentric rings, and other,

more rectilinear or abstract designs.

They're something that are

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

virtually universal around the world.

NARRATOR: Is it possible that the thousands

of mysterious petroglyphs and geoglyphs

found throughout the world

were intended to be a form of communication

between early humans and extraterrestrial visitors?

Ancient astronaut theorists believe

that proof of such a profound idea does exist,

and it can be found by examining

and it can be found by examining an ancient story associated

an ancient story associated

with one of the oldest petroglyphs ever discovered.

Northwest Nevada. 2013.

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

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

researchers take carbonate samples

from a series of recently discovered limestone boulders.

They are covered with what appears to be ancient carvings.

Some of the petroglyphs are believed to be

depictions of ancient shipping techniques,

but others are much more difficult to identify.

Even more mysterious is the fact

that the local Paiute people say the petroglyphs

were not created by their ancestors,

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

but by a race of giants.

CHRIS HEGG: The Paiutes said that, initially,

they did not create petroglyphs,

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

The Si-Te-Cah was a race of giants

that was said to have been white-complected,

having red hair, and well over seven foot tall.

The Paiutes explained that these giants

lived on the lake, in Pyramid Lake,

on floating cities.

And each Paiute legend has their own versions

of how petroglyphs were originally created,

but they remain, to this day,

unaware now of what a lot of that language was,

like most tribes in the world.

NARRATOR: Samples of the petroglyphs

were taken to the University of Colorado at Boulder,

where scientists performed a series of radiocarbon tests

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

to determine their age.

The results are astonishing,

and reveal the petroglyphs were etched

between 10,500 and 14,800 years ago,

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

making them the oldest petroglyphs

ever found in North America.

WILLIAM HENRY: When we look at petroglyphs,

with their incredible spirals, the doorways,

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

the strange beings that are featured,

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

an origin with extraterrestrials themselves.

NARRATOR: Could the petroglyphs found at Winnemucca Lake

really have been created by an ancient race

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

of extraterrestrial giants?

If so, what were they intended to represent?

A map indicating their planet of origin?

Or was it an alien form of hieroglyphics

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

which, when deciphered, could teach us

profound lessons about mankind's past?

Perhaps further clues can be found

by examining the most mysterious geoglyphs of all.

Incredible markings that are invisible to the naked eye.

NARRATOR: Palpa, Peru. December, 2017.

Researchers use state-of-the-art drones

to photograph the famous Nazca lines

with high-resolution cameras.

COLLINS: This is new technology being employed

to search the landscape,

and to try and find what the human eye

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

NARRATOR: What the researchers find amazes them,

as the HD camera reveals dozens of additional geoglyphs

that had never been seen before.

COLLINS: They include a huge serpent,

and also a giant fish,

both of which are cosmic symbols.

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

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

because they're on hillsides,

and it's known that the Paracas culture,

who were around before the Nazca,

going back to probably 800 BC, or even earlier.

It does suggest that there was more cultures

than just the Nazca people

creating these effigies and lines

in that part of the whole Nazca region.

NARRATOR: More geoglyphs created by cultures

stretching back nearly 3,000 years?

But who were they?

What were they trying to communicate?

TSOUKALOS: One has to wonder why did our ancestors

create these things if they can only

be appreciated from the air?

Because here is the thing:

Sometimes it has been proposed that the Nazca lines

were crests of different tribes,

of different societies.

But if I were a society leader,

and I had my crest created on the ground,

but I could not see it,

I would not be very happy with that.

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

that suggests to me that many of the geoglyphs

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

were, in fact, created

in order to contact someone up there.

COLLINS: The ancients were trying to represent

that which they believed was coming from the cosmos,

and that they themselves were trying to communicate

or make the link with these cosmic beings.

NARRATOR: For ancient astronaut theorists,

the link between the Nazca lines

and extraterrestrial communication is an obvious one.

They believe ancient man would have no reason

to make such detailed and elaborate

representations of life on Earth

unless they were trying to communicate with someone.

They also cite recent images recorded on Mars

as evidence which supports their claims.

Certainly, the photographs that have been taken

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

by the Mars orbiters,

and the landers, and the rovers,

would suggest there are actually geoglyphs on Mars.

These geoglyphic formations are structural,

like we see with the American Indians,

the mound builders, those types of formations.

We're also finding pictographic images

like the face on Mars, which have facial features.

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

and definitely on the surface of Mars

we have some stone circles.

No, nature does not create stone circle.

Nature could make one stone circle,

but not three or four put together.

NARRATOR: Of particular interest to researchers

is a recently discovered geological anomaly

that strongly resembles a species of bird.

In 2002, a member of the Cydonia Institute

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

discovered a parrot formation

in the Argyre basin area of Mars.

After two geologists and three veterinarians,

one being an avian specialist, examined the formation,

they confirmed that the parrot formation

had over 17 points of anatomical correctness,

all adhering to the proper shape, size,

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

and orientation to a real parrot.

The same motif can be seen on a copper plate

produced by the Hopewell Indians

that features the same type of parrot formation

with an upraised wing.

NARRATOR: Could the mysterious, parrot-shaped formation

on the surface of Mars really offer a link

to the thousands of geoglyphs found here on Earth?

And, if so, does it offer evidence

that extraterrestrials have been using them

as a form of communication with humans

for thousands of years?

Ancient astronaut theorists say yes,

and believe that the various geoglyphic depictions

of animals, humans and birds

may not have been intended as mere artwork,

but as a form of language.

NARRATOR: Elkab, Egypt. June, 2017.

A team of researchers from Yale University

and the Royal Museums of Art and History in Brussels,

make an historic find.

While exploring this ancient city,

they discover a number of rock art carvings

which, after closer examination,

date back an estimated 5,200 years.

making them the oldest

monumental Egyptian hieroglyphs ever discovered.

Using combinations of various shapes and symbols,

including representations of humans and animals,

hieroglyphics is regarded

as a highly sophisticated writing system,

where every symbol, and combination of symbols,

has a specific meaning.

When we look at the hieroglyphs of ancient Egypt,

they seem to have come from nowhere.

No one knows where they came from,

no one knows who they really were designed for

or for their purpose.

They just appeared out of nowhere.

So where did these come from?

Were they sort of just divinely inspired?

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

and arrived and presented them with this information?

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

and ancient Egyptian texts say it was a gift

given to them from the god Thoth.

There are legends from all over the world

that sky gods have come down to Earth

and given information of science and learning,

and also communication, and of language to people.

And early language and alphabets are these symbols.

RAMY ROMANY: We're here in Luxor Temple,

and the hieroglyphs here

and the hieroglyphs here are so interesting.

are so interesting.

Most people would think that ancient Egyptian hieroglyphs

is more like emojis and-and symbols,

where the sun and a cow would meet the sky,

and you have this picture of the sky...

It's not pictures next to each other.

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

It's a proper language.

It's a language that has such precision

that people from all over the world,

can translate it with the same exact meaning.

All this language was from the god of knowledge.

That's what ancient Egyptians believed,

that god Thoth gave them the language,

with all it has.

with all it has. And the kings then used it

And the kings then used it

to also communicate with their gods.

Ancient Egyptian kings knew for a fact

that their gods understood hieroglyphs.

As described in the Pyramid Texts,

ancient Egyptian religious texts

that date back more than 4,000 years,

a meteoric iron object called the Benben stone

was reported as having descended from the heavens

like a firebird.

Even Egyptologists agree

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

...and made a controlled landing.

The Benben stone opened, and people walked out.

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

The first creator gods.

Now when I hear a story like this,

I wonder if this thing

may have been some type of a craft

because it is very reminiscent of the top

module of an Apollo rocket.

The Benben came with hieroglyphic inscriptions on it,

and it was the first form of hieroglyphic language,

the gift from the gods.

This was the language of the gods.

NARRATOR: Did an otherworldly spacecraft

bring the language of hieroglyphics

to the people of ancient Egypt thousands of years ago?

And if so, could there be a connection

between hieroglyphs and the various individual

figures of animals, shapes and symbols

found in the world's petroglyphs and geoglyphs?

CHILDRESS: It would seem that these petroglyphs and geoglyphs

are ultimately part of this universal language

that's the forerunner of hieroglyphic

and pictographic languages too, like the Chinese for example.

When we're really able to understand

these geoglyphs and petroglyphs,

we may find that there is a message for us

that we have been missing all this time.

One day, hopefully, we will find that knowledge

and know that message.

NARRATOR: If hieroglyphs actually represent

a type of ancient alien language,

could their earliest examples exist carved in to rocks,

and etched in desert sands?

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

Perhaps further clues can be found

by examining our own attempts to communicate

with unknown intelligences in the cosmos.

NARRATOR: Arecibo Observatory, Puerto Rico.

November 16, 1974.

Early pioneers of SETI--

the search for extraterrestrial intelligence--

aim the world's largest radio telescope

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

to send a transmission out into the cosmos.

The coded signal consists of binary digits--

zeros and ones-- that form a message

designed to notify other potentially advanced beings

designed to notify other potentially advanced beings of our existence.

of our existence.

This message into space, it was encoded

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

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

and because you don't know anything about them,

you have to make this as obvious as possible.

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

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

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

because right up here are the numbers

from one to ten, but in binary,

and anybody who has thought about binary

should be able to figure that out,

including the aliens.

Right underneath that is this funny thing

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

Those are the atomic numbers of the elements

that make up our bodies: hydrogen, carbon,

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

nitrogen, oxygen and phosphorus.

NARRATOR: The coded message also contained

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

information about our DNA,

information about our DNA, the figure of a human,

the figure of a human,

a graphic of the solar system

and a graphic of a radio telescope.

For decades, SETI scientists wondered

if their cosmic message would ever be received,

or answered.

Then, nearly 27 years later,

there appeared to be a response.

Hampshire, England. August, 2001.

Next to the Chilbolton Radio Observatory,

two crop formations appeared in a field.

Both were unlike any other ever found.

They were both pixelated,

meaning that when you're on the ground,

you couldn't perceive what the crop circle was.

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

COLLINS: One of the crop formations that appeared

at Chilbolton in 2001 was a face,

but the other one was far, far more interesting

because it greatly resembled the message

that had been sent in 1974.

There were very, very subtle differences between the two.

They looked identical, but when you actually

looked at them, the differences gave a key

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

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

that we sent out, when it came back,

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

with a large head and a small body.

It also had a different system of planets,

which is suggesting it's a different solar system,

and also it had a different DNA sequence as well.

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

And so, just these three things

really caught my attention because either it was...

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

that came back and was a response

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

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

and the media, that we really had received a reply

to the Arecibo message of 1974.

Can we see it as a reply?

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

and their exact purpose will remain a mystery.

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

that we were on the right track,

communicating in the universal language of the cosmos:

binary code.

A German mathematician, Gottfried Leibniz,

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

In turn, Leibniz is said to have credited his inspiration

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

an ancient oracle code used to communicate divine guidance.

DOMINIC STEAVU: The I Ching is a kind of cryptic

oracular inscription that you're supposed to decipher,

and it was heavily used in divination in early China.

The numerical symbols or values are actually tied to

a semi-mythical figure by the name of Fuxi,

who is perhaps the earliest

legendary ruler of China.

The history or origin of the I Ching

is very interesting because it is said that this knowledge

was imparted on Fuxi by an otherworldly being.

NARRATOR: According to ancient Chinese myth,

Fu Xi lived around 3000 BC.

He and his sister were the sole survivors

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

COLLINS: And it was said that one day,

he was on the Yellow River,

and a water dragon appeared to him,

and that on the back of this water dragon

was revealed to him the eight trigrams.

was revealed to him the eight trigrams. NARRATOR:

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

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

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

a distinct binary code.

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

what was essentially a binary code.

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

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

And this is something that extraterrestrials

on other planets and other galaxies

must also be using.

Some have surmised that the idea for the binary code

was gleaned from the I Ching.

It's a very curious thing,

especially the idea that the basics of the I Ching

was imparted by another type of being.

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

to set up a common communication language with mankind?

Might this also support the notion

that the crop circles in Chilbolton

are an actual alien response to the signal

that SETI sent out into the cosmos in 1974?

And have extraterrestrials been leaving messages

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

Ancient astronaut theorists say yes,

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

and point to evidence that crop circles

are not just a modern-day phenomenon,

but have been appearing for centuries.

NARRATOR: Turin, Italy. June 23, 2015.

Pilot Silvio Sirotto reports

Pilot Silvio Sirotto reports that while flying over a wheat field

that while flying over a wheat field

directly in the flight path of the local airport,

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

he spotted a mysterious design

seemingly pressed into the crops.

Investigators are baffled as to how the design

could have been created without any detection

in such a high-traffic area.

To date, it remains a mystery,

but it is only one example of a strange phenomenon

that has been going on for decades,

and possibly much, much longer.

Over 10,000 crop formations have been found worldwide.

They have been reported in over 50 different countries,

and on nearly every continent on Earth.

Commonly known as crop circles,

the formations are designs pressed down into fields.

They range from small circles, to elaborate pictograms

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

hundreds of feet across.

They have been found in various crops,

including wheat, barley,

oil seed rape and corn.

And they've been making worldwide headlines

since the mid-1960s.

One of the first in 1966,

it was Tully, Queensland, Australia.

A farmer heard a buzzing sound,

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

and literally saw this big, round,

maybe 30-feet diameter craft, disk,

rising up out of what, essentially,

was marshy, reedy ground.

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

CHARLES MALLETT: Beginning in Tully, Australia,

there seems to be a kind of a smattering

of these circular impressions, relatively simple,

but in several locations around the world.

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

1960s, '70s, '80s,

liberal sprinkling of circles.

1990, bang,

and the whole thing goes planet-wide.

NARRATOR: By 1991, over 2,500 formations

had been reported across 23 different countries.

HOWE: As an investigative reporter

who began about three decades ago,

trying to get to the bottom of this phenomena,

I remember getting these photographs

and reading that there were no footprints.

No one was walking around, because if they had,

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

we would have seen broken stalks.

Everybody was raising this question:

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

They had scientists and meteorologists in the field,

and it was really fascinating.

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

POPE: Nobody knew what to make of this.

Politicians, scientists, the UFO community,

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

everyone was scratching their heads

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

Some people thought that it was extraterrestrial.

Others thought it was a meteorological

phenomenon of some sort.

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

NARRATOR: On September 9, 1991,

two retirees from the English countryside,

Doug Bower and Dave Chorley,

came forward with an admission

that they were behind the crop formations.

Using nothing more than a board and strings,

the hoaxers demonstrated their technique

for pressing down the crop to form a design.

HOWE: I won't forget when the news came

that there were these two men saying

they were responsible for all the crop formations.

And immediately, because of all the work

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

that I had been doing was,

well, they weren't traveling to 23 nations.

Number one.

Number two: They were off-kilter.

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

They were not geometric.

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

there's just no comparison.

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

That was the headline in our local newspaper here,

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

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

Most people pretty much swallowed that

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

hook, line and sinker.

POPE: There are some theories that Doug and Dave

were just government stooges,

that the plan was to bring the whole subject

into disrepute, to discredit it,

and to make the media just go away.

NARRATOR: But could it be that there is

more to the crop circle phenomenon

than a modern-day hoax orchestrated by pranksters?

Ancient astronaut theorists say yes,

and suggest that crop formations are not,

in fact, a modern phenomenon at all,

but can be traced back hundreds of years.

JONATHAN YOUNG: There is a report from the year 815

of the Bishop of Lyon,

a warning notifying another priest

who was going to take over his parish

that the locals are involved in something

he considers devil worship.

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

and using them in fertility rituals.

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

One of the original scientists, Dr. Robert Plot,

reported seeing crop circles appearing on his land

in Staffordshire, England.

And he actually drew diagrams of what he was seeing.

We also have the infamous legend in the 1600s

of the so-called Mowing Devil.

(thunder crashes)

TSOUKALOS: One of the first crop circles ever reported

was a mowing devil that was in England,

going through the wheat fields.

There's actually a woodcut that shows what,

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

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

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

laid down this formation in a wheat field,

and that goes back all the way to 1678.

Some even have suggested that there may be

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

HENRY: In the Dead Sea Scrolls is a cryptic reference

to a light that leaves a mark on the ground.

Interpreters ask is it possible

that the marks on the land, specifically on the barley

and the lentil, are crop circles?

NARRATOR: Is it possible that crop circles

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

And if so, could it be that,

while some of these formations have been exposed as hoaxes,

many others are connected to otherworldly beings?

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

Perhaps further clues can be found

by exploring eyewitness accounts

of the crop circle phenomena.

NARRATOR: Salisbury, England.

July 7, 2007.

Local paralegal and crop circle researcher Gary King

spends the night camping out on Knap Hill,

an area known for sightings of mysterious orbs

and other strange occurrences.

It was the 7th of July, 2007,

so, because it was kind of an auspicious date,

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

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

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

we had a big white flash of light

which completely encompassed the sky.

(static crackles)

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

this crop circle laid out in front of us.

The field it appeared in was this field here,

to the right, that's yellow now.

It was actually in wheat

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

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

and came over the brow of this hill,

and it was absolutely enormous.

NARRATOR: The crop formation extended

NARRATOR: The crop formation extended 1,033 feet long

1,033 feet long

and 490 feet wide.

The over two-acre design

The over two-acre design contained 150 individual circles,

contained 150 individual circles,

contained 150 individual circles, the largest 164 feet across.

the largest 164 feet across.

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

is that people with boards didn't make this.

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

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

first-hand accounts of designs

that mysteriously appear in a short period of time.

It is documented that there are approximately 70 cases of people

having an eyewitness sighting

of the formation of a crop circle

where they are literally standing there in the crop,

and it just spontaneously forms in front of them.

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

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

and then this sort of crackling

electrostatic charge on the crops,

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

is unrolling, just-- (whooshes)--

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

the crops just fold down,

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

NARRATOR: Crop circle researchers cite

that many of these eyewitness accounts

include sightings of strange lights

in and around a formation.

I myself have seen several,

and they are astonishing in their brightness.

We are dealing with intelligent plasmas

that are sending and receiving information

for another intelligence of unknown origin.

Orbs of light are a commonly associated phenomenon

with crop circles, and this goes all the way back

to the story of the Mowing Devil in 1678.

The sighting of lights is often associated

with these phenomenon, and they do seem to suggest

something we don't understand.

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

represented some force of nature

we had not entirely acknowledged or given sufficient respect to,

some mystery that we need to come to grips with.

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

something like the stylus from an extraterrestrial hand

that is somewhere far away, but this light is

the projected form of a technology

being used from the safety and comfort of space.

NARRATOR: Just what purpose do crop circles serve?

Are they an interstellar code?

Or could they be extraterrestrial messages

left for humans to study and decipher?

Winchester, England. August 15, 2002.

A crop formation bearing the image

of what appears to be a Grey alien

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

emerges in a wheat field.

At the bottom right corner of the image

is a disk-shaped object

containing what some believe to be binary code,

a computer language consisting of ones and zeros.

There was a crop formation

that unmistakably looks like

an extraterrestrial, the proverbial Grey,

with the almond eyes and the triangular-shaped head.

And there's also, at the bottom,

there seems to be a computer disk,

and what looked like binary code.

The message allegedly says, "Beware the bearers

"of false gifts and their broken promises.

"Much pain, but still time.

"There is good out there.

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

"We oppose deceivers.

Conduit closing."

It was warning humanity

It was warning humanity about the deceivers, about dangers.

about the deceivers, about dangers.

TSOUKALOS: It essentially shows that they are trying to

somehow communicate with us.

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

indeed, are messages from elsewhere.

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

And elsewhere, in my opinion,

means of extraterrestrial origin.

NARRATOR: Could it be that some crop formations

serve as a medium for extraterrestrial communication?

Many crop circle researchers say yes,

and suggest further evidence of this

and suggest further evidence of this can be found by examining

can be found by examining

the advanced astronomical, scientific

and mathematical equations contained within them.

One formation had everyone baffled,

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

Then a mathematician had a look at it,

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

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

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

It's kind of interesting

because the way you get pi out of it

is the lengths of the different arcs

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

in each segment and what happens is

there's these little notches in the spiral

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

so you actually have to

measure the arc lengths as you go around,

and their lengths give you the digits of pi.

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

So it's a really interesting example of using geometry

as a code for representing digits and numbers.

POPE: It just shows the level of knowledge,

mathematical knowledge, geometric skill

that goes into making these things.

Many of the most famous crop circles

actually derive from fractal patterns.

The Mandelbrot set...

the Julia set.

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

Mathematics is, of course, the universal language.

If we ever encounter aliens,

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

We'll speak, and we'll communicate,

via mathematics.

Could crop circles, as some believe,

be an attempt from an alien civilization

to reach out and communicate with us?

NARRATOR: If extraterrestrials are leaving messages

NARRATOR: If extraterrestrials are leaving messages

for humanity within crop circles,

why aren't they being studied by government agencies?

According to ancient astronaut theorists,

it's very possible that they are.

And as evidence, they point to NASA documents

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

that suggest ancient rock art

could actually be a form of alien communication.

NARRATOR: Washington D.C.,

May, 2014.

May, 2014. NASA researchers, in conjunction

NASA researchers, in conjunction

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

with SETI scientists, publish a manual

enlisting archaeologists and anthropologists

in the search for evidence of extraterrestrial communication.

The 300-page document, entitled

"Archaeology, Anthropology and Interstellar Communication,"

details means and methods

beyond binary code and radio signals

that scientists should consider

as potential communication from extraterrestrials.

Singled out in the document are rock art and carvings,

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

including the Neolithic petroglyphs

of Northumberland, England.

Although the document does not directly attribute

the art to extraterrestrials,

it does propose the possibility

that it could be tied to otherworldly communication.

Throughout the world, there are petroglyphs

and other rock art

that are actually quite similar all over the Earth.

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

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

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

NARRATOR: Roswell, New Mexico.

September 4, 2004.

While tracking deer in the desert

just 11 miles from the famous Roswell crash site,

Robert Ridge came across an object

sticking out of the sand.

A small, triangular-shaped rock

that is completely uniform in color,

and has a circular design on top of it

that isn't etched into the rock,

but actually protrudes from it.

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

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

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

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

I thought it was very unique and very special

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

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

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

Meticulously etched out of the face of the triangular stone

are circles and crescents.

Robert Ridge is convinced that this symbol

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

he discovered an uncanny correlation

between the symbols and the magnetism of the stone.

ROBERT RIDGE: We found the rock has magnetic properties.

A friend of mine kept hounding me about it.

And he finally brought a magnet of his own,

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

and said, "Here, do this."

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

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

it's pretty cool.

NARRATOR: But with all the strange qualities

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

that the Roswell Rock possesses,

what researchers find most fascinating

is that the design protruding from its surface

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

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

that we see on the rock

is precisely the same

as what we see in a crop circle formation,

dating to 1996, in Southern England.

The crop circle appeared eight years before

Robert Ridge discovered the Roswell Rock,

a fact that has led some to suggest

the rock is simply a manmade copy.

One of my best friends said it looks like

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

So I wanted to examine it.

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

We did a 3D CAT scan of the rock.

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

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

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

It doesn't have a magnet inside.

NARRATOR: Ancient astronaut theorists also contend

that if someone had made the rock as a hoax,

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

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

But what has truly convinced Robert, and many others,

that the rock is not a manmade fabrication,

is a comparison that was done under a microscope

between the Roswell Rock and a sandblasted replica.

RIDGE: We started looking at it under magnification.

It blew me away.

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

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

in my opinion.

NARRATOR: One of the first researchers to investigate the connection

between the Roswell Rock and the crop circle in England

was investigative journalist Linda Moulton Howe.

She is convinced that within the design is a message.

If we are dealing with advanced intelligences,

and you assume that throughout the universe,

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

all solar systems, all galaxies,

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

Moons, suns and skies would be the common denominator.

Something is trying to teach us humans

about astronomy.

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

this is reflecting past, present and future.

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

And that comes back to

And that comes back to what is on that rock.

what is on that rock.

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

NARRATOR: A date? But why?

Could there be a message encoded in the design

on the Roswell Rock that reveals

some significant turning point that lies ahead for mankind?

WILCOCK: It could be that the extraterrestrials

responsible for making crop circles--

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

actually generated this rock,

created this near the Roswell crash

so as to get us asking the right questions.

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

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

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

and in the crop formation in England

is actually an attempt by extraterrestrials

is actually an attempt by extraterrestrials to communicate with humankind?

to communicate with humankind?

Ancient astronaut theorists say yes,

and they suggest that further proof of alien contact

can be found in the mantras

and mandalas of ancient India.

PEOPLE (chanting): Aum...

NARRATOR: Aum is a sacred sound in the Eastern religions

of Hinduism, Buddhism, and Jainism.

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

PEOPLE (chanting): Aum...

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

Aum is made of three letters:

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

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

PEOPLE (chanting): Aum...

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

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

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

and also in Sikhism as well.

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

in all of these traditions.

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

the religious texts that form the foundation of Hinduism.

According to the texts, specific vibrations

created through ritualistic chanting, singing and prayer,

can provide a direct connection

between humans and the gods themselves.

The importance of sound in Hinduism and Buddhism

is very, very vital.

(chanting)

SHIMKHADA: Without sound, you cannot pronounce a mantra.

Mantra is combined words made into invocation.

NARRATOR: As described in the Vedic texts,

the gods provided humankind with a visual aid

to remember these sacred sounds:

elaborate patterns called mandalas.

PRAVEEN MOHAN: Mandalas are mnemonic devices

used to aid meditation,

often in tandem with chanting.

What's interesting is that, in Hindu temples,

we have a visual representation of mandalas.

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

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

sound into visual patterns.

In modern technology, these are called Chladni patterns.

NARRATOR: In 1787, German physicist Ernst Chladni,

known as the "Father of Acoustics,"

published his seminal work

Discoveries in the Theory of Sound.

In it, Chladni describes an experiment

that shows how vibrations can create exotic geometric shapes.

We've got this thing called the Chladni plate,

after the scientist who invented it.

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

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

And they spread sand over the top of this plate.

And when you start playing certain tones...

(tone reverberates)

...and those sand particles

will start to bounce around and dance around,

and they start to form these mathematical circular patterns.

(tone continues)

And as we move up through these frequencies,

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

and then it arrives at this next pattern.

(tone's frequency increases)

And the higher the frequency you go,

the more these patterns become more complex.

(tone's frequency increases)

(tone's frequency increases) (tone stops)

(tone stops)

NARRATOR: In the 1960s, Swiss scientist Hans Jenny

was experimenting with Chladni patterns,

when he noticed an extraordinary connection.

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

Jenny tried it with Aum...

(Aum tone sounds)

...and it generated an image of

a circle with a dot in the middle.

That itself is actually very interesting

because the most fundamental elements of any mandala

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

NARRATOR: Today, the patterns made by frequencies

are known as cymatics.

MOHAN: In modern technology, we are able to create

visual representations of sounds.

What is remarkable is that we see the same patterns

in Hindu temples, in ancient Indian structures.

At the Sri Ranganathaswamy Temple in Southern India

are 40 ornate statues carved from monolithic columns.

The statues depict leaping animals,

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

and above them, vimanas,

vehicles that, according to ancient Hindu texts,

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

were flown by the gods.

The word "vimana," in ancient Vedic text,

means flying machines.

In Hinduism, it is clearly established

that the gods come down from the sky using vimanas.

In the temple of Srirangam, these carvings show

many different types of vimanas.

And what's really unique is that,

under these vimanas, we are able to see

some very interesting patterns of mandala.

NARRATOR: Some researchers believe these mandalas

represent more than just an artistic flourish.

According to legend, each type of vimana

can be activated with a specific type of mandala.

If we crack this visual code,

if we crack this cymatic pattern,

we might actually unlock the secret

to power these vimanas.

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

A code utilizing harmonics and vibrations

to unlock advanced communication,

and possibly even engineering principles?

Ancient astronaut theorists say yes,

but they suggest alien messages

have gone well beyond symbols and figures,

and are found encoded into the designs

of our most sacred structures.

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

1971.

After years of studying ancient philosophical teachings

relating to the Egyptian mystery schools,

author John Michell unearths evidence of an ancient code.

A numerical and geometric code seemingly embedded,

not only in the sacred structures of ancient Egypt,

but also in the Hebrew world, and in the plans

for the heavenly city of New Jerusalem.

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

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

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

He had an incredible understanding

He had an incredible understanding of Earth geometry and geography.

of Earth geometry and geography.

But what John Michell is most famous for

is the New Jerusalem diagram.

NARRATOR: By carefully examining the physical description

of New Jerusalem in Revelation 21,

Michell uncovered a sacred design.

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

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

and the division of the circle

into equal sectors: A zodiac wheel.

And the positioning of 12 gates to the Heavenly City,

three on each side of the square,

representing the 12 tribes of Israel.

CHILDRESS: This is also a geometric figure,

and John Michell claimed that this would be, uh,

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

And that all this was encoded in Revelations

in a mathematical, geometric way.

NARRATOR: In his book The Dimensions of Paradise,

Michell proposed that this sacred geometry

represented the order of the universe.

represented the order of the universe. Ancient astronaut theorists suggest

Ancient astronaut theorists suggest

that this exact same geometrical concept

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

Here in the desert,

among the many plant and animal glyphs,

is a geometric design that looks much different

from the rest of the Nazca lines.

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

It is called the Sun-Star and Cross.

CHILDRESS: The Nazca Sun-Star glyph

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

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

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

But it is, by far, the strangest,

and most mathematically precise

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

of all of the diagrams at Nazca.

NARRATOR: The Sun-Star and Cross glyph

is a precisely formed star polygon

made of two squares surrounding a perfect circle,

all sharing the same center and diameter.

Inside the grid are wheels within wheels,

and squares within squares.

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

but also offers up yet another connection.

When you look at it, it's very obviously

what is called a mandala.

Or a yantra, in ancient India or Tibet.

What a mandala, yantra glyph is doing

in remote desert of Peru is very interesting.

TSOULAKOS: It's a very sacred symbol.

It's this idea of being connected

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

with the realm of the gods.

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

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

It's very interesting to note that,

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

seen from the sky, it is very similar,

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

not identical but very similar,

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

NARRATOR: The Buddhist temple of Borobudur

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

and is laid out with a series of precise circles

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

within a platform of perfect squares.

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

because that is what the ancient astronaut theory excels in.

That people in our ancient past were not isolated.

They had contact with each other.

In the end, there is an extraterrestrial connection.

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

from one culture to the rest, and they incorporated

these divine cities, these New Jerusalems?

Or is this something that may have been given

to us by some divine intelligence?

Is it possible that the New Jerusalem design,

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

and other geometric structures around the world are encoded

with similar mathematic and geometric principles?

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

not only to inform us of our celestial origins,

but to guide us towards a reconnection?

Perhaps a key to understanding the relevance

of this sacred code can be found by examining

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

the astrological alignments

of mysterious sites throughout the world.

Isolated in the Pacific Ocean,

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

lies one of the most mysterious places on Earth:

Easter Island.

This tiny landmass is home

This tiny landmass is home to nearly 900 monolithic stone statues

to nearly 900 monolithic stone statues

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

carved out of volcanic rock.

2,564 miles to the east,

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

isolated 7,000 feet above sea level,

are the ruins of a mysterious lost city of the Inca

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

called Machu Picchu.

And 10,742 miles away,

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

a site where ancient astronaut theorists believe

a nuclear explosion may have occurred in the distant past.

Curiously, as discovered by researcher Jim Alison,

these three sites fall in a straight line

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

around the center of the Earth.

And, with just a minor margin of error,

it also runs through a number of other

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

mysterious ancient sites.

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

we have Angkor Wat in Cambodia.

All of these extraordinarily important,

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

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

Now this cannot be an accident.

This cannot be a coincidence.

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

the ruins of Petra, Jordan,

and Persepolis, the capital city of ancient Persia.

TSOULAKOS: There are all these different sites

that seem to line up,

even if it's a minute degree of deviation,

it's never a massive distance from that line.

NARRATOR: How is it that so many important ancient sites

across the globe all follow this line?

What could possibly explain this coincidence?

This is bizarre because only a people

capable of flight

or, at least, being able to look at maps

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

would be able to do such a thing.

Could it be because some of those points

were, in fact, places where our ancestors

made contact with extraterrestrials?

There has to be something important

in the location and the geography,

in the geometry, that indicated to our ancestors

that this is sacred ground,

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

NARRATOR: Ancient astronaut theorists say

evidence of extraterrestrial intervention

can also be found by looking at how early humans

aligned their most important sites with the stars.

At the Giza plateau in Egypt,

the layout of the three Great Pyramids aligns perfectly

with the belt stars of the constellation Orion.

Orion's Belt is made up of two bright stars

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

and a third dimmer star,

which is offset a bit to the left.

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

It's exactly what you see on the ground,

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

two large pyramids in alignment

with a third pyramid offset.

It looks like they wanted to

build stars on the ground, if you like.

NARRATOR: Also aligned with these stars

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

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

...and the Thornborough Henges,

a Neolithic landscape complex in Northern England.

Could it be merely coincidence

that so many ancient cultures throughout the world

that presumably had no contact with each other,

all built their most important sites

by using celestial alignments?

Look, this is not something

that can be explained away as a coincidence.

It's time for us to responsibly

take a look at what we're really seeing,

and understand that there is a worldwide, intelligent,

highly mathematically-precise plan behind these designs.

CHILDRESS: The idea that even ancient buildings

are encoded with information,

and that where they sit on the planet

is also part of an intricate code,

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

is a fascinating idea,

and one that we're just beginning to understand.

NARRATOR: Could it be that the curious location

NARRATOR: Could it be that the curious location

and alignments of ancient sacred sites

were actually meant to serve as a form of communication?

But if these alignments are meant to convey messages

from an otherworldly intelligence,

much like the mysterious images and symbols

found throughout the world,

just what might these messages be?

Perhaps further clues can be found by examining

our own attempts to communicate with future generations,

and protect them from grave danger.

NARRATOR: Kanda, the Republic of Macedonia.

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

sits a giant geoglyph depicting a symbol

known as the "cosmic egg."

According to ancient mythology,

it is the great egg of the universe

from which a powerful deity is often hatched or born.

COLLINS: The concept of the cosmic egg is universal.

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

who have been investigating this site

have come to the conclusion that it's orientated towards

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

the constellation of Cassiopeia.

Cassiopeia represents the queen of heaven.

NARRATOR: In addition to the alignment of the egg

with the Cassiopeia constellation,

many scholars believe that the symbol contained in the egg

represents that of the cosmic god Se.

HENRY: He represents the all-seeing god.

Macedonian myth says that the god Se

was the child of the great cosmic mother

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

and the supreme god father.

NARRATOR: While there are various theories

as to who made the cosmic egg geoglyph and why,

ancient astronaut theorists agree on one point:

That this geoglyph, like the thousands of others

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

found all across the world,

was intended to be more than simply a work of art

or indicate a place of worship.

It was intended to communicate something

of great, possibly intergalactic, importance.

It would seem that extraterrestrials

arrived on Earth, and then taught humans

the meanings of these symbols.

And then humans then used these symbols

to try and contact the extraterrestrials themselves.

Either as giant geoglyphs on the ground,

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

to even just petroglyphs on the rocks.

Ancient astronaut theorists suggest that the notion

that petroglyphs and geoglyphs

could represent a form of communication

taught to humans by alien visitors is supported

by our own relatively modern science of Semiotics.

It is the study of signs and symbols

mankind will need to use when trying to communicate,

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

not only with future generations,

but with extraterrestrials.

EDGAR GARCIA: Pictographs are more than pretty simplistic pictures.

They are in fact, another way of communicating entirely,

not only on Earth, but in a spacecraft

sent to deep space to communicate, perhaps,

with beings we have no idea about how they speak,

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

write, or make signification.

NARRATOR: In 1991, the United States Department of Energy

assigned two teams of experts

to the task of devising a marking system

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

for the Waste Isolation Pilot Plant,

or WIPP, a nuclear waste facility

located in the salt beds of the Delaware Basin,

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

26 miles east of Carlsbad, New Mexico.

The project attempted to find ways

of communicating the hazard of the plant

to humans living in the distant future.

Humans who may have developed entirely new languages

or other forms of communication.

One prominent member of the project

was space artist and science journalist, Jon Lomberg.

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

helping to determine what sounds and images

should be included on a pair of golden disks

being sent into deep space.

They put together a panel of people

from a wide variety of backgrounds...

...including me as an artist,

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

and as somebody who had experience

trying to communicate with extraterrestrials.

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

of communicating with extraterrestrials,

then communicating with humans 10,000 years

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

NARRATOR: Through their research, the teams determined

that simple images are the most universally recognized,

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

We knew that there were certain elements of human art

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

that had appeared so widely

that you could assume everybody would understand them.

And they were the comic strip.

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

and then this happens, and then this happens,

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

you find that all over.

From ancient Egypt, to the plains tribes,

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

to the Bayeux Tapestry.

The idea of telling a story with pictures

seems to be something that everybody knows.

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

to try to explain the meaning of symbols

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

like the poison symbol

like the poison symbol or the nuclear radiation trefoil

or the nuclear radiation trefoil

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

or the "Do Not" sign.

None of these are universal, but they're easily

explained with a little comic strip.

The whole of written human history

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

is only 5,000 years old.

It's only by the most incredible efforts

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

So, trying to guess how people are going to

understand things 10,000 years from now

requires incredibly imaginative thinking.

Symbols are universal, and thus,

when we're looking at hieroglyphs

or petroglyphs on rock

or geoglyphs,

we have to also recognize

that there are universal symbols.

We may look at them today and not be aware

of exactly what they mean.

Just possibly, some of them could have been

influenced by external sources,

non-terrestrial intelligences,

non-terrestrial intelligences, perhaps even extraterrestrials.

perhaps even extraterrestrials.

These messages potentially contain

tremendous knowledge for humanity.

It could be something very simple

like point yourselves at this particular star system,

or meet us at this particular time and place,

and just imagine if we don't get that message

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

and don't make that meeting,

or don't look to that particular star system.

Humanity could be in the balance.

Could it be that the petroglyphs and geoglyphs

found all over the world are not only examples

of how early humans communicated with each other,

but their attempt to replicate

a more sophisticated form of extraterrestrial language?

Ancient astronaut theorists say yes,

and believe the evidence can be found

by investigating UFO encounters

in which witnesses reported seeing hieroglyphic writing

in which witnesses reported seeing hieroglyphic writing on alien spacecraft.

on alien spacecraft.

NARRATOR: Rendlesham Forest.

NARRATOR: Rendlesham Forest. Suffolk County, England.

Suffolk County, England.

December 26, 1980.

Near an airbase leased to

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

strange lights are reported on the horizon.

Two U.S. servicemen are dispatched to the site

to investigate what they believe

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

could be a possible downed aircraft.

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

saw a strange light over the forest,

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

and went to investigate.

And in a clearing, came across this landed craft.

One of them saw this strange sequence of symbols

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

upon the side of it.

The object then rose up and disappeared out of sight.

What were these hieroglyphs?

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

There are some very famous cases

of hieroglyphs being seen

on the side of what appeared to be

flying saucers or UFOs.

Another UFO incident where hieroglyphs

were seen on the side of a strange craft

took place at Kecksburg, in Pennsylvania.

On December 9th, 1965, a fireball was seen

streaking through the skies of Michigan and Ontario,

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

and then crashing in Pennsylvania.

And this became known as the Kecksburg UFO.

But what they said that they found

on this bell-shaped object

were strange hieroglyphic writing all along the base.

Very similar to the early pictographs

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

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

provide proof that the geoglyphs and petroglyphs

found all across the world were actually inspired

by alien encounters in the distant past?

I believe that one day we will break the entire code

of the ancient language locked away

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

And in it, we may find information

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

that is vital to mankind.

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

that we have been missing all this time.

One day, hopefully, we will find that knowledge,

and know that message.

It may be that there's a sort of

metaphysical time lock or a timeline

for us to fully understand what those messages are.

NARRATOR: Is there evidence of contact

from alien visitors all around us,

hidden in plain sight?

Could ancient rock carvings,

massive geoglyphs,

massive geoglyphs, and even modern-day crop circles

and even modern-day crop circles

contain important information left for humankind to decode?

Perhaps extraterrestrials

have been communicating with us all along.

And once we are able to decipher the messages,

we will have the key to reuniting

with our ancestors in the stars.

with our ancestors in the stars. CAPTIONING PROVIDED BY A+E NETWORKS

CAPTIONING PROVIDED BY A+E NETWORKS

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