Ancient Aliens s13e05 Episode Script

The Desert Codes

1 This was the language of the Gods.
NARRATOR: Did extraterrestrial beings leave behind coded messages? We may find information that is vital to mankind.
NARRATOR: Messages that are carved in stone and found all over the world? PAUL BAHN: There has been an explosion in new discoveries of geoglyphs that we didn't know about before.
NARRATOR: But once deciphered, will they reveal a message of hope GIORGIO TSOUKALOS: Many of the geoglyphs were created in order to contact someone up there.
NARRATOR: or a deadly warning? WILLIAM HENRY: Just imagine if we don't get that message.
Humanity could be in the balance.
NARRATOR: Saudi Arabia.
While exploring the ancient lava fields of Harrat Khaybar, amateur archaeologist Dr.
Abdullah Al-Saeed 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.
ANDREW COLLINS: They were within what's referred to as-as a lava field of activity.
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 away 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 to being short at the other end.
NARRATOR: Although no record exists indicating when these structures were built, who built them or why, the predominant theory among mainstream archaeologists is that they were constructed for hunting purposes many thousands of years ago.
What we think they are are prehistoric hunting sites 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 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.
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, and particularly satellite photographs, uh, there has been an explosion in new discoveries of-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.
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 nonhuman, something up there.
NARRATOR: When the now legendary Nazca Lines of Peru were first discovered in 1927, 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 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've 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.
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, 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 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, and suggest further clues can be found by examining similar shapes and symbols that occur on a much smaller scale.
Geoglyphs are gigantic-sized versions 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 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 and their geoglyphic siblings.
We see certain symbols recurring again and again.
There are many geometric forms.
These take the form of, uh, spirals, of concentric rings and other more rectilinear or abstract designs.
They're something that are virtually universal around the world.
One of the most interesting geoglyphs that you have at Nazca is the sun, star, cross geoglyph, which is really a very complicated huge mandala of interconnected stars and triangles.
And it's something we see all over the world and in Tibet and India as mandalas and even yantras.
So, things like this that are so geometrically complicated and are found all over the world indicates that there was some kind of worldwide symbolic language that was brought here by a higher intelligence, probably extraterrestrials.
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 an ancient story associated with one of the oldest petroglyphs ever discovered.
Northwest Nevada.
In the dried-up bed of what was once Winnemucca Lake, 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, but by a race of giants.
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 to determine their age.
The results are astonishing, and reveal the petroglyphs were etched between 10,500 and 14,800 years ago, making them the oldest petroglyphs ever found in North America.
HENRY: When we look at petroglyphs, with their incredible spirals, the doorways, 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 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 which, when deciphered, could teach us profound lessons about mankind's past? Perhaps further clues can be found by examining geoglyphs that some believe are depictions of actual alien beings.
(wind whistling softly) NARRATOR: The Atacama Desert, Chile.
Located on the western side of a hill called Cerro Unitas is an enormous geoglyph of a human-like figure known as the Atacama Giant.
Although its origins remain a mystery, some have estimated it to be as much as 10,000 years old.
The Atacama Giant is one of about 500 petroglyphs in the Atacama Desert that span a huge area of about 15,000 square kilometers, produced over about a millennium of time, and linking cultures from the Incas all the way up to the early Christianization of South America.
The Atacama Giant itself is about 100 meters tall, and it's a hugely impressive figure.
It's got the most amazing symmetry and geometry, which would have required the most exquisite planning.
Because once you're up there digging away, you can't see exactly the proportions.
It's clearly a focal point of the culture of the people who made it.
COLLINS: It has these very strange horizontal and vertical lines coming out of its head.
Archaeoastronomers have suggested that every part of this figure was actually used for astronomical purposes.
It marked the different cycles of the moon in every year.
If you ask the local elders what the Atacama Giant represents, they will say that it represents sacred space, and that actually entering inside them allowed you communication with the sky gods.
Given that these geoglyphs have multiple layers of meaning and much knowledge encoded with them, we have to ask if maybe it's also a device to tell the locals when the extraterrestrials would return.
NARRATOR: Although the Atacama Giant is extraordinary, it is by no means unique, as similar geoglyphs can be found in many parts of the world.
Blythe, California.
Located in the desert, just west of the Arizona border, an estimated 300 gigantic figures can be seen etched in the arid ground.
Known as the Blythe Intaglios, these ancient carvings depict animals, spirals, and, perhaps most significantly, gigantic humanoid figures.
These intaglios are unique in that they're always found on the shorelines of ancient lakes that existed 12,500 years ago and prior.
NARRATOR: In April 2018, author and ancient astronaut researcher David Childress traveled to Blythe to meet with Alfredo Figueroa, an elder of the local Chemehuevi tribe.
He is also known to many in the region as The Guardian of the Glyphs.
David was eager to see firsthand whether the legends surrounding these unique geoglyphs could be true.
They can only be seen from the air, really, right? Well, they can be seen from the ground, but you can see it over intact.
PATRICIA ROBLES: If you're walking on it, you really don't know what you're walking on.
Exactly, yeah, right.
We'll be able to see it with the drone, I think.
Oh, that's excellent.
You got a drone? - Yes, we've got it.
- Oh, that's wonderful.
- Let me get the drone out.
- That's the best way.
- Okay, let me get it.
- Thank you.
CHILDRESS: Who builds this, and-and why? FIGUEROA: The original tribes here were the Aztecas.
- CHILDRESS: The Aztecs.
- Right.
Here we go.
(drone buzzing) CHILDRESS: Wow.
That's pretty interesting.
NARRATOR: With the drone camera, David and Alfredo are able to see the Blythe Intaglios from a vantage point that their creators never could have, at least not without the aid of some form of aircraft.
But if this is true, then why were they created? And for whom? CHILDRESS: All right, this is FIGUEROA: Is Omecihuatl.
"Cihuatl" means "woman.
" And she is pregnant, right here, see? CHILDRESS: She's, like, having a baby, then.
Ah, okay.
And right next to her is the ocelot.
Ocelot is the jaguar.
CHILDRESS: Okay, so you can see it's a cat because it has a very long tail, huh? Well, the tail is supposed to be like a "U," and in the cosmos, it represents the Big Dipper.
ROBLES: Here in this place, they came down.
And because they descended from the cosmos, our ancestors created these images and aligned them with the constellations so that we would understand that story.
NARRATOR: But of all the Blythe Intaglios, the one Alfredo is most eager to show David are the ones that are the largest and arguably the most dramatic.
CHILDRESS: This is big.
This thing is huge.
FIGUEROA: That's right.
NARRATOR: They are the ones representing the Aztec gods, Kokopelli Better known as Quetzalcoatl And Cicimitl, the Aztec star god.
CHILDRESS: Which glyph is this one? What we're seeing here is Kokopelli, and he represents Quetzalcoatl.
CHILDRESS: The Aztec god, Quetzalcoatl.
- So, this one is - ROBLES: Cicimitl.
CHILDRESS: Cicimitl.
His face there You see his nose.
I mean, he's not like a normal person, is he? No, he looks just like a a E.
He looks like an extraterrestrial.
Uh-huh, yeah.
NARRATOR: An extraterrestrial? Is it possible that these incredible geoglyphs represent not just mythological gods, but actual alien beings, whose arrival on Earth was witnessed by the Azteca people? Ancient astronaut theorists say yes, and Alfredo Figueroa is convinced that it was here The location of the Aztecs' legendary home of Aztlan Where extraterrestrial visitors came down from the sky.
CHILDRESS: Aztlan is very important in Aztec mythology.
It was a place where the gods came down to give them the information and prophecies that the Aztecs had.
I mean, you're maintaining that this whole area here, around Blythe and the Colorado River, is an ancient homeland of-of the Aztecs - and-and the gods, too? - Yes.
The geoglyphs were made by the Nahuatl people.
The Nahuatl are the origin of the Aztecas and the Mexicas.
So, they're the ones that made 'em at first.
And then the Nahuatl people made these geoglyphs to to honor, uh, the creator gods.
And to not forget where we came from.
Where we came from.
That's right.
NARRATOR: Could it be that Blythe, California, really was the ancestral home of the Aztec people, and that more than 1,000 years ago, the area was visited by extraterrestrial beings? Ancient astronaut theorists suggest that the answers may 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? GIORGIO A.
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 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 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 type of formations.
We're also finding pictographic images like the face on Mars, which have facial features.
ERICH VON DANIKEN: We have wonderful pictures of the surface of Mars, and definitely on the surface of Mars, we have some stone circles.
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 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 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, whose message for mankind has yet to be decoded.
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 it 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.
(birds chirping) ROMANY: We're here in Luxor Temple, and the hieroglyphs here are so interesting.
Most people would think that ancient Egyptian hieroglyphs is more like emojis, 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 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.
And the kings then used it to also communicate with their gods.
Ancient Egyptian kings knew for a fact that their gods understood hieroglyphs.
NARRATOR: 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.
(explosion) 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 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 or 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 into rocks and etched in desert sands? Could they be trying to tell us that Earth's history is very different than the one we've been taught? Ancient astronaut theorists say yes, and suggest that instead of viewing them as symbols of mankind's ancient past, we should start to look at them as part of mankind's future.
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 multinational team who have been investigating this site have come to the conclusion that it's orientated towards 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 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 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.
CHILDRESS: 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 to even just petroglyphs on the rocks.
NARRATOR: 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, 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, 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 for the Waste Isolation Pilot Plant, or WIPP, a nuclear waste facility located in the salt beds of the Delaware Basin, 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 discs being sent into deep space.
They put together a panel of people from a wide variety of backgrounds, including me as an artist 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 a 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 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, you find that all over, from ancient Egypt to the plains tribes 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 like the poison symbol or the nuclear radiation trefoil 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 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.
COLLINS: 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, 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 don't make that meeting, or don't look to that particular star system.
Humanity could be in the balance.
NARRATOR: 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 on alien spacecraft.
NARRATOR: Rendlesham Forest.
Suffolk County, England.
December 26, 1980.
Near an airbase leased to the United States Air Force by the R.
, strange lights are reported on the horizon.
Two U.
servicemen are dispatched to the site to investigate what they believe could be a possible downed aircraft.
Some U.
servicemen at a base called Woodbridge saw a strange light over the forest and went to investigate, and in a clearing came across this landed craft.
One of them saw these strange sequence of symbols 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 9, 1965, a fireball was seen streaking through the skies of-of Michigan and Ontario 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? HEGG: 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 that is vital to mankind.
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.
It may be that there's a sort of metaphysical time lock or a timeline for the decoding of the petroglyphs and geoglyphs.
Maybe now is the time for us to fully understand what those messages are.
NARRATOR: Perhaps the keys to breaking the alien code are all around us, and have been hiding in plain sight for thousands of years.
All we need to do to unlock their mystery is to see them from the same perspective as our extraterrestrial ancestors.
We must look at them from the sky.

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