NARRATOR: Strange symbols found on opposite sides of the Earth.
DAVID CHILDRESS: What a mandala is doing in remote
desert of Peru is very interesting.
NARRATOR: Binary code appearing in crop formations.
ANDREW COLLINS: Can we see it as a reply?
Indeed, it was.
NARRATOR: And geographical alignments that defy explanation.
GIORGIO TSOUKALOS: These settlements that are 5,000 years old,
how are they all lined up?
NARRATOR: Is it possible that throughout the world there are
messages concealed within ancient texts, symbols and structures?
And if so, might they have been left for us to uncover
by extraterrestrial beings?
KATHLEEN McGOWAN COPPENS: These messages were left to us
a long, long time ago so that we could remember who we are.
NARRATOR: Millions of people around the world believe
we have been visited in the past by extraterrestrial beings.
What if it were true?
Did ancient aliens really help to shape our history?
And if so, might we find the proof in alien messages?
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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 of our existence.
SETH SHOSTAK: 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 ABC's to the aliens.
Well, not ABC's, the 1-2-3's.
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, nitrogen, oxygen and phosphorus.
NARRATOR: The coded message also contained information about our DNA...
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 are unlike any other ever found.
WILLIAM HENRY: They were both pixilated, 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.
HUGH 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 it also had a different DNA sequence as well.
And so just these three things really caught my attention,
because either 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're 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-BALINT: 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 Fu Xi...
who is perhaps the earliest legendary ruler of China.
TSOUKALOS: The history, or origin, of the I Ching
is very interesting because it is said that this knowledge was imparted
on Fu Xi by an otherworldly being.
NARRATOR: According to ancient Chinese myth, Fu Xi lived around 3000 B.C.
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,
um, and a water dragon appeared to him,
and that on the back of this water dragon was revealed to him the eight trigrams.
NARRATOR: These eight trigrams are the foundation of the I Ching.
They are made up of a series of broken and unbroken lines,
a distinct binary code.
CHILDRESS: Fu Xi 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.
TSOUKALOS: 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, as ancient astronaut
theorists contend?
Perhaps further clues can be found by examining other
mysterious symbols that have been discovered carved into
rock all over the world.
NARRATOR: Washington, D.C., May 2014.
NASA researchers, in conjunction with SETI scientists,
publish a manual enlisting archaeologists and anthropologists
in the search for evidence of extraterrestrial communication.
The 330-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,
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.
CHILDRESS: 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.
ROBERT RIDGE: 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.
You know, 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.
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 said, "Here, do this."
So, we did, and we found out that it has, uh...
It's pretty cool.
NARRATOR: But with all the strange qualities
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.
DAVID 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.
NARRATOR: 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.
RIDGE: 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.
We did a 3-D 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 appliqué. It's 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.
And 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.
LINDA MOULTON HOWE: If we are dealing with advanced
intelligences and you assume that throughout the universe,
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.
And that comes back to, 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 to communicate with humankind?
Might this message be trying
to tell us something about our future, and possibly even
reveal the date on which these
alien visitors plan to return?
Perhaps further clues can be found by examining the geometry
of one of the world's
most mysterious sites.
NARRATOR: Nazca.
The Ica region of Peru.
High in this arid desert, there is a series of precise geoglyphic formations
that have mystified people since their modern discovery in the 1920s.
They are called the Nazca Lines.
These geoglyphs appear in many shapes and sizes.
Some are figures of animals.
Others are plants.
And a few even appear to be depicting humans or human-like beings.
And all of them were made on a scale to be seen from above.
TSOUKALOS: The only true way with which you can
appreciate the entire scope is from the sky.
And so the stories behind them
as well, to this day, are maintained very clearly.
It's not meant to be seen from the ground, only by the gods,
and the gods dwell up in the skies.
NARRATOR: But for some ancient astronaut theorists,
even more fascinating is what lies 100 miles to the north
on the Cajamarquilla plain.
Here, thousands of holes of varying dimensions and depths
have been dug into a mountain range in a pattern that runs
north and south for almost two miles.
This mysterious formation has baffled archeologists
for decades, and like the Nazca Lines, the holes can only
be appreciated in their entirety from high above the ground.
TSOUKALOS: In the mountains of Peru, we have what's commonly
referred to as the Band of Holes.
It is one of the coolest places in relation to the ancient
astronaut theory, because who in their right mind would go ahead
and dig all these holes?
For what?
ROBERT SCHOCH: They're an incredible mystery, a very long-lived mystery.
Some people think it looks like some kind of machine was running
over the territory.
Some people think it was some kind of systematic mining operation.
Some people say it was just pothunters, you know, looting,
looking for burials.
None of the explanations make good sense.
NARRATOR: While the Band of Holes continues to defy
explanation, some ancient astronaut theorists believe
it may represent a type of message.
A message that can also be found at another site 6,000 miles away.
The northwest coast of France.
Here, just south of Brittany, lie the legendary Carnac stones.
An arrangement of over 3,000 megalithic rocks that stretch
for more than two miles across the countryside.
NEWMAN: The megaliths of Carnac in Brittany are just amazing.
Some of them stand about 30 or 40 feet tall.
There are multiple avenues of stones going right over hills.
And no one's really worked out exactly what their purpose is.
NARRATOR: Like the Band of Holes in Peru,
the Carnac stones continue to defy explanation.
But ancient astronaut theorists suggest that the clue
to understanding both mysterious sites might be found
by comparing them side by side.
The Band of Holes runs for approximately two miles.
So do the Carnac stones.
The width of the Band of Holes measures eight
holes across, occasionally deviating by one or two holes.
This too is the case with the Carnac stones.
And when viewed from high above, the layout of the two sites is eerily similar.
CHILDRESS: It would appear, in my mind,
that there's some connection that's between
Carnac, France and Peru, and a special code put there for us
to find at-at a future time when we could understand these codes.
NARRATOR: Some ancient astronaut theorists have even gone
so far as to suggest that the Band of Holes
may have once held some sort of standing totems,
similar to what is believed to have existed at Stonehenge.
And that those totems may have disappeared
because they were made of wood.
WILCOCK: There are a series of post-holes that were found
all around Stonehenge, in which you can stick sticks in the holes.
But they degraded over time and it gradually crumbled away,
and perhaps the same thing happened in the Nazca Plain in Peru with these holes.
NARRATOR: Could there really be a connection between
the Carnac stones in France and the Band of Holes in Peru,
as ancient astronaut theorists suggest?
And if so, is it meant to convey a message?
WILCOCK: If you look at the stones at Carnac, you see curious alignments.
And these alignments actually duplicate the Pythagorean triangle.
But this appears to have happened as much as 3,000 years
before Pythagoras allegedly invented the Pythagorean triangle.
What you're seeing is remarkable mathematical symbolism and
encoding messages that seem to suggest somebody wanted us
to know it was built with technology far in excess of what we have now.
ERICH VON DANIKEN: Some thousands of years in the past,
the extraterrestrials who visited our planet left a proof behind.
They knew that in the far future the humans will see these stone patterns.
They will realize that this is high geometry.
And sooner or later, the questions comes up,
have we maybe been visited by beings from outer space?
NARRATOR: Is it possible that these two ancient sites are both
conveying a message left behind by extraterrestrials?
And was it their intention that it would one day be deciphered by mankind?
Ancient astronaut theorists say yes, and claim that further
evidence can be found with another alien message,
one that is encoded in the Bible.
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 had an incredible understanding 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,
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.
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.
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, uh, the strangest and most
mathematically precise of all of the-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.
CHILDRESS: 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.
TSOUKALOS: It's a very sacred symbol.
It's this idea of being connected 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, seen from the sky,
it is 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 within a platform of perfect squares.
TSOUKALOS: 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?
NARRATOR: 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 the astrological alignments
of mysterious sites throughout the world.
NARRATOR: 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 to nearly 900 monolithic stone statues
carved out of volcanic rock.
2,564 miles to the East,
isolated 7,000 feet above sea level, are the ruins
of a mysterious lost city of the Inca, called Macchu Pichu.
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 around the center of the Earth.
And with just a minor margin of error, it also runs
through a number of other 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.
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.
TSOUKALOS: 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?
TSOUKALOS: This is bizarre because only a people capable
of flight, or at least
being able to look at maps, 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?
McGOWAN: 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.
ROBERT BAUVAL: Orion's Belt is made up of two bright stars
and a third dimmer star, which is offset a bit to the left.
It's exactly what you see on the ground 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 Teotihuacan 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?
WILCOCK: 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 a fascinating idea, and one that we're just beginning to understand.
NARRATOR: Could it be that the curious location
and alignments of ancient sacred sites were actually
meant to serve as a form of communication?
And might the purpose have been to leave behind a hidden message
for future generations to discover?
Ancient astronaut theorists say yes,
and suggest that otherworldly messages can be found not only hidden
throughout the globe, but even within the human body.
NARRATOR: The University of Cambridge, England.
March 1953.
American biologist James Watson
and English physicist Francis Crick discover
the three-dimensional double-helix shape of DNA.
This scientific breakthrough is a giant leap forward
in unraveling the mystery of mankind's origins.
But our genetic code proves to be so complex that Francis Crick
proposes it did not develop by chance, and also that it is not
of this Earth.
CHILDRESS: Sir Francis Crick said that the human genome
is-is not something that could have occurred randomly,
and that therefore, we were somehow programmed specifically
by extraterrestrials, it would seem, many thousands of years ago.
HENRY: The message is, is that our DNA didn't come from Earth.
In fact, their research suggests that our DNA is billions
of years old, and that we were in fact seeded from the stars.
WILCOCK: The DNA molecule itself is the equivalent of
the entire Encyclopedia Britannica being dropped out
of a helicopter, chopped up into individual words
and then as the words fall out of the helicopter like confetti,
that they all arrange into the correct order that they were in.
That's the madness that is required to even speculate
that DNA could have evolved randomly on Earth.
NARRATOR: Is it possible that DNA is an intelligently designed code?
And if so, might there be even more information
imbedded within our genetic makeup than scientists have yet to find?
ANTONIS ROKAS: As an information molecule,
I think DNA is much more attractive than radio signals and so on.
It lives longer, it has the ability to self-replicate,
and it has an astronomically tiny error rate.
And so these three properties make DNA a unique storage device.
So, if you want to store a secret or a stamp of the maker,
DNA would be your choice.
NARRATOR: Could it be that there are messages
actually imprinted right in our genetic makeup?
Ancient astronaut theorists say yes, and contend that part
of that message may be contained within the universal
structure of DNA, which consists of a series of three molecule
combinations known as codons or triplets.
They say that it is much more than coincidence
that three is also the number of stars in Orion's belt...
the number of pyramids on the Giza Plateau that line up with those stars...
and the basic geometry behind the pyramid shape itself.
WILCOCK: We have a very fascinating connection to data
points saying the same thing.
Number three is where you begin building geometry.
The DNA molecule has an underlying geometry to it.
Geometry is intrinsic to the design of the universe,
and that the number three builds the triangle, the triangle being
the building block of all other geometry.
Maybe we'll learn some very interesting things
once we can correctly decipher the message.
NARRATOR: Are there alien messages all around us,
hidden within elaborate designs, embedded in geographical alignments,
carved in rock,
etched into the landscape, and even encoded in our DNA?
And if so, might there be some significance to the fact
that we are just now beginning to discover these messages?
REVEREND MICHAEL CARTER: In the Book of Daniel, there's a chapter
that tells Daniel to seal up the prophecies of the Hebrew scriptures.
And it will be opened again in the days when human beings
are running to and fro and knowledge will increase.
Well, we could argue that we're living in those days that Daniel
was writing about.
McGOWAN: So much of what we know about ancient culture,
ancient architecture, ancient technology is encoded.
There are codes in literature.
We see in the New Jerusalem diagram that there is encoding,
again in geometry, in the architecture.
These codes were left to us a long, long time ago so
that we could find our way, so that we could remember who we are.
CHILDRESS: Is it some kind of message for us from the past
that we're to decode when we have reached a higher state
of civilization and knowledge that we can figure all this out?
It would seem that we are only just now reaching a point
of knowledge and technology that we can understand these codes
and find the hidden meaning that's there.
NARRATOR: Is it possible that the answers to mankind's greatest questions
where did we come from,
why are we here, and where are we headed
are actually all around us, hidden in alien messages,
waiting to be deciphered?
Perhaps the key to decoding it all lies in an ancient script,
our own DNA, or something we have yet to discover.
And once we crack the code, we will find
that the answers to these questions
are far more profound than we ever imagined.
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