"Two Headed Nephilim" Found And Displayed In Patagonia? 😲

During our research, [music] we have stumbled across countless legends and accounts from history, which tell of ancient giants. Not only legends, but photographic evidence and an equal amount of initial newspaper reports [music] of their discovery. This, often accompanied with the mention of the Smithsonian Institute's insatiable interest in such finds, and then an inevitable erasure of said finds from future research. Rarely has an ancient giant been allegedly found, with the remains seemingly slipping the net of said institute's attention, making it into mainstream research and an allies collection, before the Smithsonian was able to make said discovery vanish from history. Capto being one of these particular finds, which not only matches the initial claims, [music] but has remained in mainstream historical research. Tales of a two-headed 11-ft tall giant are not only corroborated by photographic evidence, but the actual mummified corpse of the giant himself. The initial discovery of this incredible being was made back [music] in 1673. An ogre or two-headed giant is said to have assaulted a party of Spanish sailors, who fortunately overcame said giant with cunning. After trapping the giant, the sailors planned on killing it, fearing repercussions if released. The cause of the giant's death, however, [music] has long been debated, but what cannot be denied is the astonishing remains, which made their way to London. The mummy then vanishes from the history books for nearly 400 years, reappearing in 1914 on the shores of the Birnbeck Harbor in the UK. The mummy inevitably became an extremely popular attraction with people traveling from thousands of miles away to come and peer at this once monstrous [music] two-headed giant. It remained in the public eye until 1959. A rare exhibit which escaped [music] the clutches of those who would wish to hide it, with many photographs and other research projects allowed to be undertaken on the giant's remains by Lord Howard. This incredible giant, thanks to the Lord's [music] dedication to said curiosity, remains in existence within the public's domain. An undeniable verification of a lost race of giants, which we have long claimed to have had first-hand experience of in their past discovery. A magnificent [music] 3-m tall mummified corpse of an ancient giant does indeed exist, and due to its age and primitive technologies available to said claim sailors when initially discovered, the possibility of it being an elaborate stitched-together hoax has been seemingly debunked, but also ignored by mainstream media due to the controversial nature of said finds. Who was Cap Dwa? Was he part of a race of beings in Patagonia? A race we have merely seen these remains of? Is the corpse authentic? If not, how was he constructed to such an astonishing detail so far back in history? Cap Dwa is undoubtedly highly compelling. >> Chapter four, impossible ancient stone cutting machines. This precision stone cutting ability then far beyond the capabilities of the many primitive tribes academically pinned to their creation. For together, the connecting features I am about to reveal will put to rest any doubt that these places, some of which claimed as once the work of slaves built with nothing more than stone hammers and copper chisels, is nothing but a blatant lie. For although astonishing ancient sites such as that of Petra in Jordan, or as you will see its little sister Hegra, also known as Mada'in Saleh within Saudi Arabia, with their many globally familiar laser-like stone cut designs along with their many once perfectly executed structures, each cut straight out of the bedrock, were all, regardless of who is claimed, once the creation of the same civilization. These repeating patterns, these same stone cutting abilities found all over the planet, still on display for all to see, yet are seemingly overlooked as such due to the considerable efforts that are put into preventing these countless undeniable connections from ever being consciously made, and thus are rarely academically investigated. These clear and unexplainable anomalies left for all to see, undeniable evidence of these places having once been constructed using the same tools by the same civilization, and indeed during the same period within history, if of course one is willing to see it. Stone cut structures and megalithic ruins, although long claimed by those handsomely funded to explain them, were accomplished within a specific and permitted timeline. They were in fact built far before, within a timeline now actively hidden via this exact system of selective funding of a permitted window of historical exploration. All of which inevitably producing very specific, predictable, yet ultimately academia's desired results. These diagonal and long attested chisel marks, for example, are anything but. Instead, just like that of polygonal masonry present in many areas of many different sites across the world. Often to be found in areas evidently assumed would never be seen. Either by the original builders or indeed that of academia. Yet thanks to the looting, natural erosion, and an eagle eye can still be found in a wide array of places and upon countless roughly cut, often unfinished or exposed megaliths now on the surface. All but reveal who it was that really built these seemingly impossible ancient places. With one particular site of note being that of the Longyou Cave system in China. Undoubtedly one of the most incredible examples of this ancient identifiable feature. With this lost tech and technique clearly once utilized in not only the building of the system, but the overall decoration of the entire ancient wonder. [music] Accidentally rediscovered in 1992 when a group of farmers set about draining what locals had long believed were infinity wells. Carved from many million metric tons of solid stone, all cut out and somehow [music] mysteriously disposed of with nobody ever having been able to successfully locate any of the waste material. Millions of [music] tons of rock seemingly vanished. Every square inch of its walls, floors, [music] and ceilings, however, are found drenched in this uncannily symmetrical diagonal design. With these particular diagonal tool marks, >> [music] >> another feature found worldwide, making the Longyou Cave system one of the best examples to use as a guide of its form. Enabling one to establish who built the cave system and indeed many of Earth's other prehistoric sites. These diagonal tool marks, again, are found throughout antiquity, as if whatever machine they were using to undertake these jobs >> [music] >> not only incredibly advanced and precise, but capable of cutting enormous volumes of stone with seeming ease. A knowledge that was either the possession of a global superpower, [music] or more likely due to the variety of religious iconographic themes, also present throughout antiquity, was a tech shared and disseminated through the various colonies of the Earth. Thus, if one searches for these markings, ignoring the academically argued claim of them as mere decoration done by hand, of course. [music] This mechanical-esque finish can be found left by this machine the world over, clearly once responsible and capable of cutting the stones of Baalbek, or indeed the little-known, yet equally fascinating [music] site of the Corkscrew Quarry, Cave de Cusa, hidden within southern [music] Italy. Here one will find undeniable evidence of another globally shared knowledge [music] and technology. With the Corkscrew Quarry, a clear display of just how enormous [music] these machines must have been. It's enormous ancient marks still to be found amongst this [music] ancient limestone, displaying just how big the stones this tech was once able to cut before being moved. These markings can be another item in your armory [music] when searching for this hidden world of ruins. These diagonal, sometimes corkscrew [music] tool marks are in fact present at nearly every unexplained polygonal, [music] megalithic, even pyramidal sites on Earth, if indeed one searches hard enough. Yet as mentioned, [music] they also display a vast and varying array of marks left by an equally large variety of now lost [music] and ignored ancient machines. With these same machines once responsible for creating the diagonal style found within Longyou, also once used to liberate the some 14,000 ton megaliths within Yangshan quarry within China. Stones which due to their simply enormous size have predictably been long academically argued [music] as impossible to have moved. And thus, according to academic opinion, they were doing all this undercutting [music] apparently with the intention after it presumably fell crushing all beneath to then cut this huge stone into hundreds of smaller blocks. With this academic explanation in reality, a simply illogical and weak attempt at dismissing what we can all see they were doing and indeed intending to do after cutting it free. That being of course to [music] lift it. Tasks that were all mysteriously and abruptly abandoned. [music] With possible proof of their clear intention to move the entire stone once liberated, [music] can indeed still be found upon these magnificent unfinished megaliths in the form of yet another enigmatic, unexplained, [music] and thus lost knowledge of this mysterious civilization. Proof in the form of what has come to be known as the protuberances. Notches also now located [music] across the planet and in particular abundance within Peru. With them nearly always found upon its many polygonal [music] walls. These mammoth stones left unfinished within the quarry all academically denied as ever being intended to be lifted or moved in their entirety. Yet they were nonetheless almost free and moving when those cutting them mysteriously [music] vanished. With these mysterious knobs already present, a feature we will cover in more depth shortly, were already fortunately cut down into their form. Identifiable marks not only pinning these works and indeed the as mentioned diagonal tool marks still to be found perfectly preserved to the same civilization, but allowing Yangshao to neatly dovetail into the many [music] other impossible feats of the true builders of these sites. With some as you will see also allowing [music] the pinning of the polygonal world hidden all around us to this group as well. And as one's knowledge [music] and awareness of these repeating features inevitably grows as we work our way through them. You too will discover many of these ancient signatures >> [music] >> overlap with one another across nearly all of Earth's oldest surviving ruins. [music] The basalt floor for example located at the foot of the Great Pyramids, [music] laser precise cuts and machined holes can be found. Holes from ancient rotatory technologies leaving [music] countless clean and in some cases even misstarted drill holes. Undeniable evidence of these tools past speed and indeed existence left for all to see still visible upon and through some of the toughest stone on Earth. These mistakes, these once hidden tool marks and scars are now due to heavy erosion clearly visible in countless places across this floor. Indeed, the entire [music] Giza Plateau as a whole. Tools clearly also once responsible for the clean cut quarried stones of Peru [music] covered in the previous chapter. Quarries once created for polygonal blocks or perhaps another style entirely. A lesser known rougher more primitive counterpart when now known as Cyclopean masonry. Also found the world over with many of these equally inexplicable [music] Cyclopean works in some rare areas also exhibits this overlapping of methods and signatures. However, in this case [music] instead of enabling the identification of additional antediluvian ruins, it instead gives one a rare glimpse into the evolution of styles. A visual example of the builders chronological and technological [music] development from that of Cyclopean into the noticeably more refined, [music] intricate, and superior polygonal technique. Which as the image reveals, [music] is a spot that I found with these clearly polygonal blocks built atop this earlier phase of Cyclopean [music] masonry. An unbroken archaeological timeline revealing how this lost civilization developed and accomplished these feats in linear fashion. It's finally here. After being demonetized 3 months ago in what was a last-ditch effort to silence my work, instead of running away, I set about making the greatest, most revealing, and downright astonishing history book ever written. The fulfillment of a promise I made to you long ago. And as you will see yourself, I have indeed accomplished this task effectively, [music] rewriting history correctly. A complete guide and the first [music] logically sound explanation. A true chronological timeline of ancient [music] historical events. The only book of this depth that I am aware of. Cataloging countless [music] pre-flood developments leading all the way up to the event. Developments [music] and artifacts which have allowed me to prove beyond doubt their past global [music] seafaring existence. A truly logical explanation of an ancient world long hidden in plain sight. Exposing [music] probably the greatest conspiracy in the history of mankind. How exactly said conspiracy came about, its many inner workings, and yet perhaps most importantly of all, just [music] what it is they have been hiding. A literal smorgasbord of completely baffling and unexplained ancient anomalies, tool marks, signature stonework, [music] metallurgical clamping technologies, ancient knowledge, polygonal masonry, OOPARTS, ancient maritime maps, and so much more. A full exposé of the past reach of this lost civilization, [music] while also revealing undeniable proof that not only were they once a global seafaring, perhaps even air-going civilization, but the exposure in full, by these undeniable signatures left by the same now lost [music] technologies the world over, reveals a vast array of now deciphered ancient knowledge and feats now pinned to their rightful original owners. Many of which saved for the book, and thus [music] never before seen or studied by anyone but me. Providing a collection of unarguable evidence so [music] vast, it is impossible for anyone to deny its existence. Providing more data [music] and evidence than one would ever need to prove the hypothesis beyond [music] any reasonable doubt. If one also wishes to know why they have now been trying [music] to silence me for over 10 years, I suggest you get a copy before academia try to bury the book, or worse, [music] me. It is my gift to you all, so there will also be free readings with accompanying motion pictures created and [music] uploaded to the channels for each chapter very soon. So do stick around for them, too. I'm not making anything [music] from Google at the moment, but that is exactly why I've done it. I've put an end to it once [music] and for all. Thus, it is my first book. My magnum opus, one which I really hope you, too, will find to be highly compelling. >> Mhm.