I returned to the changing face of Manhattan and the world at large.

For days I was besieged by people wanting me to photograph the area of the Twin Towers, to see if the spirits of friends and loved ones would show up in my photos.

Though I wanted to help, my thoughts were on Max and the monolith and this strange new energy that permeated New York and the rest of the world.

I could hardly focus, but went to work taking pictures of the area, now called Ground Zero.

I spent days taking photos of the many places in the area, including the Millennium Hilton Hotel, which reminded me of the black monoliths and the movie "2001 A Space Odyssey." There was a connection.

Black glass building pays homage to Arthur C. Clarke's
Vision of the Monolith in "2001 A Space Odyssey"

Before 9/11

Eclipse of time and consciousness - Creation - Sacred Geometry

Monolith Under the Water in the Atlantic - Atlantis Connections

Monolith buried in the sands of time in Egypt

Many stories ... many spirits appearing in my pictures ... some lost ... some confused ... not the usual smiles or greetings from past photos.

Time passes for us in a linear fashion, but the images of the spirits who died on 9/11 had a timeless quality about them. It was unlike anything I experienced while photographing other spirits in the past. I could almost feel them frozen in time, like a film on PAUSE, while I captured their essence in the moment.

There were many spirits who appeared to be walking through a long crowded tunnel ... their images overlapped ... lost and searching ... projected reality in the alchemy of time and illusion.

* * *

Suddenly one photo caught my attention. It was different than anything I had ever taken.

It was sepia toned.

But why sepia toned? Sepia ... blood and bloodline ... Tones ... Harmonics. I had always believed that reality was created by harmonics.

The photo featured a fireman covered in soot and debris. I knew immediately that he had died on 9/11. There he was in my sepia photo, with the unique coincidence of standing in front of a monolith-shaped building.

I thought back to the moment I took the photo in front of the Millennium Hotel, earlier that day. Here we were at the beginning of a new Millennium. It was dawn and nobody else was around. I remembered experiencing a strange feeling, as if out of phase, when I took the photo. But then again, the entire area seems surreal now.

I enlarged the image and discovered the fireman was pointing to 12 square stones, 6 down X 2 across, that were superimposed over the building, each with a symbol matching the ones on the 2 other monoliths.

* * *

I called Max on Skype to tell him what I had discovered.

He was impressed with the sepia photo, more so that it was taken in front of a monolith-shaped building in New York City. He felt this was an important key to solving the mystery of the 12 symbols, especially in light of recent events at the Twin Towers.

Max was convinced that this all led back to the Middle East and a time when the monolith I found buried in Egypt and the monolith on the Atlantic floor were set in place.

He was bursting with enthusiasm as he demonstrated the major breakthrough he had made that day.

Using the energies of the 4 tower crystals and his computer, he had taken the 12 symbols and turned them into holograms which floated separately within the matrix of the towers.

Once all 12 holograms were activated within the matrix, the 4 tower crystal towers began to resonate in constantly changing harmonics. Colors flowed within the 4 crystal towers as if a rainbow prism. It was indescribable.

We agreed that the harmonics and colors were responding to each other.

The harmonics then activated the holographic symbols to create a mathematical construct that he believed was linked to the monoliths and the story of creation.

It was 2001 and Max believed our discoveries were linked in some way to the film, "2001, A Space Odyssey" and alchemy.

"There are 4 monoliths in the film. Where's the 4th one?" I asked.

"My guess would be in space."

"I knew you would say that. Do you think we'll find it?" I asked.

"It will find us!" Max replied, almost knowingly. "Now I understand the main reason I had to move to the Bahamas. It was to find the crystals and monolith."

"So it would seem. Perhaps that is why we found each other - duality, yin yang, balance of nature in the creation of all things, etc."

"It's about creation and a connection with space. Only part of the answers lie here, or should I saw in physical reality."

"Do you feel a connection to Clarke's second book, 2010: Odyssey Two and the screenplay that followed, 2010: The Year We Make Contact?"

Something about that rang true for both of us, as we sat there staring at each other.

"I know this is all linked."

"Let's talk about it when I get there. I've made arrangements to return to New York. I'll see you tomorrow."

"Look forward to it."

"Stay out of trouble until then."

I returned to the sepia photo, which was now enlarged to 6 feet in height and hung on a wall near my desk. What surprised me was that enlarging the photo had not distorted the symbols. Amazing!

As I stared at the symbols a strange feeling came over me. Had the harmonics created by the crystals and symbols Max sent through the computer altered the sepia photo?

Instinctively I picked up aunt Catherine's camera, which lay on the desk to my left.

Suddenly the sepia photo took on energy of its own.

I touched the image of one of the symbols with my right hand, and a portal opened...