us.â
To his relief, she didnât act as if he had gone insane. She remained calm and accepted the strange synchronicity that had gripped them.
âThe world is wide and vast and strange, and we will never understand all that occurs,â she asserted. âIf we are meant to be together, somehow that will happen, but if you do not leave now, you will miss your plane, and I will never hear the end of it from my parents.
âI love you. I have always loved you, and I will always love you,â she continued. âI do feel a deeper connection with you than anyone I have ever known. Deeper than any boyfriends, deeper than my own brothers, and even my mother and father, and I do not doubt but that our lives have crossed for a reason. Yet I do not see how we can alter our present destinies.â
With those words Maria gave Max a final kiss, stood, and walked out of the park, leaving him alone in front of his hotel pondering how it was that she had spoken the exact words his mother had used, after his near-death experience.
Chapter Eight
The Search Continues
June 1973
E ASTER ISLAND.
Stonehenge.
Glastonbury.
The Museum of Man in London, the caves of Lascaux in France, Athens, and the Greek island of Santorini.
Max set up meetings in each of these locations with scientists, archeologists, and crackpots, all of whom had information to add to the ever evolving search for ancient mysteries.
However, he couldnât stop thinking about Maria Magdalena Ramirez in the few minutes a day in which he was not arranging the rental of cars, boats, planes, and whatever mechanisms would most assist the production team.
As he worked, a pattern evolved. Max would arrive in each city first, contact government officials, museum officials, and other persons with whom he needed to arrange permissions. He would scout locations and then greet the incoming crew upon their arrival at each international airport.
The cinematographer on the crew was Uri Ulick, considered in those days the best rough-terrain cameraman of his generation. Uri was in his thirties, Norwegian, thin, fit almost at the level of a professional athlete. He enjoyed steam baths and saunas and other fitness and health practices that would help him relax.
He was tenacious and confident in his filming. He would go anywhere to get a shot and was fearless. Because he was so fit and agile, he could climb around the top of buildings, perch on railings, and always get the shot. He did all of the helicopter and airplane shots and had no trouble with heights, often leaning out or strapping himself to the outside of the small planes they rented for filming the mysterious Nazca lines in the Peruvian desert or the ruins in remote locations.
Uri was easy to get along with. Everyone treated him with respect, and his services were always in demand. He had a wife and two young children at home in Los Angeles but was on location more than eight months a year.
Russ Arnoldâtheir second cameramanâwas in his twenties and big and burly. In Search of Ancient Mysteries was a big break for Russ, the most important project of his young career. He enjoyed his beer and was slower moving than Uri, but he was competent, professional, and showed a strong work ethic.
As their camera and lighting expert, Russ was meticulous. He loved to eat and joke, although, unlike Uri, he was less focused on fitness and often went on a binge when work was done.
Orlando Summers was twenty-nine, and as the line producer for the shoot, he was responsible for the budget. He gave Max his per diem and kept track of the equipment and expenses. He reported directly to George, who trusted him completely. Orlando aspired to be a producer and director himself, and Max had more interaction with him than with any other members of the crew.
They worked closely together to organize travel for the equipment and crew, and Orlando learned to rely on Maxâs judgment on trade-offs they had to make
To his relief, she didnât act as if he had gone insane. She remained calm and accepted the strange synchronicity that had gripped them.
âThe world is wide and vast and strange, and we will never understand all that occurs,â she asserted. âIf we are meant to be together, somehow that will happen, but if you do not leave now, you will miss your plane, and I will never hear the end of it from my parents.
âI love you. I have always loved you, and I will always love you,â she continued. âI do feel a deeper connection with you than anyone I have ever known. Deeper than any boyfriends, deeper than my own brothers, and even my mother and father, and I do not doubt but that our lives have crossed for a reason. Yet I do not see how we can alter our present destinies.â
With those words Maria gave Max a final kiss, stood, and walked out of the park, leaving him alone in front of his hotel pondering how it was that she had spoken the exact words his mother had used, after his near-death experience.
Chapter Eight
The Search Continues
June 1973
E ASTER ISLAND.
Stonehenge.
Glastonbury.
The Museum of Man in London, the caves of Lascaux in France, Athens, and the Greek island of Santorini.
Max set up meetings in each of these locations with scientists, archeologists, and crackpots, all of whom had information to add to the ever evolving search for ancient mysteries.
However, he couldnât stop thinking about Maria Magdalena Ramirez in the few minutes a day in which he was not arranging the rental of cars, boats, planes, and whatever mechanisms would most assist the production team.
As he worked, a pattern evolved. Max would arrive in each city first, contact government officials, museum officials, and other persons with whom he needed to arrange permissions. He would scout locations and then greet the incoming crew upon their arrival at each international airport.
The cinematographer on the crew was Uri Ulick, considered in those days the best rough-terrain cameraman of his generation. Uri was in his thirties, Norwegian, thin, fit almost at the level of a professional athlete. He enjoyed steam baths and saunas and other fitness and health practices that would help him relax.
He was tenacious and confident in his filming. He would go anywhere to get a shot and was fearless. Because he was so fit and agile, he could climb around the top of buildings, perch on railings, and always get the shot. He did all of the helicopter and airplane shots and had no trouble with heights, often leaning out or strapping himself to the outside of the small planes they rented for filming the mysterious Nazca lines in the Peruvian desert or the ruins in remote locations.
Uri was easy to get along with. Everyone treated him with respect, and his services were always in demand. He had a wife and two young children at home in Los Angeles but was on location more than eight months a year.
Russ Arnoldâtheir second cameramanâwas in his twenties and big and burly. In Search of Ancient Mysteries was a big break for Russ, the most important project of his young career. He enjoyed his beer and was slower moving than Uri, but he was competent, professional, and showed a strong work ethic.
As their camera and lighting expert, Russ was meticulous. He loved to eat and joke, although, unlike Uri, he was less focused on fitness and often went on a binge when work was done.
Orlando Summers was twenty-nine, and as the line producer for the shoot, he was responsible for the budget. He gave Max his per diem and kept track of the equipment and expenses. He reported directly to George, who trusted him completely. Orlando aspired to be a producer and director himself, and Max had more interaction with him than with any other members of the crew.
They worked closely together to organize travel for the equipment and crew, and Orlando learned to rely on Maxâs judgment on trade-offs they had to make
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