Seven Days In The Dark
By Tim L. Bass
It takes more than seven days to make a high definition documentary about a very challenging cave system in Mexico. I knew this intuitively and now by experience. But seven jam packed, equipment moving, traveling, TSA questioning, familiarization diving, infection fighting, interviewing, exploring, language deciphering and shooting days were all we had set aside.
Mike Young, cave diver extraordinaire, expedition leader, innovative designer and builder of the GEM gas extender and many other cave diving items approached me to make a film about the project in mid 2008. We would need a smaller HD camera and housing than the 40 pound system I had used on the Blue Spring film and also a very powerful underwater film light. We set to work acquiring these items (read: making most) and in mid-December 2008 we were ready. However, as the jet lifted off for Mexico I had not ONE single hour of experience with the new camera housing, light arm and LED lighting system! Seven days…we’ll see.
The trip did not start well for me. My regular work required a load of federal quarterly reports the last of which I completed at 8pm the night before the flight. On top of that I was feeling a little pasty, a sure sign that an infection was sneaking up on me. It is a wonderful thing in such circumstances that you can buy Amoxicilin over the counter in Mexico, after 12 doses all was right.
The Hotel Association put us up in the very luxurious El Cid but on the 10th floor! The elevators had a placard that warned: “THREE PEOPLE ONLY”. We thought we could hear the bungee cords (apparently common elevator rigging in Mexico) snapping each morning and afternoon when we would load the lifts up to the ceiling with gear and a few divers. Just to get our gear to the parking lot required four nail biting trips on these rather dubious machines. The five mile trip to or from the dive site required at least two trips and each time the rental van would be loaded beyond maximum. Each day we would get a minimum of twenty tanks and stuff them in the back of the van along with all the other gear and a few divers. Due to the load, there was no effective shock absorber control, brakes or acceleration. It was a good thing Adam was driving most shuttle trips – he deserves a Mexican taxi license!
The first day of diving for me was problematical as I realized we had already burned a half day of our allotted seven and everyone but Mike and Slim had yet to dive the system. The mission was to shoot film of artifacts in the artifact room near the entrance cenote. German had given Mike a very brief description of the route: enter, attach a jump spool to the main line turn right and in a few feet we would be inside the room. This room is very important to the story as it is the only cave system in Mexico to contain both pre and post Spanish Mayan artifacts (many of which are holy) as well as Spanish items. We dressed out carefully and Mike and I entered the cenote.
As planned, Mike attached a jump spool to the line and took off to the right. I followed with the camera, arm and film light. And then…I got stuck in a hole. Friends, it was so silted out I could hardly see the very bright film light just inches from my face. It was so tight I had difficulty moving my head. I was getting pretty “personal” with the cave. Call it a little off route, my inattention or whatever - I gently backed out of that hole as best I could, side mount tanks grabbing every rock, jump line getting tangled in my gear. I was the happiest man on Earth when I noticed the cold expanse of the main tunnel around me. I was not freaked but I was through for the day – better at this juncture to noodle things out in the sunshine. I humbly admit that I’m a filmmaker, not an explorer like all the other members of the team. Mike later entered the room and shot some great footage of some of the artifacts.
The next day (one and a half down, five to go) everyone got into the cave with side mount to learn the personality of the cave. I entered with the camera and Slim as my safety diver. I’m a PADI-MSDT, IANTD Technical Cave Diver and am also certified in normoix tri-mix but a camera in the hand can trump all that training and experience in the blink of an eye. I was grateful to have the experienced skills of Slim there to help me stay on line, point out dangers and hopefully keep my attention on the most important thing – the dive.
We swam the line and made a pretty good penetration into the system shooting formations and other members of the team both going in and coming out. It is a strange system. To my knowledge, every cenote in the known universe connects with the ocean, however this one doesn’t. Any halocline we encountered was apparently due to salt water seepage over time through the limestone. The cave completely changes character every 100 feet or so. At one moment it was like a Missouri cave, at others a sump – in other places huge, like the caves of Florida. There were absolute virgin leads everywhere you looked. Cave divers toss around the “Swiss cheese” metaphor a lot but let me tell you, this place was the definition of a Swiss cheese system! There was no life to speak of – only sulfur bacteria and a few microscopic crustaceans that must have dug out a meager existence from some sort of sulfur based ecosystem. Conditions were not great. There have not been very many divers in the system, therefore constant percolation was a problem if we lingered in any section. There was a slight halocline and milky white H2SO4 layers at certain levels that not only messed with our visibility but also with filming. Backscatter from the film light was so bad at times I might just as well been shooting a neutral gray card. After about an hour swimming the system I had about 20 minutes of bad footage. Beginnings are always hard but I usually do better. Tomorrow is another day…number three as a matter of fact.
Four days to go and Mike and I enter another cenote near the main entrance and find a more direct route to the artifact room. What an amazing thing to be in this room. Mayan pots that may have seen the sun for the last time 2000 years ago, a bulls skull, crocodile skulls, piles of bones and Spanish artifacts from the 16th and 17th century. In those centuries there were droughts in the area that lowered the water level in the cenotes. The Spanish took this opportunity to butcher animals in the cave because of access to cleansing water. As I shot footage I could imagine Conquistadors cleaning the carcasses of bulls, crocodiles and other animals in the dark recesses of the cenote. I could also picture Mayan priests hundreds of years before placing sacred pots and other objects in the belly of the cave for safe keeping and as an offering to the gods of the underworld. For both it was an essential place, a special place. I felt honored being there recording their leavings for a modern world that has mostly gone beyond fighting for subsistence or worshiping ancient gods. I finally get it, this is not just any cave and we are not just here to push the line. It is a bridge between many different cultures and people. We are here to film, explore and show the world this magical cave so all of us will know what came before and what is now. We are part of the bridge that continues into today and tomorrow.
As we dove in one section of the system I could hear the rumbling of street traffic above on the highway. When we came out of the cave the bubbling of the water was mixed with the electronically amplified reggae beats of the beach club just 100 yards away - all this and ancient artifacts just a few feet underground. What a world…what a project.
Only three more days but it’s push day! The other supporting divers in the team (Adam, Robert and Slim and at times Mike Young, Brenden, and Mike Wright) had placed safety bottles at critical points in the cave. The push team consisted of Mike Young, Brenden and Mike Wright all fitted with GEM air extenders and scooters - probably the best of us all. My self imposed assignment was to enter the cave with Slim, swim to the more photogenic parts of the system and wait for the push team to get footage of the actual attempt. We swam in and waited at the “short-cut dome” which quickly silted out due to percolation. We moved deeper in the cave and waited some more…same problem. In fact, for the hour or more we spent in the cave that dive we stopped and waited at five photo stations and experienced the same problem. Our exhalations were driving silt and gunk off the ceiling of the cave, right in the path of my dome port. We finally started out in hope that we would meet up with the push team but never saw them.
As I surfaced, Mike Young (still on the surface) looked at me and said: “We’ve had a few delays…”, my response was, “No S- - t?”. Mike Wright had a few problems with his re-breather unit and had lost an exhaust diaphragm so decided to abort his dive while Mike Young and Brenden as a two man push team decided to go for it. Two and a half hours later they returned with stories of what they had found.
We thought that we needed off shore underwater shots of the famous Cozumel reefs to contrast (in the film) with the very different conditions in the cave. So, the next day we scheduled an open water trip with the dive shop at El Cid. We wanted to dive The Devil’s Throat but their young and apparently inexperienced divemaster missed it! I’ve dove the throat before and when he looked confused I just pointed where I had seen the entrance just 50 yards back. This may have been a day to relax for the others but I was working my tail off. There were excellent shots of corals, reef fish, morays, and giant turtles. The film effort was aided by Mike Young’s kick butt LED film light which restored color at over 100’ in ambient daylight! I’ve worked with surface supplied 1K, A/C film lights and they were not even close to Mike’s light. Imagine, if you will, the sun bottled in a very small container all directed at the subject. God himself does not have that kind of light!
That afternoon Brenden and Robert served as my film crew while Adam did a pretty damn good job collecting sound as we drove around the island getting local shots. The other guys dove the system to place more safety bottles and check others for the push the next day.
Two more days left and another push day - it was the same plan as before: the film team in before the push team except this time everything worked like a charm. We got several great shots of the push team on their scooters, guys exploring the cave, divers swimming with, dropping, and retrieving safety bottles. All the other days should have gone like this. When I reached thirds I handed the camera system off to Adam and Robert to shoot footage further back in the cave. A housing breach was NOT what we needed at this point but that’s what they got. It was not a catastrophic leak, just enough to fog the dome port internally and render some of their great footage useless. This fault was probably due to a microscopic sand grain working it’s way around an “O” ring either on the front plate or around one of the control glands. It was a damn shame too - Adam and Robert did a superlative job shooting footage. Slim and I spent and hour and fifteen minutes on this dive – the push team was in the cave four hours and twelve minutes. Mike Young (with his more aggressive mouthpiece) used only 1000 psi from his back mounted tank, Brenden used 2100psi.and Mike Wright used about the same. They didn’t need any of the safety bottles. Yep, I think that GEM air extender of Mike’s works like it should! I will let the push team tell the tail of the push – things are always better when told 1st hand.
The last day before flying home - Mike Young as interviewer, Adam as sound guy and me on camera and directing as we had plans to interview the Mayor, a biologist from the State University of Q. Roo and the chief underwater archeologist for the University. At the edge of the jungle, on the manicured lawns of the Beach Club we waited on the mayor. Finally he arrived in two or three large SUVs with his rather large entourage. It is very apparent that this new Mayor is really trying to do good things for his people. He is a very busy guy but we sat him down as it sprinkled rain and he was kind enough to answer all our questions in Spanish. Later we had good interviews in different locations with the biologist and German the chief archeologist, original discoverer and explorer of the system. They are all an important part of the story and were all gracious in their interviews.
It wasn’t really seven days in the dark but it seems so in my dreams. There were cocktails with Slim on the balcony of our room, chatting up waitresses with Adam and talking with old friends at the Barracuda, the fiesta at the town square, the great local Mexican/Mayan food, talking diving and life with Brenden, trading jokes with Robert, trying to figure out Spanish (while watching a Mexican movie) with Mike Wright, Mike Young riding the shopping cart “Cowboy Style” at the mega market. The tall stories we told and heard around the ice cream stand! The old friends we met and the new ones we made. Seven days is too short a time to produce a great documentary in another country. We’ll go back and finish what we started…another seven days just might do it.


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