When Elizabeth Thiessen embarks on an expedition to study the cave murals of Baja California, Mexico, she is catapulted onto a mythical, existential journey into the unknown. Within days of landing in the Baja, Elizabeth discovers that her daughter, Patricia — posted in Afghanistan with the Canadian armed forces — is taken hostage by the Taliban. Elizabeth struggles with her decision to remain on assignment and suffers extreme anxiety over her daughter’s hostage-taking. Her psychological fragility is pushed to the brink by the field expedition’s physical hardships, and is intensified by her romantic involvement with Richard Wellington, one of seven of the international team of anthropologists commissioned to study the pictographs. Believed to have been painted over 4,000 years ago by a tribe of nomadic hunter-gatherers, the murals, embodied within a cave overhang, in the Sierra de San Francisco, are a testament to the nomads’ pantheistic reverence for nature and the universe. Collaboratively with the other teams members, Elizabeth formulates her own unique interpretation of the pictographs, undergoes a catharsis and overcomes her mounting feelings of despair and powerlessness. On a personal level Elizabeth is compelled to realize that if her daughter survives her ordeal, like her father, Stanislaw, she will no longer be the same person. As the nomadic painters so aptly depicted in the cave murals millenia ago, there is only certainty in the life cycle repeating itself.