"Then the artifacts will be quickly turned over to facilities equipped to preserve them from damage after so many years of immersion. At that time we'll announce the discovery and stand back while the bureaucrats from Washington and Beijing fight over it."
"And Qin Shang?" Perlmutter probed deeper. "What happens when he shows up on site with his own salvage ship?"
Pitt grinned deviously. "We'll give him a reception fitting for a man of his sterling qualities."
52
THE OCEAN RETRIEVER, with Pitt, Giordino, Gunn and Julia on board, was the first to arrive and position herself over the wreck of the Princess Dou Wan. The Canadian salvage ship from Deep Abyss Systems Limited out of Montreal, Hudson Bay, arrived only four hours later. She was an older vessel converted from a powerful oceangoing salvage and tugboat. Aided by clear weather and smooth water, the salvage of the art treasures commenced immediately.
The underwater part of the project was handled by submersibles using articulated arms in cooperation with divers encased in deep-water atmospheric diving systems called Newtsuits that were similar in appearance to the Michelin tire man. Bulbous, constructed of fiberglass and magnesium, and self-propelled, the suit enabled a diver inside to work for long periods of time at the four-hundred-foot-plus depth without concern over decompression.
The artifacts were beginning to come up systematically and with rapid regularity once a routine was established. The operation continued at an even more rapid pace when the U.S. Navy salvage vessel Dean Hawes came charging down from the north end of the lake two days earlier than expected and took up station beside the other two ships. She was considered new, only two years from her launch date, and was constructed especially for deep-water work, the recovery of submarines in particular.
An immense open barge with long ballast tanks attached along its hull was parked in place by use of the global positioning system and sunk, falling to the lake bed a short distance from the forward section of the Princess Dou Wan. Then crane operators, working from the ships on the surface and employing underwater cameras, manipulated the clamshell claws on the end of their winch cables, deftly recovering the crates exposed on the outer decks of the ship, those deep inside the cargo holds and the artifacts littering the bottom between the two sections of the broken hull. The crates, together with their contents, were then lifted onto the sunken barge. When it was fully loaded, the ballast tanks were filled with pressurized air and the barge rose to the surface. A tugboat then took it in tow for the trip to the Port of Chicago, where it was met by a team of NUMA archaeologists who took charge of the art treasures. They very carefully removed them from the waterlogged packing cases and immediately immersed them in temporary conservation tanks until they could be transported to a more permanent preservation facility.
No sooner was one fully loaded barge towed off site than another one was maneuvered into position and sunk, repeating the process.
Six submersibles, three owned by NUMA, one by the Canadians and two by the Navy worked in harmony, meticulously lifting the crates with their invaluable contents into the specially designed cargo compartment of the sunken barge.
To facilitate the removal of the artwork from inside the hull, the divers in the Newtsuits cut through the steel plates with state-of-the-art torch systems that melted metal underwater at an incredible rate. Once an opening was made, the submersibles moved in and lifted out the treasures, aided by the clamshell claws from the cranes on the surface.
The entire operation was observed and directed from a control room on board the Ocean Retriever. Video screens linked to cameras set at strategic locations around the wreck revealed every stage of the recovery project. The high-resolution video systems were carefully monitored by Pitt and Gunn, who managed the intricate deployment of men and equipment. They worked twelve-hour shifts, as did the crews of all three vessels. The around-the-clock project never stopped bringing up the s
eemingly endless mountain of artifacts on the bottom below.
Pitt would have given his right arm to have worked on the wreck in one of the submersibles or Newtsuits, but as project director his experience was required to coordinate and guide the operation from the surface. He watched one of the monitors with envy as it showed Giordino being lifted into the Sappho TV submersible, broken leg and all. Giordino had over seven hundred hours in submersibles, and the one he was piloting was his favorite. On this shift, the wily little Italian planned to take his sub deep into the Princess Dou Wan's superstructure after the bulkheads were cut away by the divers inside the Newtsuits.
Pitt turned as Rudi Gunn stepped into the control room. The early sun flashed through the doorway, momentarily illuminating the compartment, which had no ports or windows. "You here already? I'd swear you just walked out."
"It's that time," Gunn answered, smiling. He was carrying a large, rolled mosaic photograph under one arm that had been shot above the wreck before the start of the salvage operation. The mosaic was invaluable in detecting artifacts that had been scattered in the debris field and for directing the submersibles and divers to different sections of the wreck. "How do we stand?" he asked.
"The barge has been filled and is on its way to the surface," replied Pitt, his nose catching the smell of coffee from the galley and yearning for a cup.
"I never cease to be amazed by the sheer numbers of it all," said Gunn, taking his place in front of the communications console and array of video screens.
"The Princess Dou Wan was incredibly overloaded," said Pitt. "It's no small wonder she broke up and sank in heavy weather."
"How close are we to wrapping it up?"
"Most all the loose packing crates have been recovered from the lake bed. The stern section is about cleaned out. The cargo holds should be emptied before the end of the next shift. Now it's down to ferreting out all the smaller cases that were stowed in the passageways and staterooms in the center part of the ship. The deeper they penetrate, the more difficult it is for the men in the Newtsuits to cut through the bulkheads."
"Any word on when Qin Shang's salvage ship is due to arrive?" Gunn asked.
"The Jade Adventurer?" Pitt looked down on a chart of the Great Lakes spread out on a table. "At last report she passed Quebec on her way down the St. Lawrence."
"That should put her here in a little under three days."
"She didn't waste any time coming off her search operation off Chile. She was on her way north less than an hour after Zhu Kwan received your phony report from Perlmutter."
"It's going to be close," said Gunn as he watched a submersible's articulated fingers delicately pick up a porcelain vase protruding from the muck. "We'll be lucky to finish up and get out of the neighborhood before the Jade Adventurer and our friend come charging onto the scene."
"We've been lucky Qin Shang didn't send any of his agents ahead to scout out the environment."
"The Coast Guard cutter that patrols our search area has yet to report an encounter with a suspicious vessel."
"When I came on my shift last night, Al said a reporter from a local newspaper somehow got a call through to the Ocean Retriever. Al strung him along when the reporter asked what we were doing out here."
"What did Al tell him?"