It’s a couple of days after Mel Gibson’s Mayan fantasy Apocalypto opened in the United States, and my wife and I are following a young Mayan man, Agosto, through the Yucatán jungle. A tour guide and biologist, he’s showing us a group of spider monkeys that live on the Punta Laguna preserve run by his village. It’s late afternoon, and while rain clouds gather, Agosto offers to show us around so the other guides can go home. As we walk down the slippery paths, he tells us about the place in a Spanish that’s remarkably easy to understand, probably because, as for us, it’s his second language; his first language is Yucatec Maya, the language that’s notoriously used for what little dialogue there is in Gibson’s bloody confection.

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