47 pages • 1 hour read
Carl HiaasenA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide contains descriptions of gun violence.
Wahoo returns to his campsite and asks if Tuna has considered going to the police. She evades the question, but he continues to probe, asking when her mother—who is currently in Chicago—will be coming back. Tuna soon grows tired of the questions and turns in for the night. When Wahoo hears groans coming from Mickey’s tent, he wakes his father from a nightmare. They discuss Tuna’s situation and consider whether to notify the authorities, but Tuna is listening to their conversation. Just then, several piercing screams shatter the night.
In the production camp, the team quickly sets up lights and cameras to film Badger with the bat. The bright lights and commotion confuse the animal, and when Badger attempts to eat it alive, it attacks his face. Mickey is summoned to the scene, and he gently prods the bat’s belly until it detaches from Badger’s tongue and flies away. Badger is carried to his tent, and Mickey, Wahoo, and Tuna head back to their camp.
The next morning, Wahoo wakes to find his father gone. He assumes that the episode will be cancelled due to Badger’s injury. He offers to let Tuna stay with them until her mother returns, but she refuses. She also turns down the offer of a plane ticket to Chicago, claiming, “I can deal with my dad until Mom gets home” (163). Mickey returns with a pair of rat snakes wrapped around his arms. Moments later, the airboat driver, Link, enters their camp in search of Badger, who is missing. They offer to help search for him. Despite the crew’s fears that Badger has become the victim of a wild animal, Mickey asserts that the star is simply hiding. As they spread out across the small, forested island, they suddenly hear the roar of an engine. Link’s boat has been taken.
Raven calls Gerry Germaine, the executive producer of Expedition Survival! To report Badger’s disappearance. Germaine, who is fed up with Badger’s ego trips and budget overruns, is not overly concerned. He would love to replace Badger with another actor for half the salary. As the crew breaks camp and returns to home base—the souvenir shop—they hire additional airboats and discuss a search strategy. Mickey prepares to leave, but Raven asks him to help with the search. He agrees, and Wahoo fetches Tuna in the souvenir shop. He notices something odd in her behavior, but she evades his questions.
The narrative shifts back in time to describe recent events. The infected bat bite leaves Badger delirious, and, with no clear plan in mind, he steals the airboat and flees into the Everglades. A fan of vampire movies, Badger imagines that he was attacked by a vampire bat and may now be transforming into a creature of the night. When the airboat crashes into another island, he is flung from his perch into a thicket of poison ivy. He hides under the boat to avoid sunlight—which is deadly to vampires—while his stomach rumbles with hunger.
Tuna’s father shows up at the souvenir shop looking for her. She called to tell him that she was in Aruba, but he traced the call there. Sickler, the owner, claims that he hasn’t seen Tuna; he has an intuition that he must keep this man away from the young girl. He promises to keep an eye out for her, and Tuna’s father eventually leaves.
After a day of searching, Badger is still missing. While the adults hold a strategy session, Wahoo and Tuna set up the tent. Afterward, they read through the rest of the script, which calls for Badger to carve a dugout canoe with a Swiss army knife and paddle through the Everglades until he is spotted by a plane. Despite Badger’s fakery and ego, Wahoo and Tuna both hope that he survives his current predicament.
Out in the Everglades, Badger eats a frog and snails and waits for signs of vampirism to emerge. He tries to record himself for the episode, but his swollen tongue precludes any dialogue. He tries to sleep on the boat as thoughts of malevolent transformation consume him.
Despite his dislike of Badger, Mickey is worried about the star’s safety and doubts his own ability to track the man through the wilderness. The crew prepares for another day of searching, but a lightning storm looms. Wahoo sees Tuna lingering near the parking lot. As he approaches her, she suddenly bolts toward him, her face “a gray mask of fear” (193).
Inside the shop, Tuna’s father, Jared, shows up again and demands to see his daughter. Sickler claims she’s not there, but just then, Mickey enters and offers to take Jared to Tuna, claiming that she is a long drive away. A suspicious Jared pulls out his revolver and threatens them, demanding that they take him to Tuna.
Meanwhile, Link, who is more concerned with the welfare of his boat than with Badger, is eager to begin the search. When Tuna runs toward him, frantically asking for help, Link, Tuna, and Wahoo hop aboard a rented airboat. As Link revs the engine, he feels a pain in his shoulder and sees a man on the dock pointing a gun at him. They speed away, and he realizes that he has been shot. His vision grows blurry, and he stops the boat while Tuna and Wahoo tend to his wound. With the bleeding staunched and the wound disinfected, they ponder their next move. Tuna doesn’t want to go back to the dock while her father is there. Soon, however, they hear another airboat approaching.
Although Hiaasen maintains a light tone, events take a dramatic turn as these chapters outline the consequences of failing to appreciate The Importance of Respecting the Natural World. As Badger’s bite wound grows infected and Tuna’s violently abusive father shows up to claim her, one dire situation compounds the next, and the absurdity of this “real-life” situation begins to mirror the farcical nature of the reality TV industry itself. Thus, Hiaasen engages in a bit of implicit self-mockery that is almost metafictional in nature, for his novel, just like the antics of reality TV, is a thing of artifice that is primarily designed to entertain. The metafictional theme is continued as Badger’s wound makes him too delirious to distinguish reality from fantasy; this element of the plot is further amplified when his fixation on a series of vampire movies convinces him that he is fated to become one himself. For Badger, movies and TV are his reality, and in his feverish state, he conflates his artificial, filtered reality with the real thing.
Yet despite these elements of absurdity, Hiaasen also makes it a point to pen interludes of genuine connection, fulfilling the conventions of the YA genre. As the relationship between Tuna and Wahoo slowly and awkwardly develops, Wahoo must find a way to come to terms with The Complexities of Problematic Parenting that his new friend must endure. Having been relatively shielded from life’s harsh realities by his isolation and non-traditional lifestyle, Wahoo cannot truly fathom Tuna’s situation, and the only way he can think to show his support is to ask her a series of unwelcome questions. Despite his expertise with animals and with his father, these moments of combined social empathy and ineptitude reveal Wahoo to be an average, curious, and sensitive boy. However, given the novel’s primary focus on the antics of unlikely adventures, these brief interludes are usually interrupted by the next crisis requiring his adult skills. Ultimately, both adolescent characters prove to be wise beyond their years, and although Wahoo’s situation is much healthier than Tuna’s, both children’s maturity is a result of parenting practices that have caused them to grow up too quickly.
The attention that Hiaasen dedicates to developing his main characters does not prevent him from creating vivid portraits of his minor characters as well, if only with brief, thumbnail sketches. For example, Sickler, the owner of the souvenir shop, may be cantankerous, but he also is astute enough to recognize a child in danger and to act accordingly. Similarly, Link, the airboat driver, may be poverty-stricken and nearly illiterate, but as a survivor of childhood abuse himself, he develops a bond with Tuna that even Wahoo cannot match. He also ekes out a meager living with his prized possession, his hand-built boat. It’s the closest thing he has to a passion, but Hiaasen implies that Link is simply one of many oddball characters populating this remote and unconventional setting, and even the setting itself becomes a character in its own right. The Everglades, with its unpredictable weather and surreal fauna, complements the eccentricities of Hiaasen’s characters as the cast and crew of the faux-survivalist television series find themselves confronted with multiple scenarios that will require them to use true survival skills.
By Carl Hiaasen
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