Big and Wet.
Amy called the whale punkin.
He was fifty feet long, wider than a city bus, and weighed eighty thousand pounds. One well-placed slap of his great tail would reduce the boat to fiberglass splinters and its occupants to red stains drifting in the blue Hawaiian waters. Amy leaned over the side of the boat and lowered the hydrophone down on the whale. "Good morning, punkin," she said.
Nathan Quinn shook his head and tried not to upchuck from the cuteness of it, of her, while surreptitiously sneaking a look at her bottom and feeling a little sleazy about it. Science can be complex. Nate was a scientist. Amy was a scientist, too, but she looked fantastic in a pair of khaki hiking shorts, scientifically speaking.
Below, the whale sang on, the boat vibrated with each note. The stainless rail at the bow began to buzz. Nate could feel the deeper notes resonate in his rib cage. The whale was into a section of the song they called the "green" themes, a long series of whoops that sounded like an ambulance driving through pudding. A less trained listener might have thought that the whale was rejoicing, celebrating, shouting howdy to the world to let everyone and everything know that he was alive and feeling good, but Nate was a trained listener, perhaps the most trained listener in the world, and to his expert ears the whale was saying — Well, he had no idea what in the hell the whale was saying, did he? That’s why they were out there floating in that sapphire channel off Maui in a small speedboat, sloshing their breakfasts around at seven in the morning: No one knew why the humpbacks sang. Nate had been listening to them, observing them, photographing them, and poking them with sticks for twenty-five years, and he still had no idea why, exactly, they sang.
"He’s into his ribbits," Amy said, identifying a section of the whales song that usually came right before the animal was about to surface. The scientific term for this noise was "ribbits" because thats what they sounded like. Science can be simple.
Nate peeked over the side and looked at the whale that was suspended head down in the water about fifty feet below them. His flukes and pectoral fins were white and described a crystal-blue chevron in the deep blue water. So still was the great beast that he might have been floating in space, the last beacon of some long-dead space-traveling race — except that he was making croaky noises that would have sounded more appropriate coming out of a two-inch tree frog than the archaic remnant of a superrace. Nate smiled. He liked ribbits. The whale flicked his tail once and shot out of Nate’s field of vision.
"He’s coming up," Nate said.
Amy tore off her headphones and picked up the motorized Nikon with the three-hundred-millimeter lens. Nate quickly pulled up the hydrophone, allowing the wet cord to spool into a coil at his feet, then turned to the console and started the engine.
Then they waited.
There was a blast of air from behind them and they both spun around to see the column of water vapor hanging in the air, but it was far, perhaps three hundred meters behind them — too far away to be their whale. That was the problem with the channel between Maui and Lanai where they worked: There were so many whales that you often had a hard time distinguishing the one you were studying from the hundreds of others. The abundance of animals was a both a blessing and a curse.
"That our guy?" Amy asked. All the singers were guys. As far as they knew anyway. The DNA tests had proven that.
There was another blow to their left, this one much closer. Nate could see the white flukes or blades of his tail under the water, even from a hundred meters away. Amy hit the stop button on her watch. Nate pushed the throttle forward and they were off. Amy braced a knee against the console to steady herself, keeping the camera pointed toward the whale as the boat bounced along. He would blow three, maybe four times, then fluke and dive. Amy had to be ready when the whale dove to get a clear shot of his flukes so he could be identified and cataloged. When they were within thirty yards of the whale, Nate backed the throttle down and held them in position. The whale blew again, and they were close enough to catch some of the mist. There was none of the dead fish and massive morning-mouth smell that they would have encountered in Alaska. Humpbacks didnt feed while they were in Hawaii.
The whale fluked and Amy fired off two quick frames with the Nikon.
"Good boy," Amy said to the whale. She hit the lap timer button on her watch.
Nate cut the engine and the speedboat settled into the gentle swell. He threw the hydrophone overboard, then hit the record button on the recorder that was bungee-corded to the console. Amy set the camera on the seat in front of the console, then snatched their notebook out of a waterproof pouch.
"Hes right on sixteen minutes," Amy said, checking the time and recording it in the notebook. She wrote the time and the frame numbers of the film she had just shot. Nate read her the footage number off the recorder, then the longitude and latitude from the portable GPS (global positioning system) device. She put down the notebook, and they listened. They weren’t right on top of the whale as they had been before, but they could hear him singing through the recorders speaker. Nate put on the headphones and sat back to listen.
That’s how field research was. Moments of frantic activity followed by long periods of waiting . . .
The foregoing is excerpted from Fluke by Christopher Moore. All rights reserved. No part of this book may be used or reproduced without written permission from HarperCollins Publishers, 10 East 53rd Street, New York, NY 10022