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71 pages 2 hours read

Terry Hayes

I Am Pilgrim

Fiction | Novel | Adult | Published in 2013

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Part 3, Chapters 52-61Chapter Summaries & Analyses

Part 3, Chapters 52-61 Summary

In a torrential summer storm, Murdoch prepares for his planned invasion of Cumali’s home. He drives there in a rented Vespa he conceals nearby. He climbs onto her roof and enters through her attic. He finds the television with evidence of her satellite dish and copies her computer. He finds the word “clownfish” in a few of her papers but is not yet aware of its significance (415). He picks open her filing cabinet, finding evidence her son was recently hospitalized for meningitis. This, too, will later prove important, as the hospitalization coincides with the dates of the phone calls. Looking at the bill, though, Murdoch recalls that though Cumali is divorced, she may have opted to keep her married name. Her birth name may therefore be a vital clue. He is so absorbed in the task he does not realize a car is nearby.

Hayes then adopts Cumali’s perspective to explain what happens next: She arrives home early, as the circus ended in a power outage. The loose roof tiles indicating someone has accessed her attic alarm her enough to call her colleagues. Back in Murdoch’s narration, he finds her wedding album and takes a photo, hoping that it will provide the name of the photographer. He takes Cumali’s spare weapon with him and heads back for the roof, certain his only hope is to escape from above.

He barely makes the jump onto the roof of the adjacent boat warehouse, and he realizes he is visible to his pursuers when shots ring out. He takes refuge in the warehouse, where craft awaiting repair hang above him from hooks. As officers swarm in, Murdoch realizes he can steer the boats using a keypad. He engineers a collision and in the distraction leaps aboard another craft. He dives from boat to boat and is nearly safe when one of Cumali’s more corrupt colleagues, recognizing him as Brodie Wilson, orders him to a halt. He drops his gun but keeps the keypad that controls the boats, engineering a crash that kills his pursuer.

Murdoch escapes in the confusion and retreats to inspect the stolen photograph from Cumali’s wedding album. He calls the photographer with a ruse about needing to order more prints for the couple and learns that Cumali’s maiden name was al-Nassouri. This indicates she is from an Arabic-speaking country near the Persian Gulf. Murdoch’s hotel manager agrees to be his alibi, thrilled with the reports of the corrupt officer’s death.

Murdoch crosses the Bulgarian border to call Whisperer from an untraceable prepaid phone, astonishing and delighting him with his successful identification of Cumali. Murdoch urges him to convince the president not to arrest Cumali until they learn more about her, suggesting Battleboi’s help will be needed. He is dismayed to learn that Battleboi is facing federal imprisonment, and Whisperer promises to help. Murdoch remains unnerved by his ability to account for Cumali’s motives.

Part 3, Chapters 52-61 Analysis

In this section, Murdoch’s usual role as embittered detective is replaced by that of action hero, even more than during his attempts to evade Ben Bradley in Paris. The weather acts as an accompaniment to the suspense—the rain, gloom, and thunder indicate to the reader that the attempt to uncover Cumali’s past will not prove simple. Even a brilliant spy needs context—the references to clownfish that Murdoch finds make sense to the reader, familiar with al-Nassouri’s backstory, but not to this version of Murdoch.

Murdoch’s genius, it seems, is confined largely to human behavior. He cannot extrapolate from the weather that his search might end early. Most significant, however, is the setting of the confrontation and Hayes’s use of chapter structure to enhance suspense. Before setting out for Turkey, Murdoch has a vision of himself on a boat, a premonition that his coming mission may end his life. At this moment, however, his skill with boats saves him from disaster. The short chapters here include Murdoch’s leap onto a boat and the massive explosion that kills the corrupt police officer who could have exposed his real identity. Murdoch depends on luck, but here he appears much more like Robert Ludlum’s Jason Bourne or the cinematic James Bond than a detective. The relative rapidity of the action sequences perhaps prevents the reader from dwelling on the death and destruction Murdoch wages.

The results of Murdoch’s escape further introduce the themes of Morality and Contingency and Loyalty and Family. Murdoch’s escapades earn him an unexpected ally: His hotel manager is so delighted by the police officer’s death that he agrees to serve as an alibi witness. Murdoch himself has no regrets about the man’s death, seeming to regard it as the inevitable moral cost of his work. His delight in earning praise from Whisperer underlines that he still welcomes paternal approval. His anger at Battleboi’s imprisonment underlines his moral flexibility in contrast to the world of traditional law enforcement: He is unconcerned with cybercrime when it not only constrains genius but also prevents him from utilizing a crucial resource.

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