The Surgeon

Tess Gerritsen

51 pages 1-hour read

Tess Gerritsen

The Surgeon

Fiction | Novel | Adult | Published in 2001

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Chapters 12-17Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of gender discrimination, sexual violence, rape, graphic violence, graphic medical procedures, and sexual content.

Chapter 12 Summary

The killer is at work in a laboratory. He is handling blood samples for testing. He reviews Cordell’s test orders for Nina Peyton. He sees from the orders that Peyton is stable. He thinks about how Cordell feels like Peyton’s “savior” and vows to teach Cordell some “humility.” He learns that Peyton is in room 538. The killer reviews the hospital layout and sees there is a patient, Herman Gwadowski, with diabetes recovering in room 521, on a “parallel hallway” from Peyton’s room. He looks at Gwadowski’s blood and thinks about how he is about to die.


A nurse looks for a saline bag with potassium for Gwadowski. A clerk tells her an aide from Four West has sent it over after a mix-up. The nurse hangs the saline bag and begins to give Gwadowski a sponge bath. Suddenly, she notices Gwadowski does not have a pulse and calls a Code Blue.


Cordell rushes over to treat Gwadowski. She administers electric shocks, but she is unable to revive him. He dies. Then, Cordell hears a scream from another room. She rushes over to find Peyton dead on the floor. There is another trail of blood leading to the supply room.

Chapter 13 Summary

Rizzoli goes to the crime scene. She sees the supply closet where the Boston PD police officer who was guarding Peyton’s room had been put after he was shot to death. She goes to the administrative office where Moore is reviewing security tapes. They do their best to identify all of the people in the tapes, but a charge nurse explains that when a Code Blue is come, people from all over the hospital report to the emergency and she does not know all of them. They note an unknown woman with black hair and a lab coat seen arriving on the camera. They also see a man avoiding cameras and not touching doors leaving eight minutes into the code. They conclude that The Surgeon was already on the ward when the code was called. They realize the death of Gwadowski, Cordell’s patient, was intended to distract everyone from the killer’s real objective.


Cordell calls Rizzoli and Moore to tell them she has received another message from the killer. It is a piece of interdepartmental mail with the note, “Birthday greetings from A.C.,” as in Andrew Capra (230). Also in the envelope is a lock of Cordell’s hair. Cordell tells them it was from when Andrew Capra cut her hair during the assault in Savannah.


Later that night, Moore goes to Cordell’s apartment to check on her. She is under a lot of strain and begins to cry. He embraces her. Rizzoli pages him, and he calls her back from Cordell’s apartment. Rizzoli tells him it is possible that Cordell sent the threatening note and lock of hair to herself for attention. Moore disputes this and says they need to do more to help Cordell remember exactly what happened in Savannah.

Chapter 14 Summary

Moore arranges for a hypnotist, Alex Polochek, to interview Cordell to help her remember more about what happened. Rizzoli is skeptical it will work. Moore and Rizzoli observe the interview through the one-way glass. Under hypnosis, Cordell remembers what happened on the night she was attacked in Savannah. Her memory is patchy, but she recalls that Capra was talking to someone while she was tied up. She hears him say, “See one, do one, teach one” (253). She hears a second person reply, “It’s my turn, Capra” (253). She does not recognize the second voice. Moore and Rizzoli are stunned to learn there was another person in the house at the time of Cordell’s attack.

Chapter 15 Summary

Later that evening, Rizzoli is preparing dinner with her mother for her brothers while she thinks about how Moore had taken Cordell home after the interview. She thinks he is falling in love with Cordell. She wonders if she is jealous of the attention Cordell is getting. She also feels disappointed in Moore’s lapse of judgment when she thought of him as “Saint Thomas,” someone who acted with integrity.


Rizzoli gets a call from Detective Frost. He tells her that the DNA from Nina Peyton’s rape kit came back with a match to a man, Karl Pacheco, who was previously charged with sexual assault and lives locally. Rizzoli rushes to Pacheco’s house. The police have arrested a Black man they found in the apartment. He says he does not know where Pacheco is. Rizzoli searches the alley outside the apartment. She sees someone moving on the roof of the building and rushes after him. Moore follows her. She corners the suspect and he throws a garden trowel at her face, injuring her. The suspect approaches her again. He has his hands in the air. Rizzoli tells him to “Freeze,” but he keeps moving. Rizzoli shoots the man three times and he dies. Moore sees the shooting. He tells her that the man was surrendering. Rizzoli claims the man was holding something in his hand, but Moore says he was not. Lieutenant Marquette tell Rizzoli she has to give him her gun. Rizzoli realizes that Moore has not backed up her account of the shooting.


Moore searches Pacheco’s house. He realizes Pacheco is not The Surgeon because Pacheco is messy, wears a size 11 shoe, and does not have any surgical equipment in his house. Additionally, Pacheco does not have the “bamboo hair” associated with the killer. Moore tells Rizzoli that Pacheco is not The Surgeon. He tells her he told the lieutenant the truth about what he saw because “[he] won’t lie for another cop. Even if she’s [his] friend” (268).


Moore wonders how the killer is able to identify women who have previously been raped if he is not himself the rapist.

Chapter 16 Summary

The killer reminisces about his visit to the Aztec temple in Mexico City where the Aztecs did human sacrifices. He learned from a textbook how the Aztecs surgically removed the heart with only a simple flint knife. As he works testing blood, he thinks about how the “ancients considered blood a sacred substance” (274). He thinks about how today people only treat blood as something horrifying or clinical. He thinks that only “you […] ever understood” the quasi-sacred attachment he has to blood (278).

Chapter 17 Summary

Cordell goes to the morgue. She looks at Pacheco’s body and says she does not recognize him. Moore drives her home. Cordell asks him to come into her apartment for a drink. He agrees. Once inside the apartment, Cordell and Moore kiss and then have sex. It is the first time she has had sex since she was sexually assaulted two years prior. Cordell feels safe with him.


Moore and Marquette meet with Dr. Zucker about Cordell’s statement from her hypnosis session. Zucker suggests that it could be a false memory. He points out that Cordell is “damaged” from her trauma. Moore insists her testimony points to Capra having a partner. Zucker concedes that if Capra had a partner, that partner might have been enraged by the coverage in the Globe depicting Cordell as a strong, confident woman at the top of her profession. That partner would probably resent Cordell for killing Capra, the man he admired. He is targeting Cordell to try and humiliate her.


After the meeting, Marquette tells Moore that he wants Moore to go to Savannah to review their files on the Capra case. He also tells Moore that he knows about Moore’s relationship with Cordell and he wants him to end it. Moore realizes Rizzoli told Marquette about his relationship with Cordell in retaliation for Moore not backing up Rizzoli’s account of the shooting of an unarmed suspect.


The next day, Cordell comes to the police station looking for Moore. She is hurt that he has not returned her calls after they spent the night together. Detective Frost tactfully explains to Cordell that Moore has been told not to have any further romantic relationship with her. Cordell takes the news stoically, but she is sad.

Chapters 12-17 Analysis

The main narrative of The Surgeon is a crime thriller that follows the police detectives as they search for the eponymous serial killer. However, the novel also includes passages more typical of a medical thriller that are set apart from the dominant narrative. These medical thriller passages use technical language that highlight author Tess Gerritsen’s experience as a medical doctor. They are also written like action sequences; they consist of many short sentences with many paragraph breaks, a technique that creates a sense of urgency and fast pace. This technique is on display in Chapter 12 when Cordell rushes to treat her patient Mr. Gwadowski, as shown below:


 “‘Still in V. fib!’

‘One milligram epinephrine IV, then shock him again at a hundred,’ said Catherine.

The bolus of epinephrine slid through the CVP line” (216).


“V. fib” is shorthand for “ventricular fibrillation,” or an abnormal heart rhythm. Dr. Cordell, who in passages from her point of view is called Catherine, orders a “bolus” or dose of one milligram of epinephrine, a drug used to stimulate the heart. The expectation is not that a non-medical audience will understand the discrete meaning of each of these technical terms; rather, the intention is to create an overall impression of the difficult, complex work done by physicians. It emphasizes Cordell’s capability and expertise as a physician.


Gerritsen’s medical background is also evident in her portrayal of the relationship between Capra and The Surgeon as described by Cordell during her hypnosis session. Cordell recalls that the night she was attacked by Capra that he said to someone in the next room, “See one, do one, teach one” (253). This adage is a staple of medical education, particularly in surgical practice. It is thought to have been coined by mid-19th-century American surgeon Dr. William Halsted. It refers to how surgeons in training learn best by observing an operation, then performing an operation themselves, and then teaching another how to do the operation. Within the context of Andrew Capra and Warren Hoyt’s horrific surgical “practice,” the implication is that, having observed Capra perform hysterectomies on the women they attack, Hoyt is now ready to perform the surgery himself.


This section of the novel also complicates the characters of Detectives Rizzoli and Moore and their role as heroes in the narrative. Throughout, these protagonists are portrayed generally as good police detectives who make the correct moral choices. This emphasis on ethical behavior is particularly acute in the case of “Saint” Thomas Moore who has adopted the role as “good cop” as part of his professional identity. However, in these chapters, both characters fall short of these lofty goals. Detective Moore succumbs to his sexual attraction to Cordell, and they have sex, crossing an ethical boundary, even though the novel generally inscribes this action within a romance genre framework and makes it seem like a positive development for both. Nevertheless, Detective Moore is wracked with guilt and comes to see himself as “Saint Thomas the Fallen, brought down by his own desires” (294). Detective Rizzoli, for her part, shoots and kills an unarmed suspect attempting to surrender. Unlike Moore, she feels no guilt over her actions, describing it only as a “bad shooting[]” and a “mistake.” Instead, she feels only anger that she faces consequences as a result because she is a woman, whereas a man would be given a pass had he done the same thing. The unethical actions on the part of both detectives complicate their roles as heroes, even if they are both ultimately redeemed by the narrative when their detective work contributes to solving the mystery and catching the killer.

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