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Within the cistern, the group finds a colorful cross-section of human cultures enjoying the concert, all tinted red by the lights, and the hues of the cavern giving a hellish glow.
Langdon spots a sign reading “MEDUSA” and realizes that the eponymous figure was known as one of the “chthonic” monsters of Greek mythology, thus matching Zobrist’s poem. He follows the sign to a corner of the cistern decorated with a statue of Medusa sporting an inverted head. Langdon immediately recognizes from the background of Zobrist’s video that this spot is his planned ground zero.
Brüder descends carefully into the water, using a waterproof penlight to slowly search for the submerged balloon. Langdon watches from the boardwalk and spots watery footprints nearby, indicating that someone has climbed out of the pool recently.
Langdon spots a woman in a burka hiding in the shadows and realizes it is Sienna just as she bursts out and plows past him.
Brüder finally locates the spot where the balloon was meant to be, but it has already burst, and he realizes in horror that the virus has been released.
Near the exit of the cistern, Sinskey receives word of this from Brüder via walkie-talkie and that the doors must be sealed to have any hope of containing its release. Before she can do so, Sienna sprints through the hall yelling something in Turkish that alarms the concertgoers, creating a mass panic. Sienna then beats Sinskey to the doors and breaks through while losing her burka disguise in the process.
Langdon, running close behind, is caught between the closing door and the crowd behind him, who forcefully push the doors open and thrust him out into the street. Without hesitation, he gives chase to Sienna.
Brüder, standing in the stagnant ground zero pool, despairs at the realization that all hope of containment has failed.
Sienna boards a bus before Langdon can catch her, forcing him to flag down a passing motorist and hitch a ride as the driver follows the bus. Langdon attempts to connect with the police using the driver’s cell phone, but most of the lines are busy responding to the crisis at the cistern.
Sienna realizes that Langdon is following her and pulls the emergency cord on the bus, then flees on foot into the Istanbul Spice Bazaar. Langdon runs after her, throwing the cell phone back to the driver and asking him to tell the police to surround the area.
Langdon chases Sienna through the tightly packed Spice Bazaar and down to the docs of the Golden Horn estuary. Sienna beats him there and commandeers a boat, throwing its pilot overboard with a flotation device as she speeds away from shore.
Langdon at first despairs that she will have access to foreign shores and infinite waterways connecting the Black Sea to the Mediterranean, but Sienna suddenly stops the boat and returns it to shore. After docking, she bursts into tears and calls out to Langdon that she has nowhere left to run.
Sinskey oversees the SRS team’s response to the crisis, hermetically sealing the doors of the cistern to keep any contagion from escaping to the streets above, and hopes Langdon is safe.
Brüder sits on the boardwalk by the Medusa and orders his men to set up PCR detectors throughout the cavern to search for viral contamination. All of the machines’ indicators blink red, indicating that the virus has completely saturated the entire cistern.
Langdon confronts Sienna and at first has trouble believing her, but she insists she was not at the cistern intending to release Inferno but to stop it. Her intention was never to aid Zobrist but to find Inferno before the WHO and hide its powerful biotechnological advances from the world. Once she arrived, however, she realized the Solublon bag had been broken for a long while. She offers proof by handing Langdon the program for the concert. Langdon had been under the impression the performance they had interrupted was opening night, but it was in fact closing night. The date of the virus’s release was opening night, and the concert has been playing all week, so Inferno has likely been in circulation all that time.
Sienna explains that Zobrist was a results-oriented scientist. The date of the plaque, which he was most fixated on, was not the release date of the plague but its global saturation date, when it would have infected the entire world.
When Langdon asks why no one is getting sick, Sienna explains that Zobrist did not create a plague but something far worse.
Sinskey, Brüder and the WHO team, now realizing containment is truly impossible and the virus had been released for the whole week, take samples from the water to study.
Sinskey worries about how Inferno will attack the body, reflecting on the viciousness of plagues like Ebola, hantavirus, oncoviruses, and HIV.
Brüder tells her he has confidentially contacted an associate at the CDC in America, who confirmed the pathogen’s presence in their own blood. Brüder and Sinskey realize the virus has already gone global.
Sienna explains to Langdon that Zobrist did not create a traditional virus but a “viral vector,” a variation of virus designed to implant replicable genetic information into a host cell rather than hijack the cell and destroy it, thus modifying an organism’s genetics at the most fundamental level.
Given his obsession with the Black Death’s culling of one-third of Europe’s population, Zobrist “programmed” the Inferno vector virus to activate randomly in only one-third of the global population and to propagate as such, causing one-third of all humans in perpetuity not to die but to become infertile. By doing so, he hoped to reduce the population slowly, over time, and without the suffering of a pandemic.
Sienna had attempted to capture the virus believing that the WHO, CDC, or any other government agency might use Zobrist’s technology to create different programmed pathogens—ones that might, for example, silently commit genocide by targeting genes attached to certain racial backgrounds. Langdon argues that the technology could also be used for good, such as for global inoculation.
Sienna hears helicopters overhead and turns to run, but Langdon refuses to allow it, insisting that she must start trusting people. He tells her the WHO and CDC will need to know what she knows of Zobrist’s technology either to reverse it or to prepare for the fallout.
Langdon, Sinskey, and Brüder’s search for Inferno in Yerebatan Sarayi is rife with theatre and symbolism designed by Zobrist, including Liszt’s Dante Symphony and the bloodred lights. These theatrics make sense when recalling his intentions to lead Sinskey to the “center of her own private hell.” At the center of Dante’s hell, Satan lies frozen up to his waist in the icy Lake Cocytus, doomed to remain trapped there forever. At the center of Sinskey’s hell, the “chthonic” figure of Medusa is frozen in stone, her head turned upside down, positioned as if trapped up to her own waist in the waters of the cistern.
Chapters 97 and 99 also reunite Langdon with Sienna and reapply the novel’s trick of separating an epiphany from its explanation by situating Chapter 98 just after Sienna references Zobrist’s virus as not being a plague but something “far worse.” By using such vague language without explanation while leading into a sequence in which Brüder and Sinskey use both technology on hand and communication with experts elsewhere in the world to confirm that Zobrist’s virus has saturated the globe, Chapter 98 is cast in dread as the nature of the virus remains concealed from the reader. Instead, they are given a glimpse at Sinskey’s trained anxiety with her description of other viral and bacterial plagues that have ravaged populations.
When Sienna finally reveals the virus was not a bringer of disease but a vector for altering human DNA at the germline, Zobrist’s actual intentions become clear: He did not set out to increase deaths but to decrease births. While he obviously considered this a far more humane option for solving overpopulation than creating a vessel for mass death, the nonconsensual and dangerous nature of his delivery system is unacceptable to Sienna, who fears what the leaders of the world might do if they realized such a technology could be used to fashion more horrifying vector viruses. To her, the release of Inferno is akin to the dropping of the atomic bomb on Hiroshima and Nagasaki—each constitute opening salvos of a new and terrible weapons system beyond the capacity of humanity to understand or genuinely control. Just as the bombs dropped on Japan, Zobrist believes his use of the technology to spread his Inferno is justifiable in ending the present crisis overtaking the world. But Sienna sees beyond this to a potential vector virus “cold war” where political systems use the technology against their enemies, threatening global health and stability.
As she and Zobrist’s Solublon bag also reveal, the entire effort by the other characters to stop the Inferno virus from being released was futile from the start. Zobrist, once again displaying his advanced intelligence akin to Sienna’s, timed the delivery of his clues to lead Sinskey to Yerebatan Sarayi no earlier than the virus’s global saturation date rather than its release date. This in part may explain her instinct to flee once she was discovered inside the cistern—as the only character who knew the virus was already endemic in the population, she could be seen as an accomplice in its release, and her reluctance to trust others compounds this belief. In the end, it is both her lack of any safe harbor and Langdon’s compassion that convince her to stop running and take her chances with Sinskey.
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