Daniel Silva - The Rembrandt Affair

Gabriel left Martin's Mercedes SUV in a tow-away zone in central Gstaad and drove to Les Diablerets in the Audi. He parked near the base of the gondola and entered a cafe to wait. It was filled with excited neon-clad skiers oblivious to the bargain that had just been struck on a sunlit glade a few miles away. As Gabriel ordered coffee and bread, he couldn't help but marvel at the incongruity of the scene. He was struck, too, by the fact that, despite his advancing age, he had never once been on skis. Chiara had been begging him for years to take her on a ski vacation. Perhaps he would finally succumb. But not here. Maybe Italy or America, he thought, but not Switzerland.

Gabriel carried his coffee and bread to the front of the cafe and sat at a table with a good view of the road and parking lot. A dark-haired woman with a young boy asked to join him; together, they watched as the gondola rose like a dirigible and disappeared into the mountains. Gabriel checked the time on his secure mobile phone. The deadline was still ten minutes away. He wanted to call Chiara and tell her he was safe. He wanted to tell Uzi and Shamron he had just closed the deal of a lifetime. But he didn't dare. Not over the air. It was a coup, perhaps the greatest of Gabriel's career, but it was his alone. He'd had accomplices, some willing, some not so willing. Lena Herzfeld, Peter Voss, Alfonso Ramirez, Rafael Bloch, Zoe Reed...

He glanced at the time again. Five minutes until the deadline. Five minutes until the first test of the Allon-Landesmann joint venture. Nothing to do now but wait. It was a fitting end, he thought. Like most Office veterans, he had made a career of waiting. Waiting for a plane or a train. Waiting for a source. Waiting for the sun to rise after a night of killing. And waiting now for Saint Martin Landesmann to surrender two agents who had very nearly disappeared from the face of the earth. The waiting, he thought. Always the waiting. Why should this morning be any different?

He turned over the phone, concealing the digital clock, and stared out the window. To help pass the time, he made small talk with the woman, who looked far too much like his mother for Gabriel's comfort, and with the boy, who was not much older than Dani had been on the night of his death in Vienna. And all the while he kept his eyes fastened on the road. And on the morning traffic streaming out of the Oberland. And, finally, on the silver Mercedes GL450 sport-utility vehicle now turning into the parking lot. It was driven by a man wearing a dark blue ski jacket emblazoned with the insignia of Zentrum Security. Two figures, a man and a woman, sat in back. They, too, wore Zentrum jackets. The man's eyes were concealed by large sunglasses. Gabriel turned over his phone and looked at the time. One hour exactly. There were certain advantages to doing business with the Swiss.

He bade the woman and child a pleasant morning and stepped outside into the sunlight. The Mercedes sport-utility had come to a stop. A striking woman and a lanky man with blond hair were in the process of climbing out. It was the woman who first noticed Gabriel. But in a stroke of professionalism belying her inexperience, she did not call out to him or even acknowledge his presence. Instead, she simply took her companion gently by the arm and led him over to the Audi. Gabriel had the engine running by the time they arrived. A moment later, they were heading down the Vallee des Ormonts, Zoe at Gabriel's side, Mikhail stretched out in the backseat.

"Lift your glasses," said Gabriel.

Mikhail complied.

"Who did that to you?"

"I never caught their names." Mikhail lowered the glasses and propped his head against the window. "Did you beat him, Gabriel? Did you beat Martin?"

"No, Mikhail. You and Zoe beat him. You beat him badly."

"How much of his computer did I get?"

"We own him, Mikhail. He's ours."

"Where to now?"

"Out of Switzerland."

"I'm in no condition to fly."

"So we'll drive instead."

"No more airplanes, Gabriel?"

"No, Mikhail. Not for a while."

Detective Inspector Kenneth Ramsay, chief of Scotland Yard's Art and Antiques Squad, scheduled the news conference for two p.m. Within minutes of the announcement, rumors of a major recovery swept the pressroom. The speculation was fed mainly by the few surviving veterans of the Metropolitan Police beat, who read a great deal of significance into the timing of the news conference itself. An early-afternoon summons nearly always meant the news was flattering since it would leave reporters several hours to research and write their stories. If the news were bad, the veterans postulated, Ramsay would have summoned the press corps hard against their evening deadlines. Or, in all likelihood, he would have released a bland paper statement, the refuge of cowardly civil servants the world over, and slipped out a back door.

Naturally, the speculation centered around the Van Gogh self-portrait pinched from London's Courtauld Gallery several months earlier, although by that afternoon few reporters could even recall the painting's title. Sadly, not one of the masterpieces stolen during the "summer of theft" had been recovered, and more paintings seemed to be disappearing from homes and galleries by the day. With the global economy mired in a recession without end, it appeared art theft was Europe's last growth industry. In contrast, the police forces battling the thieves had seen their resources cut to the bone. Ramsay's own annual budget had been slashed to a paltry three hundred thousand pounds, barely enough to keep the office functioning. His fiscal straits were so dire he had recently been forced to solicit private donations in order to keep his shop running. Even The Guardian suggested it might be time to close the fabled Art Squad and shift its resources to something more productive, such as a youth crime-prevention program.

It did not take long for the rumors about the Van Gogh to breach the walls of Scotland Yard's pressroom and begin circulating on the Internet. And so it came as something of a shock when Ramsay strode to the podium to announce the recovery of a painting few people knew had ever been missing in the first place: Portrait of a Young Woman, oil on canvas, 104 by 86 centimeters, by Rembrandt van Rijn. Ramsay refused to go into detail as to precisely how the painting had been found, though he went to great pains to say no ransom or reward money was paid. As for its current location, he claimed ignorance and cut off the questioning.

There was much the press would never learn about the recovery of the Rembrandt. Even Ramsay himself was kept in the dark about most aspects of the case. He did not know, for example, that the painting had been quietly left in an alley behind a synagogue one week earlier in the Marais section of Paris. Or that it had been couriered to London by a sweating employee of the Israeli Embassy and turned over to Julian Isherwood, owner and sole proprietor of the sometimes solvent but never boring Isherwood Fine Arts, 7-8 Mason's Yard, St. James's. Nor would DI Ramsey ever learn that by the time of his news conference, the painting had already been quietly moved to a cottage atop the cliffs in Cornwall that bore a striking resemblance to the Customs Officer's Cabin at Pourville by Claude Monet. Only MI5 knew that, and even within the halls of Thames House it was strictly need to know.

IN KEEPING with the spirit of Operation Masterpiece, her restoration would be a whirlwind. Gabriel would have three months to turn the most heavily damaged canvas he had ever seen into the star attraction of the National Gallery of Art's long-awaited Rembrandt: A Retrospective. Three months to reline her and attach her to a new stretcher. Three months to remove the bloodstains and dirty varnish from her surface. Three months to repair a bullet hole in her forehead and smooth the creases caused by Kurt Voss's decision to use her as the costliest envelope in history. It was an alarmingly short period of time, even for a restorer used to working under the pressure of a ticking clock.