Daniel Silva - The English Assassin

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Amazon.com Review
The English Assassin brings back Gabriel Allon, the appealingly melancholy art restorer with a double life as an Israeli secret agent, first introduced in 2000's The Kill Artist. Gabriel is sent to Zurich under a pseudonym to restore a Raphael belonging to a prominent Swiss banker and art collector, Augustus Rolfe, but upon arriving he finds Rolfe lying in a pool of blood. When Gabriel tries to leave Zurich, the Swiss police capture him immediately-and moreover, they know his real identity. He's released through some diplomatic string-pulling, but he soon discovers that Rolfe had requested a meeting with Israeli intelligence, for reasons unknown, just before his death.
Rolfe's daughter, Anna, is a world-class violinist attempting to rebuild her career after an accident that nearly destroyed one of her hands. But her physical scars are nothing compared to those on her psyche, left by her mother's suicide when Anna was a teenager. Temperamental and mistrustful, she nevertheless believes Gabriel's story, and reveals that Rolfe owned a secret collection of priceless French Impressionist paintings, apparently stolen by his murderers.
As Gabriel begins to put together the pieces of the puzzle, he faces two adversaries: a powerful group of men who would do anything to bury the past forever, and a hired killer who's planning a spectacular murder. Like The Kill Artist, The English Assassin balances fascinating characters, authentic-sounding historical detail, and plenty of glamorous international intrigue on the edge of a knife-keen plot. – Barrie Trinkle
From Publishers Weekly
Switzerland 's shameful behavior in WWII provides the backdrop for this superbly crafted thriller that puts Silva at the forefront of his generation of foreign intrigue specialists. Here, the former CNN correspondent also appears to have settled on a main character to propel his promising line Gabriel Allon, the art restorer and Israeli hit man who starred in last year's acclaimed The Kill Artist. Just a few pages into this sequel, Allon finds himself the apparent victim of a double cross. When he arrives to restore a Raphael owned by reclusive Swiss banker Augustus Rolfe, Allon not only discovers the banker dead but finds himself the number one suspect. The charge doesn't stick, however, and when he is released from custody, he vows to find out who tried to frame him. His first stop is Rolfe's daughter, Anna, one of the world's top violinists and a woman haunted by her family's heritage of wartime greed and cruelty. Allon catches the attention of Switzerland 's secretive power structure, which intends to stymie any further investigation into Rolfe's murder and the theft of his suspiciously acquired art collection. The so-called Council of R�tli contracts with a shadowy hit man, known only as the Englishman, to eliminate Allon and anyone else who threatens to expose Switzerland 's past. The action unfolds in tightly focused scenes played out across a spectrum of European capitals and more pastoral settings. As a historical framework, the secrets of the Bahnhofstrasse are well-trod territory, yet Silva's sophisticated treatment polished prose, an edgy mood, convincing research gives his plot a crisp, almost urgent quality. Agent, Esther Newberg of ICM. 100,000 first printing; $100,000 national advertising campaign.

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Anton Orsati had taken over the helm of the family business in troubled times. The French authorities had managed to eradicate feuding and the vendetta in all but the most isolated pockets of the island. Few Corsicans required the services of the taddunaghiu any longer. But Anton Orsati was a shrewd businessman. He knew he could either fold his tent and become a mere producer of excellent olive oil or expand his base of operations and look for opportunities elsewhere. He decided on the second course and took his business across the water. Now, his band of assassins was regarded as the most reliable and professional in Europe. They roamed the continent, killing on behalf of wealthy men, criminals, insurance cheats, and sometimes even governments. Most of the men they killed deserved to die, but competition and the exigencies of the modern age had required Anton Orsati to forsake the old code of his ancestors. Every job offer that crossed his desk was accepted, no matter how distasteful, as long as it did not place the life of one of his assassins in unreasonable danger.

Orsati always found it slightly amusing that his most skilled employee was not a Corsican but an Englishman from Highgate in North London. Only Orsati knew the truth about him. That he had served in the famed Special Air Service. That he had killed men in Northern Ireland and Iraq. That his former masters believed him to be dead. Once, the Englishman showed Orsati a clipping from a London newspaper. His obituary. A very useful thing in this line of work, thought Orsati. People don’t often look for a dead man.

He may have been born an Englishman, but Orsati always thought he had been given the restless soul of a Corsican. He spoke the dialect as well as Orsati, mistrusted outsiders, and despised all authority. At night he would sit in the village square with the old men, scowling at the boys on their skateboards and grumbling about how the young had no respect for the old ways. He was a man of honor-sometimes too much honor for Orsati’s taste. Still, he was a superb assassin, the finest Orsati had ever known. He had been trained by the most efficient killers on the planet, and Orsati had learned much from him. He was also perfectly suited to certain assignments on the continent, which is why Anton Orsati came calling on the Englishman’s villa that afternoon with an armful of groceries.

ORSATI was a descendant of a family of notables, but in dress and appetite he was not much different than the paesanu working his patch down the valley road. He wore a bleached white shirt, unbuttoned to the center of his barrel chest, and dusty leather sandals. The “lunch” that he brought with him consisted of a loaf of coarse bread, a flask of olive oil, a chunk of aromatic Corsican ham, and a lump of strong cheese. The Englishman provided the wine. The afternoon was warm, so they ate outside on the terrace overlooking the cul-de-sac valley, in the dappled shade of a pair of towering Corsican pines.

Orsati handed the Englishman a check bearing the imprint of Orsati Olive Oil. All of Orsati’s assassins were officially employees of the company. The Englishman was a vice president for marketing, whatever that meant. “Your share of the fee for the Spain assignment.” Orsati swirled a piece of the bread in oil and shoved it into his mouth. “Any problems?”

“The girl was working for the Spanish security service.”

“Which girl?”

“The girl Navarra was seeing.”

“Oh, shit. What did you do?”

“She saw my face.”

Orsati contemplated this news while he sawed off a slice of the ham and placed it on the Englishman’s plate. Neither man liked collateral casualties. They were usually bad for business.

“How are you feeling?”

“I’m tired.”

“Still not sleeping well?”

“Not while I’m in a foreign country killing a man.”

“And here?”

“Better.”

“You should try to get some rest tonight instead of sitting up all hours with the old ones in the village.”

“Why?”

“Because I have another job for you.”

“I just finished a job. Give it to one of the others.”

“It’s too sensitive.”

“You have a dossier?”

Orsati finished his lunch and swam lazy laps in the pool while the Englishman read. When he finished, he looked up. “What has this man done to deserve to die?”

“Apparently, he stole something quite valuable.”

The Englishman closed the file. He had no compunction about killing someone who stole for a living. In the Englishman’s opinion, a thief was earth’s lowest life-form.

“So why does this job require me?”

“Because the contractors would like the target dead and his business destroyed. The men who trained you at Hereford taught you how to use explosives. My men are comfortable with more conventional weapons.”

“Where am I going to get a bomb?”

Orsati climbed out of the pool and vigorously toweled his thick silver hair. “Do you know Pascal Debré?”

Unfortunately, the Englishman did know Pascal Debré. He was an arsonist who did jobs for a Marseilles-based criminal enterprise. Debré would have to be handled carefully.

“Debré knows to expect you. He’ll give you whatever you need for the job.”

“When do I leave?”

8

COSTA DE PRATA, PORTUGAL

BY ALL APPEARANCES the woman who had settled in the refurbished old monastery on the steep hill overlooking the sea had taken a vow to live the sequestered existence of an ascetic. For a long time no one in the village knew even her name. Senhora Rosa, the scandalmonger checkout clerk at the market, decided she was a woman scorned, and she inflicted her dubious theory on anyone unfortunate enough to pass by her register. It was Rosa who christened the woman Our Lady of the Hillside. The moniker clung to her, even after her real name became known.

She came to the village each morning to do her marketing, sweeping down the hill on her bright-red motor scooter, her blond ponytail flying behind her like a banner. In wet weather she wore a hooded anorak the color of mushrooms. There was a great deal of speculation about her country of origin. Her limited Portuguese was heavily accented. Carlos, the man who cared for the villa’s grounds and small vineyard, thought she had the accent of a German and the dark soul of a Viennese Jew. María, the pious woman who cleaned her home, decided she was Dutch. José from the fish market thought Danish. But Manuel, the owner of the café on the village square and the town’s unofficial mayor, settled the question, as he usually did. “Our Lady is not German, or Austrian, or Dutch, or Danish.” Then he rubbed his first two fingers against his thumb, the international symbol for money. “Our Lady of the Hillside is Swiss.”

Her days had a predictable rhythm. After her morning visit to the village, she could be seen swimming laps in her dark-blue pool, her hair tucked beneath a black rubber cap. Then she would walk, usually among the jagged granite outcroppings on the ridge of the hill or up the dusty track to the Moorish ruins. Beginning in the late afternoon, she would play the violin-exceptionally well, according to those who had heard her-in a bare room on the second floor of the villa. Once, María stole a glance inside and found Our Lady in a feverish state, her body rocking and pitching about, her hair damp, her eyes tightly closed. “Our Lady plays like she’s possessed by demons,” María said to Carlos. “And no sheet music. She plays from memory.”

Only once, during the festival of Santo António, did she take part in the social life of the village. Shortly after dark, as the men set fire to the charcoal grills and uncorked the wine, she traipsed down the hill in a sleeveless white dress and sandals. For the first time she was not alone. There were fourteen in all: an Italian opera singer, a French fashion model, a British film actor, a German painter-along with wives, girlfriends, mistresses, and lovers. The opera singer and the film actor had a contest to see who could consume the most grilled sardines, the traditional fare of the festival. The opera singer easily dispatched the actor, who then tried to console himself by making a clumsy pass at the fashion model. The actor’s wife slapped him silly in the center of the square. The Portuguese villagers, who had never seen a woman slapping a man, applauded wildly, and the dancing resumed. Afterward, all agreed that the band of gypsies from the villa on the hillside had made the festival the most enjoyable in memory.

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