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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His gaze settled on the door of the bank. In a few minutes, a teller called Felipe Navarra would be leaving for his midday break. His colleagues believed he went home for lunch and siesta with his wife. His wife believed he was meeting secretly with his Basque political associates. In reality, Felipe Navarra would be heading to an apartment house in the old town, just off the Plaza de la Virgen Blanca, where he would spend the afternoon with his mistress, a beautiful black-haired girl called Amaia. The Englishman knew this because he had been watching Navarra for nearly a week.

At one-fifteen Navarra emerged from the bank and headed toward the old town. The Englishman left a handful of pesetas on the table, enough to cover his tab along with a generous tip for the waiter, and trailed softly after him. Entering a crowded market street, he kept to a safe distance. There was no need to get too close. He knew where his quarry was going.

Felipe Navarra was no ordinary bank teller. He was an active service agent of the Euzkadi Ta Askatasuna (Basque Fatherland and Liberty) better known as ETA. In the lexicon of ETA, Navarra was a sleeping commando. He lived a normal life with a normal job and received his orders from an anonymous commander. A year ago he had been directed to assassinate a young officer of the Guardia Civil. Unfortunately for Navarra, the officer’s father was a successful winemaker, a man with plenty of money to finance an extensive search for his son’s killer. Some of that money now resided in the Englishman’s numbered Swiss bank account.

Among the terror experts of Europe, ETA had a reputation for training and operational discipline that rivaled that of the Irish Republican Army, a group with which the Englishman had dealt in the past. But based on the Englishman’s observations thus far, Felipe Navarra seemed a rather free-spirited agent. He walked directly toward the girl’s flat, taking no security precautions or countersurveillance measures. It was a miracle he’d managed to kill the Guardia Civil officer and escape. The Englishman thought he was probably doing ETA a favor by eliminating such an incompetent agent.

Navarra entered an apartment building. The Englishman walked across the street to a bakery, where he consumed two sugared pastries and drank another café con leche. He didn’t like to work on an empty stomach. He looked at his watch. Navarra had been inside for twenty minutes, plenty of time for the preliminaries of a sexual liaison.

Crossing the quiet street, he had an amusing thought. If he telephoned Navarra’s wife, a redhead with a fiery Basque temper, she would probably do the job for him. But, strictly speaking, that would be a breach of contract. Besides, he wanted to do it himself. The Englishman was happy in his work.

He entered the cool, dark foyer. Directly in front of him was the entrance to a shaded courtyard. To his right was a row of post boxes. He mounted the stairs quickly to the door of the girl’s flat on the fourth floor.

A television was playing, a senseless game show on Antena 3. It helped to cover the minimal sound the Englishman made while picking the lock. He entered the flat, closed the door, and locked it again. Then he padded into the bedroom.

Navarra was seated at the end of the bed. The woman was kneeling on the floor, her head moving rhythmically between his legs. Navarra’s fingers were entwined in her hair, and his eyes were closed, so he was unaware of the new presence in the room. The Englishman wondered why they were making love to a game show. To each his own, he thought.

The Englishman crossed the room quickly in three powerful strides, his footfalls covered by the sound of the television. A knife slipped from a sheath on his right forearm and fell into his palm. It was the weapon of a soldier, a heavy serrated blade, with a thick leather-bound grip. He held it the way he had been trained at the headquarters of his old regiment on a windswept moorland in the Midlands of England.

The natural inclination when stabbing a man is to do it from behind, so that the killer and victim are never face-to-face, but the Englishman had been trained to kill with a knife from the front. In this case it meant the element of surprise was lost, but the Englishman was a creature of habit and believed in doing things by the book.

He moved a few feet forward, so that he was standing behind the girl. Her hair spilled down a long,V – shaped back. His eye followed the line of her spinal column to the slender waist, to the rounded child-bearing hips and curved buttocks.

Navarra opened his eyes. Frantically he tried to push the girl out of the way. The assassin did it for him, taking a handful of her hair and tossing her across the room, so that she skidded along the hardwood floor on her backside and toppled a standing lamp.

Navarra, without taking his eyes from the intruder, reached backward across the rumpled sheets and beat his palm against a twisted pile of clothing. So, he had a gun. The Englishman stepped forward and took hold of the Basque’s throat with his left hand, squeezing his larynx to the breaking point. Then he pushed the man down onto the bed, settling atop him with one knee on his abdomen. Navarra writhed, struggling for air, the look on his face a combination of panic and utter resignation.

The Englishman thrust the knife into the soft tissue beneath the Basque’s rib cage, angling upward toward the heart. The man’s eyes bulged and his body stiffened, then relaxed. Blood pumped over the blade of the knife.

The Englishman removed the knife from the dead man’s chest and stood up. The girl scrambled to her feet. Then she stepped forward and slapped him hard across the face.

“Who the hell do you think you are?”

The Englishman didn’t know quite what to make of this woman. She had just watched him stab her lover to death, but she was acting as if he had tracked mud across her clean floor.

She hit him a second time. “I work for Aragón, you idiot! I’ve been seeing Navarra for a month. We were about to arrest him and take down the rest of his cell. Who sent you here? It wasn’t Aragón. He would have told me.”

She stood there, awaiting his reply, seemingly unashamed of her nudity.

“I work for Castillo.” He spoke calmly and in fluent Spanish. He didn’t know anyone called Castillo-it was just the first name that popped into his head. Where had he seen it? The bakery? Yes, that was it. The bakery across the street.

She asked, “Who’s Castillo?”

“The man I work for.”

“Does Castillo work for Aragón?”

“How should I know? Why don’t you call Aragón? He’ll call Castillo, and we’ll straighten this mess out.”

“Fine.”

“Call him on that telephone over there.”

“I will, you fucking idiot!”

“Just do it quietly, before you alert every tenant in the building that we’ve just killed a man.”

She folded her arms across her breasts, as if she was aware of her nakedness for the first time. “What’s your name?”

“I’m not telling you my name.”

“Why not?”

“How do I know you really work for Aragón? Maybe you work with lover boy here. Maybe you’re a member of his cell. Maybe you’re going to call some of his friends, and they’ll come here and kill me.”

He raised the bloody knife and ran his thumb across the blade. The girl scowled. “Don’t even think about trying it! Fucking idiot!”

“Get Aragón on the line. Then I’ll tell you my name.”

“You’re going to be in big trouble.”

“Just get Aragón on the phone, and I’ll explain everything.”

She sat down on the edge of the bed, snatched up the receiver, and violently punched in the number. The Englishman moved a step closer and placed his finger on the cradle, severing the connection.

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