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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“What paintings?”

“Those paintings belong to me. I can produce a document that declares Rolfe turned them over to me shortly before his death. I am the rightful owner of those paintings, and I want them back.”

“May I see the document, please?”

“Where are those paintings!”

“I don’t know what you’re talking about.”

Gessler released Gabriel’s arm. “Someone take him, please.”

46

NIDWALDEN , SWITZERLAND

THE DRUGS WORE OFF, as Gabriel knew they would, and the pain returned stronger than before, as if it had used the respite to gather itself for a final assault. Every nerve in his body seemed to be transmitting charges of pain simultaneously. It overwhelmed his brain and he began to shiver-a violent, uncontrollable shiver that made his body hurt even more. He needed to be sick but prayed he wouldn’t. He knew the contraction of vomiting would inflict a new round of exquisite suffering.

Once again he searched for a safe place for his thoughts to alight, but now the memory of Otto Gessler and his collection kept intruding. Gessler in his robe and sunglasses; room after room filled with pillaged Nazi art. He wondered whether it had really been true or just a side effect of the drugs they had made him take. No, he thought. It is true. It was all there, gathered in one place, just beyond his reach. Just beyond the world’s reach.

The door opened and his body tensed. Who was it? Gessler’s henchmen come to kill him? Gessler himself, come to show him another room filled with lost masters? But as his chamber filled with light, he realized it was neither Gessler or his thugs.

It was Gerhardt Peterson.

“CAN you stand up?”

“No.”

Peterson crouched before him. He lit a cigarette, took a long time looking at Gabriel’s face. He seemed saddened by what he saw there.

“It’s important that you try to stand up.”

“Why?”

“Because they’re coming to kill you soon.”

“What are they waiting for?”

“Darkness.”

“Why do they need darkness?”

“They’re going to take your body up to the glacier field and drop it down a crevasse.”

“That’s comforting. I thought they’d just stuff me into a strongbox and deposit me in one of Gessler’s numbered accounts.”

“They considered that.” A mirthless chuckle. “I told you not to come here. You can’t beat him, I told you. You should’ve listened to me.”

“You’re always right, Gerhardt. You were right about everything.”

“No, not everything.”

He reached into his coat pocket and produced Gabriel’s Beretta. He placed it in the palm of his hand and held it toward Gabriel like an offertory.

“What’s that for?”

“Take it.” He wagged the gun a little. “Go on, take it.”

“Why?”

“Because you’re going to need it. Without it you have absolutely no chance of getting out of this place alive. With it, given your condition, I rate your chances at only one in three. Worth a try, though, don’t you agree? Take the gun, Gabriel.”

The gun was warm from Peterson’s hand. The walnut grip, the trigger, the barrel-it was the first comforting object he had touched since he’d come to this place.

“I’m sorry you were beaten. It wasn’t my choice. Sometimes, an agent in place must do regrettable things to prove his bona fides to the people he’s deceiving.”

“If memory serves, the first two blows were yours.”

“I’ve never struck another man before. It probably hurt me more than it hurt you. Besides, I needed time.”

“Time for what?”

“To make the arrangements to get you out of here.”

Gabriel released the magazine into his palm and made certain the gun was loaded and not just another of Peterson’s deceptions.

“I understand Gessler has quite a collection,” said Peterson.

“You’ve never seen it?”

“No, I’ve never been invited.”

“Is it true? Is this place really a bank? No one can ever get inside?”

“Gabriel, this entire country is a bank.” Again Peterson reached into his pocket, and this time he produced a half-dozen tablets. “Here, take these. Something for the pain and a stimulant. You’re going to need it.”

Gabriel swallowed the pills in one gulp, then rammed the magazine into the butt. “What kind of arrangements have you made?”

“I found your two friends. They were holed up in a guest house in the village. They’ll be waiting at the bottom of the mountain, at the edge of Gessler’s property, near the spot where we left them yesterday.”

Yesterday? Had it only been one day? It seemed more like a year. A lifetime.

“There’s a single guard outside this door. You’ll have to take care of him first. Quietly. Can you manage that? Are you strong enough?”

“I’ll be fine.”

“Follow the corridor to the right. At the end you’ll find a flight of stairs and at the top of the stairs a doorway. That will put you outside, on the grounds. From there you just have to make your way down the slope of the mountain to your friends.”

Through the guards and the Alsatians, thought Gabriel.

“Leave Switzerland the way we came in yesterday. I’ll make sure the crossing is clear.”

“What will happen to you?”

“I’ll tell them that I came to see you one last time to try to convince you to tell me where the paintings were hidden. I’ll tell them that you overpowered me and escaped.”

“Will they believe you?”

“They might, or then again they may drop me into that crevasse that they’d reserved for you.”

“Come with me.”

“My wife, my children.” Then he added: “My country.”

“Why are you doing this? Why not let them kill me and be done with it?”

And then Peterson told him the story of what had happened in his village during the war-the story of the Jews who had crossed into Switzerland from France in search of refuge only to be expelled across the border into the arms of the Gestapo.

“After my father’s death, I was going through some of the papers in his study, trying to put his affairs in order. I found a letter. It was from the federal police. A commendation. Do you know what the commendation was for? It was my father who had reported the presence of the Jews in our village. It was because of my father that they were sent back to the Germans and murdered. I don’t want any more Jewish blood on the hands of this family. I want you to leave this place alive.”

“When the storm hits, it might be unpleasant for you.”

“Storms have a way of punching themselves out against the mountain ranges of this country. They say that up on the Jungfrau the wind blows two hundred miles per hour. But the storms never seem to have much strength left when they reach Bern and Zurich. Here, let me help you up.”

Peterson pulled him to his feet.

“One in three?”

“If you’re lucky.”

Gabriel stood just inside the door. Peterson beat his fist on it twice. A moment later the bolts slid away, the door opened, and the guard entered the room. Gabriel stepped in front of him and, using every last bit of strength he could summon, rammed the barrel of the Beretta through the guard’s left temple.

PETERSON felt the neck for a pulse. “Very impressive, Gabriel. Take his coat.”

“It has blood on it.”

“Do as I say. It will make them hesitate before shooting you, and you’ll need it for protection against the cold. Take his submachine gun too-just in case you need something more powerful than your Beretta.”

Peterson helped Gabriel remove the dead man’s jacket. He wiped the excess blood onto the floor and pulled it on. He hung the machine gun over his shoulder. The Beretta he kept in his right hand.

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