“We’ve been unable to pick the lock,” Bellano said. “Perhaps you’ll have a bit more luck.”
“We’ll do our best,” replied Pazner modestly.
“Of course, you’ll share with us any material you happen to find.”
“It goes without saying,” said Pazner as the disk disappearedinto his coat pocket.
Another ten minutes would elapse before Bellano saw fit to conclude the meeting. Pazner remained stoically in his seat, gripping the arms of his chair like a man in the throes of a nicotine fit. Those who witnessed his departure down the grandiose main corridor took note of his unhurriedpace. Only when he was outside, descending the front steps, was there any hint of urgency in his stride.
Within hours of the attack, a team of Israeli bomb specialists, regrettably well-experienced in their trade, had arrived in Rome to begin the task of sifting the wreckage for evidence of the bomb’s composition and origin. As luck would have it, the military charter that had borne them from Tel Aviv was still on the apron at Fiumicino. Pazner, with Shamron’s approval, commandeeredthe plane to take him back to Tel Aviv. He arrived a few minutes after sunrise and walked directly into the arms of an Office greeting party. They headed immediatelyto King Saul Boulevard, driving at great haste but with no recklessness, for the cargo was too precious to risk on that most dangerous element of Israeli life: its roadways. By eight that morning, the computer disk was the target of a coordinated assault by the best minds of the service’s Technical division, and by nine the security barriers had been successfully breached. Ari Shamron would later boast that the Office computer geniuses cracked the code in the span of an average Italian coffee break. Decryption of the material took another hour, and by ten a printout of the disk’s contents was sitting on Lev’s immaculate desk. The material remained there for only a few moments, because Lev immediately tossed it into a secure briefcase and headed to Kaplan Street in Jerusalem to brief the prime minister. Shamron, of course, was at his master’s side.
“Someone needs to bring him in,” said Lev. He spoke with the enthusiasm of a man offering his own eulogy. Perhaps, thought Shamron, that was precisely how he felt, for he viewed the man in question as a rival, and Lev’s preferred method of dealing with rivals, real or potential, was exile. “Pazner is heading back to Italy tonight.Let him take along a team from Extraction.”
Shamron shook his head. “He’s mine. I’ll bring him home.” He paused. “Besides, Pazner has something more important to do at the moment.”
“What’s that?”
“Telling the Italians we couldn’t break the lock on that disk, of course.”
Lev made a habit of never being the first to leave the room, and so it was with great reluctance that he uncoiledhimself from his chair and moved toward the exit. Shamron looked up and saw that the prime minister’s eyes were on him.
“He’ll have to stay here until this blows over,” the prime minister said.
“Yes, he will,” agreed Shamron.
“Perhaps we should find something for him to do to help pass the time.”
Shamron nodded once, and it was done.
3
LONDON
The quest for Gabriel was nearly as intense as the search for the perpetrators of the massacre in Rome. He was a man who never telegraphed his movements and was no longer under Office discipline, so it surprised no one, least of all Shamron, that he’d left Venice without botheringto tell anyone where he was going. As it turned out, he’d gone to England to see his wife, Leah, who was living in a private psychiatric hospital in a secluded corner of Surrey. His first stop, however, was New Bond Street, where, at the behest of a London art dealer named Julian Isherwood, he’d agreed to attend an Old Master sale at Bonhams’ auction house.
Isherwood arrived first, clutching a battered attaché case in one hand and the throat of his Burberry raincoat with the other. A few other dealers were huddled in the lobby. Isherwood murmured an insincere greeting and loped off to the cloakroom. A moment later, relieved of his sodden Burberry, he took up watch near the window. Tall and precarious, he was clad in his customary auctionattire, a gray chalk-stripe suit and his lucky crimson necktie. He arranged his windblown gray locks to cover his bald spot and briefly examined his own face reflected in the glass. Hungover, a stranger might have assumed, perhaps a bit drunk. Isherwood was neither. He was stone-cold sober. Sharp as his mother’s tongue. He flung out his arm, pushed his French cuff from his wrist, and shot a glance at his watch. Late. Not like Gabriel. Punctual as the Nine O’clock News. Never one to keep a client cooling his heels. Never one to fall behind on a restoration—unless, of course, it was due to circumstancesbeyond his control.
Isherwood straightened his necktie and lowered his narrow shoulders, so that the figure peering back at him had the easy grace and confidence that seemed the birthrightof Englishmen of a certain class. He moved in their circles, disposed of their collections, and acquired new ones on their behalf, yet he would never truly be one of them. And how could he? His backbone-of-England surnameand lanky English bearing concealed the fact that he was not, at least technically, English at all. English by nationality and passport, yes, but German by birth, French by upbringing, and Jewish by religion. Only a handful of trusted friends knew that Isherwood had staggered into London as a child refugee in 1942 after being carried across the snowbound Pyrenees by a pair of Basque shepherds. Or that his father, the renowned Berlin art dealer Samuel Isakowitz, had ended his days on the edge of a Polish forest, in a place called Sobibor.
There was something else Julian Isherwood kept secretfrom his competitors in the London art world—and from nearly everyone else, for that matter. Over the years he had done the occasional favor for a certain gentlemanfrom Tel Aviv named Shamron. Isherwood, in the Hebrew-based jargon of Shamron’s irregular outfit, was a sayan, an unpaid volunteer helper, though most of his encounters with Shamron had been closer to blackmail than voluntarism.
Just then Isherwood spotted a flash of leather and denim amid the fluttering mackintoshes of New Bond Street. The figure vanished for a moment, then reappearedsuddenly, as though he had stepped through a curtain onto a lighted stage. Isherwood, as always, was taken aback by his unimpressive physical stature—five-eight,perhaps, a hundred and fifty pounds fully clothed. His hands were thrust into the pockets of a car-length black leather jacket, his shoulders were slumped slightly forward. His walk was smooth and seemingly without effort, and there was a slight outward bend to his legs that Isherwood always associated with men who could run very fast or were good at football. He wore a pair of neat suede brogues with rubber soles and, despite the steady rain, carried no umbrella. The face came into focus—long, high at the forehead, narrow at the chin. The nose looked as though it had been carved from wood, the cheekbones were wide and prominent, and there was a hint of the Russian steppes in the green, restlesseyes. The black hair was cropped short and very gray at the temples. It was a face of many possible national origins, and Gabriel had the linguistic gifts to put it to good use. Isherwood never quite knew who to expect when Gabriel walked through the door. He was no one, he lived nowhere. He was the eternal wandering Jew.
Suddenly he was standing at Isherwood’s side. He offered no greeting, and his hands remained jammed in his coat pockets. The manners Gabriel had acquired working for Shamron in the secret world had left him ill-equipped to function in the overt one. Only when he was playing a role did he appear animated. In those rare flashes when an outsider glimpsed the real Gabriel—such as now, thought Isherwood—the man they saw was silentand sullen and clinically shy. Gabriel made people supremely uncomfortable. It was one of his many gifts.
They walked across the lobby toward the registrar’s desk. “Who are we today?” Isherwood asked sotto voce, but Gabriel just leaned over and scrawled something illegiblein the logbook. Isherwood had forgotten that he was left-handed. Signed his name with his left hand, held a paintbrush with his right, handled his knife and fork with either. And his Be
retta? Thankfully, Isherwood did not know the answer to that.
They climbed the stairs, Gabriel at Isherwood’s shoulder, quiet as a bodyguard. His leather coat did not rustle, his jeans did not whistle, his brogues seemed to float over the carpet. Isherwood had to brush against Gabriel’s shoulder to remind himself he was still there. At the top of the stairs a security guard asked Gabriel to open his leather shoulder bag. He unzipped the flap and showed him the contents: a Binomag visor, an ultraviolet lamp, an infrascope, and a powerful halogen flashlight. The guard, satisfied, waved them forward.
They entered the saleroom. Hanging from the walls and mounted on baize-covered pedestals were a hundred paintings, each bathed in carefully focused light. Scattered amid the works were roving bands of dealers—jackals, thought Isherwood, picking over the bones for a tasty morsel. Some had their faces pressed to the paintings, others preferred the long view. Opinions were being formed. Money was on the table. Calculatorswere producing estimates of potential profit. It was the unseemly side of the art world, the side Isherwood loved. Gabriel seemed oblivious. He moved like a man accustomed to the chaos of the souk. Isherwood did not have to remind Gabriel to keep a low profile. It came naturally to him.
Jeremy Crabbe, the tweedy director of Bonhams’ Old Master department, was waiting near a French school landscape, an unlit pipe wedged between his yellowed incisors. He shook Isherwood’s hand joylessly and looked at the younger man in leather at his side. “Mario Delvecchio,” Gabriel said, and as always, Isherwood was astonished by the pitch-perfect Venetian accent.
“Ahhh,” breathed Crabbe. “The mysterious Signore Delvecchio. Know you by reputation, of course, but we’ve never actually met.” Crabbe shot Isherwood a conspiratorial glance. “Something up your sleeve, Julian? Something you’re not telling me?”
“He cleans for me, Jeremy. It pays to have him look before I leap.”
“This way,” Crabbe said skeptically, and led them into a small, windowless chamber just off the main saleroomfloor. The exigencies of the operation had required Isherwood to express a modicum of interest in other works—otherwise Crabbe might be tempted to let it slip to one of the others that Isherwood had his eye on a particular piece. Most of the pieces were mediocre—a lackluster Madonna and child by Andrea del Sarto, a still life by Carlo Magini, a Forge of Vulcan by Paolo Pagani—but in the far corner, propped against the wall, was a large canvas without a frame. Isherwood noticed that Gabriel’s well-trained eye was immediately drawn to it. He also noticed that Gabriel, the consummate professional,immediately looked the other way.
He started with the others first and spent precisely two minutes on each canvas. His face was a mask, betrayingneither enthusiasm nor displeasure. Crabbe gave up trying to read his intentions and passed the time chewing his pipe stem instead.
Finally he turned his attention to Lot No. 43, Danielin the Lions’ Den, Erasmus Quellinus, 86 inches by 128 inches, oil on canvas, abraded and extremely dirty. So dirty, in fact, that the cats at the edge of the image seemed entirely concealed by shadow. He crouched and tilted his head in order to view the canvas with raked lighting. Then he licked three fingers and scrubbed at the figure of Daniel, which caused Crabbe to cluck and roll his bloodshot eyes. Ignoring him, Gabriel placed his face a few inches from the canvas and examined the mannerin which Daniel’s hands were folded and the way one leg was crossed over the other.
“Where did this come from?”
Crabbe removed his pipe and looked into the bowl. “A drafty Georgian pile in the Cotswolds.”
“When was it last cleaned?”
“We’re not quite sure, but by the looks of it, Disraeli was prime minister.”
Gabriel looked up at Isherwood, who in turn looked at Crabbe. “Give us a moment, Jeremy.”
Crabbe slipped from the room. Gabriel opened his bag and removed the ultraviolet lamp. Isherwood doused the lights, casting the room into pitch darkness. Gabriel switched on the lamp and shone the bluish beam toward the painting.
“Well?” asked Isherwood.
“The last restoration was so long ago it doesn’t show up in ultraviolet.”
Gabriel removed the infrascope from his bag. It bore an uncanny resemblance to a pistol, and Isherwoodfelt a sudden chill as Gabriel wrapped his hand around the grip and switched on the luminescent green light. An archipelago of dark blotches appeared on the canvas, the retouching of the last restoration. The painting, though extremely dirty, had suffered only moderate losses.
He switched off the infrascope, then slipped on his magnifying visor and studied the figure of Daniel in the searing white glow of the halogen flashlight.
“What do you think?” asked Isherwood, squinting.
“Magnificent,” Gabriel replied distantly. “But ErasmusQuellinus didn’t paint it.”
“Are you sure?”
“Sure enough to bet two hundred thousand pounds of your money.”
“How reassuring.”
Gabriel reached out and traced his forefinger along the muscular, graceful figure. “He was here, Julian,” he said, “I can feel him.”
They walked to St. James’s for a celebratory lunch at Green’s, a gathering place for dealers and collectors in Duke Street, a few paces from Isherwood’s gallery. A bottle of chilled white burgundy awaited them in their corner booth. Isherwood filled two glasses and pushed one across the tablecloth toward Gabriel.
“Mazel tov, Julian.”
“Are you sure about that?”
“I won’t be able to make a positive authentication until I get a look beneath the surface with infrared reflectography.But the composition is clearly based on Rubens, and I have no doubt the brushwork is his.”
“I’m sure you’ll have a wonderful time restoring it.”
“Who said I was going to restore it?”
“You did.”
“I said I’d authenticate it, but I said nothing about restoring it. That painting needs at least six months of work. I’m afraid I’m in the middle of something.”
“There’s one person I trust with that painting,” said Isherwood, “and that’s you.”
Gabriel accepted the professional compliment with a slight cock of his head, then resumed his apathetic examination of the menu. Isherwood had meant what he said. Gabriel Allon, had he been brought into this world under a different star, might very well have been one of his generation’s finest artists. Isherwood thought of the first time they had met—a brilliant September afternoon in 1978, a bench overlooking the Serpentine in Hyde Park. Gabriel had been little more than a boy then, though his temples, Isherwood remembered, were already shot with gray. The stain of a boy who’d done a man’s job, Shamron had said.
“He left the Bezalel Academy of Art in seventy-two. In seventy-five, he went to Venice to study restoration under the great Umberto Conti.”
“Umberto’s the best there is.”
“So I’m told. It seems our Gabriel made quite an impressionon Signore Conti. He says Gabriel’s hands are the most talented he’s ever seen. I would have to concur.”
Isherwood had made the mistake of asking what exactlyGabriel had been doing between 1972 and 1975. Gabriel had turned to watch a pair of lovers walking hand in hand along the edge of the lake. Shamron had absently picked a splinter from the bench.
“Think of him as a stolen painting that has been quietly returned to its rightful owner. The owner doesn’t ask questionsabout where the painting has been. He’s just happy to have it hanging on his wall again.”
Then Shamron had requested his first “favor.”
“There’s a certain Palestinian gentleman who’s taken up residence in Oslo. I fear this gentleman’s intentions are less than honorable. I’d like Gabriel to keep an eye on him, and I’d like you to find him some respectable work. A simple restoration, perhaps—something that might take two weeks or so. Can you do that for me, Julian?”
Isherwood was brought back to the present by the appearance of the waiter. He ordered bisque and a bo
iled lobster, Gabriel green salad and plain grilled sole with rice. He’d been living in Europe for the better part of the last thirty years, but he still had the simple tastes of a Sabra farm boy from the Jezreel Valley. Food and wine, fine clothing and fast cars—these things were lost on him.
“I’m surprised you were able to make it today,” Isherwoodsaid.
“Why is that?”
“Rome.”
Gabriel kept his eyes on the menu. “That’s not my portfolio, Julian. Besides, I’m retired. You know that.”
“Please,” said Isherwood in a confessional murmur. “So what are you working on these days?”
“I’m finishing the San Giovanni Crisostomo altarpiece.”
“Another Bellini? You’re going to make quite a name for yourself.”
“I already have.”
Gabriel’s last restoration, Bellini’s San Zaccaria altarpiece,had ignited a sensation in the art world and set the standard against which all future Bellini restorations would be judged.
“Isn’t Tiepolo’s firm handling the Crisostomo project?”
Gabriel nodded. “I’m working exclusively for Francesconow, more or less.”
“He can’t afford you.”
“I like working in Venice, Julian. He pays me enough to make ends meet. Don’t worry. I’m not exactly living the way I did when I was doing my apprenticeship with Umberto.”
“From what I hear, you’ve been a busy boy lately. According to the rumor mill, they nearly took the San Zaccaria altarpiece away from you because you left Veniceon a personal matter.”
“You shouldn’t listen to rumors, Julian.”
“Oh, really. I also hear that you’re shacked up in a palazzo in Cannaregio with a lovely young woman named Chiara.”
The sharp look, delivered over the rim of a wineglass, confirmed for Isherwood that the rumors of Gabriel’s romantic entanglement were true.