Daniel Silva 2-Book Thriller Collection: Portrait of a Spy, The Fallen Angel
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Copyright
Harper
An imprint of HarperCollinsPublishers
1 London Bridge Street
London SE1 9GF
www.harpercollins.co.uk
First published by HarperCollinsPublishers 2015
Copyright © Daniel Silva 2015
Daniel Silva asserts the moral right to be identified as the author of this work.
A catalogue record for this book is available from the British Library.
This novel is entirely a work of fiction. Any references to real people, living or dead, real events, businesses, organizations and localities are intended only to give the fiction a sense of reality and authenticity. All names, characters and incidents are either the product of the author’s imagination or are used fictitiously, and their resemblance, if any, to real-life counterparts is entirely coincidental.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.
Ebook Edition © MAY 2015 ISBN: 9780008108663
Version: 2015-04-16
Contents
Cover
Title Page
Copyright
Portrait of a Spy
The Fallen Angel
About the Author
Also by Daniel Silva
About the Publisher
DANIEL SILVA
Portrait of a Spy
Copyright
Harper
An imprint of HarperCollinsPublishers
1 London Bridge Street
London SE1 9GF
www.harpercollins.co.uk
First published in Great Britain by HarperCollinsPublishers 2011
Copyright © Daniel Silva 2011
Daniel Silva asserts the moral right to be identified as the author of this work.
Cover photographs © Fuse/Getty Images/Picturenet/Getty Images (businessmen).
Cover layout design © HarperCollinsPublishers 2012
A catalogue record for this book is available from the British Library
This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the nonexclusive, nontransferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse-engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.
Source ISBN: 9780007433315
EPub Edition © August 2011 ISBN: 9780007433278
Version: 2015-04-16
Dedication
For my wonderful children, Nicholas and Lily,
whom I love and admire more than they will
ever know. And, as always, for my wife, Jamie, who
makes everything possible.
Epigraph
Jihad is becoming as American as apple pie
and as British as afternoon tea.
ANWAR AL-AWLAKI, AL-QAEDA PREACHER AND RECRUITER
One person of integrity can make a difference,
a difference of life and death.
ELIE WIESEL
Contents
Cover
Title Page
Copyright
Dedication
Epigraph
PART ONE
Chapter 1 - The Lizard Peninsula, Cornwall
Chapter 2 - Paris
Chapter 3 - St. James’s, London
Chapter 4 - Covent Garden, London
Chapter 5 - Covent Garden, London
Chapter 6 - Covent Garden, London
Chapter 7 - New Scotland Yard, London
Chapter 8 - New York City
Chapter 9 - The Lizard Peninsula, Cornwall
Chapter 10 - Lizard Point, Cornwall
Chapter 11 - Georgetown, Washington, D.C.
Chapter 12 - Georgetown, Washington, D.C.
Chapter 13 - Georgetown, Washington, D.C.
Chapter 14 - Georgetown, Washington, D.C.
Chapter 15 - Georgetown, Washington, D.C.
Chapter 16 - Georgetown, Washington, D.C.
Chapter 17 - Georgetown, Washington, D.C.
Chapter 18 - Georgetown, Washington, D.C.
Chapter 19 - Volta Park, Washington, D.C.
Chapter 20 - The Palisades, Washington, D.C.
PART TWO
Chapter 21 - New York City
Chapter 22 - Madrid-Paris
Chapter 23 - Paris
Chapter 24 - Paris
Chapter 25 - Seraincourt, France
Chapter 26 - Montmartre, Paris
Chapter 27 - Paris
Chapter 28 - Seraincourt, France
Chapter 29 - Seraincourt, France
Chapter 30 - Seraincourt, France
Chapter 31 - Seraincourt, France
Chapter 32 - Seraincourt, France
Chapter 33 - Seraincourt, France
Chapter 34 - St. James’s, London
Chapter 35 - Zurich
Chapter 36 - Lake Zurich
Chapter 37 - Lake Zurich
Chapter 38 - Paris
Chapter 39 - Zurich
Chapter 40 - Langley, Virginia
Chapter 41 - Riyadh, Saudi Arabia
Chapter 42 - Nejd, Saudi Arabia
Chapter 43 - Nejd, Saudi Arabia
Chapter 44 - St. James’s, London
Chapter 45 - St. James’s, London
Chapter 46 - Langley, Virginia
Chapter 47 - The Palisades, Washington, D.C.
PART THREE
Chapter 48 - The Plains, Virginia
Chapter 49 - The Plains, Virginia
Chapter 50 - The Plains, Virginia
Chapter 51 - The City, London
Chapter 52 - The City, London
Chapter 53 - The City, London
Chapter 54 - Dubai
Chapter 55 - Dubai International Airport
Chapter 56 - Burj Al Arab Hotel, Dubai
Chapter 57 - Langley, Virginia
Chapter 58 - Burj Al Arab Hotel, Dubai
Chapter 59 - Burj Al Arab Hotel, Dubai
Chapter 60 - Burj Al Arab Hotel, Dubai
Chapter 61 - Dubai
Chapter 62 - Deira, Dubai
Chapter 63 - The Empty Quarter, Saudi Arabia
Chapter 64 - The Empty Quarter, Saudi Arabia
Chapter 65 - The Empty Quarter, Saudi Arabia
Chapter 66 - The Empty Quarter, Saudi Arabia
PART FOUR
Chapter 67 - Paris-Langley-Riyadh
Chapter 68 - The Lizard Peninsula, Cornwall
Chapter 69 - New York City
Chapter 70 - Langley, Virginia
Chapter 71 - The Lizard Peninsula, Cornwall
Author’s Note
Acknowledgments
PART ONE
DEATH IN THE GARDEN
Chapter 1 The Lizard Peninsula, Cornwall
IT WAS THE REMBRANDT THAT solved the mystery once and for all. Afterward, in the quaint shops where they did their marketing and the dark little seaside pubs where they did their drinking, they would chide themselves for having missed the telltale signs, and they would share a good-natured laugh at some of their more outlandish theories about the true nature of his work. Because in their wildest dreams there was not one among them who ever considered the possibility that the taciturn man from the far end of Gunwalloe Cove was an art restorer, and a world-famous art restorer at that.
He was not the first outsider to wander down to Cornwall with a secret to keep, yet few had guarded theirs more jealously, or with more style and intrigue. A case in point was the peculiar manner in which he had secured lodgings for himself and his beautiful but much younger wife. Having chosen the picturesque cottage at the edge of the cliffs—by all accounts, sight unseen—he had paid the entire twelve-month lease in advance, with all the paperwork handled discreetly by an obscure lawyer in Hamburg. He settled into the cottage a fortnight later as if he were conducting a raid on a distant enemy outpost. Those who met him during his first forays into the village were struck by his notable lack of candor. He seemed to have no name—at least not one he was willing to share—and no country of origin that any of them could place. Duncan Reynolds, thirty years retired from the railroad and regarded as the worldliest of Gunwalloe’s residents, described him as “a cipher of a man” while other reviews ranged from “standoffish” to “unbearably rude.” Even so, all agreed that, for better or worse, the little west Cornish village of Gunwalloe had become a far more interesting place.
With time, they were able to establish that his name was Giovanni Rossi and that, like his beautiful wife, he was of Italian descent. Which made it all the more curious when they began to notice government-issue cars filled with government-issue men prowling the streets of the village late at night. And then there were the two blokes who sometimes fished the cove. Opinion was universal that they were the worst fishermen anyone had ever seen. In fact, most assumed they were not fishermen at all. Naturally, as is wont to happen in a small village like Gunwalloe, there began an intense debate about the true identity of the newcomer and the nature of his work—a debate that was finally resolved by Portrait of a Young Woman, oil on canvas, 104 by 86 centimeters, by Rembrandt van Rijn.
Precisely when it arrived would never be clear. They assumed it was sometime in mid-January because that was when they noticed a dramatic change in his daily routine. One day he was marching along the rugged cliff tops of the Lizard Peninsula as though wrestling with a guilty conscience; the next he was standing before an easel in his living room, a paintbrush in one hand, a palette in the other, and opera music blasting so loudly you could hear the wailing clear across Mount’s Bay in Marazion. Given the proximity of his cottage to the Coastal Path, it was possible—if one paused in just the right spot, mind you, and craned one’s neck at just the right angle—to see him in his studio. At first, they assumed he was working on a painting of his own. But as the weeks ground slowly past, it became clear he was involved in the craft known as conservation or, more commonly, as restoration.
“Hell’s that mean?” Malcolm Braithwaite, a retired lobsterman who smelled perpetually of the sea, asked one evening at the Lamb and Flag pub.
“It means he’s fixing the bloody thing,” said Duncan Reynolds. “A painting is like a living, breathing thing. When it gets old, it flakes and sags—just like you, Malcolm.”
“I hear it’s a young girl.”
“Pretty,” said Duncan, nodding his head. “Cheeks like apples. She looks positively edible.”
“Do we know the artist?”
“Still working on that.”
And work on it they did. They consulted many books, searched many sites on the Internet, and sought out people who knew more about art than they did—a category that included most of the population of West Cornwall. Finally, in early April, Dottie Cox from the village store screwed up the nerve to simply ask the beautiful young Italian woman about the painting when she came into town to do her marketing. The woman evaded the question with an ambiguous smile. Then, with her straw bag slung over her shoulder, she sauntered back down to the cove, her riotous dark hair tossed by the springtime wind. Within minutes of her arrival, the wailing of the opera ceased and the window shades of the cottage fell like eyelids.
They remained tightly closed for the next week, at which point the restorer and his beautiful wife disappeared without warning. For several days, the residents of Gunwalloe feared they might not be planning to return, and a few actually berated themselves for having snooped and pried into the couple’s private affairs. Then, while leafing through the Times one morning at the village store, Dottie Cox noticed a story from Washington, D.C., about the unveiling of a long-lost portrait by Rembrandt—a portrait that looked precisely like the one that had been in the cottage at the far end of the cove. And thus the mystery was solved.
Coincidentally, that same edition of the Times contained a front-page article about a series of mysterious explosions at four secret Iranian nuclear facilities. No one in Gunwalloe imagined there might be any connection. At least not yet.
The restorer was a changed man when he came back from America; they could see that. Though he remained guarded in his personal encounters—and he was still not the sort you would want to surprise in the dark—it was obvious a great burden had been lifted from his shoulders. They saw a smile on his angular face every now and again, and the light emitted by his unnaturally green eyes seemed a shade less defensive. Even his long daily walks had a different quality. Where once he had pounded along the footpaths like a man possessed, he now seemed to float atop the mist-covered cliffs like an Arthurian spirit who had come home after a long time in a distant land.
“Looks to me as if he’s been released from a sacred vow,” observed Vera Hobbs, owner of the village bakeshop. But when asked to venture a guess as to what that vow might have been, or to whom he had sworn it, she refused. Like everyone else in town, she had made a fool of herself trying to divine his occupation. “Besides,” she advised, “it’s better to leave him in peace. Otherwise, the next time he and his pretty wife leave the Lizard, it might be for good.”
Indeed, as that glorious summer slowly faded, the restorer’s future plans became the primary preoccupation of the entire village. With the lease on the cottage running out in September, and with no tangible evidence he was planning to renew it, they embarked on a covert effort to persuade him to stay. What the restorer needed, they decided, was something to keep him tethered to the Cornish coast—a job that utilized his unique set of skills and gave him something to do other than walk the cliffs. Exactly what that job might entail, and who would give it to him, they had no idea, but they entrusted to themselves the delicate task of trying to find it.
After much deliberation, it was Dottie Cox who finally hit upon the idea of the First Annual Gunwalloe Festival of Fine Arts, with the famous art restorer Giovanni Rossi serving as honorary chairman. She made the suggestion to the restorer’s wife the following morning when she popped into the village store at her usual time. The woman actually laughed for several minutes. The offer was flattering, she said after regaining her composure, but she didn’t think it was the sort of thing Signor Rossi would agree to. His official rejection came soon after, and the Gunwalloe Festival of Fine Arts quietly withered on the vine. It was no matter; a few days later, they learned that the restorer had taken the cottage for another year. Once again, the lease was paid in full, with all the paperwork handled by the same obscure lawyer in Hamburg.
With that, life returned to something like normal. They would see the restorer in mid-morning when he came to the village with his wife to do their marketing, and they would see him again in mid-afternoon when he hiked along the cliff tops in his Barbour coat and his flat cap pulled low over his brow. And if he failed to give them a proper greeting, they took no offense. And if he seemed uneasy about something, they gave him room to work it out on his own. And if a stranger came to town, they tracked his every move until he was gone. The restorer and his wife might have come from Italy originally, but they belonged to Cornwall now, and heaven help the fool who ever tried to take them away again.
There were, however, some on the Lizard who believed there was more to the story—and one man in particular who believed he knew what it was. His name was Teddy Sinclair, owner of a rather good pizzeria in Helston and a subscriber to conspiracy theories large and small. Teddy believed the moon landings were a hoax. Teddy believed 9/11 was an inside job. And Teddy believed the man from Gunwalloe Cove was hiding more than a secret ability to heal paintings.
To prove his case once and for all, he summoned the villagers to the Lamb and Flag on the second Thursday of November and unveiled a chart that looked a bit like the periodic table of elements. It purported to establish, beyond a shadow of a doubt, that the explosions at the Iranian nuclear facilities were the work of a legendary Israeli intelligence officer named Gabriel Allon—and that the same Gabriel Allon was now living peacefully in Gunwalloe under the name Giovanni Rossi. When the laughter finally died down, Duncan Reynolds called it the dumbest thing he’d heard since some Frenchman decided that Europe should have a common currency. But this time Teddy stood his ground, which in hindsight was the right thing to do. Because Teddy might have been wrong about the moon landings, and wrong about 9/11, but when it came to the man from Gunwalloe Cove, his theory was in every respect true.
The next morning, Remembrance Day, the village woke to the news that the restorer and his wife had disappeared. In a panic, Vera Hobbs hurried down to the cove and peered through the windows of the cottage. The restorer’s supplies were scattered across a low table, and propped on the easel was a painting of a nude woman stretched upon a couch. It took Vera a moment to realize that the couch was identical to the one in the living room, and that the woman was the same one she saw each morning in her bakeshop. Despite her embarrassment, Vera couldn’t seem to summon the will to look away, because it happened to be one of the most strikingly beautiful paintings she had ever seen. It was also a very good sign, she thought as she headed back to the village. A painting like that was not the sort of thing a man left behind when he was making a run for it. Eventually, the restorer and his wife would come back. And heaven help that bloody Teddy Sinclair if they didn’t.
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