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man to sign his name.
    It was 2:36. The dead man had reached the outer edge of the large crowd. He paused for a few seconds, as if searching for a weak point to make his entry, then shouldered his way between two startled women. Gabriel entered at a different spot several yards to the man’s right, slipping virtually unnoticed through a family of American tourists. The crowd was four-deep in most places and tightly packed, which presented Gabriel with yet another dilemma. The ideal ammunition for a situation like this was a hollow-point round, which would inflict greater tissue damage on the target and substantially reduce the risk of collateral casualties due to over-penetration. But Gabriel’s Beretta pistol was loaded with ordinary 9mm Parabellum rounds. As a result, he would have to position himself to fire at an extreme downward trajectory. Otherwise, there was a high probability he might inadvertently take innocent life in an attempt to save it.
    The dead man had breached the inner wall of the crowd and was now headed directly toward the street comedian. The eyes had taken on the glassy thousand-yard stare. The lips were moving. Final prayers . . . The street comedian wrongly assumed the dead man wished to take part in the performance. Smiling, he took two steps toward him but froze when he saw the hands emerge from the pockets of the overcoat. The left was slightly open. The right was bunched into a fist, with the thumb cocked at a right angle. Still, Gabriel hesitated. What if there was no detonator? What if it was a pen or a cylinder of lip balm? He had to be sure. Tell me your intentions , he thought. Sign your name .
    The dead man turned to face the market. The patrons looking down from the balcony of the Punch and Judy laughed nervously, as did a few of the spectators gathered in the piazza. In his mind, Gabriel silenced the laughter and froze the image. The scene appeared to him as though painted by the hand of Canaletto. The figures were stock-still; only Gabriel, the restorer, was free to move among them. He slipped through the front row of the spectators and focused his gaze on the spot at the back of the skull. Firing at a downward angle was not possible. But there was another potential solution to prevent collateral casualties: an upward line of fire would carry Gabriel’s round safely over the heads of the spectators and into the façade of the adjacent building. He pictured the maneuver in sequence—the cross-handed draw, the crouch, the shot, the advance—and waited for the dead man to sign his name.
    The silence in Gabriel’s head was broken by a drunken shout from the balcony of the Punch and Judy—a command for the martyr to move out of the way and allow the performance to continue. The dead man responded by lifting his arms above his head like a long-distance runner breaking the finishing tape. On the inside of the right wrist was a thin wire leading from the detonator switch to the explosives. It was all the evidence Gabriel needed. He reached into his jacket and seized the butt of his Beretta. Then, as the dead man screamed “Allahu Akbar,” Gabriel dropped to one knee and leveled the weapon toward his target. Remarkably, the shot was clear, with no chance of secondary casualties. But as Gabriel was about to squeeze the trigger, two powerful hands pulled the gun downward, and the weight of two men drove him toward the paving stones.
    At the instant he hit the ground, he heard a sound like the crack of thunder and felt a wave of scorching air wash over him. For a few seconds, Gabriel heard nothing more. Then the screaming started, a single shriek, followed by an aria of wailing. Gabriel lifted his head and saw a scene from his nightmares. It was body parts and blood. It was Baghdad on the Thames.

Chapter 7
New Scotland Yard, London

    T HERE ARE FEW MORE GRIEVOUS sins for a professional intelligence officer, even a retired one, than to land in the custody of the local authorities. Because