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been removed from the Greek Cross nave and pushed temporarily against the eastern wall. The cleaning of Sebastiano del Piombo’s main altarpiece was complete. Unlit, it was barely visible in the late-afternoon shadow. The Bellini hung in the Chapel of Saint Jerome, on the right side of the church. It should have been concealed behind a tarpaulin-draped scaffold, but the scaffolding had been moved aside and the painting was ablaze with harsh fluorescent lights. Chiara turned to watch Gabriel’s approach. Shamron’s hooded gaze remained fixed on the painting.
    “You know something, Gabriel, even I have to admit it’s beautiful.”
    The old man’s tone was grudging. Shamron, an Israeli primitive, had no use for art or entertainment of any kind. He saw beauty only in a perfectly conceived operation or the destruction of an enemy. But Gabriel took note of something else—the fact that Shamron had just spoken to him in Hebrew and committed the unpardonable sin of uttering his real name in an insecure location.
    “Beautiful,” he repeated, then he turned to Gabriel and smiled sadly. “It’s a pity you’ll never be able to finish it.”

4

V ENICE
    S HAMRON EASED HIS BODY WEARILY ONTO A CHURCH pew and, with a liver-spotted hand, motioned for Gabriel to adjust the angle of the fluorescent lights. From a metal briefcase he removed a manila envelope and from the envelope three photographs. He placed the first wordlessly into Gabriel’s outstretched hand. Gabriel looked down and saw himself walking in the Campo di Ghetto Nuovo with Chiara at his side. He examined the image calmly, as if it was a painting in need of restoration, and tried to determine when it had been taken. Their clothing, the sharp contrast of the afternoon light, and the dead leaves on the paving stones of the square suggested late autumn. Shamron held up a second photo—Gabriel and Chiara again, this time in a restaurant not far from their house in Cannaregio. The third photograph, Gabriel leaving the Church of San Giovanni Crisostomo, turned his spinal cord to ice. How many times? he wondered. How many times had an assassin been waiting in the campo when he left work for the night?
    “It couldn’t last forever,” Shamron said. “Eventually they were going to find you here. You’ve made too many enemies over the years. We both have.”
    Gabriel handed the photographs back to Shamron. Chiara sat down next to him. In this setting, in this light, she reminded Gabriel of Raphael’s Alba Madonna. Her hair, dark and curly and shimmering with highlights of chestnut and auburn, was clasped at the nape of her neck and spilled riotously about her shoulders. Her skin was olive and luminous. Her eyes, deep brown with flecks of gold, shone in the lamplight. They tended to change color with her mood. Gabriel, in Chiara’s dark gaze, could see there was more bad news to come.
    Shamron reached into the briefcase a second time. “This is a dossier, summarizing your career, uncomfortably accurate, I’m afraid.” He paused. “Seeing one’s entire life reduced to a succession of deaths can be difficult. Are you sure you want to read it?”
    Gabriel held out his hand. Shamron had not bothered to have the dossier translated from Arabic into Hebrew. The Jezreel Valley contained many Arab towns and villages. Gabriel’s Arabic, while not fluent, was good enough to read a recitation of his own professional exploits.
    Shamron was right—somehow his enemies had managed to assemble a tellingly complete account of his career. The dossier referred to Gabriel by his real name. The date of his recruitment was correct, as was the reason, though it credited him with killing eight members of Black September when in truth he had killed only six. Several pages were devoted to Gabriel’s assassination of Khalil el-Wazir, the PLO’s second-in-command, better known by his nom de guerre Abu Jihad. Gabriel had killed him inside his seaside villa in Tunis in 1988. The description