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.
THE FIRST BOMB EXPLODED AT 11:46 a.m., on the Avenue des Champs-Élysées in Paris. The director of the French security service would later say he received no warning of the impending attack, a statement his detractors might have found laughable were the death toll not so high. The warning signs were plain to see, they said. Only the blind or the willfully ignorant could have possibly missed them.
From Europe’s point of view, the timing of the attack could not have been worse. After decades of lavish social spending, much of the Continent was teetering on the brink of fiscal and monetary disaster. Its debt was soaring, its treasuries were empty, and its pampered citizenry was aging and disillusioned. Austerity was the order of the day. In the current climate, no cow was considered too sacred; health care, university tuition, support for the arts, and even pension benefits were all undergoing drastic cuts. Along Europe’s so-called periphery, the smaller economies were falling like dominoes. Greece was sinking slowly into the Aegean, Spain was on life support, and the Irish Miracle had turned out to be nothing more than a mirage. In the smart salons of Brussels, many Eurocrats were daring to say aloud what had once been unthinkable—that the dream of European integration was dying. And in their darker moments, a few of them actually wondered whether Europe as they knew it might be dying, too.
Another
