The Kill Artist Read Online Free PDF

It stressed mobility and function over style and grace. For his desk Shamron used a large, scarred library table. Along the wall opposite the window was a row of gunmetal file cabinets. On the shelf behind his desk was a thirty-year-old German-made shortwave radio. Shamron had no need for the daily summaries of the Office radio-monitoring department, because he spoke a half-dozen languages fluently and understood a half-dozen more. He could also repair the radio himself when it broke down. In fact, he could fix almost anything electronic. Once his senior staff had arrived for a weekly planning meeting to find Shamron peering into the entrails of Queen Esther’s videocassette player.
    The only hint of modernity in the office was the row of large television sets opposite his desk. Using his remote controls, he switched them on one by one. He had lost the hearing in one ear, so he turned up the volume quite loud, until it sounded as if three men—a Frenchman, an Englishman, and an American—were having a violent row in his office.
    Outside, in the chamber between Esther’s office and his own, Shamron’s senior staff had gathered like anxious acolytes awaiting an audience with their master. There was the whippetlike Eli from Planning and the Talmudic Mordecai, the service’s executive officer. There was Yossi, the genius from the Europe Desk who had read the Greats at Oxford, and Lev, the highly flammable chief of Operations, who filled his precious empty hours by collecting predatory insects. Only Lev seemed to have no physical fear of Shamron. Every few minutes he would thrust his angular head through the doorway and shout, “For God’s sake, Ari! When? Sometime tonight, I hope!”
    But Shamron was in no particular hurry to see them, for he was quite certain he knew more about the terrible events that evening in Paris than they ever would.
     
    For one hour Shamron sat in his chair, stone-faced, smoking one cigarette after another, watching CNN International on one television, the BBC on another, French state television on the third. He didn’t particularly care what the correspondents had to say—they knew next to nothing at this point, and Shamron knew he could put words in their mouths with one five-minute phone call. He wanted to hear from the witnesses, the people who had seen the assassination with their own eyes. They would tell him what he wanted to know.
    A German girl, interviewed on CNN, described the auto accident that preceded the assault: “There were two vehicles, a van of some sort, and a sedan. Maybe it was a Peugeot, but I can’t be sure. Traffic on the bridge came to a standstill in a matter of seconds.”
    Shamron used his remote to mute CNN and turn up the volume on the BBC. A taxi driver from the Ivory Coast described the killer: dark hair, well dressed, good-looking, cool. The killer had been with a girl on the bridge when the accident occurred: “A blond girl, a little heavy, a foreigner, definitely not French.” But the taxi driver saw nothing else, because he took cover beneath the dashboard when the bomb went off and didn’t look up again until the shooting stopped.
    Shamron removed a scuffed leather-bound notebook from his shirt pocket, laid it carefully on the desk, and opened it to a blank page. In his small precise hand he wrote a single word.
    GIRL.
    Shamron’s gaze returned to the television. An attractive young Englishwoman called Beatrice was recounting the attack for a BBC correspondent. She described a traffic accident involving a van and a car that brought traffic on the bridge to a standstill, trapping the ambassador’s car. She described how the killer walked away from his girlfriend and drew a weapon from his bag. How he then tossed the bag beneath the undercarriage of the limousine and waited for it to detonate before calmly walking forward and killing everyone inside.
    Then Beatrice described how the killer walked slowly toward the girl—the girl who seconds before he