The Kill Artist

Daniel Silva

The Kill Artist

Daniel Silva
67 pages2-hour read
Fiction
Novel
Adult
Published in 2000

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Part 2, Chapters 11-22Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of graphic violence, sexual content, substance use, addiction, child death, rape, and cursing.

Part 2: “Assessment”

Part 2, Chapter 11 Summary

Sarah Halévy is a French-Jewish model working under the name Jacqueline Delacroix. During World War II, her grandparents, Maurice and Rachel Halévy, were prominent assimilated Jews in Marseilles. After the German invasion and the implementation of anti-Jewish laws by the Vichy government, Maurice was stripped of his legal practice. When Rachel became pregnant, they fled to the countryside. Shortly after their son, Isaac, was born, SS officers and a French gendarme came to arrest them. A neighbor, Anne-Marie Delacroix, saved the infant by claiming he was her own son. Maurice and Rachel were taken away and later murdered at Sobibor. Anne-Marie raised Isaac as a Jew, and he eventually married and had one child, Sarah.


Sarah, now 33-year-old Jacqueline, is a successful but aging model in Paris. She resents her agent, Marcel Lambert, for changing her name to hide her Jewish identity, though she also views her success as a form of revenge against the French who collaborated with the Nazis. During a photoshoot with a photographer named Michel Duval, whom she despises, he sexually harasses her, threatens her career, and tries to coerce her into sleeping with him. She refuses.


Later, Jacqueline speaks to her agent. Marcel informs her that Michel is threatening to sue and that a powerful editor, Robert Leboucher, is trying to cancel an important upcoming modeling job in Mustique because of the incident. Marcel advises her to take a break at her house in the south to consider her future. Jacqueline, however, insists he force Leboucher to honor the contract; she hopes to earn enough money to escape the toxic world of modeling forever.

Part 2, Chapter 12 Summary: “Bayswater, London”

In London, Israeli agent Gabriel Allon rents an apartment in Sussex Gardens, telling the landlady, Fiona Barrows, that he is an art restorer. The apartment provides a direct view into the apartment of his target, Yusef al-Tawfiki, a Palestinian agent working for the terrorist Tariq. Gabriel conducts physical surveillance on Yusef, who demonstrates professional countersurveillance awareness. Posing as a boorish French writer, Gabriel watches Yusef from a nearby restaurant, memorizing details of his interactions and contacts.


While waiting for Yusef to return to his apartment one night, Gabriel has a vivid flashback to an operation 12 years earlier in Tunis. He recalls leading a commando team to assassinate the PLO’s chief of operations, Abu Jihad. Before entering the villa, he killed Abu Jihad’s driver sleeping in a Mercedes outside. Inside, a Tunisian security guard appeared; Gabriel shot him several times through the chest, then twice in the face after he refused to reveal Abu Jihad’s location. He then found Abu Jihad watching intifada footage on television and shot him twice in the chest and twice more in the head. In the hallway afterward, he ordered Abu Jihad’s wife and children back to their room. On the escape boat, he was so shaken that he threw his gun into the sea.


After the Tunis flashback quiets, Gabriel thinks of the Vecellio and Peel, and for the first time that day thinks of Dani, his son. Yusef eventually returns to his apartment with a woman at three o’clock in the morning, and Gabriel resolves to begin electronic surveillance the following day.

Part 2, Chapter 13 Summary: “Amsterdam”

In Amsterdam, a young bar worker and heroin user named Inge van der Hoff returns to her houseboat. Her new lover, a woman named Leila, has been staying with her for two weeks. Inge finds Leila packing a suitcase; Leila claims she must suddenly go home to care for her ill father, having spoken to her brother in Paris. Before leaving, Leila asks Inge if a male friend of hers named Paul can stay on the houseboat for a few days. To persuade the hesitant Inge, Leila gives her a small bag of heroin. Inge immediately injects the drug and loses consciousness, the last thing she sees being Leila slipping out the door and floating across the deck of the houseboat.

Part 2, Chapter 14 Summary: “Bayswater, London”

Gabriel brings in Randall Karp, a former CIA technical expert, to set up surveillance on Yusef’s apartment. Karp dismisses using a laser microphone and instead plans to bug Yusef’s phone line directly from the building’s main interface box. He also intends to use a system called Tempest to remotely read Yusef’s computer monitor. To get full room audio coverage, however, they will need to plant a bug inside the apartment. When Karp asks how they will gain access, Gabriel replies that Yusef “likes girls” (162).


That night, Gabriel and Karp go to the Kebab Factory, the restaurant where Yusef works, to bug the phone line there. While Karp works, two drunk men confront Gabriel, who swiftly and brutally disables them before checking to ensure they are still alive. Back at the surveillance apartment, Karp confirms the bug on the restaurant’s phone is functioning correctly.

Part 2, Chapter 15 Summary: “Amsterdam”

Tariq is in Amsterdam, planning to assassinate David Morgenthau, a wealthy American-Jewish businessman with ties to the Israeli government. His agent, Leila, has already conducted surveillance on the Morgenthau home. As Tariq walks to the houseboat where he will be staying, he reflects on the news that Gabriel Allon has been tasked with hunting him. Tariq welcomes the confrontation, planning to lure Gabriel into a trap. He is confident his small, loyal organization is impenetrable and recalls a past success in which he used a fake defector to assassinate an Israeli intelligence officer working under diplomatic cover from the Israeli embassy in Madrid.


At the houseboat, Tariq meets Inge, the young woman Leila arranged for him to stay with. He finds her pathetic, but has sex with her to avoid raising suspicion. Afterward, he suffers one of his recurring, debilitating headaches, a symptom of his severe underlying illness.

Part 2, Chapter 16 Summary: “Valbonne, Provence”

Jacqueline is at her villa in Valbonne, where she reflects on her declining modeling career. She goes for an intense bicycle ride, fueled by anger at the photographer Michel Duval. In the village, she sees a vacant property and imagines opening her own ballet school, which would allow her to return to her true identity as Sarah Halévy and leave modelling behind. She knows she needs more money to make this dream a reality.


Back at her villa, a message from her agent, Marcel, informs her that a man using the code name Jean-Claude is on his way to see her about a job. Jacqueline is shaken, realizing she is being reactivated by the Israeli intelligence service. The narrative flashes back to her recruitment by Ari Shamron, who appealed to her Jewish identity and the memory of her murdered grandparents. He trained her as a bat leveyha (female assistant agent) for missions that included “honey trap” operations, where she seduced enemies of Israel. After several successful operations, Shamron flew her to Tel Aviv, presented her with a secret citation, and told her she was finished, warning that her next target might suspect her and that she might end up dead. She begged him for one last assignment and he reluctantly agreed, sending her three months later to assist Gabriel Allon in Tunis.

Part 2, Chapter 17 Summary: “Tel Aviv”

The CIA’s executive director, Adrian Carter, meets with Ari Shamron in Tel Aviv. Carter states that American intelligence suspects Tariq was behind the recent Paris embassy bombing. He warns Shamron that the US government wants Tariq captured and tried, not assassinated by Israel, as a reprisal could derail the peace process. Carter also reminds Shamron of agreements prohibiting unsanctioned Israeli operations on allied foreign soil. Shamron falsely assures him that no such operation is planned.


Immediately after, Shamron briefs the Israeli prime minister. He believes Carter suspects something, but that he lacks concrete evidence. The prime minister asks if Shamron can execute the mission against Tariq without the CIA discovering it. When Shamron confirms he can, the prime minister orders him to proceed.

Part 2, Chapter 18 Summary: “Valbonne, Provence”

Gabriel arrives at Jacqueline’s villa and explains that he is back with the Office to hunt Tariq. He needs her help to get inside the London apartment of one of Tariq’s agents, Yusef, to plant a bug. He asks her to meet Yusef, get invited back to his apartment, and make a copy of his keys. Jacqueline initially refuses, but Gabriel persuades her by saying she is the only one he can trust for the job. Recognizing her leverage, she demands and receives a payment of $50,000.


Jacqueline calls her agent to cancel her upcoming work. As they drive north, Gabriel briefs her on Yusef, a radicalized Palestinian from a refugee camp in Lebanon. They stop in a remote location where Gabriel tests her marksmanship with her Beretta pistol. She shoots perfectly, after which he destroys the weapon and scatters the pieces to eliminate any evidence.

Part 2, Chapter 19 Summary: “Amsterdam”

Tariq makes his final preparations to kill the Morgenthaus. He buys a train ticket to Antwerp, purchases a lethal dose of heroin, and orders a large bouquet of flowers. At the houseboat, he gives the flowers to Inge before preparing a heroin dose three times the normal strength. She injects it and falls backward, convulsing violently. Tariq makes coffee in the galley while waiting for her to finish dying.


Just as Tariq is about to leave, Inge’s brother, Maarten, arrives unexpectedly. He discovers his sister’s body and, enraged, accuses Tariq of giving her the drugs. Tariq debates with himself on how to proceed without drawing attention to himself. When Maarten lunges at him, Tariq shoots him through the eye with a single bullet from his Makarov. Realizing the gunshot might attract attention, Tariq flees, disposing of his suitcase in a canal. He considers aborting the mission but is driven to continue by the memory of his own brother’s assassination. He proceeds to the Morgenthau residence, poses as a flower deliveryman to get inside, and kills the maid with a silenced pistol before waiting for the couple to return.

Part 2, Chapter 20 Summary: “Paris”

Shamron meets Gabriel in Paris and confirms that Tariq was responsible for the murders of the Morgenthaus and their maid in Amsterdam. Police discovered the bodies of Inge and her brother, Maarten, on a houseboat; ballistic matching of the slug from Maarten to those taken from the Morgenthaus and the maid confirmed the same gun was used in all four killings. Shamron reiterates the CIA’s warning and advises Gabriel to be cautious.


Gabriel then travels to London and surprises the art dealer Julian Isherwood, who is furious that Gabriel abandoned the restoration of a valuable Vecellio painting. Gabriel asks Isherwood to provide a cover job for Jacqueline by hiring her as his secretary who uses the name Dominique. Isherwood reluctantly agrees after Gabriel promises to finish the restoration.

Part 2, Chapter 21 Summary: “Maida Vale, London”

Gabriel settles Jacqueline into a drab safehouse in London for her cover identity as Dominique Bonard. That evening, they have a painful conversation about their shared past. Gabriel reveals that he is hunting Tariq as personal vengeance for the bombing in Vienna that killed his son Dani and catastrophically maimed his wife Leah. Their killing was, he reveals, a retaliation for Gabriel’s assassination of Tariq’s own brother. Jacqueline confesses her long-held guilt over their affair in Tunis, believing it led to the tragedy. Gabriel absolves her, taking full responsibility for having “behaved foolishly” (224). When she asks why he confessed the affair to his wife, he explains that he could not live with the lie and needed forgiveness. He then leaves abruptly and Jacqueline breaks down crying.


While driving, Gabriel is annoyed with himself for revealing so much. He reflects on his emotional isolation: Shamron had made him the destroyer, and he had turned himself back into the healer, able to experience beauty only in art and only by repairing damage inflicted by uncaring owners and the passage of time. He was not capable, however, of healing himself. He realizes he confided in Jacqueline because she already knows his secrets, but he feels conflicted about sending her to seduce another man.

Part 2, Chapter 22 Summary: “Maida Vale, London”

Jacqueline begins her cover job as Dominique, taking the crowded Underground to Julian Isherwood’s gallery. Gabriel follows at a distance to confirm she is not being watched before telling her she is “clean” (230). Isherwood, who is late and flustered, is immediately charmed by her. He gives her a tour of the gallery, including the impressive upstairs viewing room, and is stunned when she perfectly memorizes the long security code on her first try.


Meanwhile, at his surveillance post, Gabriel and Karp intercept a phone call for Yusef at the Kebab Factory. The caller arranges to meet Yusef that evening at a bar. Gabriel listens to the recording so many times that Karp begs him to stop, analyzing it for any indication of a trap, before calling the number for Isherwood Fine Arts to set the plan in motion.

Part 2, Chapters 11-22 Analysis

Gabriel’s private confession to Jacqueline that he is hunting Tariq as personal vengeance for the Vienna bombing illustrates one of the novel’s central themes, showing how violence can propagate yet more violence. He explains that Tariq’s attack, which killed his son and maimed his wife, was retaliation for Gabriel’s own assassination of Tariq’s brother 17 years earlier. His dispassionate admission that Tariq’s act was “an exquisite piece of work” from one professional to another frames the conflict as more than just a simple matter of justice (224). From Gabriel’s point of view, it is a personal vendetta between two men who have made killing their profession. The narrative reinforces this parallel by showing Tariq’s own motivations, which are fueled by the memory of his brother’s death and his father’s “unspeakable shame” upon learning of it. This mirroring structure illustrates the theme of Trauma and Vengeance as Unending Cycles. Both Gabriel and Tariq are trapped in a reciprocal loop of violence, where each man’s quest for retribution is a direct and proportional response to the other’s actions. The novel uses their intertwined tragedies to argue that—in the shadow of the larger Israeli-Palestinian conflict—personal loss becomes the fuel for a perpetual and self-sustaining cycle of violence that consumes everyone it touches.


The narrative structure deliberately juxtaposes Gabriel’s and Tariq’s operations, creating a study in contrasting methodologies and psychological states. In Amsterdam, Tariq’s meticulous plan to murder the Morgenthaus unravels into chaos when Inge’s brother, Maarten, arrives unexpectedly, forcing an impulsive, noisy killing that compromises the mission’s secrecy. Tariq is shown to be meticulous, but this scene shows his ability to improvise. To this end, his violent improvisation is initially contrasted with the calculated precision of Gabriel’s team in London. His surveillance operation relies on technical experts like Randall Karp, meticulous planning, and controlled violence. When Gabriel brutally disables two assailants in an alley, however, he shows his own capacity to deal with the unexpected. The way in which he methodically checks their pulses to ensure they are not dead suggests a degree of humanity and compassion that Tariq lacks, however. The two men’s approaches reflect their current states: Tariq, weakened by illness and driven by memory, is becoming prone to error, while Gabriel, though emotionally scarred, slips back into the cold, disciplined tradecraft that once made him a legendary operative. This structural parallel establishes them as dark mirrors, professional killers whose shared history has set them on a collision course defined by both their similarities and their fatal differences.


The graphic flashback to Gabriel’s assassination of Abu Jihad in Tunis demonstrates the corrosive effect of his work and introduces the theme of The Psychological Toll of State Violence. The mission is not depicted as a clean, strategic victory but as a sequence of brutal, intimate killings: executing a sleeping driver, shooting a security guard “twice in the face” (150), and firing multiple shots into Abu Jihad at point-blank range while his family is in the next room. Gabriel’s visceral reaction afterward—recoiling from his fellow agent’s touch and throwing his Beretta into the sea—shows that the state-sanctioned violence has deeply damaged him. Jacqueline’s observation that on the escape boat it was as if “the dead men were sitting next to you” emphasizes the haunting, long-term trauma inflicted by such acts (222); the success of the mission has inflicted a psychological death on these agents, seemingly. This memory provides the necessary context for Gabriel’s subsequent retirement and his current, broken state, showing that even when violence is justified as a tool of national security, it exacts an unbearable price from the individuals tasked with carrying it out.


The meeting between Ari Shamron and the CIA’s Adrian Carter places the personal vendettas of the field agents within a high-stakes geopolitical context. The exchange is evidence of diplomatic deception, with Carter’s polite warnings about unsanctioned operations and Shamron’s pious assurances masking a deep-seated institutional rivalry. This scene reveals that Shamron’s covert war is fought on two fronts: The back alleys of Europe and the sterile conference rooms of intelligence agencies. Shamron’s decision to proceed with the mission against Tariq, in direct defiance of American wishes and international agreements, elevates the stakes of Gabriel’s operation. He and his team are now operating without a safety net, vulnerable to Tariq but also to exposure by a powerful and nominally allied intelligence service. The Israeli prime minister’s terse command to Shamron, “don’t fuck it up” (193), confirms that Gabriel’s personal quest for vengeance is inextricably linked to his country’s national security and its precarious standing on the world stage.


Jacqueline Delacroix’s backstory explores the weaponization of identity and sexuality within the world of espionage. Her life is already one of performance; her agent changed her name from Sarah Halévy to obscure her Jewish heritage, though she privately sees her success as a model as “her revenge” against the antisemitic society that betrayed her family. As a model, she presents a version of herself to the world that is not her true self. She hides her true self—and her vulnerability—as a sign of her strength, a modelling skill that informs her espionage work. Ari Shamron’s recruitment capitalizes on this fractured identity, repurposing the very traits commodified by the fashion industry—her beauty, her French passport, her ability to project a persona—for the Office’s “honey trap” operations. In both her careers, her body and sexuality are tools used by powerful men for their own ends. Her fantasy of quitting modeling to open a ballet school and become “Sarah Halévy again” symbolizes a deep yearning for an authentic self (174), free from manipulation. By demanding a $50,000 payment to fund this dream, she turns her dangerous assignment into a transaction, a pragmatic effort to buy back the identity she has been forced to sacrifice for her career and her country.


Gabriel’s fraught relationship with the art dealer Julian Isherwood establishes the novel’s primary symbolic contrast between destruction and creation. Isherwood is furious that Gabriel has abandoned his work on a priceless painting, introducing the symbol of the Vecellio altarpiece as a representation of healing and order. Gabriel’s identity as an art restorer is the antithesis of his role as a kidon. He reflects that after his life as a state-sanctioned “destroyer,” he turned himself “back into the healer” (227), a man who “experienced beauty only in art and only by repairing damage inflicted by uncaring owners and by the corrosive passage of time” (227). This opposition embodies the theme of The Restorative Nature of Art, presenting the meticulous work of restoration as a form of penance and a path toward psychological recovery. The damaged altarpiece mirrors Gabriel’s own shattered life; his attempts to mend it symbolize his struggle to repair his own humanity. The mission to hunt Tariq forces him to abandon this restorative work, showing how the pull of past violence constantly threatens any possibility of personal healing.

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