The old rule of surveillance applies. We must assume at all times that our target is being observed, so the plan is to deliver a message directly to one of Gemayel’s bodyguards under cover of an innocent encounter. The message is a piece of paper on which I’ve written a note requesting an urgent meeting. There’s enough detail for Gemayel to know who I am, and though I don’t put my name, I’ve given him details of my hotel. I have to trust that his memory is still intact and he isn’t too upset about the past.
For the contact, two SISMI officers, a couple posing as American tourists, have rented bicycles for an afternoon ride through the Villa Borghese. Directed by Gaetano through their hidden body comms, they’re able to position themselves ahead of Gemayel as he turns along one of the tree-lined pathways. They keep their backs to him and pretend to be consulting their tourist map of the park from the saddles of their bikes. The timing has to be just right. Gemayel walks past the couple, and the bodyguards are a few yards behind.
‘E proprio dietro di te,’ whispers Gaetano into his microphone. Right behind you. ‘Cinque secondi – adesso, vai vai vai.’
I watch through the scope as the female team member, pretending to lose patience with the map, turns around and catches the attention of one of the bodyguards as he passes and asks him directions to the exit of the park. They talk for a couple of seconds. Then her partner reaches out his arm in thanks to the bodyguard, and shakes his hand.
‘Fatto,’ says Gaetano. It’s done. The bodyguard is well enough trained not to show any reaction to the message that’s been pressed into his palm, but closes his hand and walks on. The bikes speed away, but the message has been passed.
By the time Gaetano has taken me on a tour of his several favourite bars in Rome it’s not only dark but I’m pleasantly drunk. I take a taxi to my hotel, recounting to myself the list of things which Gaetano says the Italians have invented.
‘Everything that matters in life,’ is how he puts it. Electricity, the radio, opera, fashion, the violin, the atom bomb, the best cars in the world, and pizza. Not to mention the most beautiful women of infamy in the world, he says with a wink, calling them donne di costume facile, meaning easy virtue. A pair of whom, he adds, are available to us this very evening.
It’s a kind offer, which I decline politely.
There’s no message for me at the desk. I’m wondering how and when Gemayel will get in touch when the answer is unambiguously provided. As I open the door of my room and reach for the light switch, I feel a sudden and overwhelming force pulling me down. I’m totally off my guard and whoever’s doing the pulling has done this kind of thing before. Before I hit the floor my arm’s already in a half nelson, and pressing into my temple is the muzzle of a pistol, which now emits a series of clicks as the hammer is drawn back. It’s a little too close to be in focus and I can’t turn my head, but I can just make out the design from the configuration of the slide assembly, which I recognise from my evenings spent poring over H’s weapons manuals.
‘Bella pistola,’ I say. ‘Beretta 92.’ Another very accomplished Italian invention, it now occurs to me.
‘Chi cazzo sei?’ says a voice at the other end of the weapon. Very colloquial Italian, somewhat lacking in humour, with what I suspect is a Lebanese accent.
‘Sono un amico del tuo capo.’ I’m hoping if I tell him I’m a friend of his boss, he’ll think twice about misbehaving.
‘Cosa vuoi da lui?’
‘E una faccenda privata.’ It’s time to switch to what seems likely to be his native language. ‘Haida beini w’beinu w’bein Allah,’ I say, switching to my best Lebanese. That’s between him and me and God.
While his partner watches me from a standing position beside the door, he turns me over, returns the Beretta to its holster and frisks me carefully twice, emptying my pockets in the process.
‘Siediti,’ he says, more calmly now. I oblige by sitting in the chair by the window, as he tosses my phone, wallet and passport onto the bed. I massage the side of my head as he scrutinises my things. Then he takes a mobile phone from his pocket, dials a number and speaks briefly in Arabic. The phone is passed to me and, as I’ve hoped, I hear Gemayel’s voice. He sounds older and I’m unexpectedly reminded of how much time has passed since I last saw him. But the tone is unmistakable.
‘I will be happy to meet an old friend,’ he says. ‘You have some news?’
‘I can give it only to you.’
‘My men will bring you. Forgive me if I do not tell you the location on the telephone.’
Without much further ado, because Gemayel’s men don’t seem to be the type for small talk, I’m escorted in silence to a black Mercedes parked outside the hotel. We speed through the Roman night. To judge from the number of times we change direction, I’m guessing the driver is doing his best to disguise the location we’re heading for, and he’s succeeding because I don’t know Rome and we might be anywhere. But I’m not too bothered. Even though it’s switched off, my phone will keep track of me and, more importantly, I’ve got my meeting.
It’s past midnight. I have no sense of where we are. The car pulls to a halt in a narrow cobbled street and I’m hastened towards a heavy wooden door in a high wall. Beyond it I find myself descending several steps from street level towards a crypt-like space which smells faintly of incense and ancient stone. A second door opens into a small windowless church, its vaulted roof supported on three pairs of polished pillars in oak-coloured Carrara marble. The walls are ochre and the lines of the vaults are decorated with elaborate floriated mouldings in white plaster. There are a dozen dark wooden pews on the chequerboard marble floor, and the whole space is poorly lit by a pair of bulbs inside frosted domes.
I’m shown forward to the apse, to one side of which is a dusty velvet curtain. Another, smaller door lies behind it, and opens onto stone steps leading down. I count twenty-four, which means we are a good way underground and the signal from my mobile won’t survive. Nor will any sound carry to the outside world. It’s the perfect site for a clandestine meeting. A transmitter won’t work, and there’s no chance of eavesdropping through the walls. But the isolation makes me uncomfortable.
There’s a crossroads of passages and we descend again as the walls roughen and take on a prehistoric look. They are cold to the touch, though the air is surprisingly warm. One of the bodyguards leads and the other follows me as we turn into a long broad tunnel with horizontal niches on either side. I realise now we are in a portion of one of the city’s many catacombs, and the ghostly mounds lying in the niches are the calcified contours of human skeletons. Then the tunnel opens into a series of rooms decorated with ancient murals depicting gardens and animals. They have a primitive beauty about them but it isn’t really the moment to stop and lecture my escort on the iconography of pre-Christian murals.
We pass into a larger chamber almost as big as the church above us. The floor is bare but the walls are covered with more faded but colourful murals of mythological landscapes and encounters. There are blind windows and door frames carved meticulously out of the pale stone and, running the length of the base of the walls, a low platform. On this platform, at the far side of the chamber, sits Gemayel.
The guards settle on either side of the entrance we have come through. Gemayel stands up and greets me warmly. His hair and moustache are grey now, but he looks in good health. There’s a patrician look of approval on his face.