THE AMICABLE EX
"And now, the end is near
And so I face the final curtain
My friend, I'll say it clear
I'll state my case, of which I'm certain…" — Frank Sinatra
"Only blood can wash away blood." — American Mafia saying on assassination.
"Assassination is a state of mind, a checkmate. Your opponent may still have pieces on the board, but with the king gone, he’s lost the game." — Robert B. Baer, CIA Officer.
The only concrete thing about life is that nothing in it is concrete. Things change, people move on, memories fade, and love can turn to hate. This is particularly true in the realm of espionage, where strategic and political winds can leave the golden boy loved by the department an utter pariah by the end of the month. And it’s absolutely true when one is an asset of an intelligence service. Even if you are useful, the friendly man who hands over nice thick envelopes full of laundered greenbacks can be replaced with an angry woman aiming a suppressed Ruger MK3 at your heart. This year, one of the few pure anti-heroes in contemporary spy fiction finds himself in that third category, as someone from his past comes back to haunt him.
Over seven books, British thriller writer Tom Wood has charted the course of Victor the Assassin. Victor is a nice man who kills other men and women for large sums of money. When we first meet him, he’s a freelance hitman who spectacularly wrecks an op run by the chief of the CIA Russia desk and comes to the attention of the power behind the throne at Langley’s NCS. Shanghaied into becoming a deniable asset, Victor has dutifully done the jobs that the Company’s Special Activities Division could not, with a brief sabbatical with the UK SIS. But in this book, Victor is faced with an espionage Captain Ahab looking to run him down. Not wanting to go to jail, Victor comes up with a cunning plan—one which goes off the rails as the final hour to implementation draws near. Now to the review: how does one plan the perfect divorce?
The novel begins in a surprising fashion, taking us back to 2015 in the aftermath of Book 5, The Darkest Day. Victor is seemingly enjoying downtime after a hellish 12 hours in the Big Apple. Taking confession in County Cork, Ireland; exercising at an MMA gym in Holland; and taking a piano lesson in Lisbon, each of the people Victor meets in these literary snapshots makes revealing comments on the parts of the man he allows them to see, while knowing there is something else below the surface. Across the Atlantic in Canada, the assassin Raven—who ended at the point of death in Book 5—awakens from her slumber. Realizing she’s in a vulnerable position, she attempts to find a way out of the hospital she has ended up in. The plan she comes up with, however, plays into the hands of a DEVGRU corpsman turned hitman, who makes the mistake of crafting a complicated plan to off his would-be victim and gets a bone saw through his neck. Raven then takes her leave and flees to Europe.
We then cut to a year later, when Victor returns to County Cork, this time on business. As it turns out, the priest he took confession from was a tout working during the Irish Troubles. Unfortunately, the tout was two-timing the SIS and also selling out fellow assets to the Provo nutting squad. Victor informs the old man that he’s going to die for angering a British spy with a long memory, and after futile attempts at staving off the inevitable, the Irishman is deposited in the Irish Sea. Back in America, a familiar face appears. Antonio Alvarez, formerly of the CIA, is golfing with the most powerful man. We learn the ONI has poached him. After his golf game, he visits another familiar figure, Roland Proctor, the semi-retired number two at the CIA NCS. During their meeting, Alvarez makes his official declaration of war against Proctor and the mysterious hitman who slipped away all those years ago.
Across Europe, Victor is once again on business, seemingly meeting for a freelance contract in a countryside lodge in Bavaria. As it turns out, it’s a trap set by Phoenix, an anonymous broker who hunted Victor in Book 6. Victor reverses the trap and blows apart the Macedonian hit squad sent after him with aplomb. In Italy, Raven resurfaces with a vendetta on her mind. And in the darkest black hole of the espionage world, orders are sent out and plans are made that may just suck both killers into a vortex they may never return from. With good guys to the left and bad guys to the right, only one question remains: when two assassins are stuck in the middle with each other, who will survive to the final hour?
In terms of plot, The Final Hour hits the sweet spot and is perhaps the most fully realized novel Tom Wood has written to date. Since the first three books, the series has sometimes seemed to struggle in finding its feet after a glorious, blood-splattered, cinematic establishing trilogy. Books 4, 5, and 6 were extremely well written but seemed to miss the spark that turned good spy fiction into spellbinding thriller writing. That spark returns in a big way, with the author going big and bold in this entry. A twisting, sweeping plot with genuinely high stakes, a surprisingly large degree of character development and worldbuilding that closes out the final book in this phase of Victor’s life, and wonderfully crafted action scenes that rank among the top five in this formidable series—The Final Hour is one of the best-plotted spy novels of 2017.
Action and setting: superb as usual. Whether it be an up-close-and-personal fistfight or a dramatic gun battle across one of Europe’s great cities, Wood is an action master for all seasons. With six previous books under his belt, his ability to craft violence that steps off the page and fires a gun next to your ears is second to none. From the first death by bone saw, to a gunfight with a John Wick–ian vibe in Bavaria, the action then sweeps up to the infiltration of a seaside mansion in Italy gone wrong, a violent home invasion on the Scottish–English border, and finally a small three-way war involving a Special Activities Division paramilitary unit that destroys an apartment block in Helsinki. The Final Hour seeks to end this stage of Victor’s changing life with a bang. Vivid, dramatic, and slickly written, and full of the energy and poise that made the early books glimmer, once the killing starts—don’t blink. If you do, it’ll be over, and Victor will have left the bodies behind.
Research: impeccable as usual. Wood studiously avoids the tacticool nonsense that infected the genre post-9/11. He comes from an older, nobler tradition where research doesn’t turn books into firearms shopping catalogues. A bit of name-dropping is welcome, but controlled. Highlights include a suppressed HK P7 used by Raven, a Beretta 93R used by Victor, a Steyr AUG Para submachine gun, and in the climax, a Heckler & Koch MP7. But it’s not just firearms where Wood shines. From a look into the nature of modern crime in Italy—how Mafia dons are on social media and have departed from their murderous 1990s period—to the ins and outs of international shadow banking institutions, infiltration tactics, unarmed combat, and even pointers on how to escape flexicuffs without a knife, these books are intelligently written but not overbearing. Wood integrates all the kit and useful tidbits into the story with sublime skill. But the star highlight is the realistic portrayal of a contemporary shadowy organization. Unlike a monolithic non-state actor like HYDRA, a true Illuminati—as shown in indie thriller superstar Peter Nealen’s AP series—is made up of political and financial networks that can buy firepower and have intersecting interests. Wood demonstrates this with the “Consensus,” a network that is almost an organic entity, a sort of espionage Cthulhu that can swallow any do-gooder who opposes it or drive them insane.
Characters: above and beyond the usual in this entry. The Final Hour sees a huge amount of character development and change for everyone in the story—not just Victor, who, even when fleshed out, still retains that enigmatic mask of lies, omissions, false identities, and plastic surgery that has served him well. There are many standouts, so I’ll focus on three: Victor, Raven, and Alvarez.
First, Victor. Everyone’s favourite anti-hero is back with a vengeance. Unlike Book 6, which was essentially a day at the office, here the stakes are properly high and dicey for the perfect assassin. But Victor meets the challenge head-on, and that challenge—with an American Inspector Javert on his tail—brings out the best in him. Manipulative, funny, and deadly, Victor assembles the pieces for his planned retirement party as a deniable asset with admirable professionalism and keeps his cool for nearly the entire story. The genre cries out for a higher class of anti-hero, and Victor is that anti-hero. He’ll make you laugh, gasp, and then leave a body or two behind. With no scruples or Boy Scout morality to torture him at night, Victor does the things other so-called anti-heroes aren’t willing to do—and he does them with a finality that leaves a mark.
Next, Raven. Raven is an Iranian American who just so happens to be a rogue ISA operator who angered the armaments firms of North America when she robbed them of a big payday in Book 5. In this book, we explore her background, character, and what makes her tick. She’s a different beast to Victor—more conventionally heroic and with a desire to do the right thing. But she’s no pushover. In Book 5 we only glimpsed her abilities; here Wood puts them on full display, and the results are a violent Fourth of July firework show. Whether it’s stabbing a mad Estonian mercenary or engaging a Special Activities Division team with a stolen Heckler & Koch MP7 from a tactically disadvantaged position, Raven keeps up with Victor—and at her best, can even outdo him.
Finally, Alvarez, our antagonist. Alvarez is a do-gooder of the Scott Harvath/Mitch Rapp variety. He would fit snug as a bug in that kind of story. Unfortunately, he’s not in that sort of story; he’s stuck in a morally ambiguous, stale-beer espionage drama where backstabbing and betrayal are par for the course. A dogged individual, Alvarez may not be as fast in strategy as the fellow intelligence officers he seeks to bring to justice, but he’s relentless enough to start making the connections that bring him within striking distance of Victor the Assassin. Round 2 may have ended, but I’d love to see a Round 3 for the ONI man.
Constructive criticism: Not much, really, except that the book was so well written I was left wanting a whole lot more. The author was on top form this year, and it will be interesting to see where Victor goes from here.
A good friend of mine once wrote that there is great power in letting go. Whether it be accepting the loss of a friend, losing your top employee, or having to change a job, change is necessary to live life—and accepting change is necessary to live life well. Victor the Assassin goes through such change in The Final Hour, and ultimately comes out all the better for having adapted. Tom Wood’s seventh book is proof that he has changed too as a writer—for the better.
He has taken his work to new heights. His prose is sharper and more refined than in the previous book, and he has not rested on his laurels in closing this era of his awesome fictional assassin, who remains a cut above the rest. With a beautifully written, blood-pumping narrative, a cast of characters whose interactions delight, shock, and amaze, and a perfect blend of cinematic action, accurate research, and deep worldbuilding, The Final Hour is the perfect end to this era of the thriller series. It’s a new dawn and a new day for Victor, and when the hour comes that he resurfaces, you’d better go find him before he finds you.
VERY RECOMMENDED.