VITAL LIES

Security solutions specialist Aubrey Sentro’s latest attempt to retire from “Moonlighting in the Spook Life” plunges her as deeply into international intrigue as all the others.

Sentro’s old Soviet contact, exiled oligarch Ilya Arshavin, wants her to look into a recent terrorist bombing at the Madrid stock exchange that destroyed $500 million. He doesn’t think the perp was a terrorist, and his fatal shooting soon afterward by the bomber gives his request a certain urgency. Even though her children, Jenny and Jeremy Troon, still recovering from the scars inflicted by her last adventure, beg her to let it go, Sentro, driven by a combination of institutional loyalty and OCD, reluctantly agrees to one more spin of the wheel even though she’s still tormented by nightmares and daytime bouts of amnesia. Her official mission is to lead Canadian Security Intelligence Service special operative Ryan Banks and other interested parties to Pogo, the former Stasi spymaster whose identity she’d learned during her yearlong imprisonment in the Soviet Union back in 1990 and then forgotten. Before she can take more than a few halting steps in that direction, a hit team swoops down on her ranch and kills her current lover, and soon after an awkward conversation in which Sentro shares with Jenny, whom she’s rescued from the ranch in the nick of time, some unlovely secrets of her past, her daughter abandons her to fly to Europe with the glamorous Cuban-born assassin Mercedes Izquierdo. As Sentro gets closer and closer to unmasking Pogo, she realizes that her daughter is following surprisingly closely in her own footsteps in good ways and bad—and that Sentro herself has been living even more lies than she’s known.

A sadly effective dramatization of the comic-strip Pogo’s insight: “We have met the enemy, and he is us.”