I had been going there to consult with Brigadier Amanullah, known to his friends as Aman. Aman, in his early fifties and now retired, is lithe and gentle-natured and seemed to me slightly depressed. He works in a small office behind Zardari House, where, as the secretary to Benazir Bhutto in Islamabad, he coordinates Bhutto's efforts to return to Pakistan and regain its prime ministership. He also keeps in close touch with old colleagues, who include many powerful people in Pakistan. Aman was once the chief of Pakistan's military intelligence in Sind Province, which borders India. Pakistan's biggest city and a cultural center, Karachi, is in Sind. That put Aman squarely in the middle of things, his finger near many sorts of buttons. Today Aman is believed to act as Bhutto's liaison with the armed forces, and he maintains contacts with serving army officers, including senior generals. When I wanted to speak to someone in the Pakistani government, I asked Aman. When I wanted to speak to someone in the Taliban, or in military intelligence, or in the political opposition, I asked Aman. His replies were mumbled and monosyllabic. He never offered opinions. He would simply hear me out and, most times, tip his head and say, "Why not?" Within an hour after Aman and I parted, I would receive a phone call from his secretary. References would be made to "that man" or "that matter," and I would be given a phone number and a time to call. Having spoken with Aman, I was always expected.

On the day of my final visit Aman seemed more sullen than usual. He ushered me into a room adjoining the office. The room was long and spare. There was an oil painting on the far wall. The other walls were empty and lined with cushioned chairs. Aman sat across from me. We had tea and spoke about the latest events.

As we were wrapping up our conversation, I looked at the oil painting. It was a strange picture, a horizontal landscape about four feet across, with overtones of socialist realism. In the foreground a youthful Benazir Bhutto stood in heroic pose on an escarpment overlooking the featureless grid of Islamabad. Beside her stood her father, Zulfikar Ali Bhutto, a Prime Minister who in 1977 was ousted in a coup and two years later hanged. On the other side of Bhutto was Mohammed Ali Jinnah, the long-dead founding father of Pakistan. Their postures were exalted, their expressions a combination of pride and awe. Jinnah's arm pointed to the vast plain beyond the city, where a rocket was lifting out of billowing clouds of vapor and fire into the sky.

Aman noticed me looking at the painting and followed my gaze. I asked him if Benazir Bhutto had commissioned it, and Aman said no. He told me that one day when she was still Prime Minister, an unknown man, an ordinary Pakistani citizen, had come to the gate of Zardari House with the picture and told Aman that he'd painted it for the Prime Minister and wanted to present it to her as a gift. Aman said that he was immediately transfixed by the painting. He called to Bhutto inside the house, but she refused to come down to see the man. Aman was persistent, and eventually she came down.