By A. C. Baantjer
Op het politiebureau aan de Warmoesstraat doet makelaar Van Vlaanderen aangifte van diefstal van juwelen ter waarde van een miljoen gulden. Zonder het geringste spoortje van braak is zijn unieke antieke juwelenverzameling verdwenen uit de kluis in zijn huis aan de Herengracht. Het verhaal klinkt ongeloofwaardig, maar rechercheur De Cock wil aan de zaak beginnen. Dan rinkelt de telefoon. Vledder neemt op en luistert. Met een bleek gezicht wendt hij zich tot zijn leermeester. 'Je kunt jouw onderzoek naar de juwelen voorlopig wel vergeten.' 'Hoezo?' 'Er ligt een dode clown aan de voet van de Schreierstoren.' Even later staren De Cock en Vledder door de roestige spijlen van een ijzeren hek naar beneden. Vlak boven het water van de gracht is het smalle vlondertje bijna geheel bedekt met een glanzend wit clownspak. Even boven het midden steekt een vervaarlijk groot mes in een onregelmatige kring donkerrood bloed. De Cock staat voor raadsels. Maar het is zijn beroep, om niet te zeggen zijn roeping, raadsels als deze op te lossen.
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Extra resources for De Cock en de dood van een clown (De Cock, Book 22)
Sample text
22. 16. 90 31 general unease in the American marketplace; the poor remuneration paid to domestic producers of series; and American co-producers’ fears of unofficial strike action. 96 Furthermore, many home-produced series had failed to achieve network status in Britain. ” 97 Lew Grade was well placed to ride this savage downturn. ITC derived the bulk of income from the distribution of American product whilst its reciprocal arrangement with Jack Wrather guaranteed the American distribution of two ATV-produced series a year.
16. 90 31 general unease in the American marketplace; the poor remuneration paid to domestic producers of series; and American co-producers’ fears of unofficial strike action. 96 Furthermore, many home-produced series had failed to achieve network status in Britain. ” 97 Lew Grade was well placed to ride this savage downturn. ITC derived the bulk of income from the distribution of American product whilst its reciprocal arrangement with Jack Wrather guaranteed the American distribution of two ATV-produced series a year.
44 In addition the savvier second feature producers streamlined their production strategies. J. Fancey’s Fantur production company were working to a three-week schedule. , “Nettlefold’s third stage takes shape”, Kinematograph Weekly, v. 29. 17. 27 respectively. 32. 21 By the mid-1950s more than two thirds of the generic corpus of cofeatures, second features and programme fillers were produced by fifteen production companies. However, not all studios or producers aspired to, or we able to aspire to, such advancements as those discussed above.