By Pieter Aspe
Internet als commissaris Pieter Van In denkt dat hij even kan uitblazen na het onthutsende avontuur met het stamcelonderzoek waarbij hij bijna de verdrinkingsdood stierf, krijgt hij een merkwaardig telefoontje van een oude vriendin. Haar broer is spoorloos verdwenen en zij schakelt de discrete hulp in van Van In. Ze wil geen officieel onderzoek, wish haar broer is geheim agent en het is niet toegestaan op enigerlei wijze de aandacht op de geheime dienst te vestigen.
Als Van In zijn privéonderzoek begin, ontdekt hij al gauw dat er binnen de Europese geheime dienst in oprichting verschillende strekkingen zijn en dat afdelingen elkaar niet alleen wantrouwen, maar ook tegenwerken. De agenten houden elkaar nauwlettend en angstvallig in het oog. Van In stuit op een complot binnen de dienst en hij vermoedt dat de broer van zijn jeugdvriendin over aanwijzingen beschikte die hem in acuut levensgevaar hebben gebracht. Er ontstaat een kat-en-muisspel, waarbij Van In uiteindelijk de stervende broer vindt. In een ultieme krachtmeting slaagt hij erin een ramp te vermijden. Daarbij wekt hij de bewondering van de most sensible van de geheime dienst.
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Additional resources for De Vijand (Van In, Book 26)
Example 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.