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I enjoy nothing more than a good literary thriller, and Antwerp delivers big time, creating an eery atmosphere, set around red light districts, in a country that for many of us conjures a blurry image at best. Vos tries to re-create the actual paintings and for this he hires girls from the red light district. However, the making of the film is soon overshadowed by a series of murders of local prostitutes, all of whom have been left with various videotapes of films by Belgium director Harry Kumel.
And all of whom are somehow connected with Johnny Vos. Warner remains fairly removed from events until his girlfriend, Sian, flies over to surprise him and shortly thereafter goes missing.
Will she turn up dead with a Harry Kumel video left on her body? All the more puzzling because Sian had never liked the sleazy director in the first place, a point that had caused some friction between her and Frank.
Vos is taken in for questioning by the police, but afterwards he suddenly disappears, even though he had been under surveillance. Warner has no time for the slow and ineffectual police force, and heads off on his own, racing against time to find his girl. Many voices appear in the novel, giving it a rich and intricate texture.
There is Warner himself, of course, whom we follow in third-person narrative. Then there is the first-person narrator, Wim De Blieck, a shadowy diamond hustler with a beautiful but burned-out partner, Penny. We also have the airline pilot Henk Van Rensbergen, with a decidedly odd sideline perhaps one Royle shares? The lamp is not switched on. You know from experience that using the lamp while there is some daylight will only serve to make it seem darker.