A plane lands in Amsterdam International Airport and a man urgently rushes off of the plane on some unknown mission. He takes pensive glances of the concrete landscape before getting into a cab to embark on his mission of seemingly tantamount importance. Spy music plays as his taxi speeds through orange sunset explosions to arrive at an apartment, the destination for his secret rendezvous. Prices are frantically negotiated with a woman with Sophia Loren features as she remains apathetic to the man’s desperate mission. He awkwardly mounts the woman to satiate his long unfulfilled carnal desires and for all his troubles and desperation he manages to complete one thrust before this episode of erotic espionage is complete. Slumped over in exhaustion brought on more by the journey than the brief encounter at his destination, the man hears the unmistakable sounds of a cash register as a streetwise prostitute of the Amsterdam canals presents him with a receipt for her momentary inconvenience, complete with VAT taxes and surcharges and a look of impatient disgust. For this man the all too brief encounter was a mission on par with acts of global espionage, but for Greet this was just another day on the job. Paul Verhoeven has set up the first scene in his feature length debut as an elaborate joke, playing on audience expectations with borrowed spy movie tropes to take us into the strange chaotic life of an Amsterdam prostitute.