Episode 01
Episode 01, Minute by Minute: The Briefcase Rule
Episode 01 is the one that teaches the audience the rules, and the rules fit on the back of a receipt. It is the first Angel of Bogota episode, and the briefcase does…
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All characters are 18 or older. Fiction.
Episode 01 is the one that teaches the audience the rules, and the rules fit on the back of a receipt. It is the first Angel of Bogota episode, and the briefcase does most of the talking before anyone else does. Cash first. Door locked from the inside. The boy can be filmed. The man's face never is. The recap usually stops at the briefcase and moves on. Minute by minute, it takes a lot longer than that.
Jhon is twenty, jobless for eleven months, and living in a room above a tyre workshop in Usme that smells like rubber and rain. He has thirty thousand pesos and a phone with a cracked screen. His mother thinks he is studying for a technical certificate. The certificate is a PDF he downloaded and never opened.
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The number comes from Camilo, the delivery boy with the gap in his teeth who brings the workshop its invoices. Camilo does not explain much. He writes a number on the back of a receipt, folds it twice, and says the man pays in cash and does not like to be asked things. Jhon keeps the receipt in his shoe for six days.
On the seventh night he sends a message with one word. When.
The man arrives at nine, which is later than Jhon expected and earlier than he is ready for. He is stocky and unhurried, dark jacket, gold band on his left hand, a black briefcase in one fist and a phone mounted on a small gimbal in the other. The room fills with cardamom and cheap rum. He looks around once, at the mattress, the chair, the bare bulb, and then he sets the briefcase on the chair as if the chair had been waiting for it.
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"You are twenty," the man says. Not a question.
"Twenty," Jhon says. "Twenty in March."
"Good." The man's Spanish is low and slow, with an accent that is not from the city. "English is bad. I say small things. You understand or you say no."
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"I understand."
The briefcase opens. Jhon had imagined money in a brick, banded, like in films. Instead there is a stack of notes in a rubber band, a box of condoms, a bottle of lubricant, a folded tripod, and a small white envelope. The man counts four hundred thousand pesos onto the mattress, one note at a time, and does not look up until it is done.
"Cash first," he says. "You count."
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Jhon counts. His hands are steady and his stomach is not. Four hundred thousand is his rent twice over and food for a month and the repair of his phone. He nods.
"The door." The man tilts his head. Jhon locks it. The bolt is cheap and sticks, and he has to shoulder it, and the sound it makes is the loudest thing in the room.
"Now the rules." The man takes the phone off the gimbal and holds it up. "The camera. You, yes. Me, no. My face never. You understand?"
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"Never," Jhon says.
"No face, no name, no street. If you talk to the camera, you talk about you." He says it in the flat voice of a man who has said it many times. "And you can say stop. Any time. Then I stop, and I go, and the money is still yours. That is the rule. The briefcase rule."
"That is a strange rule," Jhon says, and immediately wishes he had not.
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"It is the only one that matters." The man sets the phone on the tripod and angles it at the mattress. A small red light comes on. "Take off your shirt."
Jhon has not been looked at like this in a long time. Not with hunger exactly, more with the patience of a man checking a tool before he buys it. He pulls the shirt over his head and drops it and stands there in his jeans with his arms loose at his sides, twenty years old and thin from months of rice.
"Turn."
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He turns. The camera turns with him, the man's wrist moving in small corrections.
"Slow," the man says. "The people who watch want to see you decide."
So Jhon decides slowly. He unbuttons the jeans and pushes them down and steps out of them and stands in his shorts with the bulb on him, and the strange thing is that it stops being strange. The camera does not blink. His heart slows down. He is being paid to be looked at, and being looked at turns out to be a kind of work he can do.
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"Good," the man says. "Now sit."
Jhon sits. The man comes close and puts one hand flat on his chest, over the heart, and leaves it there. The palm is warm and dry. Cardamom and rum and the rubber smell of the workshop below. Jhon's breath goes out of him in a way he does not plan.
"Kiss me," the man says, "or do not."
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Jhon kisses him. It is not a soft kiss. The man's mouth is slow and heavy and tastes of rum, and his hand slides up to Jhon's jaw and holds it, not hard, just certain, and Jhon makes a sound into it that the camera catches. The man's other hand finds the small of his back and pulls him forward off balance.
Then the man stands back, unbuckles his belt, and takes out his cock, thick and heavy and curved up along his belly, and waits, because he is the kind of man who waits to be asked.
"Yes," Jhon says. His voice is not steady and he does not care. "Yes, all of it."
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The man pushes him back on the mattress and takes his time. He gets Jhon out of the shorts and puts his mouth on him and does not rush it, and Jhon's heel drums once on the mattress and then goes still. Two fingers, slick, patient, while the camera watches. The room is very quiet except for breathing and the small wet sounds and the distant bark of a dog.
"Turn over," the man says. "On your side. Slow."
Jhon turns. The man fits himself behind him, one arm under his shoulder, and presses in with a steadiness that is almost cruel, stopping whenever Jhon's breath catches, starting again when it evens. By the time he is all the way in, Jhon has his face in the sheet and one hand up behind him, holding the man's hip, and he is saying the same word over and over in a voice he does not recognize.
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It goes on long enough that Jhon loses the count of minutes. The man's rhythm never hurries. The gimbal whirs faintly. When Jhon comes it is with the man's hand around him and the man's breath low at his ear, not saying anything, just there, and afterwards the man stays a moment longer than he needs to before he pulls out.
Then he is up. Zipper, belt, briefcase, phone off the tripod and back on the gimbal. He wipes his hands on a handkerchief and folds it and puts it away.
"Drink water," he says. "Not beer."
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"Wait," Jhon says. He is still flat on the mattress. "What is your name?"
The man closes the briefcase. He looks at Jhon for a second, and there is something in the look that is not unkind and is not an answer.
"Lock the door behind me," he says, and goes. That is how the Angel of Bogota leaves every room, before the question.
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Jhon lies there with four hundred thousand pesos on the mattress and the fan turning overhead. Downstairs, a tyre is being changed. He listens to the car pull away and counts the money again, and then he gets up and drinks water, because the man told him to.
The trailer stops here. The episode does not.
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That is where the story stops. The tape does not.
The written version leaves out the part the camera was paid to keep. It is twenty-two minutes long and it starts exactly where this page ends.
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Next in the archive: Episode 02: The Keys and the Envelope