Oud-Zuid is where Beatrice sets out from, a short ride from the halls where the city's concerts and plays let out. She is used to a message written in the interval and another sent as the audience stands, and she times her own journey from the confirmation, never from the first line. Italian and English both serve her at the door. Erotic oil and slow sensual work are her preference after a performance, when a guest has sat still for three hours and wants no hurry. She names her limits before anything else, in ordinary words, and they stay put. When a play runs into a second curtain call, the start can be pushed later the same night at no cost, provided she has not yet left Oud-Zuid and can still keep the new time. If she cannot, the reply says so and names who is free at the later hour, and the guest chooses between that, the original time or a cancellation. Erotic oil with her begins with warmed oil and towels over the bed, so a guest only needs the heating up before the knock.

Beatrice decides which bookings she takes and may decline any of them; she sets the limits for what a session includes, says what they are, and may end a visit at any point, as the terms set out.