Bexxii has spent months building a life that does not belong to Raimondo, a powerful but threatened politician. New name, shipping-office job in the city, no bodyguards on the sidewalk, no one checking who she texts. Tony is part of that new life, and not a part she wants to keep. He is too smooth, too interested in where she goes after work, and she has already decided the date tonight is only there so she can end it.

She waits at the spot they agreed. Tony does not come. A woman does.

Clementine stops a few steps away and looks her over without greeting her, eyes moving from hair to face to shoes as if she is checking a picture she already has. Bexxii asks who she is. Clementine answers that she only needed a good look and then calls Tony.

Tony arrives fast. His hand covers Bexxii mouth before the sentence finishes. She protests into his palm, muffled, telling him to let go. He tells her to stay quiet and walk. Clementine moves in on the other side. Between them she is steered off the meeting spot and toward a car parked close by.

At the car they stop her. The trunk opens. They make her sit on it Her wrists are pulled behind her back and wound in duct tape until her hands are sealed together. Her ankles follow, tape cinched so her steps are gone. A strip goes over her mouth, pressed flat, a clean tape gag. Then they close the trunk.. Clementine climbs in beside her and keeps a hand on her so she cannot twist toward the latch. Tony gets behind the wheel.

The ride is only a few minutes. Bexxii is scared and already running the worst version of the night in her head. She wonders whether they have found the name she buried, whether the office job and the new city were never enough

They unload her at a private hideout and bring her inside. The tape comes off her mouth. She gulps air. Tony tells her to save the act. He tells her she is Raimondo’s stepdaughter, the Belgian politician’s girl. Bexxii denies it hard. She says they have the wrong person . Clementine does not raise her voice. She tells her she knows him, that he raised her, that she got tired of living under protection and tried to disappear under another identity. She adds that it was a nice try, and that it did not hold.

Bexxii keeps denying. Clementine starts the rope and Tony packs her mouth, then sets a cleave gag over the stuff so the words stop. Tony tells her they can talk later. He tells her that if Raimondo wants her back in one piece, he will listen.

The tie builds in clean layers. Wrists behind the chair, then chest, then ankles, then thighs and legs, each wrap set over the last until she cannot shift. They take her shoes. Bare feet on the floor. Then they leave her alone.

Alone, Bexxii understands what kind of people she is with. No rules she can see, no interest in her story, only the name they think they can sell back to Raimondo. She tells herself she has to get out. She tests the rope at her wrists, then her chest, then her ankles. She pulls until her shoulders ache. The wraps hold. Nothing slips.

A few minutes later Tony and Clementine come back. Clementine offers her a glass of water. For a moment, when they start taking the rope off the chair, Bexxii believes they might let her walk. She makes a hopeful sound into the gag. Tony tells her not to get excited. He says they only need her somewhere more photogenic.

They take her clothes. Nude, she is walked into the bedroom. The second tie is tighter than the first. Rope marks her bare skin in neat bands: wrists behind her back, a wrap above the chest and another below it, thighs, ankles. A ball gag is buckled between her teeth. The last ropes draw her into a hogtie, chest and knees lifted, bare feet pulled up behind her. Clementine checks the frame. The ball gag comes out. Microfoam tape goes on in its place, smooth and shut.

Clementine says the pictures go to Raimondo. She says the instructions come after. She says that if he wants his stepdaughter back, he follows them. Tony agrees that this is the message, and that Raimondo will understand they are not bluffing.

Bexxii hears all of it through the microfoam. She knows the photos will land. She knows the hideout, the rope, and the two of them are real. She’s just a pawn in their political game, exactly what she tried to avoid getting a new identity Getting out is no longer something she can count on. It is only something she still hopes for.

They leave her hogtied on the bed, barefoot, taped, and ready for the camera.

Dialogue in English

Debut clip for Bexii