Alba has not seen her old college friend Pamela in years. Pamela arrives at Alba’s luxurious penthouse and they spend a few days sunbathing on the terrace. Then Pamela says she has to leave. She asks if Alba has a safe: she is carrying jewelry her ex gave her. He wants it back even though he has no right to it, and he has been stalking her. Alba is uneasy, but she agrees to lock the package in her home safe.

Before leaving, Pamela warns her: the ex may come looking. Alba must not let him in and must deny that Pamela was ever there. Alba promises. Pamela goes.

An hour later someone knocks. Alba does not open. Through the door the man demands a package that “a certain Pamela” was supposed to leave. Alba denies Pamela has been there and even claims she does not know her. He seems to leave. Relieved, Alba goes back out onto the terrace.

She never sees him climb over the roof. He comes up behind her and slaps a firm handgag over her mouth.

Cut to the living room: Alba is on her own sofa, arms pulled back, wrists bound, ankles tied, extra wraps pinning her arms to her side so she can barely sit up. Raimondo interrogates her. Did Pamela leave anything? Alba again denies knowing her. She is not convincing. He stuffs a sock deep into her mouth, then ties a tight cleave gag across it so the cloth splits her lips and holds the stuffing in. He leaves her like that and searches the apartment, taking some of Alba’s valuables “for the trouble.”

Alone and gagged, Alba fights the sofa ties—twisting, pulling at the wrist rope, kicking against the ankle wraps. She works herself off the cushions onto the floor and struggles harder on the carpet, rolling, sensually. She crawls to the window, gets to her knees, then her feet, and manages to push the window open, hoping someone in the next building will see a bound, sock-and-cleave-gagged woman and c*ll the police. Raimondo walks back in and shuts it down.

Next scene: Alba is in a chair. Wrists tied behind the backrest, elbows pulled in, chest and waist wrapped to the chair, ankles lashed to the front legs, extra turns around her thighs so she cannot stand or slide. A wide strip of tape covers her mouth over the previous gag. No slack. Raimondo leaves with a threat: if he finds nothing he will come back and make her talk.

Alone and frightened, Alba fights the chair ties. They are too tight. She cannot escape.

Raimondo returns and tells her it is time to confess. He adds that Pamela chose “a pretty and capable criminal partner.” Alba does not understand and moans through the gag that she knows nothing. Just as things are about to get worse for her, Pamela suddenly appears, grabs Raimondo by the neck. There is a cr*ck. She drags him away, then comes back.

Alba is still shaken. Pamela seems interested only in the l*ttle package. Without untying Alba, she admits she told a small lie. She and the now-d*ad Raimondo were in the same criminal gang. After a few successful jobs she decided to get out; the jewelry is the “severance” she took. The rest of the gang did not take it well and are hunting her. She thanks Alba: with her unwitting help she has eliminated one of her former partners. Now she has to go. She puts the tape gag back on Alba—who is still begging to be released—and heads for the door.

When she opens it she comes face to face with Tony, the other accomplice (and Raimondo’s colleague). Tony is much harder than Raimondo. He easily overpowers Pamela.

Next scene: both women on the sofa. Wrists bound behind them, ankles tied, extra rope holding their arms and chests. Mouths sealed with tape. Tony stands in front of them with the jewelry case. Pamela snarls through the tape. Alba hopes he will leave now that he has what he came for. Instead he looks around the penthouse and decides there is more to take. He leaves them bound on the sofa, but not before having exposed their breasts, and searches.

Alone, Alba and Pamela fight the sofa ties and only manage to slide off onto the floor, still wrist-and-ankle bound, still tape-gagged, still together.

Tony comes back. He peels the old tape, then wraps fresh self-adhesive tape tight around each woman’s lower face—over the mouth, around the head, no gap. Then he hogties them: ankles pulled up to wrists behind their backs, extra cinches so they cannot straighten or crawl far. He leaves them on the floor.

Tight hogtie, tight tape gags. Alba and Pamela struggle helplessly—writhing, pulling at the wrist-to-ankle rope, muffled shouts into the tape—and get nowhere.

Italian language

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