House sitter Cecelia Taylor is intrigued by the welcoming note that ends "P.S. The den is locked for a reason. Keep out." When she dreams of opening the door and kneeling on a padded bench as a riding crop WHAPs her naked ass, she wakes up with a start and finds that she's turned on, fingering her clit as she imagines more ass-cropping. She finally succumbs to temptation and enters the forbidden room, finding homeowner Jax Slayher, who informs her that the door is not locked when you come in, but you need a key to get out. Her key opens a chest, which has BDSM gear inside. "Will you show me before I go?" she asks.

"If that's what you want," Slayher responds. "Let's go."

Slayher handcuffs her to a black leather couch and teases her with his cock before releasing her for their scene.

Hooker-dressed Lulu Chu (black leather jacket, black tank top, black fishnet tights, no underwear) lasciviously sucks a lollipop in a police station before sashaying up to desk cop Parker Ambrose. "Can I help you?"

"What if I told you I wanted you to take me somewhere ... And. Fuck. Me?"

A nearby storeroom serves as "somewhere."

At the same police station, handcuffed Anna Claire Clouds smart-talks desk officer Christian Clay, sticking her gum on the underside of his desk and referring to their past: "Maybe I could show you another one of my infamous characters, like Abstinence Barbie, or Waiting-For-Marriage Barbie ... or I-Have-Plenty-of-Other-Options Barbie." Clay grabs her by the throat as the segment title comes up: "Bottom Bitch Barbie." He pushes her against a wall and doms her as she smilingly plays along, with the camera keeping up with Dutch angles and close-ups in a standout scene.

In the final scene, Vanna Bardot brings Emma Hix to a private club where Hix can indulge her fantasy of being an escort, with Christian Clay as the client. Hix's misgivings about the situation are allayed when Clay drops a fat money clip on the table and they accede to his challenge "Get me hard with no hands" by mouth-teasing him through his pants with heavy eye contact before they double-team him.

Scenes are well-lit, well-shot and well-performed, but seem unfinished when the setups don’t lead to a post-pop payoff. The Anna Claire Clouds/Christian Clay scene is one for the time capsule.