It starts off well. An attractive blonde (Sabina Leigh) is sent out into the middle of nowhere to a dilapidated building under the pretense of doing a photo shoot. That should have been a tip-off that things weren't going to go well for her. The photographer, played by Don Laramie, is a kind of a scary-looking guy with a scruffy beard, a ball cap and a T-shirt. When he offers her some drug-laced bottled water, that sets the wheels in motion.

"That's one fine bitch," the photographer comments to himself after drugging her. "She's gonna work out well".

Sabina gets dizzy from the drugs and sits down on a chair. Thinking she just needs some more water, she guzzles down a big swig. Of course, she doesn't realize that's what's making her sick in the first place.

When we see her next, she's tied standing against a column in the middle of the floor. Her feet are tied together and her hands are cuffed behind her. She looks great that way, but I would have preferred to have seen the bonds applied onscreen. It's a bondage film, after all; that's sort of the point.

With her now secured, the photographer explains that she was brought here by a rich client who wants to see her bound and videotaped. And he gets to work by stripping off her blue jeans and pulling up her top, exposing a red bra and some very nice cleavage. Unfortunately, the director gets all artsy-fartsy and shows the unveiling of the tits in a series of jump cuts, ruining the effect and once again proving that too much direction can only be a distraction.

The next scene has her tied up standing with her arms apart with cuffs on her wrists attached to ropes on each side of two columns. It's a fairly loose tie and her legs are free. She's now topless and wearing just her panties. He brings out a full-length mirror and shows her what she looks like in bondage. "Look at yourself," he orders her. "You're not such hot shit now, are you?"

He also taunts her by bringing out a magazine layout of herself and taking more pictures of her. Then he rolls up the magazine and lightly swats her with it. He puts clothespins on each of her nipples for a few minutes and then sucks on her tits after removing the clamps.

In the final scene, Sabina is tied again with her arms off to the side, leaning against some wooden shelves. After taking a call from the client who set this up, he removes her panties and returns with some rubber bands. Time for some breast bondage! Again, though, most of the initial binding of the tits is severely condensed where the director only gives us fleeting glimpses. But the rest of the scene, where he sticks rubber bands all along her titflesh, is very well done. And while it's a good scene, it's not really strong enough to end on. I wanted more.

Sabina is very attractive despite a couple of tattoos, has a great body and gives a fine performance, mostly a series of light sobbing mixed in with some pleading for him to untie her. As the villain, Laramie tosses out a few menacing comments, but the sense of danger really isn't there, especially since Sabina is never gagged at all in the movie. Yes, it's hard to believe, especially since Darkroom kept his last victim gagged throughout his previous film. But no gags of any kind here, and to me, that was the deal-breaker. A film with relatively light action really needed the muffled screaming and crying to give it some edge.

With the exception of the breast bondage and the scene where clothespins are applied to Sabina's nipples for a few minutes, there's really not much in the way of any pain or extreme action to this one, mainly just fondling her tits and some light slaps. The last few minutes are good, but overall, the film feels more like foreplay; we get served the salad but denied the main course.