The lawyer-turned-ponygirl saga from Diana Philbrick
Reins of Terror is the story of two beautiful women: Lauren, a lawyer who uses her looks and brains to win cases, and Tara, a fashion model who can’t stay out of trouble long enough to reach the top.
Tara's latest trouble is a sordid love affair in which she is portrayed as a heartless home-wrecker. Depressed, she reacts by doing the unthinkable - becoming a CELT (Contract-Escort, Long-Term). Consensual sex and bondage are now legal and somehow the idea of hiding out as a CELT seems attractive. She has always been fascinated by submission. This is an opportunity to try it in a measured way.
Anton Diaz, a reclusive billionaire, has been searching for a CELT to run in his very private pony-girl race. Tara - beautiful, tall, athletic, spirited - fits the bill perfectly and he pays top-dollar for her contract.
Tara discovers Diaz’s purpose only after she arrives at his very private Caribbean island. By then, it’s too late to back out. He starts her off with a painful week in The Lighthouse. The suffering serves to flush out her surface resistance and to stand as an ongoing warning.
Intellectually, she fears and despises pony-girl life, but over time she begins to adapt and, incredibly, even rationalise her treatment. Obedience, punishment, bondage, nudity, and the never-ending tutelage of the carriage-whip all seem...well, reasonable in this context. How else could things work here? Her life is about one thing - avoiding pain.
Eventually, Lauren, like Tara, is trained as a pony-girl. The world of sexual submission is especially painful and humiliating for her as she prides herself on being the equal of any man. Eventually, she accepts her role, but with a difference. She sees her bondage as a means to an end and a fascinating diversion not as the natural order of things.