Volume 3 of this series returns us to the screen test featured in parts of Volume 1. We commence with her interviewer seated in a black leather armchair, with Amelia Jane's knees straddling him, as she faces away, head down on the floor and bottom thrust up, almost to his nose - lucky chap.

Amelia Jane's bright red panties barely cover her decency and her bottom is posed perfectly to display all her callipygian beauty. (I stole this line from a Ben Dover video and his next line was "Go and look it up in a dictionary". As you can see, I did, and my estimable volume defines it as "having beautifully shaped buttocks [C19. from Greek kallipugos, epithet of a statue of Aphrodite]"). So, oggling Amelia Jane in this posture is not pervery -it's studying Classical Greek mythology.

After the Strictly English trademark of following Amelia Jane up the stairs, her little kilt providing no cover at all from this invasive angle, watch as she chats to Suzy Martell whilst changing for her next scene. Sigh as she muses on the difficulties of inciting her tired boyfriend to spank her.

Amelia Jane dons a pair of white satin panties, a short green skirt and a black top. Then, having tied her hair into a bun, she places an army officer's peaked hat on her head. Finally, she steps into and zips up a pair of brown leather boots that come up almost to her knees. They have tall wedge heels, accentuating her height, and Suzie is so impressed she calls out, as Amelia Jane leaves the room, "Go knock 'em dead, girl!"

Suzy's other advice is that Amelia Jane should make it much harder on the interviewer, by being defiant and intractable. Amelia Jane attempts this for a while, brandishing a cane, demanding a drink and being generally obnoxious.

When he demands to know who is in control, she declares, "ME", but she spoils it all by laughing. The cane transfers hands and soon it is Amelia Jane bending over with her hands on the sofa, legs splayed, skirt raised and pantie-clad bottom thrust high. Did I say pantie-clad? Not for long. A brisk, bare bottom caning follows, before her fresh stripes are enlivened with an OTK spanking.

Amelia Jane is afforded plenty of opportunities to apologise and bring the punishment to an end, but she finds it oh, so very hard to curb her brattishness. Much more spanking is required, including to the backs of her gorgeous thighs. Add gameness to Amelia Jane's list of attributes.

To test her obedience, Amelia Jane is ordered to stand facing the wall, with her freshly-spanked bottom pushed well out. A wonderful pose. Still, she refuses to call him, 'Sir'. Six strokes of the cane are her reward "And if I take them, does it mean I don't have to say that word?" she queries. "No, it does not," he tells her firmly, wisely realising that it will not do to attempt to bargain with Amelia Jane. "It means you will get another six, and then another six. As many as is necessary."

Six more stingers ensue and we finally hear a reluctant, "Sir." Amelia Jane is left to rub her bottom and, believe me, that is a hell of a sight. She has, for a start, a very singular way of clutching her left cheek with her right hand, or vice versa. And, for a finish, she has THAT bottom to rub.

"Is that the end of the audition?" she asks when he returns. Apparently not. He reminds Amelia Jane of something she told him in the interview and we see it in flashback, with Amelia Jane recounting the difficulty she had experienced with her PE teacher. Although she had attended a progressive establishment, he was the type of teacher who insisted on being called, 'Sir' and she had tried to avoid that because it had too sexual an implication for her. There was a time when he really got in her face and we see Amelia Jane almost squirming in embarrassment as she recalls it.

Back to the present, Amelia Jane is ordered to remove her skirt , boots and top to perform some physical exercises. And that, folks, is worth the entrance fee alone. Add the judicious applications of a very stingy slipper and some more rubbing of a rather bruised bottom and we have passed just over 35 minutes in highly entertaining fashion.

'A Strictly English Production.' A bit early for the end credits, surely? But, no, this is the beginning of a conventional spanking video. Conventional in Strictly English terms, of course.

We begin with the old-style manager of Fogerty's announcing its take-over by the Bank of Trade Investments (BOTI). Reading a little distastefully from a piece of paper, in a speech full of wonderful management-speak about exploiting mutual synergies and opportunities for horizontal and lateral growth, he sets out the 3 E's - Employment, Efficiency and Elimination. "Elimination?" one of the employees queries. "You mean redundancies?" The manager shrugs.

The scene fades and comes back up in the manager's office again. A day or so later, he is making another announcement. Amelia Jane Rutherford has been appointed as Total Equality Manager, charged with ensuring that the 3 E's are carried through. "Where's she going to go?" the recalcitrant employee asks. "Well, she's not having my office, that's a dead cert," the manager replies.

The scene fades, to the sound of laughter, and comes back up in the manager's office again. "This will be your office," he is telling Amelia Jane, "at least, for the present."

Amelia Jane has something to tell him. She has decided that the company needs a suggestion box, an anonymous, virtual message box, using the firm's internal messaging system. The old-style manager looks singularly unimpressed and says so. "Well, we'll see," he says grudgingly.

In the next scene, the old-style manager whose name, we learn, is Alan, enters Amelia Jane's office with a printout of some of the contributions from the virtual message box. A female employee has suggested that the middle-aged men in the company are holding it back, to which a male employee suggests that certain women are thinking with their backsides, rather than their brains. The female retorts that anyone with that sort of attitude should be taken outside and flogged. "Well, obviously, I don't agree with that sort of attitude," Amelia Jane smirks. The male comes back with the suggestion that women like that are costing the company money and should have their knickers taken down for a good spanking. Just the sort of old-fashioned attitude they need to weed out, Amelia Jane opines. Alan believes this sort of exchange is damaging, but Amelia Jane is convinced that the debate will clear the air. Alan leaves the office grumbling.

A few days later, a long-haired man wearing glasses and a visitor's badge is tapping away at a computer keyboard in Amelia Jane's office. The camera draws back, so that Amelia Jane is in the foreground. She picks up the phone and calls a girl friend to arrange a little joint work-out at a local gym. She is staying late, she announces with a laugh, because being the last one to leave gives the impression she is working hard. "Oh, there is a man here," she tells her friend. "Well, not a real man. Just a funny little man." In the background, the funny little man looks both startled and annoyed.

Amelia Jane asks him how long he is going to be. As he begins to reply, she goes back to her conversation on the phone, ignoring him. Finally, he announces he has finished working on the server. "Do you want me to sign anything?" she asks. "No," he says, "but I have got something interesting to show you about the office politics you have been having. You might be interested in knowing where these emails are coming from."

"Well, I might be, but they're anonymous. That's the point. But thank you for your interest," she says dismissively, turning her back on him. He, however, is rather persistent and explains that all emails leave a trail and he has uncovered them. Amelia Jane's indifference to this man begins to change to a feeling of acute discomfort. Even more interesting, he tells her, is that all the emails come from the same source, a laptop whose user code is AJR001. "And whose laptop might have the initials AJR - Amelia Jane Rutherford."

"Obviously, somebody...is framing me," Amelia Jane speculates.

"Oh, I think you're framing yourself," he laughs.

Amelia Jane explains that she is in management and a responsible manager would not do what he is suggesting. In an attempt to ingratiate herself, she addresses him by his name, Wilf, but she has left this piece of consideration until too late in the day. He tells her he quite understands about responsible managers, but who says Amelia Jane is responsible. He points out that she has expressed the opinion that irresponsible women in the company should be treated like little girls and have their knickers taken down and their bottoms spanked.

"Well, obviously I don't agree with that, I was just trying to start a dialogue," Amelia Jane argues, attempting to grab the printout from him. "You can tear it up if you like," he laughs, "but you can't tear up the server."

She asks him what he wants - money, promotion? He is not interested in money and he is working freelance at the company, so she cannot offer promotion. No, he merely wishes to carry out her own suggestion of taking her knickers down and spanking her bottom. Over his lap, with her skirt up, she desperately pleads that she does not agree with what was in the email. "You don't agree with yourself?" he laughs. "If you don't agree with yourself, who do you agree with?"

The standard office spanking scenario involves a secretary, caught in some misdemeanour, who is given the choice of taking a spanking or being sacked. "I don't want to be spanked," she says, "but I can't afford to lose my job." There is an absence of any dramatic tension because the issue is never in doubt. Strictly English do not do standard scenarios. In "Payday" the twist is that she refuses to take the spanking and tells him to stuff his job. Only afterwards is she talked round by the boss's secretary.

In "Her New Position", Amelia Jane is the boss and Wilf a freelance contractor. He does not have the right of hire and fire over her, but he does have a nice piece of blackmail material which could affect not just her job, but her entire career. Adding to the dramatic tension, he also possesses a nice line in class resentment. Amelia Jane speaks with the cut-glass accent of the privately educated; Wilf with the accent of a working-class Londoner. She has carried on a conversation, in his presence, in which she has dismissed him as a funny little man and laughed off the idea she might be at all interested in him. "CEO's at the very least!"

Although Amelia Jane unwisely calls Wilf a pervert, he makes clear that his motivation for spanking her is not just that he will enjoy smacking a bottom as fine as hers. Bringing down a snooty manager provides equal satisfaction.

Of course, Amelia Jane does not submit to these indignities lightly. Having her bottom smacked is bad enough, but having her bottom smacked by some working-class yob is infinitely more galling. She argues and then cajoles. She tries to assert her authority and, when that fails to work, she tries to ingratiate herself with Wilf. The one sticking point is that she cannot bring herself to give him a sincere apology for her behaviour to him, which proves unfortunate, as that is the one thing he truly wants to get.

Amelia Jane spends a prolonged period over Wilf's knee; prolonged because she cannot bring herself to truly submit to a man of inferior class, even when he spanks her really hard. When he does finally let her up, he makes her stand facing a glass door with her hands on her head. Two nice stand-up spankings ensue because Amelia Jane is torn between compliance, to save her bottom , and defiance, to save her dignity. At the end, he tells her that he will be back the following evening and she had better show his some respect. "Only two people know what's on that server," he tells her. "You and me. If you want it to stay that way, you had better show me respect. No more 'funny little man'."

A few trailers, including part 2 of Her New Position, in Amelia Jane Rutherford Volume 4, bring the total running time to 70 minutes.