Madonna's Tickle Slaves

INT. BASEMENT - NIGHT

Cox and Twain sit at attention towards the door Madonna shut. They wait a few moments to hear the zapping sound again, but hear nothing except their own nervous breathing.

COX
(to Hurley)
What was that?

HURLEY
Seems like your friend is misbehaving.

Cox rolls her eyes at Hurley's vague answer. Cox hears Twain groan as she moves her sore body. The red marks up her side are starting to fade.

TWAIN
I know what it is.

Cox turns to Twain and waits for her to continue.

TWAIN
If you don't do what she wants, this thing
(touches necklace)
Gives you an electric shock.

Cox looks away towards the door where Aniston is behind, then starts to feel the necklace around he own neck.

TWAIN
And it hurts like hell.

HURLEY
She better not see you messing with it either.

Cox shoots Hurley an annoyed gaze then notices something about Hurley. She looks through Hurley's hair and realizes there is no necklace around her neck.

COX
Why don't you have one?

Hurley chuckles to herself.

HURLEY
I have one.

She shuffles her legs so Cox can see her feet.

HURLEY
If you're a good girl, she'll put it on your ankle.

COX
(pauses)
And what makes you a good girl?

Hurley thinks to respond, but decides to just smile back.

INT. ROOM ONE - NIGHT

Madonna waits for Aniston to make her way to the X-frame. Aniston continues to rub her neck as she slowly makes her way towards Madonna.

ANISTON
Why do I have to get up on there?

Madonna fights to keep herself from an outburst towards Aniston's continuous questions.

MADONNA
It would be a lot more fun to show you.
(pause)
Now get on here now.

Aniston climbs up on the X-frame. She put her legs down the shorter sides. Madonna lets out a frustrated sigh.

MADONNA
The other way.

ANISTON
What?

MADONNA
Your arms go on the shorter side.

Aniston gets off the X-frame and tries to see what Madonna is telling her. Madonna walks around the two short sides of the X-frame and points to a flat pad in the middle.

MADONNA
See this. This is for your head.

ANISTON
Oh.
(short pause)
Sorry I've never been around something like this before.

MADONNA
It's fine. Just get on.

Madonna backs away from the X-frame to let Aniston climb on more comfortably. Aniston lays her head on the flat pad as she extends her arms and legs down the sides of the X-frame.

ANISTON
Okay. Now what?

Madonna walks over to Aniston's right foot and grabs the leather belt buckle that hangs down at the edge.

MADONNA
Now I do this.

Madonna begins to wrap the leather belt around Aniston's ankle and fastens the buckle tightly to bind Aniston foot to the frame. Aniston realizes she is unable to move her foot anymore. She quickly sits up.

ANISTON
UH WHOA! What do you think you are doing?

Madonna sees how Aniston is sitting upright and not spread across the X-frame. Madonna rushes her hand into her pocket to pull out the keychain of beepers.

MADONNA
(frustrated)
If you don't lay back and keep still!

Aniston spots Madonna holding the beepers in one hand and quickly lays back.

ANISTON
(annoyed)
Alright! Fine.

Aniston stretches her arms back over the sides of the X-frame. She lays motionless as Madonna straps her other ankle to the frame. She then does the same midway up both of Aniston's thighs.

As Madonna approaches her arms, Aniston notices she can barely move her legs. Her breaths get more nervous and tense while Madonna straps her wrists and elbows to the frame.

Madonna now has Aniston fully strapped to the X-frame. She walks around to Aniston's legs. Aniston makes a short attempt to move her body. She quickly realizes she can't move her body any more than a couple light squirms.

MADONNA
(sighs)
So.

ANISTON
(scared)
Ok what is this?

Madonna softly places one hand on Aniston's thigh. Aniston immediately tries to jerk her leg. She feels the leather strap around her ankle and thigh stop any movement. Madonna starts to walk her fingers slowly down towards the knee as she sees Aniston's breathing increase and her body start to tighten.

ANISTON
OK! OK! STOP!
(pause)
Just stop. Please.

Already knowing the reason for Aniston's protest, Madonna stops

MADONNA
Why?

ANISTON
Just, don't do that.

Madonna backs away and puts her hands on her hips. She looks over Aniston's entire body and gives her a stern look.

MADONNA
Don't do what?

INT. PADDED ROOM - NIGHT

In a dark room a brown-haired young girl wakes up in a straight-jacket. The only light comes from a small rectangle window high on one wall. She wears short light-blue shorts with no shoes or socks.

Her sweaty hair stick to her face and neck as she fights her way to stand up. Numerous layers of duct tape are spread over her mouth in many directions to prevent any verbal action.

She looks around the small room. Thick padding covers the walls, floor, and ceiling. The room is big enough so she can stand up straight, but tight enough to stop her from laying on her back.

She makes her way under the small rectangle window. She stands on her toes to peer through as the light coming through mildly stings her eyes.
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INT. BASEMENT - NIGHT

Cox lays against the back of her cell wall. She stares straight ahead as she daydreams. Twain sleeps on her side as her body is half curled up while she lays on her bed a few cells down from Cox.

Cox snaps back into reality at the sound of a magazine page being quickly flipped by Hurley.

COX
Where did you get that?

HURLEY
(looks at Cox)
If you're a good girl, she'll give you things to do to pass the time.

Cox rolls her eyes away from Hurley to see Twain sound asleep.

COX
Hey.
(turns back to Hurley)
What happened to Twain?

Hurley smirks as she turns her focus back on her magazine.

HURLEY
You'll find out soon enough.

COX
Why do you keep saying shit like that! And why are you so calm about being stuck here like this?

HURLEY
(continues reading)
I once felt that way.

Cox grunts a frustrated sigh to herself as she turns away from Hurley to move to her bed.

COX
Why do I even bother talking to you.
(pause)
You don't seem this annoying on TV.

Hurley lightly giggles at the statement. Cox lays on her pillow and faces Twain, who is peacefully at rest.

LATER.

Hurley, Cox, and Twain are asleep on their beds. The only sound heard in the large basement is their sleepy breaths. Hurley yawns, half stretches, and repositions herself on her pillow. Cox remains asleep facing Twain, as Twain sleeps the same way.

INT. COX'S CELL - NIGHT

LATER.

A strong clash of metal jolts Cox awake. She sees Aniston fall to the floor in the cell next to hers in her bra and panties. Madonna stands outside of Aniston's cell.

Aniston rolls her body on the floor to face Cox. Cox notices she has red marks all over her body. Aniston gasps for air through continuous coughs and groans. Her sweaty chest surges up and down as her wet eyes seek help from Cox.

COX
(to Madonna)
What the hell did you to do her!

Aniston tries to move her weak body away from Madonna as she attempts to get words through her steady sobs.

INT. BASEMENT - NIGHT

Madonna flexes her hands to crack her knuckles and wipes some sweaty patches of hair on her forehead to the side. She eyes Aniston's state and smiles.

MADONNA
(exhaling)
Well, that was fun.

Madonna turns to see Twain wide eyed at the edge of her bed. She can see Twain's heart drop as she watches Aniston try to regain her composure. Madonna then creeps her way quietly over to Twain's cell.

MADONNA
Your turn.

Madonna sees the realization in Twain's face as she knows she doesn't have a say in the matter. She opens Twain's cell with one hand, and holds a beeper labeled with Twain's name in the other hand.

Twain reluctantly stands up, adjusts her baggy shirt and short shorts to a better comfort level, and slowly walk out of the cell.

Madonna closes the cell door behind Twain and walks to the other side of the room. She flicks the light switch on inside of Room Two.

COX
What the hell do you think you are doing!

Madonna quickly turns at the sound of the outburst.

MADONNA
(calmly)
You better watch your tone.

Twain hangs her head as she walks past Madonna into the room.

COX
I think Aniston needs to go to the hospital or something.

MADONNA
Oh she does not.

Cox takes another look at Aniston, still on the floor hardly moving. Her breathing slowed to a sleepy pace as her eyes focus on nothing.

MADONNA
She's fine.

COX
She is not fine! I think you need to let us out now. This little joke or whatever isn't funny anymore!

MADONNA
(playfully)
You don't even know what the joke is.

Madonna slips inside of Room Two behind Twain and closes the door. Cox furiously turns to Hurley.

COX
(angrily)
You are going to tell me what is going on here!

Hurley looks back with a surprised face.

INT. ROOM TWO - NIGHT

Inside an X-frame occupies the middle of the room. At one side of the frame a large padded table is attached under the pads and extends well past the edge of the X-frame. Twain approaches and stops before she turns to Madonna.

MADONNA
(walks to the X-frame)
Same as last time. Your arms go at this end.

Madonna pats the side opposite where the large padded table is attached. Twain slowly climbs onto the X-frame.

She places her legs down the long side of the frame. She notices the large table attached under the frame spreads her legs further apart than usual. Twain then lays back. As she raises her arms, her shirt slips up her body exposing her soft toned white stomach. Twain stays motionless as Madonna prepares to strap each ankle, thigh, wrist, and elbow to the X-frame.

MADONNA
Glad to see I don't have to tell you what to do anymore.

Twain stares up at the ceiling, hardly blinks, or moves.

MADONNA
So I guess I trained you well with that necklace huh?

Twain gives a faint weak sigh. Madonna instantly figures out the answer to her question and nods to herself. She then starts to buckle the leather straps around Twain's right ankle. Madonna notices as she tightens the buckle, Twain does not give slightest flinch.

MADONNA
Something wrong?

TWAIN
Yes.

MADONNA
Really what?

TWAIN
How about-
(short pause)
I am being kept here, wherever I am, against my will.

MADONNA
(wraps a leather strap around Twain's thigh)
And?

TWAIN
And, you are-
(stutters)
-doing things to me.

MADONNA
(playfully)
Really like what?

TWAIN
Look-
(pause)
And I don't want to talk anymore. Just get this over with so I can go home.

Madonna finishes securing Twain to the X-frame.

MADONNA
Well I should tell you, I am going to do something a little different to you this time.

TWAIN
Are you going to let me go?

MADONNA
Not even close.

Madonna reaches under the X-frame a pulls out another leather strap. Twain gets confused by the sight of the strap as her feet, thighs, wrists, and elbows are already occupied by straps.

MADONNA
But I think you might really enjoy it this time.

Madonna places the strap across the lower portion of her ribcage and wraps it firmly around Twain and the X-frame. Twain quickly notices her mobility decrease.

TWAIN
Wh-Why are you-

MADONNA
(interrupting)
You will see.
(pause)
Just wait, and you will see.

Madonna then reaches under the X-frame and pulls out scissors.

TWAIN
Oh God!

MADONNA
Oh stop it!
(short pause)
When are you guys gunna learn that I am not going to hurt you. Jeez.

Madonna opens the scissors as Twain takes a deep breath. Madonna slides half the scissors under Twain's baggy shirt. She quickly cuts through the shirt and carefully finishes as she works up to Twain's neck. Madonna pulls the shirt out from under Twain and tosses it aside.

MADONNA
There, now that's better.

Twain exhales a slight sigh of relief. She still lays bound with only her bra now protecting her upper body. Madonna goes to a container under the center of the X-frame. Twain can hear Madonna rummage through something underneath her.

MADONNA
(to herself)
Which one shall I go with.

TWAIN
(slightly nervous)
Which one what?

Madonna searches through various lipsticks and lip creams until one catches her eye. She pulls out one with a light reddish color to it.

MADONNA
I think I'll go with raspberry.

Twain stares at Madonna and the raspberry colored lipstick.

MADONNA
What? Never heard of flavored lipstick or lip gloss?
(short pause)
I want you tasting extra good.

Madonna starts to apply a solid layer of the lipstick to her lips.

TWAIN
(confused)
Wait. What? Tasting?

Madonna moves in between both feet and climbs on top of the table that sits underneath Twain's legs. She creeps her way up towards Twain's upperbody.

Madonna lays on her stomach in between Twain's legs. She smacks her lips together a couple more times and shakes her hair out from in front of her face off to the side.

Twain watches Madonna dip her head down towards her stomach. A sudden panic mixed with dreadful anticipation rushes over Twain. She feels smooth lips gently press down on top of her bellybutton. She holds back a small giggle while she holds her breath. The soft lips move up and around her bellybutton at a gentle pace.

MADONNA
(between kisses)
Oh. Yes. That. Is. Good.

Twain suddenly feels a wet tongue slide across her belly and over her belly button. She jerks her body against the leather straps as much as she can.

Twain lets out a joyous sigh immediately followed by depressed giggles. Madonna stops and tilts her head up to Twain.

MADONNA
(delighted)
I think you do like this.

Twain sucks in her stomach in an effort to avoid Madonna's soft lips and warm tongue. But a second later her giggles bring her belly back to Madonna determined mouth.

MADONNA
I don't think you can decide whether or not to laugh.

Twain continues her short gasps for breath as Madonna vigorously drags her tongue around her stomach. The only break given from the tongue is when Madonna stops to graze and peck her lips against Twain's smooth skin.

INT. COX'S CELL - NIGHT

Cox stands over her bed. She stares at Aniston, completely passed out in the next cell. Cox starts to shake her head in disbelief.

COX
I don't believe you.

HURLEY
Fine. Don't.

Cox continues to stare at Aniston as she tries to fathom the situation they are in.

COX
I mean, this is sick. Is that what she is really doing to us?

HURLEY
And she enjoys it very much.

COX
I have to get out of here.

HURLEY
Yeah. Right.

Cox's eyes start to wonder around her cell as her heart begins to beat a little quicker.

INT. ROOM TWO - NIGHT

Madonna continues to lick and suck Twain's pale stomach as a thin layer of saliva mixed with the color and flavor of the raspberry lipstick now cover the midsection.

Madonna moves over Twain's bellybutton. A tiny pinkish puddle of saliva sits inside. With a full mouthed gulp of her tongue, Madonna sucks up the taste from bellybutton. The constant numb wet feel of her stomach makes Twain giggle almost to the point of pain.

MADONNA
(between licks)
If only. You could. Taste. What I. Am Tasting.

Twain fights her breath past her giggles and moans.

TWAIN
Okay! Please stop! Please!

Twain quickly returns to a steady stream of sobs in her hysterical giggles as Madonna mercilessly sweeps her tongue and lips across her midsection. Madonna could feel the soaked stomach muscles quiver and shake through her tongue and lips. Twain pulls and shakes at her leather straps in effort to loosen them and move her exposed belly from Madonna's hold.

Madonna carries herself further over Twain's body. Without a break in her belly worship, Madonna sets herself where her arms can easily reach Twain's sides.

Twain feels Madonna's hot mouth joined by firm fingernails on her hips. Madonna alters between strokes up and down Twain's hips for deeper and intense laughter, and between firm holds of Twain's waist for better leverage for her mouth.

MADONNA
My God this is amazing.

Twain can feel a more aggressive side start to emerge from Madonna. Twain continues to tire herself with pulls and thrashes against her bonds as she feels Madonna's tongue lick her soggy belly at a more violent pace. As Twain heavily giggles and fights to hold back any lengthy laughter, she feels Madonna's hot, wet tongue swirl inside her bellybutton.

Madonna has smeared all of her flavored lipstick around Twain's saliva drenched stomach. Madonna lets out a busy grunt as she pulls back for a moment. A thin web of saliva hangs from Madonna's mouth as she looks at Twain. Suddenly Twain feels something sharp and jagged run near a lower part of her stomach. She lets out a quick painful squeal.

MADONNA
(breathless)
Now I promise. This will not hurt-
(pause)
-that much.

TWAIN
(exhausted)
What!

Madonna dives her head back down into Twain's belly. Twain again feels the sharp and jagged rush across her stomach.

TWAIN
(yelling)
My God! What is that!

After a few quick kisses Madonna stops to stretch her neck.

MADONNA
(sucking in saliva around her mouth)
Oh come on. Ever had hickeys?

TWAIN
(fatigued)
Oh my God.

MADONNA
If you behave, I might be giving you those someplace else in the future.

Twain feels Madonna's moist mouth nibble at her stomach relentlessly with hickey after hickey. Madonna's smooth lips, fiery tongue, and wet mouth ravish Twain's exposed belly. Ignoring Twain's pleas and laughter, Madonna continues to gulp up her own drool as her mouth recycles the tasty flavor of the pale stomach drenched in her sticky saliva.

​