The screen lit up and an image jumped into focus: from an unmoving position above, we saw a body lying against a white porcelain background. The eyes were wide and staring and, to someone of my modest experience, obviously dead. Then a figure moved into view and partially blocked the body. We saw only the back, and then the upraised arm holding a power saw. The arm went down and we heard the whine of the blade biting into flesh.

“Jesus Christ” Deborah said.

“It gets worse” said the short woman.

The blade whirred and growled, and we could see the figure in the foreground working hard. Then the saw stopped, the figure dropped it onto the porcelain, reached forward, and pulled a huge heap of terrible gleaming guts out and dropped them where the camera could see them best. And then large white letters appeared on the screen, superimposed on the heap of intestines: THE NEW MIAMI: IT WILL RIP YOUR GUTS OUT.

The picture held for a moment, and then the screen went blank.

“Wait” the woman said, and the screen blinked again, and then new letters glowed to life on the screen: THE NEW MIAMI SPOT #2 Then we were looking at sunrise on a beach. Mellow Latin music played. A wave rolled in on the sand. An early morning jogger trotted into frame, stumbled, and then came to a shocked halt. The camera moved in on the jogger's face as it went from shock to terror.

Then the jogger lurched into a sprint, up away from the water and across the sand toward the street in the distance. The camera moved back to show my old friends, the happy couple we had found disemboweled on the sand at South Beach.

Then a jump cut took us to the first officer on the scene as his face crumpled and he turned away to vomit. Another jump to faces in the crowd of onlookers craning their necks and freezing, and several more faces, coming faster and faster, each expression different, each showing horror in its own way.

Then the screen whirled, and began to show a frozen shot of each face we had seen, lined up in little boxes until the screen was filled with them and looked like a page from a high school yearbook, with a dozen shocked mug shots in three neat rows.

Again the letters glowed into life: THE NEW MIAMI: IT WILL GET TO YOU.

And then the screen went dark.

I could think of almost nothing to say, and a glance at my companions showed that I was not the only one. I thought of criticizing the camera technique just to break the awkward silence —after all, today's audience likes a little more movement in the shot. But the mood in the room didn't really seem conducive to a discussion of film technique, so I stayed quiet. Deborah sat clenching her teeth.

The short woman said nothing, just looked out the window at the beautiful view. Then, finally, she said, “We're assuming there's more.