Welcome back to another episode Devils in Miami. In this series we break rules. We keep secrets. We follow the story wherever it takes us. When one of us goes missing how does it affect the rest of us. In this episode we take on the darkness, in it's ugly honesty, for the first time. Hold on tight, we'll get through this together.
I present to you Devils In Miami, Episode Three; Screaming In Miami.
Needle threaded through flesh. A single wire pulling two flaps of flesh into one. The trodden feeling that the piano is crying for you as the rest of the world must be forgetting. How long has she been here? How long has his hands been climbing her legs, prodding her wounds? How can he not even look her in the eye.
"You brought me here." She wants to say, "You tie me up, you stitch my flesh as though I'm just a rag doll, why? Why can't you look at me." only she says nothing. She lies there as his needle work finishes up and he's lifting her thigh to thoroughly wrap the gauze around and around. When at last he's done he rolls away from her line of vision on his rolly chair.
The scream fills her ears. Who is that? What's he doing here?
This one man, working alone, had the guts to take not one person but two. What does that mean for her? Is it competition? Is it a potential ally? How could it be either when she's been staring at the same things for hours unable to move. Eyes to the sky lights and blur of colors. Can't be either if she's not doing anything but waiting. Waiting for what?
Tears stream down her face and to no one she whispers, "Guess who's gonna die..."
End scene.
The day is hot. Steady breaths in through the nose, out through the mouth. Step. Step. Step. The smell, releasing from their pain, who's pain? The grass releases a smell when it's injured. The metal blade spins and his hands are responsible for the agony of the cut. Thank mother moon one cannot hear the screams. For surely if they could they would.
Sitting in the back of the van, with both doors propped open, sharing a blunt, is Kendall Knight and Lucy Stone. Two of the collection.
Collection you ask? What collection?
Mason's collection. A network of lovers. People who love one another but tether through him. Not possible you say? Well I'd believe you if it wasn't for the fact that my finger tips keep moving to tell this story.
His hair hides his eyes, I wonder what these two did to see them.
The beat thuds against the walls of the van from the speakers lining the walls.
Layin in my bed, I'm just staring at the ceiling baby
I just wanna know if you feel what I'm feelin baby.
I got you on my mind, tell me what the deal is lately.
"This song resonates." Says Lucy as she puffs out her chest, "Up here." Her fingers run along her collar bone and down to the space above her hear.
Kendall sways. Sings along, "I got you on mind baby. I got you on my mind baby. I got you on my mind baby."
She sings back, "Don't you know. Don't you know."
Reaching out she hands the blunt to Mason who gentle takes it between his lips but with both hands he keeps pushing. Deep breath in, eyes to the sky. He makes his way across the lawn and back before passing it to Kendall, "Burning Leo, drowning Scorpio." He whispers, "Where is the doubtful Gemini."
"Xander's Back at the boat." Says Lucy and the final chords of the song play out, "Oh no." she sighs, "I love that song."
"Kendall..." Mason looks at the boy in question, "Pon De Replay, Por favor."
With a nod Kendall climbs up to the front of the van and hits the back button.
Started with phone conversation and I
Flew out to see you, it's raining outside.
Lightning cracks. In a flash the water pours down and Mason sighs letting go of the clutch that keeps the engine going. He's more than halfway done. Can't afford another day so decides to climb between the others and wait out the storm. Together they watch and let the song take them away as bolts of ultraviolet purple and eel blue radiate across the sky.
I got you on my mind baby.
I got you on my mind baby.
I got you on my mind baby.
End scene.
The rain pours down in droplets that sound so loud against the concrete outside the hospital. The three of them stand there, motionless, full of unease. The detectives were no use at all. Suggested a group search of friends and then went on their way. Not a bad idea but not the best they could do. This was Miami, Herracio Kane hasn't been in the burro for quite some time so the law in Miami is just as complicated as the idea of disappearing.
Dez can't tell if it's the rain sliding down his cheeks but the alternative just isn't him, "What do we do?" he whispers.
"We go to the last place she was seen. We look. We never stop looking." Says Austin pulling out his phone.
Ally lays a hand on his shoulder, "We can't do it alone."
"We'll get Kira and Carrie to help us. And Dallas is closer to Trish than me anyways. They work together." Austin bites back.
Dez gets an odd look on his face and he turns to look at his friends. He hesitates, then whispers, "Can I say something crazy?"
They nod.
"I think the moon is telling me something." With that he walks off towards the car.
Austin looks at Ally. Ally looks at Austin. Is this psychosis? Is Dez losing it? What the hell?
They shrug. Then walk off to follow him.
The engine starts and Austin, in the passenger seat, continues typing in the last few letters of the highway Trish was on at the time when a viral clip pops up from that location. His brow furrows. With a quick thumb he book marks it and they drive off back towards the shale.
Flash forward, they're pulling up to the house.
Kira, Carrie, and Dallas wait for them on the porch dealing out yet another game of cards. The purple van and it's three occupants are far out near the hedges. The rain is just as heavy as ever if not stronger than it should be for a Miami day.
As Austin and Ally make their way up the steps Dez looks out to the man he hired to do his landscaping. 'It's raining' he thinks, 'no one should be stuck out in the rain like this...' and he slowly starts to make his way towards them.
Austin takes a quick glance at Ally and decides to follow his friend Dez. Maybe he was worried. Dez seems very unpredictable right now it's best to keep an eye on him.
Kendall lies, propped up in the back door, beanie low, strumming his guitar. Lucy rests, sleeping soundly, in the drivers seat. As for Mason, he lies on the roof allowing nature to cascade down on him daring the sky, begging the sky, just to touch him with it's magnificent fingers of ultraviolet flame.
"Mr. Inglet!" Dez calls from the ground.
Kendall sits up and pushes his beanie back, "He can't hear you. Probably got his headphones in. I'll go get him."
The tall lanky fellow crawls over to the wall and begins to ascend the ladder up to the hatch in the roof slipping through it and out of sight.
With a gentle hand, Kendall runs his fingers along the bare calf of the young man who fell asleep in the rain. Soft clandestine movements. He continues this, watching his own skin touch that of this other worldly being, until two fingers lift his chin and he's looking into those eyes. Those plump lips whisper, "Good morning. Is everything alright."
Kendall, in a haze, nods. "The guy who lives here needs to talk to you."
"Okay." a kiss so quick it almost didn't happen.
Then Mason jumps off the roof to land on his feet and walks through the rain to those who request his company, "I couldn't finish because of the rain." he confesses, "It seems the universe is bent on keeping me here for some reason." a shrug, "I apologize Mr. Wade, I do. I tried to wait out the storm-"
Dez interrupts, "Would you want to come up to the porch."
"Sure." He nods, "You don't need to be caught up in the rain. Forgive me."
"Bring your friends if you don't mind." Dez says.
Mason pans his vision, still hidden behind his hair, over to the quiet gentleman beside his employer. With a delicacy he says, "My friends and I are very mindful of the company we keep. Is this a business exchange your offering or is it sanctuary because we don't much to like to hide from mother nature. We find it... frightening."
Austin steps forward, "A friend of ours has gone missing. We need help finding her."
How blunt. How so mysteriously forward. How Mason decides in this moment that he will show this young man, with bronze flesh, dark eyes, and sunlight yellow hair, his eyes. The questions are when, why, and most importantly, how.
Mason turns to look inside the shadowy confines of his van, "Lucy... we are needed."
She comes, after a few moments, crawling out with a smile. Her red and black hoodie otherwise dry begins to grow heavy in the wet, "Good morning." She smiles.
"It's four o'clock in the afternoon." Says Dez.
Kendall jumps down off the back of the van and looks directly at Austin, "We like 'Good morning' because, good afternoon and goodnight sound to sadly like goodbyes."
Austin turns bright red.
Mason's hands reaches up to clutch the hem of Kendall's mud brown and yellow sweater, "Heel boy."
Kendall gives a goofy grin and the three of them follow Dez and Austin back up to the house.
End scene.
Logan wheels back into Trish's sight. We've returned with her to the warehouse. Graphic. Hold onto your heads.
"I need you to tell me about the writings on your arms. What do they mean?" He asks.
She eyes him. What do you say to a man who has taken you from life and delivered you to a world of silver glint and rust? She can think of nothing.
With a sigh he lifts a scalpel up off the table.
Her eyes move to the ceiling as she prepares for the worst.
The sound hits her ear, what is it? Is it a song? I think it is.
There is no distance
That cannot be covered over and over.
You're not defenseless.
I'll be your shelter I'll be your armor.
His blade meets her temple and she feels it cut through her flesh like fabric and screams as it works it's way to the bone of her skull.
I hear you whisper under neat your breath
I hear your SOS your SOS.
Blood seeps down her face and into her hair but it doesn't seem like much. She knows that with his current technique and training she could live through this for days before one of God's Angels comes to take her home. How terrifying to know they can't look like humans. They're like nothing seen on this earth except maybe in fearful nightmares. She fears this man in this moment more than she fears the Angels of a being much higher than her.
In her mind the Lauren Daigle song her mother used to sing in church echoes so loudly.
I will send out an army to find you.
In the middle of the darkest night
It's true. I will rescue you.
I will never stop marching
to reach you.
In the middle of the hardest fight
It's true. I will rescue you.
She draws in a breath, 'Well?' she thinks, 'Where is your army, God? Am I being tested?'
But the man testing her isn't God. He's a surgeon trying to break ground with his clinical trial that didn't get accepted by the federal government of the united states. according to her charts she's the perfect candidate. Poor thing has no idea. So, for now, she will just ride the wave of the experience.
End scene
Nine people gather, six looking at three, three looking back at six. The air is still. Two worlds in one lane. A true crossover.
Dez props his laptop open on the table. Before his fingers can muster up the energy to type in the information he turns back to the others surrounding him and huffs, "This still wont be enough."
"We have another friend back at the boat." Says Lucy.
Carrie stops sipping her margarita long enough to say, "My boyfriend Bobby could help us."
This doesn't get the approval she hopped. Bobby's big and broad but not the protective type. In face he seems far too consumed in his own thoughts to even talk to people on a regular basis. They all naturally rule this idea out.
"I can call Adrian, he's a dope but he's a sweet dope." Says Dallas.
Ally lays a sympathetic hand on his shoulder.
Kira grunts as she slaps the table, "The baxters are on vacation. I could ask them."
"Baxter?" Kendall asks, "Like Raven Baxter? As in front liner of Ravenous." he looks over at Lucy, "Isn't James modeling for her right now."
"Last I heard." She responds with a popped brow.
Mason nods, "Excellent. I believe Austin has something he wants to share that might be of use." all eyes go to the boy in question, "Want to pull it up on the laptop."
Austin, a little thrown, nods and walks over to type in the thing he had bookmarked in his phone earlier.
The video thumbnail pops up on MeTube. He clicks the play button.
i
A minor rendition of Whitney Hustons 'I Will Always Love You' plays ever so softly, ever so hauntingly in the background as from a billow of smoke steps a young man in a button up flannel, cut off at the sleeves, a pair of navy blue basketball shorts, and a bright pink scrub cap littered with unicorns. His soft lips part and the expression he bears on his face is that of brokenness.
"Hello and welcome to Post Horror Homes, the only show giving justice to places of distress and torment. I'm your host, Drake Parker. The man behind the camera is my brother Josh Peck. Today we journey to the abandoned Guntrow home in Miami florida, one of the very few places that are hard to find." The gruffness in his voice is that of a man who's been defeated by life.
An image of the dirt road on which Trish and Chuck had their car accident takes up the screen and a car speeds into the frame. We flash and Drake is standing alone in front of a door.
"We're live." Says Josh, the cameraman.
And I...
"The Guntrow home, abandoned in the forties by a slave owning family when they and their one hundred and ninety seven slaves vanished into thin air. However the true horror didn't take place till later when five minors took on fate. Four casualties. One impactful triumph." The door opens and we follow him inside where we pass through a dark thresh hold into a living area littered with victorian furniture and over there next to the wide open wall of windows rests couches and loves seats all facing one another. "In the rise of 1984 Brenda Miander and her friends did what all teenagers did. It's 1984, as a minor you make do."
His hands move as if he can actually see them. One hand to the right one to the left, "Benjie and Takotah. Secret lovers. It's 1984, which means hiding yourself from the world." He points to the spot beside his right hands former gesture dropping the left, "Lacy, Brenda's sister." Then points across to the other love seat, "Her best friend Nick." His hands fall to his sides and he looks at the camera, "It was in this room that they laughed, they smiled. They talked about life and love and sex. Who they slept with who they didn't. Who they wanted too."
He looks away as if distracted then continues on through a wide open frame, "The kitchen and the dining area." Pots and pans still litter the room, rusty and covered in dust. "A kiss meant to stay hidden. Broken bottles. Lies. Betrayal." With cautious steps we continue on to a breezeway where to our left is a door leading down to the cellar and ahead is an open breezeway where the evening sun casts dark shadows through screens, "Onward." He pipes and continues on his merry way through the corridor.
Will always love...
The round up on a series of rooms and enter one, "Lacy and Benjie. How angry she was. Angry that he wouldn't touch her the way she wanted him to. How cruel she was to him. How abusive. The claw marks on his neck were not from the killer who took her and slung her into this half bathroom." He steps to the side and the camera pans into a small room with a medicine cabinet reflecting back at us the very lens through which we look through, "shoved her into the mirror and proceeded to kill her, no those claw marks were from her. Cause of death..." The camera pans over to him, "Cauterized at the throat."
You...
"As for Benjie and the rest of the players of the game that night. They did what people always did when there was an issue. It's 1984 you don't run out the door you go downstairs into a creepy cellar where hundreds of people dangled from rafters by rusty chains." We follow him back down the corridor where he opens the door on the otherside and begins to slip inside.
The screen fades to black.
A single match lights. The torches ignite and we follow him down into the catacombs of night.
"Nick. Poor fellow, was clumsy. Toppled down the two flights of stairs to break his neck on the concrete down below." Further and further down we go until we open up on a series open archways leading down different directions.
But above allll this I wish you Loooooooovvvvee...
There's eerie silence for a moment and then we're following them into one of the tunnels.
"It was here." We come to a room with a single harness swaying from the mid point in the ceiling, "That Benjie watched for hours as the love of his life was tortured from the chains upon the wall. It was here that the killer forced Brenda to do all the dirty work. It broke her. She snapped. Started screaming and didn't stop until her vocal chords blew out."
He sighs as he continues on his walk back out and into the next tunnel where we find an open warehouse with a ceiling high enough to reach above ground and freckle in the light of the moon. Drake makes his way to the very back of the warehouse, past dentist chairs, tables and stands, a shelf of recently used bloody tools, and he points to the chains on the wall, "and here. Where Brenda conjured up the will power to pull her own bones out of socket in order to free herself from the binds of these flesh cutting chains." The camera pans down to the grassy bloodstained concrete where upon it lies the broken chains he's referring to.
He turns to the camera. The quick, vengful drums pick up, the bass kicks in and he smirks, "She fought and she fought hard. Only it wasn't her that submerged the victor." He gestures towards the door and the camera follows his finger, "For Benjie came back with revenge in mind. Adrenaline pumping his veins. Scalpel in hand. He dragged her to the chair and by the light of the moon he played his own game of torture. When it was over he crawled to the surface, found the entire house empty of everything except his dead friends."
We follow him up to the surface where the camera turns to face him standing in the corridor, "It was Benjie who found himself standing right here where I am looking at life so differently." the smoke returns billowing up around him, "It's said that the killer abandoned him because he decided his work was done. That is, his goal of creating a monster. Was Benjie a monster? Or was he just a boy in love? Till next time I'm Drake Parker, this is my brother Josh Peck... this has been Post Horror Homes." He takes a bow, "I bid you goodnight." Then turns to dreamily walk into the smoke as the final chords of the song play out and just before the final frame of this, the fourth installment in the series, several gunshots ring out and our camera man decides to inch forward only to see his brother's face emerge again from the smoke, "Josh!" He screams only for another bullet to come whizzing past him and past the camera.
Drake falls and the sound of him being dragged away is followed the thud of Josh hitting the floor of the kitchen. Blood pools into the frame and the camera glitches.
Fade to black.
The replay button takes over the screen.
Dez looks out to the distance, "I guess we know where we need to go."
End scene.
Trish turns her face. She can barely see the bright pink scrub cap on the head of the boy who's been next to her since she got here.
There's a jolt and she's sitting up right. Logan is fixing something to the sides of the table where her neck is. She can see the silver glint of blades resting on switches at her jugular vein. Her very body begins to vibrate with fear and his hand moves to cup her face, "You're going to get through this."
She furrows her brow.
"It's going to hurt like Hell but you will get through this." He moves down to the edge of the table beneath her feet where rests a plank of metal. Hundreds of tiny spikes protruding it's surface, "Test number one. Subject number six." He speaks into the box clutched tightly in his gloved hand, "Trish there are buttons located on this plank. Buttons to deactivate the device I will soon trigger into effect. If you can press those buttons with your feet you pass the test. If you fail then in sixty seconds those blades are going chop your neck like a carrot. I know this sounds scary. I know you're probably terrified right now. I need you to pass this test. I need you to pass this test."
I hear you whisper underneath your breath.
I hear your SOS, your SOS.
She nods and the thought passes through her mind, 'Fine. I'll play your game.'
He reaches over and her eyes follow. His finger presses a button on a digital clock lit up with bold red numbers and a sound like air being released from a tight plastic bag rips through the air.
Her breathing gets rapid and she hovers her foot over the spikes, "You got this." she tells herself, "you are not a quitter anymore. You will rise."
With a loud increasing scream she shoves the pad of her foot onto the plank and presses against it with all her might. It feels like ice. It feels like falling into the coldest part of the ocean. She gasps and forever seems to pass as the knives below her chin are moving in a synchronized pattern closer and closer to her. Eyes to the ceiling the sound of an engine dying fills her ear and she yanks her foot free of it's binds the blood pouring down her calf where the jeans have recently been cut free. Her eyes float up to the device he hand implanted behind the flap of skin he had cut open earlier begins to glow bright orange.
I will send out an army to find you in the middle of the darkest night
It's true, I will rescue you.
"Good job little mouse." He whispers, "You passed."
I will never stop marching to reach you in the middle of the hardest part
It's true, I will rescue you.
"For now... I'll wrap up your wounds and let you rest. We pick up on this again tomorrow." he detaches a vile from the lock hold inside the device on her skull and her eyes find the bright orange liquid.
It's true, I will rescue you.
Roll credits