This is the category for all the quasi-storyboards and other art associated with a screenplay written by Iago Faustus, called Auto-Icon. The arrangement of posts should show all the storyboards in sequence of publication, beginning with the most recent. The arrows at the bottom of the page are counter-intuitive as a consequence of theme organization. “Older Posts” advances the reader further in time, “Newer Posts” backwards.
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INT. OSVALDO’S – NIGHT
Toozie takes her phone again and taps through a number of screens.
TOOZIE
Do you know what “vore,” is Joe?
JOE
(lying badly)
Uh, no.
TOOZIE
It’s a kind of porn that appeals to a set of peculiar fetishes, either the fantasy of eating someone, or the fantasy of being eaten by something.
JOE
That’s…kinda disgusting.
TOOZIE
I would say it’s something of an acquired taste. In any event, you can find a lot of art on the subject on the Internet, if you know the right place to look. And one night, when I was looking in the right place, I found this.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
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INT. OSVALDO’S – NIGHT
Toozie hands the phone back to Joe. It has the Gynophage photograph Toozie found before.
TOOZIE
Most of the art is pretty crudely drawn, but this isn’t anyone’s illustration. It’s a photograph, taken from life. Probably taken by a cop with a cellphone. Why it got posted I have no idea. Maybe someone was trying to leak something. Or maybe they guy was just the right kind of pervert with something neat to show to his friends.
The Bartender brings a bit plate of boneless wings and sets it between Joe and Toozie.
BARTENDER
(with forced cheer)
You enjoy these now.
TOOZIE
The camera that made this picture encoded metadata into it that included both the date and time of the photograph as well as G-P-S coordinates for where the photo was taken. Very handy if you want to keep your photo collection organized.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
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INT. OSVALDO’S – NIGHT
Toozie takes a boneless wing, dips it in sauce, and takes a healthy bite.
TOOZIE
This photo disappeared from the web by the next day, but not before it got preserved on my hard drive. And the metadata point right to your Oikos Galenou warehouse on the day of the terrorist attack.
(takes a generous swig of wine)
Do you happen to know what this creature is, Joe? Or who is going down its…gullet?
JOE
(visibly sweating)
I don’t know what you’re talking about.
TOOZIE
You lie badly, Joe.
JOE
Why are you doing this?
TOOZIE
Joe I assure you that I am not a journalist, a cop, or a blackmailer. I have a very different motive.
(takes another bite of chicken)
These wings really are tasty. You should try them.
JOE
I’m not that hungry, all of a sudden.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
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INT. OSVALDO’S – NIGHT
ON THE SCREEN
People in Hazmat suits are carrying and stacking bodies in an African village.
NEWS ANNOUNCER (V.O.)
(on television)
…meanwhile in Central Africa fatalities continue to mount from the mysterious Thanatos virus.
A bodies being burned on an enormous pyre.
NEWS ANNOUNCER (V.O.)
(on television)
World health authorities are concerned that if the virus spreads to the wider world it may have effects significantly more devastating than the Covid-nineteen virus of the early 2020s…
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
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INT. OSVALDO’S – NIGHT
BACK TO SCENE
TOOZIE
This Thanatos virus sounds like really bad news. And a lot of the news media I am reading are suggesting that it is more a matter of when, rather than if it escapes…
Joe downs his second shot.
JOE
Well, yes, but…
TOOZIE
Don’t play dumb, Joe. We need a miracle to get out from under this one. And as it happens, you work for a drug company that has a record of, and apparently a means for getting, miracles. And that’s where I step in.
JOE
I still don’t get it.
Toozie leans in even closer. Joe downs his third shot.
TOOZIE
All right then. Let me spell it out for your explicitly…
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
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INT. HARRY’S NEW OFFICE – DAY
Harry, Arthur, and Joe are sitting in Harry’s new office, which is quite spacious and richly appointed even by the standards of his last office. They sit around a teak conference table.
ARTHUR
Tell it to us again, Joe, and slowly this time.
JOE
This girl…she has figured out the creature likes to eat women and apparently in exchange, gives us things.
(looks around apprehensively)
And then she volunteered to be its next meal, suggesting that perhaps the next thing it gives us would be the answer to the Thanatos virus.
ARTHUR
Well, that’s about the most insane thing I’ve ever heard.
(puts a reassuring hand on Joe’s shoulder)
I’ll talk to company security about measures to make sure that this girl doesn’t make more of a nuisance of herself.
HARRY
(holding up a hand)
Wait.
ARTHUR
Wait?
HARRY
You might not be aware of this, Arthur, but our relationship with the national security community has been good and growing better ever since we did them a favor by letting them take credit for the Mediatrix. They’ve been kind enough to keep our research side appraised of intelligence reports on the Thanatos virus.
ARTHUR
And?
HARRY
It’s bad, Arthur. It’s really bad. How bad is classified, but…the science is baffling, and it’s about one mutation away from from being an extinction-level event.
ARTHUR
I agree that is bad.
HARRY
Right now, I’m not saying that we get into the human sacrifice business. What I am saying is that it would be irresponsible of us not to consider all possible options.
JOE
What are you saying, Harry?
HARRY
Before we jump to conclusions about who is sane and who is no,t can we at least reach out to this young woman and offer a proper psychiatric evaluation?
ARTHUR
I don’t know Harry, it just seems…
HARRY
We’re scientists here, right? So why don’t we try to make our decisions based on as much scientific information as we can gather.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
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INT. AN EXAMINATION ROOM – DAY
DR. ROSEN, a kindly, motherly-looking woman is interviewing Toozie, who sits wearing a medical examination gown on a table. Dr. Rosen is entering information on a laptop as she does the interview.
DR. ROSEN
Okay, Toozie, we’re going to do a bit an evaluation here. I would like you to think back over the last two weeks and tell me whether you experienced any of the following conditions on none of the days, several of the days, more than half of the days, or all of the days. Can you do that for me?
TOOZIE
Sure, Dr. Rosen.
DR. ROSEN
You experienced little interest or pleasure in doing things.
TOOZIE
None of the days.
DR. ROSEN
You feel down, depressed, or hopeless.
TOOZIE
None of the days.
DR. ROSEN
You have trouble staying or falling asleep, or you’re sleeping too much.
TOOZIE
None of the days.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
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INT. HARRY’S NEW OFFICE – DAY
Arthur and Joe sit in chairs facing Harry’s immaculate teak desk. A leather folder is the only object other than a phone and a computer sitting on the desk. Harry sits behind the desk.
HARRY
So what have we done with her?
TOOZIE SITTING AT A DESK IN AN OFFICE
Toozie is dressed in office causal, a pen between her lips. She is tapping away on a computer keyboard.
JOE (V.O.)
We gave her a job — at five times what she was making as a barista — in public relations research.
HARRY (V.O.)
Research?
JOE (V.O.)
She spends a lot of time on the Internet seeing how Oikos Galenou is represented. Management there says she’s very good at the job.
HARRY (V.O.)
Are you sure it was really right to give her a job?
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
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TOOZIE IN MORE FORMAL BUSINESS ATTIRE IN A BOARDROOM
Toozie is signing a group of contracts laid out on a boardroom table while Arthur points to where to sign.
ARTHUR (V.O.)
Not only is this an opportunity for us to keep an eye on Ms. Chen, but as part of her employment package she signed a very strong version of our non-disclosure agreement.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
