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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EXT. WAREHOUSE DISTRICT STREETS/OUTSIDE WAREHOUSE – NIGHT
Rosalie drives her car, a battered little compact, to a space near the warehouse and parks. She exits and approaches a security booth by an external door.
The security booth consists of a guard, FRED, behind bulletproof glass. Security cameras watch over the scene. Rosalie presses a button to address Fred over the intercom.
FRED
(over intercom)
You’re in really early this morning, Dr. Quisp.
ROSALIE
Yes, well, I’m planning on having a long day. Special project.
FRED
(over intercom)
Okay, go on in.
Fred presses a button. There is a BUZZ as the door into the warehouse unlocks. Rosalie enters.
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. THE MAIN WAREHOUSE SPACE – NIGHT
Rosalie approaches the Gynophage. Its tentacles stir as she approaches. Eye mouth and grabber tentacles approach but do not come closer to her than about eighteen inches. Rosalie addresses the Gynophage.
ROSALIE
I imagine you’ve been bored.
The tentacles stir and approach slightly. The eye tentacles blink.
ROSALIE
But we’re going to try something today that I think you’re going to enjoy.
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. CONTROL ROOM – DAY
Rosalie, Ernie, and Joe are in the control room, a room located above the main warehouse space. On one wall are windows looking down at the space, on the other three control panels and high-definition monitors.
Wheeled office chairs allow people to move around the room.
ERNIE
Okay, so let’s review. We have a number of safety features here. One is that while the creature can look at the actual Internet, anything it tries to upload will be stored in a virtual net disconnected from the net. That should keep it from uploading viruses, hacking into the Strategic Air Command, or whatever.
JOE
You can hack into the Strategic Air Command?
ERNIE
How badly do you want to find out?
(raises an eyebrow)
The second takes advantage of the fact that we live in the physical world. The junction between the Creature and the rest of the world is this.
Ernie holds up two ends of ethernet cable. One ends in a simple connector, the other in a junction box.
ERNIE
If the creature ever starts doing something we don’t like, we just pull the plug. A simple, elegant solution to a big, complex problem.
ROSALIE
Certainly one that everyone can understand.
ERNIE
So are we ready?
JOE
Yes.
ROSALIE
Yes.
ERNIE
Then here we go.
There is a moment of silence.
JOE
Is something supposed to happen?
ERNIE
Maybe it’s taking a nap.
More silence. Rosalie bites her lip.
JOE
Or maybe our creature friend isn’t as bright as some think.
More seconds tick by.
JOE
What a waste of effort.
ERNIE
I need to check the software. Let’s disconnect first…
Ernie reaches for the joined ethernet cables.
Rosalie looks through the windows at the creature.
ROSALIE
(under her breath)
C’mon, don’t disappoint us.
Ernie is about to break the connection when there is a PING!
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. HIGH TECH CONFERENCE ROOM – DAY
Harry sits on one side of the table, facing Rosalie, Joe, and Ernie. Harry is leafing through a dossier and looking generally displeased.
HARRY
And so over the last month this creature has downloaded terabytes worth of information off the Internet…
ERNIE
There’s some evidence that it is “listening in” on terrestrial radio as well.
HARRY
Any independent evidence of intelligence?
ROSALIE
Certainly…
JOE
Of a sort.
HARRY
Such as?
ERNIE
It’s been uploading material into our virtual space. For example, it seems to have somehow produced a sound file that resembles a radio show.
HARRY
Really?
Rosalie clicks something. On a video screen at the end of the table appears an oscilloscope-like graphic that moves as the voice below plays.
RADIO SHOW VOICE
…all these immigrants pouring into the country, taking jobs away from real Americans, spreading their diseases, and the libtards in Washington don’t want to do anything to protect your rights. Now, I’m not advocating any violence here, but the Founding Fathers in their wisdom gave us the Second Amendment for a reason…
Harry makes a throat-cutting gesture. Rosalie promptly clicks the radio show off.
HARRY
So we’ve spent how much money to create a new right-wing radio host?
ERNIE
The creature has also uploaded a text into virtual space.
Harry raises an eyebrow.
ERNIE
It’s a four hundred and fifty thousand word defense of the thesis that William Shakespeare wrote the New Testament.
ROSALIE
And there’s the graphic novel it sent us.
HARRY
(looking down at his dossier)
I don’t see anything about that here.
ROSALIE
We thought you might find it distasteful.
JOE
“Vore University.” The touching story of a group of coeds who enroll in a program in which they are socialized into wanting to be meat.
Harry sighs and closes his dossier.
HARRY
Lady and gentlemen, we’re a drug company. We don’t do animal psychology research here.
ROSALIE
If this is about the government…
HARRY
I realize the government wants this creature, but it was found on company property and our lawyers can tie them up for years if we need to. No, the issue is our investors, who are getting increasingly anxious about how much this project costs. So we have to shut down. The creature goes to the government, who are interested in it.
ROSALIE
(alarmed)
Who will do what with him?
HARRY
Military weapons research, most likely. It won’t be our problem any more.
ROSALIE
But Harry…
HARRY
(firmly)
The decision has been made, Dr. Quisp.
(looking up toward Ernie and Joe)
Gentlemen.
Ernie, Joe, and Rosalie rise and begin to file out of the conference room.
HARRY
Dr. Quisp, a word with you please.
Rosalie turns to face Harry.
HARRY
Rosalie, I want you to know that you weren’t wrong to advocate for this project. It’s just that sometimes things don’t work out. Everything here costs money, and we need to respect the wishes of those whose money it is. Otherwise, there is no OIKOS GALENOU L-L-C.
ROSALIE
I understand.
HARRY
I want you to know that even if it didn’t work out, my trust in you is unimpaired.
ROSALIE
Thank you.
HARRY
Take the weekend off. Do some self-care, and we’ll see you back in the lab on Monday, okay?
ROSALIE
Yes, Dr. Lal.
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. SECURITY ROOM – NIGHT
SAM, a burly uniformed security guard with a gun strapped to his waist, sits at a console full of video monitors. He is reading a men’s magazine. A clock in the background reads a little after two.
There is a KNOCK on a door behind him.
SAM
Come on in, Dr. Quisp.
Dr. Quisp steps in.
ROSALIE
How’d you know it was me, Sam?
SAM
(gestures at his monitors)
I am Samuel the all-seeing. And what can I do for you this fine early morning, ma’am?
ROSALIE
I was going to put on another pot of coffee, was wondering if you wanted a cup.
SAM
Well, thank you, Dr. Quisp. I certainly would.
ROSALIE
Black with two sugars, right?
SHOT – COFFEE
In another room, Rosalie pours a cup of coffee, adds lumps of sugar, then something out of small medicine bottle with an eyedropper, then stirs.
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. THE MAIN WAREHOUSE SPACE – NIGHT
Rosalie walks toward the creature, stops a few yards short of the reach of its tentacles, and looks around apprehensively.
SAM OUT COLD
Sam has head down on the security console. The cup of coffee is turned on its side, its dregs spilled out. Sam SNORES gently.
BACK TO SCENE
Rosalie steps forward to just within the reach of the tentacles. A number of tentacles extend and hover near her, some of them eyes watching. Rosalie steps out of her shoes and puts them aside.
She shrugs off her labcoat and lets it fall to the floor. Then she begins to unbutton her blouse. Some tentacles advance closer.
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. THE MAIN WAREHOUSE SPACE – NIGHT
Rosalie’s blouse falls to the floor on her labcoat. She then begins to undo her brassiere. When it is off, a mouth tentacle attaches to one of her breasts and then begins moving with a sucking motion.
Rosalie GASPS and then MOANS softly.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
