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. THE MAIN WAREHOUSE SPACE – NIGHT
Rosalie reaches down and then begins to undo her skirt.
The Gynophage reaches out with a “grabber” tentacle, take each of Rosalie’s upper arms gently to pull Rosalie in closer.
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INT. THE MAIN WAREHOUSE SPACE – NIGHT
SHOT – A PATCH OF FLOOR NEAR ROSALIE’S OTHER CLOTHES
Rosalie’s panties fall on the heap. Another MOAN from Rosalie.
ROSALIE (O.S.)
Yes…yes…
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INT. HARRY’S BEDROOM – NIGHT
Harry and MRS. LAL are asleep in bed. The glowing digits of an alarm clock on a stand by the bed reads 5:31. A phone on the same stand RINGS. Harry answers it.
HARRY
(into phone, groggily)
Yes?
(face expresses irritation)
What do you mean you can’t tell me on the phone?
(irritation changes to alarm)
I’ll be there as soon as I can.
Harry gets up and starts to dress hastily. Mrs. Lal turns over, waking up.
MRS. LAL
What is it, Hari?
HARRY
They weren’t very clear but I need to be at the warehouse now.
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INT. WAREHOUSE CONFERENCE ROOM – DAY
Harry enters the room. Joe, Ernie, and ARTHUR BERGMAN are already present. Harry, Joe, and Ernie all look unkempt: unwashed, unshaven, rumpled clothes. Bergman is impeccably dressed and groomed.
On the table in the room, under a sheet, are laid out a set of human skeletal remains. A box of nitrile gloves can be found at the head of the table.
HARRY
Arthur, why are you here?
ARTHUR
Given the circumstances and my standing as your chief legal counsel, it seemed appropriate that I should be here.
HARRY
What the hell happened?
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INT. WAREHOUSE CONFERENCE ROOM – DAY
JOE
Something happened to Rosalie, possibly an accident.
HARRY
Possibly an accident?
ARTHUR
Ernie, perhaps we should just show Harry what the security camera caught.
ERNIE
Sure.
Ernie hits a clicker. Harry watches a blurry image of a nude Rosalie enmeshed what is apparently an amorous encounter with tentacles.
HARRY
I can’t believe what I’m seeing.
JOE
At least we know what those phallus tentacles are for.
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INT. WAREHOUSE CONFERENCE ROOM – DAY
JOE
At least we know what those phallus tentacles are for.
HARRY
The creature attacked her?
JOE
We don’t think so. The security camera shows her removing her clothes herself, and we found them in a pile on the floor.
Joe reaches under the table and pulls up a sealed plastic bag containing Rosalie’s clothes and shoes.
JOE
No rips, no damage. It looks like this is something Dr. Quisp did to herself.
HARRY
Who was on internal security overnight? It was Sam, wasn’t it? Shouldn’t he have stopped it?
ARTHUR
I interviewed him myself, Harry. Claims to have no memory of any of these. He seemed a bit incoherent, as if he were on drugs or had been drugged…
HARRY
Arthur, Sam’s an excellent employee with a very clean record…
ARTHUR
I’m not leaping to any conclusions here. Just telling you what I observed.
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INT. WAREHOUSE CONFERENCE ROOM – DAY
Harry turns back to the monitor, looking horrified.
HARRY
How long does this obscene sequence go on?
ERNIE
About forty-five minutes, Harry.
ARTHUR
Maybe it’s best to show him how it ends.
ERNIE
Sure.
Ernie punches a few buttons and the video jumps in time.
On the screen, a blurry image of a nude Rosalie sliding down the top siphon of the Gynophage. She is already half swallowed when the video begins.
JOE
Dr. Quisp never appears to have been resisting, even when the creature was clearly eating her alive.
HARRY
I can’t believe this.
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INT. WAREHOUSE CONFERENCE ROOM – DAY
Joe goes to the conference table and lifts the sheet off. Rosalie’s skeleton, somewhat disconnected because many of its ligaments have dissolved, lies neatly laid out on the table.
JOE
There’s a sewage trap underneath the creature which we use to remove the bones of the goats it eats. An hour or so ago we found this. Very neat work, all soft tissue completely removed.
Harry stares horrified at Rossalie’s remains for a moment, then he takes a pair of nitrile gloves from the box on the table and puts them on.
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INT. WAREHOUSE CONFERENCE ROOM – DAY
Harry then reaches down to Rosalie’s skull and picks up the top half, which comes away very easily, neatly cut as is with an autopsy bone saw.
HARRY
Did somebody try to autopsy her brain already?
JOE
No. That’s how we found it. This surgically precise cut is apparently something the creature did itself.
ERNIE
Why?
JOE
Wanted to get at her brain for some reason.
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INT. WAREHOUSE CONFERENCE ROOM – DAY
ARTHUR
Okay, Harry, look, I know this is all really horrible but we’ve got to keep our heads clear before things really blow up. This looks like a pretty clear case of accident or suicide so we can probably keep entanglements with the authorities to a minimum. As for liability, Dr. Quisp has no close living family, so…
HARRY
Good lord, Arthur. My valued colleague is a pile of bones here, and you want to talk about…
There is a PINGING noise. Ernie pulls out his smart phone and looks at it.
ERNIE
The creature just uploaded something into the virtual space.
HARRY
This is really not the time…
ARTHUR
We should take a look, just to make sure it doesn’t make things worse.
Harry pauses, then nods at Ernie
ERNIE
I’ll patch it through.
Ernie punches something on his phone. The video screen in the conference room is now filled with text and scientific diagrams of various kinds. Harry looks at it and furrows his brow.
HARRY
What the…go to the next page.
Another page of the same.
HARRY
(to Arthur)
Give me your phone.
Harry begins scrolling through page after page of material. His eyes scan through the material he is reading with feverish intensity.
HARRY
This is not garbage.
(scans a few more pages)
This is not right-wing propaganda, or literary crackpottery. If this is what I think it is, then the creature has just given us…
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.