The Ongoing Dramatis Personae

scripts, The Broken Book of Beasties, The Great Works Project scripts, The Not So Puppet Show, The Ongoing Dramatis catalogues

THE GOLDEN COINS:
(TGWP s00) Eight shiny gold coins the Outer One retrieved from a safe. Each coin bears a symbol on it with the eight symbols as follows: a wand, a castle, a quill, a light bulb, a shield, a harp, and a sword.

A HANDHELD:
(TGWP s00) A handheld video game player used by the Helping Hands in the Not Here, Not Now space. It has a small screen and six buttons in two groups of three. One of the group of buttons is marked as “Yes”, “No”, and “Maybe”. The other three buttons are marked “Sun”, “Star” and “Moon”.

HELPING HANDS:
(TGWP s00) Hands of the Puppeteers used as puppets and brought into full visibility to the audience. There are multiple Helping Hands producing the play, often doing work off-stage. They are usually distinguishable from each other by some individual or multiple characteristics.

THE LEFT HANDED HELPING HAND:
(TGWP s00) One of the pair of Helping Hands that brings the Handheld out and starts to play it. It is a left hand, which is also left-handed, wearing pink fingernail polish.

THE-MAN-WHO-LOVES:
(TGWP s00) A younger man, by comparison, who comes to visit The-Woman-Who-Loved in her hospital room. He reads her his latest script.

THE OUTER ONE:
(TGWP s00) A video game character who yearns for more. He retrieves eight golden coins and flees to a doorway in an unfinished portion of the game.

THE RIGHT HANDED HELPING HAND:
(TGWP s00) One of the pair of Helping Hands that brings the Handheld out and starts to play it. It is a right hand, which is also right-handed, wearing light blue fingernail polish.

THE-WOMAN-WHO-LOVED:
(TGWP s00) An elderly woman in the hospital. She can see the story The-Man-Who-Loves is reading to her.

The Ongoing Dramatis Loci

scripts, The Broken Book of Beasties, The Great Works Project scripts, The Not So Puppet Show, The Ongoing Dramatis catalogues

CHOICE HALL:
(TGWP s00) A long hallway with the appearance of a vintage pixelated video game. One of a series of artificial worlds nested inside other artificial worlds

THE DOORWAYS:
(TGWP s00) Five portals at one end of Choice Hall that lead to other areas within and without the artificial worlds. They appear as five doors up a short set of stairs. The first door is labeled “Fail”. The second doorway is labeled “Find”. The third doorway is labeled “Go”. The fourth doorway is labeled “Murmur”. The fifth doorway is not located with the other four but instead is sealed off in an abandoned hallway hidden from view.

THE GAMETIME:
(TGWP s00) The realm that comes into view when the Helping Hands turn on the handheld video game player. In it, we find the Outer One moving through the Choice Hall.

HOSPITAL ROOM ICU:
(TGWP s00) A hospital room where the Woman-Who-Loved sleeps while hooked up to medical machinery. Various get-well cards with flower designs can be seen on the table next to her bed. All that is seen of this room is the immediate area around her hospital bed.

THE NOT HERE, NOT NOW:
(TGWP s00) A space where the Man-Who-Loves’ story unfolds. It might exist on its own or merely be the imagination of the Woman-Who-Loved.

The Broken Book of Beasties: Book 1, Part 3 – a new script by Thomas Typewriter

The Broken Book of Beasties

———–<.thom.>———–

THE BROKEN BOOK OF BEASTIES

“Book I: A Book by Any Other Cover”

Part Three of Three

By Thomas Typewriter and Primo Operahouse-Typewriter & Secondo Operahouse-Typewriter

———–<:type:>———–

FADE IN

INT. THE ALCOVE OF THE TRILIBRIS IN THE TRILIBRIS MAGICAL LIBRARY, DAYTIME

CS OF THE OPEN PAGES OF THE TRILIBRIS.

The TRILIBRIS is open to a double-page illustration of the Bakery from part two of Book I: A Book by Any Other Cover. The illustration is still in the woodblock meets flowing lines style. The Bakery itself has changed from the last time it was seen. It now has changed its name to “Books and Buns” and there is a long line of citizens waiting to get in. Additionally, in the frame some of the stand the TRILIBRIS rests on can be seen along with the Grey Mouse leaning on the edge of the book curious as to the latest turn of events in the story.

THE CODEXIAN
“The news of the Baker’s new discovery quickly spread. Soon people from all over the settlement came to her for a spellbook, for access to this new land, access to this new magic.”

CUT TO THE GREY MOUSE

The Grey Mouse SQUEAKS a question.

THE CODEXIAN
“Yes, it does seem at first glance odd that those who fled magic would so willingly embrace magic again. Though you must remember that the Baker was not the only person yearning for the past. Rapid change, especially when brought on by tragedy and disaster, has a way of amplifying nostalgia.”

The Grey Mouse SQUEAKS in understanding. The TRILIBRIS turns the page. On the next page is a picture of the Beastlands. There are people everywhere. With more zapping in and appearing. Use some of the same people from the bakery line and have them eating buns.

PAN IN ON THE ILLUSTRATION

THE CODEXIAN
(voice-over) “Soon this new land, this Beastland, was filled with people capturing the beasts, filling spellbooks with beasties and magic.”

The page turns and now see a view of the settlement

THE CODEXIAN
(voice-over) “Magic which they used to grow their settlement into a large city.”

Show the settlement growing larger and larger with a montage of construction. Then the page turns and shows a sprawling city, a street scene. Wizards and walking down the street, with some flying, and such. See Wizards using magic in the street vendors, while shopkeepers are using magic to clean windows, dust shops, and craft items. Up in the apartments people are using magic to cook and entertain. See a Wizard take off for work and start to fly. His magic fades out and he drifts down to the ground confused. Soon everyone’s magic starts to fade out. They all grab their spellbooks and look through the pages or shake the books. The spellbooks are all empty. They turn and start talking to each other equally confused and concerned about what is happening.

THE CODEXIAN
“Like most things, everything was going great until it wasn’t.”

The page turns and from here on out the illustrations on the page will have a full animation movement. The wizards on the street murmur to each other trying to figure out what has happened to the magic. In the windows, we can see the various wizards of the businesses and apartments retrying their spells and rummaging through the spellbooks. The wizards in the seating for the cafes on the streets and the pedestrians are discussing with each other confused about what is happening. Then a bright prismatic light that shifts to pure white pulses from the sky. The wizards on the street shield their eyes. Once the pulse has passed they look up. In the background, the wizards inside the buildings step outside or lean out their windows.

The page turns revealing an illustration of the sky above the settlement from the perspective of someone on the street. The tops of buildings can be seen at the edge. In the sky, there is a glowing nimbus. The glow starts to fade as a face begins to materialize. THE KING OF BEASTIES has arrived. He is a large humanoid lion with a large single eye, a thick mane and beard making a multi-colored halo, and a large ornate crown. The crown is made up of a series of various-sized pentagons across a background of repeating smaller pentagons. Sharp short multi-pointed horns emerge from the forehead just below the crown.

THE KING OF BEASTIES
“I am the King of Beasties, and you may have noticed your magic is cut off. You have no rights nor permission to my kingdom, my people, or our gifts. You are trespassers and kidnappers. No more. I will return in one week to discuss the terms of re-entry to my kingdom and the use of its resources. Until then you are cut off. Use this time to appreciate what you have lost so as you may appreciate its true value if it returns.”

The King of Beasties face fades away. The page turns and now it shows a silhouette of the city with fires and buildings falling over. Sirens can be heard inside the city.

THE CODEXIAN
(narrating) “The citizens coped the best they could but still it was one of the longest weeks they had been through.”
The page turns again. Across the page is the caption “One week later…” It fades away leaving a view of the sky from street-level looking up similar to the previous page where the King of Beasts appeared in the previous page. Along the edges of the frame, various citizens gather looking up. They watch and watch but nothing happens. They start to murmur to each other.

CITIZEN #1
“It has been one week right.”

CITIZEN #2
“Yes.”

CITIZEN #3
“Then why isn’t he appearing?”

THE CODEXIAN
(narration) “Why indeed. As the hours passed, the citizens worried that maybe the magic would never return. Cursed to forever stumble through life with only what they could do themselves.”

The sky starts to spark and a burst of fireworks goes off and MARMALADE UMBER, singed and mildly burnt, falls out of the sky. He tumbles through the air yelling, gripping a book tight to his chest. He thuds to the ground, surprisingly surviving, and skidding down the street.

CAMERA TRACKS HIS FALL AND SKID

The dust settles over the crater and the crowds slowly trickle in to investigate. Marmalade pops up, singed and burned holding up a thick tome: THE BOOK OF BEASTIES.

THE CODEXIAN
“The crowd was surprised to find Marmalade Umber yelling “I DID IT! I DID IT!” especially after falling out of the sky. He should have died, but then again Marmalade was always disappearing and reappearing in the weirdest places.

The page turns. The new illustration shows a younger Marmalade Umber on his family’s farm. He is holding a spell book and concentrating really hard.

THE CODEXIAN
“Marmalade was easily the worst wizard in the entire community, constantly screwing up the most basic of spells and never once capturing any beasties.”

Marmalade starts to strain and sweat then disappears. He reappears over an animal pen and falls in spooking all the animals. He stands and tries to concentrate again disappearing and then reappearing somewhere else. He gets up and concentrates a third time. He disappears and then reappears but is split in two. His upper torso sits on the ground while his legs are walking around the spooked animals. He screams in shock and then poofs out reappearing as complete. He runs over to the side and vomits. The page turns with the new page having an illustration of the adult Marmalade Umber having just crashed and holding up the Book of Beasties. A crowd has gathered around him.

THE CODEXIAN
(narration) “The crowd did not know what to make of the village idiot falling out of the sky and shouting wildly. Eventually, they understood that he was claiming to have captured the King of Beasties.”

PERSON IN CROWD #1
“So you’re saying you captured the King of Beasties in that spellbook?”

MARMALADE UMBER
“I did it.”

PERSON IN CROWD #2
“But you’re like the worst magician.”

MARMALADE UMBER
“Yes, but I did it.”

PERSON IN CROWD #3
“Okay, so lets say you did it and the King is truly bound in that book, wouldn’t that mean…”

PERSON IN CROWD #4
“The Beastlands is open again?”

PERSON IN THE CROWD #5
“The Beastlands is open again.”

PERSON IN THE CROWD #6
“The Beastlands is open again!”

The people in the crowd look at each other and then pull out their spellbooks and disappear. Marmalade hugs the Book of Beasties to his chest.

THE CODEXIAN
(narration) “The Beastlands was indeed open again and magic returned. Only not quite the same as before. The King of Beasts had apparently made some changes to the Beastland before he was captured. No longer could you just capture a beastie and use its magic. You had to get the Beastie’s permission. Additionally, where before a Wizard could teleport to any part of the Beastlands, now entry and exit was tied to geographical area. When a wizard entered the Beastland, they entered in a spot that more or less matched where they were in the physical world.”

The page turns. The new illustration shows an overhead type of the city. The city is divided into five outer neighborhoods surrounding a central inner neighborhood.

THE CODEXIAN
(narration) “The return of magic sparked a regrowth. The city expanded again but since the magic had changed the city did as well. Since entry and exit out of the Beastlands were tied to corresponding points in the physical world, the city developed five distinct neighborhoods, each corresponding to one of the realms. Ultimately growing into a city of prismatic wonders and colorful characters, especially one of Marmalade’s descendants.”

The page turns and the new illustration is of a close-up of RAWLSTON UMBER. It is in the style of a static pencil sketch or ink illustration. The page starts blank and as the Codexian narrates it fills in. Rawlston will appear very bored and indifferent.

THE CODEXIAN
(narration) “Whose lack of magical skill, utter lack of talent, makes him the least likely candidate to be the hero of any story…”
The sketch or illustration of Rawlston turns into an actual moving image, with an effect similar to where a static picture snaps into a live image of the subject moving. A transition from picture to video or illustration to live motion recording. Rawlston exhales a sigh of discontent.

RAWLSTON UMBER
“This is sooooo boring.”

THE CODEXIAN
(narration) “…And yet this is who we find ourselves with.”

The Codexian shuts its pages. The eye-like symbols on the side of the cover look at the Grey Mouse.

THE CODEXIAN
“And thus ends today’s portion of the tale.”

THE GREY MOUSE
“Squeek Squeik?”

THE CODEXIAN
“No, there is more to the story. A story that ended there would not be very good. It’s just that I have not had an audience in a long long time and am a bit out of practice. Let me rest and I’ll be ready to continue the story.”

The Grey Mouse nods at the Codexian and then turns. He takes a few steps and then turns back and waves at the Codexian. He then runs off the edge of the podium and out of frame. The Codexian closes its eye-like symbols and starts to sleep.

PAN BACK FROM THE CODEXIAN AND ITS ALCOVE

FADE OUT

The Broken Book of Beasties: Book One, Part Two – a new script by Thomas Typewriter

The Broken Book of Beasties

———–<.thom+.>———–

THE BROKEN BOOK OF BEASTIES

“Book I: A Book by Any Other Cover”

Part Two of Three

By Thomas Typewriter and Primo Operahouse-Typewriter & Secondo Operahouse-Typewriter

———–<:type+:>———–

FADE IN

INT. THE ALCOVE AT THE BACK OF THE TRILIBRIS’ MAIN ROOM, DAYTIME

MS OF THE CODEXIAN

The Alcove is a dark wood wall decorated with gold and brass metal in long blocky snaking patterns illuminated by two torches. In the center of the alcove is a podium holding THE CODEXIAN. The Codexian is a thick book, with covers of a purple stone and thick leather binding. The front cover has a vertical row of three circles made from gold wire on the binding side. The other side is a snaking angular pattern similar to the patterns on the alcove walls. The pattern snakes down to two horizontal lines across the bottom portion of the front cover. It is currently open to the middle of its binding with THE GREY MOUSE off to the corner looking in at the illustrations on the page.

CS OF THE CODEXIAN

Golden scroll-work forms a border around a central image across the two pages. Inside the border is an image of THE BAKER leaning on her counter looking forlorn. The image is done in a style combining woodblock prints and illuminated manuscripts. Small hands of THE GREY MOUSE enter the bottom of the frame followed by the head and body. The Grey Mouse is leaning over the page.

THE GREY MOUSE
“Squeak”

THE CODEXIAN
(voice-over) “That is funny. It almost sounded as if you asked why she was sad.”

THE GREY MOUSE
“Squeak.”

THE CODEXIAN
(voice-over) “Oh, you did. In that case, maybe the Baker was sad because they had spent so much time fleeing and surviving that they had forgotten how to live. Or maybe something simpler. While she was a good baker and well respected in the community, baking was something she never thought of very glamorous.”

THE GREY MOUSE
“Squeak.”

THE CODEXIAN
(voice-over) “I understand that makes no sense to you and how amazing bread is, but if you could lean off the page I can continue the story.”

The Grey Mouse moves out of the frame.

THE CODEXIAN
(voice-over) “Thank you.”

The page turns. The illustration shifts between a series of images of The Baker mixing dough and baking bread.

THE CODEXIAN
(voice-over) “The Baker would find her mind wandering to certain thoughts repeatedly. I used to be someone who mattered. I used to be the best bookbinder in the city. Now I bake bread. Now I don’t know my value. Anyone can bake bread. Where is the specialness in that.”

The page turns. The illustration shows The Baker at her counter. At this point the illustrations start to show some basic animation. Where before they would fade from one static drawing to another, each picture now has a little bit of animation in each sequence. The Baker leans on her counters and sighs. The sigh appears as a written sound effect on the page. The baker then starts to think with her thoughts written out in thought bubbles and with the Codexian narrating.

THE CODEXIAN
(Voice-over) “I used to be one of the best. Now I just make bread. Bread. Ugh. People used to come from all over the city to buy one of my spell books. I was respected. I was important. I was a true artist. Now, what am I? I make bread. Ugh. So common. So pedestrian. What is the value in a common thing? More importantly, what is the value in those who make common things?”

The thought bubbles fade away and the Baker leaves her counter. The empty counter fills the page for a moment before the Codexian continues the story.

THE CODEXIAN
(voice-over) “And so she would have continued self-flagellating if not for a simple moment.”

It changes to The Baker at her counter with a Mother and her daughter entering the shop. The Baker waves hello. The Mother approaches the counter and purchases one loaf of bread. She breaks off a bit of the heel of the loaf, steam rises from it, and hands it to her daughter. The image shifts to the daughter eating the bread, closing her eyes and smiling. The illustration shifts to the Mother shocked at the smile quickly shifting to smiling and turning to speak to The Butcher

THE CODEXIAN
(voice-over) “The mother said something so simple it cut through all the Baker’s doubts and disappointments. She said, that is the first time I have seen her smile. Thank you.”

The Mother and her daughter leave the bakery. The illustration shifts to the Baker at her counter visibly moved and affected by the Mother’s words.

THE CODEXIAN
(voice-over) “The Baker, as the mother and her daughter left the bakery, realized that maybe there is something worthwhile in baking bread. She also realized that as great as she felt about her current situation now, she was still dwelling on the past. It was a poison and she needed to let go.”

The page turns. The new page shows an illustration of The Baker at the front window of her bakery. She rotates the open sign to close. She then moves over and locks the door before walking to a table in the back room. The table is laid out with bookbinding tools and supplies.

THE CODEXIAN
(voice-over) “The Baker decided she would make one last book and then move on, putting that part of her life behind her.”

In a series of vignettes makes a book. Note that the Baker incorporates some extra steps not usually included in bookbinding. The prestigious bookbinding career she has been remembering was binding spell-books. She rubs each page with various herb leafs before cutting them. Once all the pages are cut, she places the herbs in a pan and burns them. The ashes she mixes with oil and then messages into the leather cover and strings. She sets aside the pile for later. She then continues building the book. At the end, she pulls back the oil and ash mix. She dips a small brand into it and then heats it over a flame. The oil flares with streaks of red, blue,yellow, orange, and green. Then she presses the hot brand onto the cover of the book. Smoke rises from where the brand touches the leather. When she removes the brand, the Baker sees that five colors are leaking from the brand into the leather: red, blue, yellow, orange and green. She sees the bleeding colors and is surprised. She runs her fingers over the colors and the book starts to shimmer. The Baker disappears from the room in a flash of light.

THE CODEXIAN
(voice-over) “The Baker soon discovered that the world has a way of surprising you.”
The page turns. The Beastlands fill the page. A landscape of orange grass and prairie fills the foreground while in the background blue mountains, green forests, red forests and yellow sand dunes spread out. In the bottom corner of the illustration a sparkle appears then fades out becoming an image of the Baker. She looks around, confused as to what just happened.

CUT TO CS OF THE BAKER

THE BAKER
“Well, this is a surprise.”

CUT BACK

Hold a moment as The Baker stands in the vast new realm. The page turns to reveal a closer image of the Baker standing with the orange grassland behind her. She is looking around with a face of pure joy. In the grass behind her comes a “rustle” sound effect. The Baker turns to see what the cause of the noise is. From the grass emerges a Furocerous. It is a large rhino-like creature covered in very thick fur. The fur is longer on the head and shoulders than the rest of the body. It charges towards the Baker. The fur on its head stiffens into a kind of plate armor. The Baker screams in surprise and fear with the words of her scream drifting out across the page. The illustration cuts to a close-shot of the Furocerous running. It then cuts to a medium-shot of the Baker backing up then falling down and scrambling backwards. She pulls up the spellbook in a feeble attempt to shield herself. The illustration then changes to the Furocerous colliding with the Baker and her spellbook in a bright flash of orange light.

The page turns and now the illustration is of a long shot of the outside of the Bakery. There is a flash of orange light. The illustration shifts to the inside of the Bakery. The Baker materializes in the air in a flash of orange light and flies backwards against the display. Her spellbook goes flying in another direction. The Baker shakes her head and slowly gets up. She checks her body for injury and does not find any. She starts to laugh to herself.

THE BAKER
“Did that just really happen? That is too wild.”

She walks over to the spellbook and retrieves it from under a table. The spellbook looks different. She examines the changes. The front cover branding now has a line of orange in it. She then opens the book and sees an image of the Furocerous surrounded by a circle of runic patterns and scroll-work.

THE BAKER
“Wow.”

She runs her fingers over the image. The illustration changes to a close-shot of the spellbook’s page. She then runs her fingers in a circle along the scroll-work and runes. They start to softly glow orange. Her fingers start to glow orange. The illustration shifts back to the bakery. As the Baker runs her fingers over the page a spectral glowing version of the Furocerous explodes out and into the bakery display pushing it back. The spectral disappears. The Baker looks back and forth between the spellbook and the display case. A large smile spreads across her lips. She starts to run her fingers over the page again. The illustration cuts back to the longer shot of the Bakery from outside. In the windows flash an orange light burst and then the entire bakery shakes.

FADE OUT

a new script: “The Broken Book of Beasties – Book I: A Book by Any Other Cover (part one of three)” by Thomas Typewriter, Primo Operahouse-Typewriter and Secondo Operahouse-Typewriter

The Broken Book of Beasties

———–<.thom.>———–

THE BROKEN BOOK OF BEASTIES

“Book I: A Book by Any Other Cover”

Part One of Three

By Thomas Typewriter and Primo Operahouse-Typewriter & Secondo Operahouse-Typewriter

———–<:type:>———–

FADE IN

TITLE SEQUENCE
The title “The Broken Book of Beasties” appears far off in the dark screen, written in bright red flowing script. The word Beasties, unlike the rest of the title, is written in a thick slashing font. The title flies towards the camera and past the edge of the frame. The dark screen is filled with a shimmer as the following text appears in white block letters: “Book I: A Book by Any Other Cover”. It fades away in a shimmer. In the absence appears the following test: “Part One.”

PAN DOWN

The dark screen fades to light grey as the “Part One” slides off the top of the screen from the camera panning.

TRANSITION FROM TITLE TO THE OVERLAP

The dark grey shifts in tones changing to dark clouds.

CONTINUE PAN DOWN

EXT. THE OVERLAP HILLS, DAYTIME
A series of forested hills in front of a forested snowcapped mountain slides into view. This is the Overlap Hills, one of the many realms used by the great wizard Orgle. So named because they are areas of multiple different dimensions folded over each other by Orgle’s vast and great magicks until they create a pocket dimension. The Overlap Hills are not as well known as Orgle’s other overlaps such as the Overlap Hotel, the Overlap Waves or the Overlap Trail. Yet, they do contain one of his greatest treasures.
In the distance stands the Trilibris, Orgle’s special library. It appears as three different columns that seem to fuse with each other but also separate creating a kind of hyper-dimensional hourglass shape.

SHIFT TO XLS OF THE TRILIBRIS

CUT TO LS OF THE TRILIBRIS

CUT TO MS OF THE TRILIBRIS

CUT TO CS OF THE TRILIBRIS DOORS

TRANSITION FROM THE OVERLAP HILLS TO THE TRILIBRIS

ENTER THE BUILDING AND MOVE TO THE MAIN ROOM THROUGH A SERIES OF QUICK CUTS AND FADES

INT. THE TRILIBRIS MAIN ROOM, DAYTIME
The Main Room is a teardrop shaped dome. The walls are covered in bookcases with a second story also filled with bookcases. Spiral staircases are scattered around the circumference. The bookcases are designed in a unique way that books are stacked horizontally and vertically giving the impression of the folds in a human brain. The center of the room is a large open space filled with thick tables and chairs. The top of the dome is glass, stained a light blue, allowing natural light to illuminate the space. The bookshelves are illuminated by pendant lights within the rows. Each desk has a bulbous table lamp to illuminate in case the dome is not allowing enough light. Across from the entry way the bookcases stop. A large alcove is built into the wall. A dark wood wall decorated with gold and brass metal in long blocky snaking patterns illuminated by two torches. In the center of the alcove is a podium holding THE CODEXIAN. A very special book, it is separated off from the rest of the main room by golden chains and small golden pedestals. A “Do Not Disturb” sign hangs off the chains.

CUT TO LS OF THE CODEXIAN’S ALCOVE

CUT TO MS OF THE CODEXIAN’S ALCOVE

CUT TO MS OF THE CODEXIAN

The Codexian is a thick book, with covers of a purple stone and thick leather binding. The front cover has a vertical row of three circles made from gold wire on the binding side. The other side is a snaking angular pattern similar to the patterns on the alcove walls. The pattern snakes down to two horizontal lines across the bottom portion of the front cover.

CUT TO CS OF THE CODEXIAN

A TRIUMPHANT MYSTICAL MUSICAL SCORE plays. The score plays a few moments and then it stops with A RECORD NEEDLE SCRATCH.

PAN TO LEFT OF THE CODEXIAN.

A GREY MOUSE crawls up onto the podium. It tentatively approaches the Codexian.

CUT TO MS OF THE GREY MOUSE

The Grey Mouse sniffs along the Codexian, moving to the top corner. It starts to nibble on the edges of the pages.

THE CODEXIAN
“OWWWW!”

CUT TO MS OF THE CODEXIAN

The Round circles on the left of the cover open revealing non-organic golden eyes. The two golden lines along the bottom of the cover move as if lips or a mouth. The Grey Mouse stops chewing.

THE CODEXIAN
“Who did that?”

The Grey Mouse steps away from the Codexian

THE CODEXIAN
“Come on, I know your there. Who is biting me!”

The Codexian’s eyes scan around the room. Ultimately they settle on the Grey Mouse.

THE CODEXIAN
“Oh, hello there. Were you the one chewing on my corners?”

The Grey Mouse blankly looks at the Codexian. It sneezes. A golden shimmer flickers in the air.

THE CODEXIAN
“Bless you.”

The Grey Mouse stands upright and nods at the Codexian.

THE CODEXIAN
(to self) “Well that’s new.” (to the Grey Mouse) “Let’s try this. Maybe what your truly hungry for is a story. If I tell you a story will you stop chewing on me.”

The Grey Mouse nods and then sits down.

THE CODEXIAN
(to self) “Definitely new.” (to the Grey Mouse) “I will need to open up to tell the story, so you may want to adjust your position.”

The Codexian opens and the Grey Mouse moves to the bottom of the podium top. The pages start to move, quickly moving to the middle of the book in a blur.

THE CODEXIAN
“Ahhh, here we go.”

The Codexian is open to a set of pages bordered in golden illumination but the actual area inside the border is blank.

THE CODEXIAN
“The Broken Book of Beasties.”

From somewhere in the Trilibris A CHIMING TONE rings out. The blank page starts to fill with an illustration in a style that is a mix of woodcut block print and midieval illuminated scripts. A vast city fills the page.

TRANSITION FROM THE LIBRARY TO AN ILLUSTRATED STORYBOOK STORY

PAN IN ON ILLUSTRATION TO FILL THE FRAME

THE CODEXIAN
(voice-over) “Once there was a vast city filled with magic, wonder and charm.”

The illustration changes to the city in ruins with a giant burst of light exploding from the center of the city. Prismatic storm clouds fill the sky, raining storms down on the city.

THE CODEXIAN
(voice-over) “The city of magic became a city of too much magic, as the Great Rupture ravaged the city. Magic rained down like storms melting what was known and unknown equally.”

The illustration changes to people on hills outside the city fleeing. The city gripped in storms can be seen in the distance.

THE CODEXIAN
(voice-over) “Those who were able fled the city. The Great Rupture lasted decades driving one group further and further from the city.”

The illustration changes to a long stretch of landscape. Hills on the right give way to grasslands, then forests, and then mountains to the right. A group of refugees appears in the hill section. Fade to the group in the grasslands section and prismatic storms in the hills. The illustration changes more with a fade to the refugees in the forests The prismatic storms now fills the hill and grassland sections. The illustration shifts again. The refugees are now in the mountains section. The prismatic storm fills the hills, grassland, and forest sections. The illustration changes one last time. The refugees are gone and the prismatic storm fills the entire page. A THUNDER BOLT CRACKS. The Codexian turns the page.

THE CODEXIAN
(voice-over) “Past landscapes that ate lives, the refugees found a place of safety, or at least which they hope offered peace.”

The illustration area is filled with many tree branches. Colorful flowers grow along the base of the trees while animals can be seen peeking their faces out of the upper branches. The illustration changes with the trees sliding. They part in the center moving left and right. In the center of the screen sits a valley made from five rivers feeding into a lake in the center. There is a large island in the center of the lake along with a few small islands in sandbars scattered around the lake. The illustration changes again with the sun emerging in the clouds above the valley. Bright sunlight beams across the page. The illustration changes one last time with the illustrations of the refugees moving in from the left and right side of the frame and walking down to the valley. The Codexian turns the page.

THE CODEXIAN
“Having found sanctuary, the people set about building a new home for themselves.”

The illustration is blank but then small illustrations of people enter from the left and right sides. They break off into five groups, with the fifth group in the center made from the remaining few from each group. Each group then disappears into a cloud of construction dust. CONSTRUCTION SOUNDS can be heard. Slowly simple houses emerge from the construction dust. Once a house is finished the construction dust cloud disappears and the group looks at their work. Once all five houses are completed, the people CHEER.

THE CODEXIAN
“And grow they did. It was as if some creative spirit had been unleashed.”

The small people in the illustration then go to the area behind the houses and start constructing again. Rows of houses emerge from the dust. Once a house is finished, each group builds another behind it. Soon the houses recede into the distance. The construction dust finishes and the houses sit. The sun sets and the people go into their homes. The stars come out and then dawn breaks. Small people exit their houses and do daily chores. The sun rises and sets. Everyone goes back to bed. The day/night cycle speeds up to a blur until sixty days have passed. Time returns to its regular speed on the sixtieth day.

The illustration shifts zooming in on a house in the background. A lady leaves at sunrise and walks two houses down to a bakery. She enters the shop and starts baking. Smoke starts to emerge from the bakery’s chimney. As the sun rises to mid-morning, the sign in the window changes from closed to open. The illustration changes to looking in through the window of the bakery. The bakes stands at the counter.

THE CODEXIAN
“And while everyone else was moving forward, one person was stuck looking back. Little did anyone realize she would change the direction of everyone’s life.”

The illustration changes to the baker at the counter. She has a sad far away look in her eyes.

ZOOM IN ON THE BAKER’S FORLORN EXPRESSION

FADE OUT