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Introduction by Kate Quinn
When I began writing The Astral Library, I wasn’t thinking about magic.
I was thinking about exhaustion.
I was thinking about what it feels like to be competent but overwhelmed. Responsible but unseen. Surrounded by people and still profoundly alone. I was thinking about the quiet kind of fatigue that doesn’t announce itself dramatically but instead accumulates in small, daily compromises.
Libraries have always felt sacred to me. Not because they are quiet, but because they are democratic. You do not have to earn entry. You do not have to prove yourself. You simply walk in, and the shelves wait for you.
What if that wasn’t just metaphorical?
What if books didn’t just offer escape, but actual doorways? And what if stepping through those doors forced you to confront something deeper than fantasy — forced you to decide whether escape is relief… or avoidance?
Alix is not a heroine because she is fearless. She is a heroine because she is tempted. She wants safety. She wants rest. She wants to stop fighting the practical weight of her life. That desire is not weakness — it is human.
The Shadow Patron exists because fear of chaos is also human. The instinct to control access, to “optimize” imagination, to decide who deserves sanctuary and who does not — that is not fantasy. That is something we see around us every day.
The Astral Library is not really about magic.
It is about access.
Access to stories.
Access to breath.
Access to becoming someone new long enough to remember who you already are.
And ultimately, it is about the moment when escape stops being enough — and belonging becomes the braver choice.
(Disclaimer:This article is a creative exploration and imagined adaptation of The Astral Library. The screenplay scenes, dialogue, and author commentary presented here are fictional interpretations created for discussion and entertainment purposes. They are not official material and are not affiliated with or endorsed by the original author or publisher.)
1. EXT. BOSTON STREET CORNER, DOWNTOWN, MORNING
Gray winter light. Wind that cuts. Commuters swarm crosswalks like a school of fish with phones.
ALIX WATSON, mid-20s, moves fast but not frantic. There is a practiced efficiency to her. A backpack. A tote bag. A paper coffee cup she is nursing like it costs ten dollars.
She checks her phone.
A calendar that is all shift blocks and reminders.
A notification pops up: PAST DUE.
Alix swipes it away so hard it is basically a slap.
She jogs across the street, dodging a cyclist, apologizing without making eye contact.
ALIX (to cyclist)
Sorry. Sorry. Sorry.
She reaches a small deli window that is still half-closed.
2. EXT. DELI WINDOW, CONTINUOUS
A CLERK pushes up the metal screen.
CLERK
You are early.
ALIX
I am never early. I am aggressively on time.
CLERK
That is early.
Alix slides behind the counter like she has done it a thousand times, because she has.
She grabs an apron. Ties it. Fingers moving while her eyes scan the morning rush.
CLERK (CONT'D)
You good?
Alix considers lying. Settles for a version of honesty that sounds like a joke.
ALIX
I am a human iPhone on low power mode.
The clerk laughs. That counts as an interaction.
Alix starts making coffee, fast.
A CUSTOMER points at the pastries.
CUSTOMER
Which one is less sweet?
ALIX
The napkin.
The customer laughs too, then points again.
CUSTOMER
No, seriously.
ALIX
The blueberry. It tastes like someone described sugar to it from another room.
She bags it. Hands it over. Keeps moving.
On the wall behind her, a small TV plays muted news. Closed captions scroll.
“CITY COUNCIL DEBATES BUDGET CUTS…”
Alix does not look. She does not have time for dread that is not personal.
She checks her phone again, quick.
Another notification: UNKNOWN CALLER.
She lets it ring.
It stops.
She exhales like she has been holding her breath.
A beat.
Her phone buzzes. A text:
LANDLORD: We need to talk today.
Alix stares at it, then slides the phone into her pocket like it burned her.
3. EXT. STREET OUTSIDE DELI, LATER
Alix exits the deli. No longer wearing the apron. Same speed.
She walks and eats a granola bar like she is doing something illegal.
She passes a bus stop with an ad for something she will never afford.
She passes a couple arguing softly, like they are trying not to be seen.
Alix’s phone buzzes again.
UNKNOWN CALLER
She answers this time, because sometimes ignoring is more expensive.
ALIX
Hello?
A beat. Static.
A male voice, polite in a way that feels official.
MAN (V.O.)
Is this Alexandria Watson?
ALIX
This is Alix.
MAN (V.O.)
Ms. Watson, I am calling from Collection Services regarding your account.
Alix closes her eyes.
ALIX
Okay.
MAN (V.O.)
We have attempted to contact you regarding a payment arrangement.
ALIX
Yeah, I know. I have also attempted to contact my bank account regarding a payment arrangement.
Silence. The man does not laugh.
MAN (V.O.)
Are you able to make a payment today?
ALIX
Today is a weird day to ask me what I am able to do.
MAN (V.O.)
Ma’am.
ALIX
I am not trying to be difficult.
MAN (V.O.)
We have that noted.
ALIX
Of course you do.
She keeps walking. The Boston Public Library comes into view, grand and steady.
Alix’s pace slows. Just slightly.
MAN (V.O.)
Ms. Watson?
ALIX
I will call you back.
MAN (V.O.)
We need to set a date.
ALIX
I said I will call you back.
She ends the call. Shoves the phone into her pocket.
She stands for a moment across from the library like she is looking at a lighthouse.
Then she crosses.
4. EXT. BOSTON PUBLIC LIBRARY, MORNING
The facade is calm. Permanent. Like it has seen every version of a person falling apart and still kept the doors open.
Alix approaches the steps.
A TOURIST FAMILY takes photos. A kid is bored and kicking snow.
Alix walks past them, and the kid looks at her with the blunt curiosity of a kid.
KID
Are you going in there to read?
Alix pauses. She almost smiles.
ALIX
Yeah.
KID
Why?
Alix thinks about a lot of answers. Chooses the simplest.
ALIX
Because it is warm.
The kid accepts that. Shrugs.
Alix pushes open the heavy doors.
5. INT. BOSTON PUBLIC LIBRARY, MAIN HALL, CONTINUOUS
The temperature shifts. The sound shifts.
It is not silence. It is the particular hush of people trying not to take up too much space.
Alix breathes in.
Her shoulders drop half an inch.
She walks through the hall like someone returning to a place that knows her.
A SECURITY GUARD nods to her.
GUARD
Morning, Alix.
ALIX
Morning.
GUARD
You good?
ALIX
I am in a building full of free heat and free knowledge. I am thriving.
The guard smiles. Lets her pass.
Alix heads deeper. Past reading rooms. Past study tables. Past people doing the work of becoming themselves.
She glances at a bulletin board.
A flyer: “COMMUNITY MEETING: LIBRARY FUNDING DISCUSSION.”
She looks away fast, like it might bite.
6. INT. STAFF AREA, MOMENTS LATER
Alix slips into a staff corridor. Small. Functional.
She grabs her part-time work badge from a hook. Clips it on.
A coworker, LILA, late 30s, kind eyes, is stacking returned books on a cart.
LILA
You look like you wrestled a raccoon.
ALIX
It was three raccoons. They had a plan.
LILA
You sleep?
ALIX
I lay down.
LILA
That is not sleep.
Alix shrugs.
ALIX
In my defense, I did close my eyes.
Lila studies her, then decides not to pry.
LILA
Stack these, then the front desk needs help.
ALIX
Copy.
Alix starts shelving books. Her hands know the motions. This is the one place her body feels competent without being punished for it.
She slides a book into place, then another.
She pauses on a title. Runs a finger over the spine like it is a small comfort.
Lila watches, quietly.
LILA
You ever think about taking a full-time exam?
Alix laughs, too quick.
ALIX
For what? So I can be broke in a different outfit?
LILA
So you can have health insurance.
Alix’s smile fades for half a second.
ALIX
I am collecting jobs like they are infinity stones. I am close to becoming a god.
LILA
That is not how that works.
ALIX
I know.
Beat. Lila lowers her voice.
LILA
You heard about the budget thing?
Alix keeps shelving, faster.
ALIX
Nope.
LILA
The board is meeting again. People are nervous.
ALIX
People are always nervous. It is Boston.
Lila hears the dodge, lets it go. For now.
LILA
Okay. Just… if you see a flyer, do not ignore it.
Alix gives a small nod that could mean anything.
She takes the last book on the cart.
A beat as she reads the title, then slides it onto the shelf.
Her phone buzzes in her pocket.
She does not check it.
She keeps working.
7. INT. LIBRARY FRONT DESK, LATER
Alix helps at the desk. She is good at it in a way that suggests she has had to be good at everything.
A PATRON approaches, nervous, holding a form.
PATRON
Hi. I… I need help printing something. It is for court.
Alix’s face softens.
ALIX
Okay. We can do that. You are in the right place.
She guides them through it, patient, calm, like she has all the time in the world.
A TEENAGER waits behind, irritated.
TEENAGER
Can you hurry?
Alix looks at them, not angry, just honest.
ALIX
No.
The teenager blinks, surprised. Then, oddly, relaxes. Like someone finally told them the truth.
Alix finishes helping the patron.
The printer spits out pages.
PATRON
Thank you. You have no idea.
ALIX
I have a medium idea.
The patron smiles, grateful, and leaves.
The teenager steps up, sheepish.
TEENAGER
Sorry. I just… I’m late.
ALIX
Where are you going?
TEENAGER
Nowhere. I just like being late.
Alix smiles, genuine.
ALIX
Classic.
The teenager slides a book across the counter. A battered paperback.
TEENAGER
This one good?
Alix reads the title. Something old. Something public domain.
ALIX
It is good if you want to feel like someone understood you from across time.
TEENAGER
That is… kind of creepy.
ALIX
Yeah. Books are creepy like that.
The teenager takes it.
TEENAGER
Thanks.
ALIX
Anytime.
The teenager walks away.
Alix watches them go.
Her phone buzzes again.
She checks it now.
A text from her landlord:
If you can’t pay by Friday, we need you out.
Alix stares at the screen until the words stop meaning anything.
Then she slides the phone face down.
Lila notices.
LILA
Alix.
ALIX
I am fine.
LILA
That was your face that says you are not.
Alix forces a laugh.
ALIX
No, it is my face that says I am tired of capitalism.
Lila reaches across the desk, squeezes Alix’s hand once.
No pity. Just contact.
LILA
Go take five. I got you.
Alix hesitates.
Then nods.
ALIX
Five. Not six.
LILA
Five.
Alix leaves the desk.
8. INT. LIBRARY STACKS, MOMENTS LATER
Alix walks between shelves. The deeper stacks where fewer people go.
The light is dimmer. The air smells like paper and dust and something almost sweet.
She rounds a corner.
She stops.
A door.
Not a normal door in the stacks. No reason for it to be here. No signage. No utility label.
Just a plain door, painted a muted green.
Alix stares at it.
Her breathing changes.
She takes a step closer. Puts a hand on the knob.
It is cold.
She looks around. No one.
She tries the knob.
It turns.
The door opens onto darkness, but not the kind of darkness that belongs to a closet.
This darkness feels like distance.
Alix swallows.
From somewhere behind her, distant footsteps echo. Someone coming.
Alix makes a choice that is more instinct than thought.
She slips inside.
The door closes behind her.
CUT TO BLACK.
END OF SEQUENCE.
9. INT. THE ASTRAL LIBRARY – CONTINUOUS
Darkness.
Then—
Light, but not harsh. Golden. Late-afternoon light that feels permanent.
Alix stands exactly where she stepped… except she is not in the Boston stacks anymore.
The space is vast. Impossible.
Shelves curve upward and outward like the inside of a planet. Balconies layered in arcs. Ladders sliding silently along rails that stretch into distance.
People sit at long tables. Some read. Some write. Some simply rest.
No one reacts to her arrival.
Alix turns slowly.
ALIX
Okay.
Her voice echoes just slightly, as if the room is deciding whether to keep it.
She spins, looking for the door she entered through.
There is no door.
Instead: endless shelves.
ALIX (CONT'D)
That’s… inconvenient.
A book cart rolls past her.
She didn’t see who pushed it.
She steps backward, bumping lightly into someone.
ALIX
Sorry—
She turns.
An ELDERLY MAN stands there, reading a leather-bound book. He looks at her kindly.
ELDERLY MAN
First time?
ALIX
Is it that obvious?
ELDERLY MAN
You’re still trying to find the exit.
ALIX
I like exits.
The man nods, approving.
ELDERLY MAN
Most of us do.
He gestures around.
ELDERLY MAN (CONT'D)
You’re safe here.
Alix absorbs that word.
Safe.
She almost laughs.
ALIX
Where is here?
The man glances over her shoulder.
ELDERLY MAN
Ask them.
Alix turns.
At the far end of the curved floor stands a figure.
Still.
Watching.
10. INT. ASTRAL LIBRARY – CENTRAL FLOOR
The figure walks toward her.
THE LIBRARIAN.
Ageless. Elegant but unadorned. Dressed simply, like someone who does not need to impress anyone.
Their gaze is direct, not invasive.
THE LIBRARIAN
You opened the door.
ALIX
Yes. That seems to be how doors work.
The Librarian considers her.
THE LIBRARIAN
Most people do not see it.
ALIX
That feels insulting.
THE LIBRARIAN
It is not meant to be.
Beat.
ALIX
Where am I?
THE LIBRARIAN
You are where stories go when they are not being read.
Alix looks around.
ALIX
So… purgatory for books?
THE LIBRARIAN
No.
A faint hint of humor.
THE LIBRARIAN (CONT'D)
Sanctuary for readers.
Alix takes that in.
She watches a YOUNG WOMAN asleep at a table, cheek resting on an open book.
ALIX
This is not a dream.
THE LIBRARIAN
No.
ALIX
I did not hit my head?
THE LIBRARIAN
Not today.
Alix folds her arms.
ALIX
Okay. So I found a hidden door in the Boston Public Library, and now I’m in… this. And you’re telling me this is normal.
THE LIBRARIAN
Normal is a relative term.
ALIX
You’re very calm about this.
THE LIBRARIAN
You are very loud about it.
A beat.
Alix lowers her voice.
ALIX
What is this place?
The Librarian gestures around.
THE LIBRARIAN
This is the Astral Library. It exists alongside every library. It is built from every story that has passed beyond ownership.
ALIX
Beyond ownership.
THE LIBRARIAN
Public domain.
Alix stares.
ALIX
You’re telling me Jane Austen has a physical address?
THE LIBRARIAN
Many of them do.
Alix looks again at the shelves.
The spines are familiar. Dickens. Doyle. Alcott. Twain.
Her breath catches.
ALIX
You’re serious.
THE LIBRARIAN
I do not joke about access.
Beat.
ALIX
Access to what?
The Librarian steps closer.
THE LIBRARIAN
To other lives.
Silence between them.
ALIX
Can I… go into them?
The Librarian studies her carefully.
THE LIBRARIAN
Why would you want to?
ALIX
Because my life is not currently trending upward.
A faint flicker of understanding crosses the Librarian’s face.
THE LIBRARIAN
This place is not for escape.
ALIX
Then what is it for?
THE LIBRARIAN
Perspective.
Alix exhales.
ALIX
That sounds like the least helpful answer possible.
The Librarian turns and begins walking.
THE LIBRARIAN
Walk with me.
Alix hesitates, then follows.
11. INT. ASTRAL LIBRARY – WALKING AMONG SHELVES
As they walk, Alix notices details.
People step between shelves and vanish.
Others reappear, slightly disoriented but calm.
ALIX
They’re going into books.
THE LIBRARIAN
Yes.
ALIX
And they’re coming back.
THE LIBRARIAN
Yes.
ALIX
Do they ever not come back?
The Librarian stops.
THE LIBRARIAN
Sometimes they wish to stay.
ALIX
Can they?
THE LIBRARIAN
No.
Beat.
ALIX
Why not?
THE LIBRARIAN
Because stories are not meant to replace living.
Alix’s jaw tightens.
ALIX
That feels debatable.
The Librarian looks at her, sharp.
THE LIBRARIAN
It is not.
They resume walking.
THE LIBRARIAN (CONT'D)
There are rules.
ALIX
Of course there are.
THE LIBRARIAN
You may enter any public domain work.
ALIX
So… not modern romance.
THE LIBRARIAN
No.
ALIX
Figures.
THE LIBRARIAN
You may not alter the plot.
ALIX
What if the plot is bad?
THE LIBRARIAN
It is not yours to improve.
Alix makes a face.
THE LIBRARIAN (CONT'D)
You may not become the hero.
ALIX
That seems unfair.
THE LIBRARIAN
It is necessary.
ALIX
Why?
The Librarian meets her eyes.
THE LIBRARIAN
Because you are already the hero of something else.
Alix looks away.
ALIX
Not currently.
THE LIBRARIAN
You have not finished yet.
Silence.
They stop in front of a particular shelf.
The Librarian pulls a book.
Leather-bound. Subtle gold lettering.
ALIX
Which one is that?
THE LIBRARIAN
One you have read.
Alix recognizes it.
Her breath softens.
ALIX
I love this one.
THE LIBRARIAN
I know.
ALIX
How do you know?
THE LIBRARIAN
You checked it out four times.
Alix smiles despite herself.
ALIX
That is humiliating.
THE LIBRARIAN
It is consistent.
The Librarian hands her the book.
It is warm.
ALIX
If I open it…
THE LIBRARIAN
You will enter.
ALIX
And if I hate it?
THE LIBRARIAN
Close it.
Beat.
ALIX
That’s it?
THE LIBRARIAN
That is enough.
Alix looks at the book.
Her phone buzzes in her pocket.
The sound feels wrong here. Intrusive.
She doesn’t check it.
She looks up at the Librarian.
ALIX
I can just… step out of my life for a while?
THE LIBRARIAN
You can step into another.
ALIX
That is not the same thing.
The Librarian tilts their head.
THE LIBRARIAN
You are correct.
A long beat.
Alix opens the book.
The pages flip fast on their own.
Wind.
The golden light fractures—
—and the floor drops away.
CUT TO:
12. EXT. REGENCY GARDEN – DAY
Bright sunlight.
Birdsong.
Alix crashes directly into a rose bush.
ALIX
Ow— okay, that’s rude.
She scrambles up.
She is no longer wearing jeans and boots.
She is in Regency attire. A dress that fits perfectly.
She stares at her sleeves.
ALIX (CONT'D)
No.
A GENTLEWOMAN nearby gasps.
GENTLEWOMAN
Miss! Are you unwell?
Alix looks up.
Perfectly manicured garden. Ladies walking. Gentlemen bowing.
A manor house in the distance.
Alix blinks.
ALIX
I… may have misjudged something.
She looks down at her hands.
They are gloved.
She laughs once, disbelieving.
ALIX (CONT'D)
Oh my god.
A GENTLEMAN approaches, formal.
GENTLEMAN
Miss, your family awaits you on the terrace.
ALIX
Of course they do.
She stands awkwardly.
ALIX (CONT'D)
Where is the exit?
The gentleman stares.
GENTLEMAN
I beg your pardon?
Alix forces a smile.
ALIX
Never mind.
She looks around.
This is real.
The sun is warm.
The air smells like roses and something baked.
For the first time in the film—
Alix’s shoulders are not tight.
She takes one tentative step forward.
Then another.
And she smiles.
CUT TO BLACK.
END OF SEQUENCE.
13. EXT. REGENCY TERRACE – DAY
White stone terrace overlooking a manicured lawn.
A small gathering: LADIES in pastel gowns, GENTLEMEN in tailored coats, tea service laid out with military precision.
Alix stands at the edge, trying to decode the rules in real time.
ALIX (under her breath)
Okay. Smile. Nod. Do not mention Wi-Fi.
A MIDDLE-AGED WOMAN sweeps toward her.
MIDDLE-AGED WOMAN
There you are! We feared you had lost your way among the roses.
Alix blinks.
ALIX
I did, briefly. The roses were very persuasive.
The woman laughs politely but not warmly.
MIDDLE-AGED WOMAN
Come. You must not keep Mr. Harrington waiting.
ALIX
Naturally.
Alix is steered toward a serious-looking YOUNG MAN.
MR. HARRINGTON bows.
MR. HARRINGTON
Miss, your absence deprived us of your wit.
ALIX
I apologize. I miscalculated the… shrubbery.
A LADY nearby gasps softly.
MR. HARRINGTON
Shrubbery?
ALIX
I mean— the arrangement of the paths.
She smiles too wide.
Mr. Harrington studies her like she is a puzzle piece that does not belong.
MR. HARRINGTON
You seem… altered.
ALIX
New skincare routine.
Silence.
The nearby ladies stare.
Alix realizes something.
ALIX (to herself)
I am not the heroine.
She scans the terrace.
There— across the lawn— a YOUNG WOMAN, luminous, perfectly composed.
The heroine.
Alix’s eyes widen slightly.
ALIX (CONT'D)
Oh. I am side character.
Mr. Harrington clears his throat.
MR. HARRINGTON
Miss?
ALIX
Yes. Yes. I am entirely secondary.
He stares.
ALIX (quickly)
I mean, I am delighted to be here.
A SERVANT drops a spoon.
Everyone looks.
A social ripple.
Alix instinctively moves to help.
She bends to retrieve the spoon.
Gasps again.
The Middle-Aged Woman whispers sharply.
MIDDLE-AGED WOMAN
Miss Watson!
Alix freezes mid-crouch.
MIDDLE-AGED WOMAN (CONT'D)
One does not attend to servants.
Alix slowly stands.
ALIX
Why not?
The group stiffens.
MR. HARRINGTON
Because that is not your place.
Alix looks at the servant.
The servant avoids eye contact.
A flicker of recognition passes between them.
Alix straightens.
ALIX
Right. Of course.
She steps back into position.
Her jaw tightens.
The heroine glides over.
HEROINE
Miss Watson, you seem unwell.
ALIX
I am excellent.
HEROINE
You are not.
Alix studies her.
The heroine’s voice is kind. Curious.
Not cruel.
ALIX
Do you ever feel like the rules are… arbitrary?
The heroine blinks.
HEROINE
The rules are what keep us safe.
Alix almost laughs.
ALIX
From what?
The heroine considers that as if she has never asked.
HEROINE
From embarrassment.
Alix looks around at the silent tension, the forced smiles.
ALIX
I think I prefer embarrassment.
The heroine smiles faintly, like she almost agrees but cannot afford to.
A distant bell rings.
The group moves toward the manor.
Alix lingers.
She looks at the servant again.
Then she follows.
14. INT. REGENCY MANOR – DINING ROOM – LATER
Long table. Too many forks.
Alix sits rigidly, trying to mimic everyone else’s posture.
She watches the heroine.
Copies her movements.
She does well for about ten seconds.
Then—
A LADY across from her speaks.
LADY
Miss Watson, have you considered Mr. Harrington’s proposal?
Alix chokes on air.
ALIX
Proposal?
The table goes quiet.
MR. HARRINGTON
It was merely a suggestion.
Alix glances between them.
ALIX
Of what?
MIDDLE-AGED WOMAN
Marriage.
Alix stares.
ALIX
We just met.
MR. HARRINGTON
Our families are acquainted.
ALIX
Are they.
MR. HARRINGTON
Extensively.
Alix’s face goes blank.
ALIX
That feels invasive.
A collective intake of breath.
The heroine’s eyes widen.
ALIX (quickly)
I mean… flattering.
The Lady leans in.
LADY
It would secure your future.
That word lands.
Secure.
Alix’s mind flashes:
Eviction notice. Collection calls. Rent due.
Secure.
MR. HARRINGTON
You would never want for anything.
Alix looks around the table.
The order. The predictability. The protection.
She imagines staying.
No bills. No stress. No scrambling.
Just rules.
MR. HARRINGTON (CONT'D)
You would be safe.
Silence.
Alix’s breathing shifts.
Then—
She sees the servant again, standing against the wall.
Invisible.
Alix straightens.
ALIX
And what would I do?
MR. HARRINGTON
You would preside over the household.
ALIX
So. Sit.
MR. HARRINGTON
Guide.
ALIX
Within boundaries.
MR. HARRINGTON
Naturally.
Alix leans back.
ALIX
I think I would go feral.
Gasps.
The heroine hides a smile.
MR. HARRINGTON
Miss Watson, you are not yourself today.
Alix thinks.
ALIX
I might be more myself than I have ever been.
The air shifts.
Something feels wrong.
The edges of the room flicker, almost imperceptibly.
A subtle ripple, like a page being turned too hard.
Alix notices.
No one else does.
She whispers.
ALIX (to herself)
I am pushing the plot.
She stands abruptly.
ALIX (CONT'D)
I apologize. I require air.
She exits before anyone can stop her.
15. EXT. GARDEN – CONTINUOUS
Alix moves fast, heart pounding.
The sky flickers slightly.
Birdsong glitches.
She stops.
ALIX
Okay. Okay. I get it.
The world wavers.
She looks at her hands.
The gloves shimmer faintly.
ALIX (CONT'D)
I am not the hero. I cannot fix it.
The manor windows ripple like reflections in water.
ALIX (CONT'D)
And I cannot stay.
A beat.
She pulls the book from nowhere — it appears in her hands.
She looks back once at the garden.
The heroine stands in the distance, watching.
Their eyes meet.
The heroine gives the smallest nod.
As if to say:
Go.
Alix closes the book.
16. INT. ASTRAL LIBRARY – CONTINUOUS
The golden light returns.
Alix stumbles forward.
She inhales sharply.
The Librarian stands nearby, exactly where she left them.
THE LIBRARIAN
You returned quickly.
ALIX
They tried to marry me.
THE LIBRARIAN
That happens often.
ALIX
You could have warned me.
THE LIBRARIAN
You would not have listened.
Alix paces.
ALIX
I thought it would feel like escape.
THE LIBRARIAN
And?
ALIX
It felt like… suffocation with better wallpaper.
The Librarian nods once.
THE LIBRARIAN
Stories reveal what you bring into them.
ALIX
That’s not fair.
THE LIBRARIAN
It is not meant to be.
Alix looks around.
Readers pass between shelves, calm.
ALIX
Do people come here because they are miserable?
THE LIBRARIAN
People come here because they are curious.
ALIX
I came because I am drowning.
THE LIBRARIAN
That is another form of curiosity.
Alix laughs softly.
ALIX
You’re very annoying.
THE LIBRARIAN
I have been told.
Alix walks toward a railing overlooking the vast floor.
She watches a man close a book and smile like he just solved something inside himself.
ALIX
It was… quiet there.
THE LIBRARIAN
Yes.
ALIX
Predictable.
THE LIBRARIAN
Yes.
ALIX
I almost said yes.
The Librarian studies her.
THE LIBRARIAN
Why did you not?
Alix considers.
ALIX
Because it wasn’t mine.
Silence.
The Librarian’s gaze softens slightly.
THE LIBRARIAN
Good.
Alix looks at another shelf.
Her eyes land on a familiar spine.
Sherlock Holmes.
Her expression shifts.
Curious.
ALIX
What if I pick something messier?
THE LIBRARIAN
Then you will receive something messier.
ALIX
And I still can’t change anything?
THE LIBRARIAN
You may observe.
ALIX
That’s it?
THE LIBRARIAN
Observation is not passive.
Alix pulls the Holmes volume from the shelf.
She feels different now.
Less desperate.
More deliberate.
ALIX
Okay.
She looks at the Librarian.
ALIX (CONT'D)
If I don’t come back?
THE LIBRARIAN
You will.
ALIX
How do you know?
THE LIBRARIAN
Because you are not finished.
A beat.
Alix opens the book.
Wind again.
The golden light fractures—
CUT TO:
17. EXT. FOGGY LONDON STREET – NIGHT
Gas lamps flicker.
Cobblestones slick with rain.
A distant shout.
Alix stands in the middle of the street.
ALIX
Oh, good. Murder vibes.
A figure rushes past her.
Another shouts:
VOICE (O.S.)
Inspector!
Footsteps echo.
Alix’s eyes light up.
ALIX
Okay. Fine. This I can work with.
She steps into the fog.
CUT TO BLACK.
END OF SEQUENCE.
Enter your text here...
18. EXT. FOGGY LONDON STREET – NIGHT
Thick fog curls around gas lamps. A HORSE-DRAWN CARRIAGE clatters past.
Alix stands slightly off-balance in Victorian boots she does not know how to walk in.
She steadies herself against a brick wall.
ALIX
Okay. Focus. No marriage proposals. Just… light homicide.
A SCREAM echoes down the alley.
Alix startles, then turns toward it.
19. INT. LONDON ALLEY – CONTINUOUS
A small crowd gathers around a body covered with a coat.
Two CONSTABLES hold back onlookers.
Alix hangs at the edge.
A tall, thin man in a dark coat crouches beside the body.
Sherlock Holmes.
He does not look up.
HOLMES
Footprints, gentlemen, are conversational. They tell you where they have been.
Alix’s eyes widen.
ALIX
Oh my god.
She edges closer.
A CONSTABLE blocks her.
CONSTABLE
Stand back, miss.
ALIX
I’m not interfering. I’m spectating.
CONSTABLE
You are interfering with my patience.
Alix steps back.
Holmes glances up briefly, just enough to clock her presence.
HOLMES
You are not from this neighborhood.
ALIX
I’m visiting.
HOLMES
From?
ALIX
…America.
Holmes nods once.
HOLMES
You are observing incorrectly.
ALIX
Excuse me?
Holmes gestures to the ground.
HOLMES
You are looking at the body. The story is elsewhere.
Alix frowns, then looks down.
Mud.
Footprints.
A smudge on a brick wall.
ALIX
He ran.
HOLMES
He did not run.
ALIX
He was pulled.
Holmes studies her properly now.
HOLMES
Continue.
Alix swallows.
ALIX
The stride is uneven. Not panic. Resistance.
Holmes stands slowly.
HOLMES
You notice patterns.
ALIX
It’s a hobby.
HOLMES
It is not.
Beat.
HOLMES (CONT'D)
It is a skill.
Alix feels something unlock inside her.
Not praise. Recognition.
Holmes turns away, already solving the next detail.
HOLMES
Observe, Miss America. That is your purpose here.
Purpose.
The word lands harder than “safe” ever did.
Alix looks at the alley differently now.
She does not try to interfere.
She watches.
The scene continues around her, plot unfolding as written.
She smiles, small and satisfied.
20. INT. VICTORIAN DRAWING ROOM – LATER
Holmes explains his deduction to a group of wealthy men.
Alix stands by the wall, unimportant but present.
She notices small gestures:
A man’s nervous twitch.
A stain on a cuff.
A glance exchanged.
ALIX (to herself)
There.
Holmes pauses mid-sentence, glances toward her.
HOLMES
Yes. Precisely there.
The guilty man stiffens.
Alix blinks.
ALIX
Did he just—
Holmes resumes speaking, dismantling the suspect calmly.
Alix does not intervene.
She does not need to.
She is part of the world, but not steering it.
For the first time—
She feels steady.
21. INT. ASTRAL LIBRARY – SAME TIME
A subtle shift.
A shelf trembles.
A book slides half an inch outward on its own.
The Librarian notices.
Their gaze sharpens.
Across the floor, a MAN in his 40s stands too rigidly among the readers.
He watches the flicker.
He does not look surprised.
22. EXT. LONDON STREET – NIGHT
The case concludes.
The guilty man is taken away.
Holmes adjusts his gloves.
HOLMES
The tragedy was not the crime.
ALIX
What was it?
HOLMES
The predictability.
Alix studies him.
HOLMES (CONT'D)
Humans follow patterns. They rarely deviate.
ALIX
Some of us try.
HOLMES
Try harder.
He walks away into fog.
Alix stands alone for a moment.
The gas lamps flicker.
For a split second—
The light glitches.
The fog trembles unnaturally.
ALIX
That’s new.
A book materializes in her hands again.
The pages tremble.
ALIX (CONT'D)
Okay. That’s my cue.
She closes it.
23. INT. ASTRAL LIBRARY – CONTINUOUS
She reappears.
This time she does not stumble.
She is grounded.
ALIX
I was good at that.
THE LIBRARIAN
Yes.
ALIX
I didn’t fix anything.
THE LIBRARIAN
No.
ALIX
But I mattered.
The Librarian studies her.
THE LIBRARIAN
You always do.
Alix shakes her head.
ALIX
That’s generous.
THE LIBRARIAN
It is factual.
She notices something.
ALIX
Did it flicker for you?
THE LIBRARIAN
Yes.
ALIX
That’s bad, right?
A beat.
THE LIBRARIAN
It is unusual.
Across the floor, the same rigid MAN turns and walks into a shadowed aisle.
Alix follows him with her eyes.
ALIX
Who is that?
THE LIBRARIAN
A reader.
ALIX
He doesn’t look like he’s reading.
THE LIBRARIAN
Not all readers seek stories.
ALIX
What do they seek?
The Librarian does not answer.
Instead—
THE LIBRARIAN
You are still holding something.
Alix looks down.
In her hand is not the Holmes book.
It is a small object.
A brass key.
ALIX
That wasn’t there before.
The Librarian’s expression changes, just slightly.
THE LIBRARIAN
No.
ALIX
Is that a problem?
THE LIBRARIAN
It may be a question.
Alix turns the key in her fingers.
ALIX
What does it unlock?
THE LIBRARIAN
We shall find out.
A distant rumble echoes through the Library.
A low vibration in the floor.
Readers glance up, unsettled.
ALIX
Okay. That’s definitely not metaphorical.
THE LIBRARIAN
No.
24. EXT. BOSTON STREET – EVENING
CUT TO REAL WORLD.
Alix exits the Boston Public Library at closing.
The sky is dark now.
She walks slower than before.
More aware.
Her phone buzzes again.
Landlord.
She answers.
ALIX
Hi.
LANDLORD (V.O.)
Friday, Alix.
ALIX
I know.
LANDLORD (V.O.)
I like you. But I can’t keep covering this.
ALIX
I know.
Silence.
LANDLORD (V.O.)
Are you going to be okay?
Alix looks at the library behind her.
ALIX
I don’t know.
LANDLORD (V.O.)
That’s not comforting.
ALIX
It’s honest.
She ends the call.
Across the street—
A small storefront catches her eye.
COSTUMES & ALTERATIONS.
In the window: a Regency gown.
And a Victorian coat.
Alix freezes.
ALIX
That’s…
The bell above the door jingles as someone exits.
BEAU SATO-JONES, late 20s, warm eyes, effortless charm.
He locks the door, then notices her staring at the display.
BEAU
It’s historically inaccurate, but it photographs well.
Alix blinks.
ALIX
Sorry?
BEAU
The gown. It’s more 1820 than 1810.
Alix stares at him.
ALIX
That’s… extremely specific.
BEAU
It’s a disease.
He smiles.
ALIX
You sell costumes.
BEAU
I sell alternate identities.
Beat.
BEAU (CONT'D)
You look like you could use one.
Alix studies him.
ALIX
Do you always open with that?
BEAU
Only when I’m right.
She almost laughs.
ALIX
I don’t need a costume.
BEAU
Everyone does.
He studies her.
BEAU (CONT'D)
You look like someone who is trying to outrun something.
ALIX
That’s invasive.
BEAU
That’s observational.
Alix stiffens slightly.
Observational.
She just came from Holmes’ world.
ALIX
You into detective fiction too?
BEAU
Only the dramatic ones.
Beat.
BEAU (CONT'D)
I’m Beau.
ALIX
Alix.
He nods toward the library.
BEAU
You work there?
ALIX
Sometimes.
BEAU
Lucky.
ALIX
It’s just a building.
BEAU
It’s not.
He looks at it like it matters.
Alix watches him.
A flicker of connection.
Her phone buzzes again.
Reality intruding.
She looks down.
When she looks back up—
Beau is still there.
Waiting, not pushing.
BEAU
Coffee tomorrow?
ALIX
I work three jobs.
BEAU
Impressive.
ALIX
Exhausting.
BEAU
Five minutes then.
She considers.
Then—
ALIX
Five.
BEAU
Five.
He smiles.
She walks away.
She does not run.
CUT TO:
25. INT. ASTRAL LIBRARY – NIGHT
The rigid MAN from earlier stands in the shadowed aisle.
He places his hand on a shelf.
Books tremble.
He pulls one out.
Unlike others, it does not glow.
It darkens.
SHADOW PATRON (whispering)
It should be curated.
A shelf cracks faintly.
Far across the Library—
The Librarian feels it.
Their eyes lift.
CUT TO BLACK.
END OF SEQUENCE.
26. INT. ASTRAL LIBRARY – MORNING (TIMELESS LIGHT)
The golden light looks thinner today.
Readers murmur more than usual.
A faint vibration hums beneath the floor, like a distant train that never arrives.
Alix stands at the railing, turning the brass key in her fingers.
ALIX
It’s definitely symbolic.
THE LIBRARIAN
It is not.
ALIX
That’s worse.
She scans the shelves.
Her eyes land on a thick, worn spine: Dickens.
ALIX
Let’s try messy.
The Librarian watches her carefully.
THE LIBRARIAN
Choose deliberately.
ALIX
I am.
She pulls the Dickens volume.
The key warms in her palm.
ALIX (CONT'D)
That’s new.
She opens the book.
Wind.
Pages ripple—
CUT TO:
27. EXT. INDUSTRIAL LONDON STREET – DAY (DICKENS WORLD)
Gray sky. Smoke stacks. Mud.
Children run past barefoot.
Alix lands hard in a puddle.
ALIX
Oh. Great. Poverty-core.
She stands, looking around.
Everything is harsher here. Louder. Hungrier.
A SMALL BOY, maybe eight, stares at her.
SMALL BOY
You lost, miss?
ALIX
Probably.
SMALL BOY
You ain’t from here.
ALIX
That’s becoming a theme.
The boy eyes her clothes.
SMALL BOY
You look like trouble.
ALIX
That’s generous.
He grins.
SMALL BOY
Come on then.
He starts walking.
ALIX
Where?
SMALL BOY
Somewhere warm-ish.
She follows.
28. INT. CROWDED TENEMENT ROOM – LATER
A cramped room. Four children. A WOMAN cooking thin soup.
The Small Boy gestures to Alix like she’s a stray he brought home.
SMALL BOY
Found her.
The woman eyes Alix.
WOMAN
You’re clean.
ALIX
Temporarily.
The children laugh.
Alix watches as the woman divides the soup carefully, evenly.
ALIX (softly)
That’s not enough.
WOMAN
It is what we have.
Alix swallows.
The Small Boy hands her a bowl.
SMALL BOY
You look hungry.
She takes it.
The room is tight. Loud. Alive.
She eats.
The soup is thin.
It is the best thing she has tasted all day.
29. EXT. STREET OUTSIDE TENEMENT – LATER
Alix stands outside, watching children play with nothing.
The Small Boy sits beside her.
SMALL BOY
You got people?
ALIX
Define “got.”
SMALL BOY
People who’d look for you if you went missing.
She thinks.
A long beat.
ALIX
Maybe one or two.
SMALL BOY
That’s good.
ALIX
Is it?
SMALL BOY
It’s more than none.
Alix looks at him.
ALIX
You don’t want to leave?
He shrugs.
SMALL BOY
Leave to where?
ALIX
Anywhere better.
He studies her.
SMALL BOY
If I leave, who stays?
That hits her.
Hard.
30. INT. ASTRAL LIBRARY – SAME TIME
The shelf trembles again.
The SHADOW PATRON walks calmly through the aisles.
He removes a book.
It darkens in his hand.
SHADOW PATRON
Too chaotic.
He places a small, subtle mark inside the cover.
The pages stiffen.
Across the floor, a READER tries to open a book—
It resists.
READER
It’s stuck.
The Librarian turns sharply.
31. EXT. DICKENS STREET – EVENING
Alix watches as the Small Boy shares a scrap of bread with a smaller child.
No hesitation.
No calculation.
ALIX
You don’t even think about it.
SMALL BOY
About what?
ALIX
Keeping more.
He laughs.
SMALL BOY
That’d make me lonely.
Lonely.
Alix exhales.
The air flickers.
The sky glitches faintly.
She stands.
ALIX
Okay. That’s new-new.
The Small Boy looks confused.
SMALL BOY
Miss?
The world trembles.
A building façade ripples like a page being bent.
ALIX
You don’t feel that?
SMALL BOY
Feel what?
The book appears in her hand again.
But this time—
The brass key glows.
ALIX
Oh no.
The ground cracks briefly, revealing golden light beneath the cobblestones.
The Small Boy stumbles.
Alix grabs him.
ALIX (CONT'D)
It’s not supposed to break.
SMALL BOY
What’s breaking?
She realizes—
This world is not destabilizing randomly.
It’s being pulled.
The key burns hotter.
ALIX
You’re not supposed to come apart.
She looks around desperately.
She cannot change the plot.
She cannot fix poverty.
But she can—
She crouches in front of the Small Boy.
ALIX (CONT'D)
Listen to me.
He stares at her.
ALIX (CONT'D)
You keep sharing. You keep staying. That’s enough.
He frowns.
SMALL BOY
You’re strange.
ALIX
Yes.
The cracks widen.
ALIX (CONT'D)
But you matter.
The world shudders violently now.
The golden light splits through buildings.
ALIX (CONT'D)
Okay. I have to go.
SMALL BOY
Where?
ALIX
Back.
She squeezes his shoulders once.
Then—
She turns the key.
A door appears in the air behind her.
Not a book.
A door.
ALIX (CONT'D)
That’s not the rules.
She hesitates.
Then steps through.
32. INT. ASTRAL LIBRARY – CONTINUOUS
She crashes onto the floor.
Harder this time.
Readers are shouting.
Shelves are tilting slightly.
A book falls and slams shut violently.
ALIX
That wasn’t normal!
THE LIBRARIAN
No.
The Librarian kneels beside her.
THE LIBRARIAN (CONT'D)
You used something.
Alix holds up the key.
ALIX
It unlocked a door.
THE LIBRARIAN
That key should not exist.
ALIX
I didn’t order it!
Across the floor—
The Shadow Patron steps into view.
Calm.
Composed.
SHADOW PATRON
It exists because the structure is flawed.
The Librarian stands.
THE LIBRARIAN
You have interfered.
SHADOW PATRON
I have corrected.
Readers look between them.
Alix rises slowly.
ALIX
You’re the rigid guy.
SHADOW PATRON
This place is too open.
ALIX
That’s the point.
SHADOW PATRON
No. That is the weakness.
He gestures.
A shelf locks into place.
Books stiffen.
SHADOW PATRON (CONT'D)
Access must be controlled. Curated. Restricted.
ALIX
So only certain people get to escape?
SHADOW PATRON
Only those who will use it properly.
ALIX
Properly according to who?
He looks at her.
SHADOW PATRON
According to those who understand its value.
ALIX
That’s vague and terrifying.
The Librarian’s voice is steady.
THE LIBRARIAN
Stories belong to everyone.
SHADOW PATRON
That is naïve.
He turns to Alix.
SHADOW PATRON (CONT'D)
You understand, don’t you? The chaos. The instability.
ALIX
You caused it.
SHADOW PATRON
I exposed it.
He steps closer.
SHADOW PATRON (CONT'D)
You nearly stayed in Austen’s world.
ALIX
So?
SHADOW PATRON
You crave structure. Safety. Security.
Alix’s jaw tightens.
SHADOW PATRON (CONT'D)
I can give you that.
The key pulses in her hand.
ALIX
You’re not offering safety.
SHADOW PATRON
I am offering order.
ALIX
Same thing?
He smiles faintly.
SHADOW PATRON
No.
The Library trembles again.
Readers panic.
A book bursts open and releases a gust of wind.
The Librarian steps forward.
THE LIBRARIAN
You will not fracture this place.
SHADOW PATRON
It is already fractured.
He turns and disappears into the shelves.
Silence falls slowly.
Alix looks at the Librarian.
ALIX
Okay. That’s bigger than me.
THE LIBRARIAN
Yes.
ALIX
But I have the key.
THE LIBRARIAN
Yes.
ALIX
And that’s worse.
The Librarian studies her carefully.
THE LIBRARIAN
You are not here by accident.
Alix exhales.
ALIX
I kind of wish I was.
CUT TO:
33. EXT. BOSTON STREET – NIGHT
Alix walks home slower than ever before.
The city feels smaller.
Her phone buzzes again.
She ignores it.
Instead—
She pulls the brass key from her pocket.
It is cold now.
Across the street—
Beau’s shop is still lit.
He sees her through the window.
Opens the door.
BEAU
You look like someone who fell through something.
Alix freezes.
ALIX
That’s… weirdly accurate.
He studies her.
BEAU
You okay?
A beat.
She almost lies.
Instead—
ALIX
No.
He nods once.
BEAU
Five minutes?
She looks at the key in her hand.
Then back at him.
ALIX
Five.
She steps inside.
CUT TO BLACK.
END OF SEQUENCE.
34. INT. BEAU’S COSTUME SHOP – NIGHT
The bell above the door jingles softly.
The shop is warm. Lamps instead of overhead lighting. Racks of clothing from every era — Regency gowns, Victorian coats, 1920s suits, theatrical capes, military jackets, things that suggest reinvention.
Alix stands just inside the door like she’s not sure she’s allowed to exhale yet.
Beau locks the door behind her.
BEAU
Okay. Five minutes. You want tea, coffee, existential crisis support?
ALIX
Dealer’s choice.
BEAU
Tea it is. Existential crisis pairs well with chamomile.
He moves behind a small counter with an electric kettle.
Alix wanders slowly between racks.
She touches a sleeve of a Victorian coat.
ALIX
You ever feel like you’re pretending all the time?
BEAU
That depends.
He pours hot water.
BEAU (CONT’D)
Are we talking cute pretending or survival pretending?
Alix huffs a laugh.
ALIX
Survival.
He hands her a mug.
BEAU
Then yes.
She wraps her hands around it.
ALIX
Does it ever stop?
BEAU
Not entirely.
He leans against a rack of coats.
BEAU (CONT’D)
But eventually you figure out which parts are costume… and which parts are you.
She studies him.
ALIX
And you’re good at that?
BEAU
I sell alternate identities for a living. It’d be embarrassing if I wasn’t.
Beat.
BEAU (CONT’D)
You don’t look like you’re hiding. You look like you’re splitting.
That lands.
ALIX
That’s dramatic.
BEAU
You walked past my shop yesterday like you were chasing something invisible.
ALIX
I don’t remember that.
BEAU
Exactly.
Silence stretches.
She considers telling him.
She doesn’t.
ALIX
If you could disappear into a different life for a while… would you?
Beau thinks.
BEAU
For a vacation? Sure.
ALIX
No. For relief.
He studies her carefully.
BEAU
Relief from what?
ALIX
Everything.
He nods slowly.
BEAU
I think relief is good. Escape is dangerous.
ALIX
That’s suspiciously wise.
BEAU
I read.
She almost smiles.
He glances at her hand.
BEAU (CONT’D)
What’s that?
She realizes she’s still holding the brass key.
ALIX
Nothing.
He raises an eyebrow.
ALIX (CONT’D)
It’s… from work.
BEAU
Your library job gives out mysterious antique keys?
ALIX
Benefits package.
He laughs.
BEAU
Keep it. Looks important.
Beat.
BEAU (CONT’D)
You don’t have to explain everything tonight.
She looks relieved.
ALIX
Good.
He checks his watch.
BEAU
Five minutes.
ALIX
That was fast.
BEAU
You walked in mid-crisis. That accelerates time.
She sets the mug down.
ALIX
Thanks.
BEAU
Same time tomorrow?
She hesitates.
ALIX
Maybe.
He nods like that’s enough.
She heads for the door.
BEAU (CONT’D)
Alix?
She turns.
BEAU (CONT’D)
Whatever you’re carrying… don’t carry it alone.
She nods.
Then leaves.
35. INT. ASTRAL LIBRARY – SAME NIGHT
The golden light is thinner now.
Sections of shelves have subtly shifted — like barricades.
Readers murmur nervously.
A YOUNG WOMAN tries to close a book.
It won’t shut.
YOUNG WOMAN
It won’t— it won’t close.
The pages snap back open violently.
The Librarian rushes forward.
THE LIBRARIAN
Step away.
The book jerks, pulling at the woman’s sleeve.
Alix appears mid-floor — she stepped through without noticing.
ALIX
Okay, that’s not great.
The Librarian steadies the book, forcing it shut with deliberate pressure.
It finally seals.
The woman stumbles back, shaken.
YOUNG WOMAN
I couldn’t leave.
ALIX
You’re supposed to be able to leave.
THE LIBRARIAN
Yes.
Across the Library, more shelves stiffen into place.
The Shadow Patron stands elevated on a balcony.
SHADOW PATRON
The instability is obvious.
Readers look up.
SHADOW PATRON (CONT’D)
Too many undisciplined entries. Too much emotional interference.
ALIX
You mean feelings?
SHADOW PATRON
I mean chaos.
He descends slowly.
SHADOW PATRON (CONT’D)
This place was never meant to be democratic.
THE LIBRARIAN
It has always been open.
SHADOW PATRON
And now it fractures.
He gestures.
A row of shelves locks together with a metallic sound.
Readers gasp.
SHADOW PATRON (CONT’D)
Certain works must be restricted.
ALIX
Who decides?
SHADOW PATRON
Those who understand consequence.
ALIX
You mean you.
He meets her gaze.
SHADOW PATRON
You’ve seen what happens when the unstable enter.
Alix stiffens.
SHADOW PATRON (CONT’D)
You nearly abandoned your world.
ALIX
I came back.
SHADOW PATRON
Not because you are disciplined. Because you are conflicted.
That hits harder than she expects.
ALIX
You don’t know me.
SHADOW PATRON
I know desperation.
Silence spreads.
The key pulses in her hand.
He notices.
SHADOW PATRON (CONT’D)
Ah.
He steps closer.
SHADOW PATRON (CONT’D)
You have it.
ALIX
Have what?
SHADOW PATRON
The breach.
The Librarian’s voice is low.
THE LIBRARIAN
It was not meant for him.
ALIX
Him?
SHADOW PATRON
It is a failsafe. A mechanism for restructuring.
ALIX
Restructuring what?
SHADOW PATRON
Access.
The Library trembles again.
Books fall from upper balconies.
Readers scatter.
ALIX
You’re breaking it!
SHADOW PATRON
I am saving it.
He moves toward her.
SHADOW PATRON (CONT’D)
With the key, I can seal unstable entries. Prevent misuse.
ALIX
You mean prevent people like me.
He does not answer.
Which is answer enough.
The Librarian steps between them.
THE LIBRARIAN
You will not take it.
SHADOW PATRON
You have grown sentimental.
THE LIBRARIAN
You have grown afraid.
A charged silence.
SHADOW PATRON
Order requires sacrifice.
ALIX
Whose?
He looks at her.
SHADOW PATRON
Yours. If necessary.
The floor shudders violently.
A BOOKCASE COLLAPSES.
A READER SCREAMS.
Alix instinctively runs toward them.
She grabs the fallen book.
The key flares.
A door appears briefly in the air beside her.
She gasps.
ALIX
It’s responding to danger.
THE LIBRARIAN
It responds to choice.
The Shadow Patron’s expression tightens.
SHADOW PATRON
You are not capable of managing it.
ALIX
Watch me.
She turns the key.
The door widens.
Readers near the collapsing shelves rush through.
They spill out safely onto a stable section of floor.
The Shadow Patron watches, furious but controlled.
SHADOW PATRON
Every door you open weakens the structure.
ALIX
Or strengthens it.
He steps back slowly.
SHADOW PATRON
You think openness is strength.
ALIX
I think isolation is rot.
Silence.
He disappears into the shelves again.
The trembling subsides slightly.
Readers breathe again.
The Librarian looks at Alix differently now.
THE LIBRARIAN
You have accelerated the conflict.
ALIX
You’re welcome.
THE LIBRARIAN
And endangered yourself.
ALIX
That part feels familiar.
She exhales.
ALIX (CONT’D)
He’s not wrong about one thing.
THE LIBRARIAN
Which?
ALIX
I almost stayed before.
The Librarian studies her.
THE LIBRARIAN
And now?
She looks around.
At frightened readers.
At shelves that are shifting.
At people who rely on this place.
ALIX
Now I don’t get to.
A beat.
The Librarian nods slowly.
THE LIBRARIAN
You have reached the midpoint of your choosing.
ALIX
That sounds ominous.
THE LIBRARIAN
It is.
CUT TO:
36. EXT. BOSTON PUBLIC LIBRARY – DAY
The next morning.
Alix exits the building after a short shift.
She looks tired but focused.
A small CROWD has gathered outside.
Signs.
“PROTECT OUR LIBRARY.”
“PUBLIC ACCESS MATTERS.”
City officials in suits stand near the steps.
Alix freezes.
Reality and the Astral Library suddenly feel closer than ever.
Lila stands near the crowd.
LILA
You saw the notice?
ALIX
No.
LILA
Budget vote. They’re talking about “streamlining resources.”
Alix swallows.
Across the street—
Beau watches the scene from his doorway.
He catches her eye.
No smile this time.
Just concern.
The worlds are starting to mirror each other.
Alix grips the brass key in her pocket.
She steps toward the crowd.
Not running.
Not hiding.
Stepping forward.
FADE OUT.
37. EXT. BOSTON PUBLIC LIBRARY – CONTINUOUS
The protest grows louder.
“Public access matters!”
“Libraries are for everyone!”
Alix stands at the edge of the crowd, unsure whether she belongs in it.
Lila hands her a small handmade sign.
LILA
You don’t have to chant.
ALIX
I don’t chant.
LILA
Just stand.
Alix looks at the steps of the building.
For a second, she imagines the Astral Library layered over it — golden shelves behind marble walls.
City OFFICIALS gather near a podium.
One speaks.
OFFICIAL
We are not closing the library. We are optimizing operations.
Murmurs.
Alix’s jaw tightens.
Optimizing.
She hears the Shadow Patron’s voice in her head:
“Access must be controlled.”
Across the street, Beau steps closer to the crowd.
He catches her eye.
No joke this time.
Just steady presence.
38. INT. ASTRAL LIBRARY – SAME TIME
The Shadow Patron stands in a dim section of the stacks.
He turns a hidden dial embedded into a shelf.
Books lock into place.
One after another.
Click.
Click.
Click.
A READER inside a Dickens volume pounds against the page.
The page ripples but does not open.
READER (O.S.)
It won’t let me out!
Golden light fractures across the floor.
The Librarian senses it.
THE LIBRARIAN
He has sealed sections.
39. EXT. LIBRARY STEPS – DAY
The official continues speaking.
OFFICIAL
We must prioritize essential materials and restrict inefficient usage.
Alix steps forward suddenly.
ALIX
What does that mean?
The official looks at her.
OFFICIAL
Excuse me?
ALIX
“Restrict inefficient usage” means what?
The crowd quiets.
OFFICIAL
It means resources must serve measurable outcomes.
ALIX
Like what?
OFFICIAL
Educational metrics. Employment results. Verified research needs.
ALIX
So if someone just wants to read… that’s inefficient?
The official stiffens.
OFFICIAL
We are discussing strategic allocation.
ALIX
Strategic for who?
A ripple through the crowd.
Beau watches her carefully.
The official avoids answering directly.
OFFICIAL
The board will decide.
Alix steps back.
She doesn’t shout.
She doesn’t grandstand.
But something in her shifts.
She is no longer just someone hiding inside the building.
She is someone defending it.
40. INT. ASTRAL LIBRARY – CONTINUOUS
Alix appears mid-floor.
The tremors are worse.
Books rattle violently.
A teenage READER runs toward her.
TEEN READER
My sister’s stuck inside Austen! The book won’t close!
Alix’s heart jumps.
ALIX
Okay. Okay.
She looks at the Librarian.
ALIX (CONT’D)
He’s escalating.
THE LIBRARIAN
Yes.
ALIX
What’s he trying to force?
THE LIBRARIAN
A crisis that proves his point.
Across the floor, a shelf seals with a metallic SNAP.
The Shadow Patron steps into view.
SHADOW PATRON
You see?
He gestures at the chaos.
SHADOW PATRON (CONT’D)
Too many emotional entries. Too much interference.
ALIX
They’re not interference. They’re people.
SHADOW PATRON
People destabilize systems.
ALIX
That’s literally what makes systems worth having.
He approaches slowly.
SHADOW PATRON
You are attached to the chaos.
ALIX
I’m attached to access.
SHADOW PATRON
You mistake access for virtue.
ALIX
You mistake control for safety.
The shelves shudder violently.
A crack splits across the floor, revealing golden light beneath.
The key in Alix’s hand pulses.
SHADOW PATRON
Give it to me.
ALIX
No.
SHADOW PATRON
You do not understand its capacity.
ALIX
Then explain it.
He studies her.
SHADOW PATRON
The key can seal the Astral Library entirely.
Silence.
Readers gasp.
THE LIBRARIAN
That was never its purpose.
SHADOW PATRON
It is a structural override. A reset. A purification.
ALIX
You want to shut it down.
SHADOW PATRON
Temporarily. To rebuild it correctly.
ALIX
With who deciding?
He says nothing.
That’s answer enough.
41. INT. SEALED AUSTEN WORLD – SAME TIME
Inside the Regency manor—
A trapped READER pounds on an invisible barrier.
The world glitches.
Tea cups freeze mid-air.
The heroine stands still, confused.
The READER screams silently.
42. INT. ASTRAL LIBRARY – CONTINUOUS
Alix sees it in a flicker — the trapped world.
ALIX
He’s sealing people inside.
THE LIBRARIAN
Yes.
SHADOW PATRON
They will remain preserved until the system is corrected.
ALIX
Preserved?
SHADOW PATRON
Contained.
ALIX
You’re trapping them.
SHADOW PATRON
For stability.
Alix’s voice drops.
ALIX
That’s not stability. That’s fear.
He steps closer.
SHADOW PATRON
And you are fearless?
A beat.
SHADOW PATRON (CONT’D)
You nearly accepted a life of permanent protection in Austen’s world.
She stiffens.
SHADOW PATRON (CONT’D)
You crave relief.
ALIX
I crave breathing room.
SHADOW PATRON
I can give you that.
He gestures.
A perfect Regency doorway forms in the air.
Golden light. Soft music. Warm security.
SHADOW PATRON (CONT’D)
Stay. No eviction. No collection calls. No scrambling.
Her breath catches.
The doorway flickers into a Holmes world.
Then a quiet cottage by the sea.
Then—
A version of Boston where everything is calm and stable.
SHADOW PATRON (CONT’D)
I can curate your life.
The chaos around them slows.
The Library trembles in suspended silence.
The key glows.
The temptation is real.
ALIX
And everyone else?
SHADOW PATRON
Collateral.
That word snaps something inside her.
ALIX
No.
SHADOW PATRON
You cannot save everyone.
ALIX
I don’t have to.
She turns the key.
Instead of sealing—
Multiple doors burst open around the Library.
Wild.
Uncontrolled.
Readers near trapped shelves rush through.
Chaos intensifies — but it is movement, not containment.
SHADOW PATRON
You are tearing it apart!
ALIX
It was never meant to be locked!
The Library shudders violently.
Shelves collapse.
Stories overlap.
Victorian fog spills into Regency gardens.
Dickens children run through marble halls.
It is beautiful.
And unstable.
THE LIBRARIAN
Alix!
ALIX
I know!
She looks at the Shadow Patron.
ALIX (CONT’D)
You think this place saved you.
SHADOW PATRON
It did.
ALIX
No.
She steps forward.
ALIX (CONT’D)
It gave you space to save yourself.
Silence.
The key burns bright.
ALIX (CONT’D)
And then you decided no one else deserved that chance.
The Shadow Patron falters — just slightly.
SHADOW PATRON
You are naïve.
ALIX
Maybe.
She turns the key one final time.
Instead of sealing the Library—
She unlocks the central atrium.
Light floods upward through the entire structure.
Every book glows.
Simultaneously.
The trapped worlds snap open.
Readers spill out safely.
The trembling slows.
Shelves realign.
The Shadow Patron shields his eyes from the light.
SHADOW PATRON
You’ve weakened it.
ALIX
No.
The golden light steadies.
ALIX (CONT’D)
I trusted it.
The Shadow Patron looks around.
The Library is intact.
Changed — but intact.
He steps backward slowly.
SHADOW PATRON
You have chosen chaos.
ALIX
I chose people.
He fades into the shelves — diminished.
Not destroyed.
But no longer in control.
Silence settles.
The Librarian approaches Alix.
THE LIBRARIAN
You could have sealed it.
ALIX
I know.
THE LIBRARIAN
You did not.
ALIX
Because then it wouldn’t be a library.
The Librarian studies her with something close to pride.
THE LIBRARIAN
You have completed your choosing.
43. EXT. BOSTON PUBLIC LIBRARY – EVENING
The protest has ended.
People disperse slowly.
Alix stands on the steps.
Beau approaches.
BEAU
You look like someone who made a decision.
ALIX
I did.
BEAU
Good one?
ALIX
Terrifying one.
He nods.
BEAU
Those are usually the right ones.
She studies the building.
ALIX
It’s not just a building.
He smiles faintly.
BEAU
I know.
She takes a breath.
ALIX
I think I want to stay.
BEAU
In Boston?
ALIX
In the fight.
He nods.
BEAU
Five minutes at a time?
She smiles.
ALIX
Five minutes at a time.
44. INT. BOSTON PUBLIC LIBRARY – DAY (EPILOGUE)
Weeks later.
Alix works the front desk again.
But she is steadier.
A nervous TEENAGER approaches.
TEENAGER
Do you have something that makes you feel less alone?
Alix pauses.
Then smiles gently.
ALIX
Yes.
She walks them toward the stacks.
No magical door.
Just shelves.
The ordinary door to the deeper stacks sits slightly ajar.
Golden light flickers faintly beyond.
Alix notices.
She does not step through.
Not today.
She turns back to the teenager.
ALIX
Let’s find you something.
The camera lingers on her.
Not escaping.
Not running.
Belonging.
FADE OUT.
THE END.
Final Thoughts by Kate Quinn
If there is one idea I hope lingers after the last page, it is this:
Stories do not exist to help us disappear.
They exist to help us return.
Alix does not win because she defeats the Shadow Patron in some explosive, theatrical way. She wins because she refuses to let fear define who deserves sanctuary. She refuses to trade openness for control. She refuses to accept that stability must come at the cost of access.
That choice matters far beyond a fictional golden library.
In every era, someone argues that access should be restricted. That certain stories are inefficient. That imagination must justify itself. That relief must be rationed.
But libraries — real and imagined — remind us that belonging is not a privilege granted by authority. It is something we build by standing beside one another.
Alix’s final decision is quiet.
She does not abandon magic. She simply chooses not to live inside it.
She chooses to stay in the real world — to help one nervous teenager find a book that makes them feel less alone.
That is the bravest act in the entire story.
Because it is easier to step through the glowing door.
It is harder — and far more powerful — to stay.
And if you ever find yourself standing in a library, tired and uncertain and looking for somewhere to breathe, I hope you remember:
You are already allowed inside.
You always were.
Short Bios:
Alix Watson: Mid-20s Boston library worker juggling multiple jobs and survival stress. Finds a hidden door to the Astral Library and grows from seeking escape to defending access and belonging.
The Librarian: An ageless, calm guardian of the Astral Library. Sets the rules, protects the balance between stories and real life, and quietly mentors Alix toward courage instead of hiding.
Beau Sato-Jones: A warm, observant costume shop owner with a talent for “alternate identities.” Becomes Alix’s real-world anchor, offering steady presence and honesty without trying to control her choices.
Shadow Patron: A controlled, intense former patron who believes the Astral Library must be curated and restricted. Represents fear dressed up as “order,” and becomes the ideological antagonist pushing containment over access.
Lila: Alix’s library coworker, practical and kind. Encourages Alix to show up in the real world, especially when library funding and public access are threatened.
Mr. Harrington: A polished Regency-era suitor figure Alix encounters inside a story world. Embodies the appeal of “safe structure” that feels suffocating when it costs freedom.
Regency Heroine: The luminous, composed lead woman within the Regency book world. Offers Alix a gentle mirror of social rules, belonging, and the quiet pressure to fit a script.
Victorian Detective (Holmes-like figure): A razor-observant investigator Alix meets in the Sherlock world. Helps her discover that observation is power, and that she can matter without taking over the story.
Teen Reader: A frightened patron whose family member becomes trapped as the Library destabilizes. Triggers Alix’s shift from personal escape to protective action.
City Official: A real-world face of “optimization” and restriction during the library budget conflict. Echoes the Shadow Patron’s logic in everyday institutional language.
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