B. 223 and onwards?
Ha, ha, ha! Let's see if I have enough English to even begin to explain this...
Well, the first 4 bars are fairly straightforward (at least for Leetchkiss): the r.h. plays your cello part + syncopated sixteenths (roughly the rhythm of your l.h.) - E-flat-G alternating with D-F. In the meantime the l.h. runs through a series of rising scales (sixteenths): F, A, B, C, D, E flat, F, G, A (- that's the first note in the new bar, now it's down a sixth:) C, D, E flat etc.
Now, in the 5th bar it gets interesting: essentially, it's the same thing you've written, only a bit more complex (

). The l.h. plays your middle and bottom staves, while the r.h. plays your top stave
AND a series of sixteenths alternating between the two thirds spelled out above (only this time it's without the pauses - no syncopation, just a regular ta-ta-ta-ta-ta-ta-ta-ta rhythm) - this is all notated using the standard 2 staves (it's all quavers for the l.h.). It only gets worse from there, as the r.h. starts to play the "melody" in octaves.

I told you this transcription was difficult.
