This is a story of love, death, history and war, where love transcends earthly boundaries and spans lifetimes; where Alexi Kowalski, a young peasant boy, fueled by love and honor will affect his homeland’s future.
Alexi and Katia are soul mates whose love will guide them to reunite after reincarnation. Their lives will see trial, anguish and separation. And redemption.
We begin within moments of Alexi and Katia’s demise. They’ve escaped deadly combat with enemy Russians and bob helplessly in a rowboat on a lake. They relive years of endearing moments shared before their eighteen-month separation. A sharpshooter sights the two, takes aim and fires.
We now revisit what has led them to this place.
The date: winter 1854. The place: Terraminsku forest, Soviet-ruled Poland.
Ambling along a path en route to Katia’s cabin, Alexi is followed by mounted Cossacks. He escapes and ends up at Katia’s doorstep.
Alexi convinces Katia to join him in an innocent scout of a forbidden region of the forest, the swamp. A powerful Russian prince, Leonid, has tracked the two, and watches as Katia falls into the swamp and nearly drowns. The prince desires Katia, confronts Alexi and a looming trilogy of power, will and love has formed.
Change permeates the forest. Alexi’s father, Pietrov has had enough persecution and decides to take his family away. Pietrov secures illegal travel papers but Alexi is compelled to rally one last time against his country’s oppressors. He refuses to say good-bye to Katia without a fight.
Alexi chooses one stormy spring night to revisit the swamp and teach the Russians a lesson. He comes close to Leonid’s camp, but falls into quicksand and is saved by a Polish freedom fighter, Ludmilla Petrashevsty. Ludmilla leads Alexi to the cabin of renowned Polish poet, Zygmunt Krasinski.
Leonid and his Cossacks close in, and Alexi and Ludmilla escape. Krasinski is captured, and Polish freedom fighters (with Alexi in tow) wage equestrian battle in the forest by the swamp in the pouring rain. Krasinski is rescued, and Alexi has had his first taste of battle.
Prince Leonid is incensed by this misstep within his domain. He plans retribution. Will Alexi’s village suffer?
Alexi’s plan to dispel the Cossacks didn’t work. He sits Katia down and tells her their lives together are over. He vows to succeed in America and prays his inner strength will return him to her arms. She promises to wait.
The Kowalskis’ cart their belongings out of the forest, to a dirt road, toward a small town and train station fifty miles away.
After disposing of his family’s lifetime of belongings, Pietrov’s false papers are accepted on the train, and the family rumbles toward the North Sea, eight hours away. The dreams and telepathy between Katia and Alexi persist, hers of savior, his of rivalry.
A tiny sloop, their home for nearly three months, bobs off a rickety pier. They climb the plank and then descend thirty feet down a ladder – and enter the hold – dark, cold, and incessantly moving.
Out at sea, Alexi is handed pencil and paper and appointed the voyage’s journalist.
His new job forces him to assess the society and condition in which he finds himself.
He reads an inspirational letter from the poet, Krasinski, and finds the courage to venture up top, to the deck, where he butts heads with the ships’ skipper, Billy Bang.
Billy takes Alexi on a dangerous shark hunt. A shark is caught, bites Billy, and Alexi ties a tourniquet around Billy’s leg, saving the old salt – for now.
Throughout the crossing, Alexi interviews and observes fellow travelers and sailors. He begins to realize his responsibility – to himself, those around him, and those he loves.
Alexi still dreams of Katia, and it seems the further they drift apart, the more they merge in spirit.
Just after the skipper, Billy Bang succumbs to his wounds, a birth is announced, and the frail newborn lifts his head around the dreary hold – and Alexi scribbles it down in his journal, witness to all.
The ship finally docks at Crystal Garden, quarantine station and last stop before the New York City streets. Alexi tries to view his adventure from on high. He senses a shift, an impending growth within, like a wave nearing a ship at sea.
Love and death. Fear and bravery. Heart and head. He writes in his journal that he now knows these are conflicts he will confront as long as he is strong enough to answer his call. And across the sea, Katia wonders if her love will ever return, as she sees her small village coming apart at the seams.

The above description is a condensation of my first novel of three. In the next two novels, Alexi will become entangled in New York gangland society, flee out west, and eventually sail back to Poland alone, where with a new friend and sidekick, he will pursue and rescue Katia from Prince Leonid.

In the photo of the several guys standing around, and Paul Michael Glaser “directing traffic”, the real “star” of the photo is the trailer behind everyone.

In this episode, Trudy, (the black detective, played by Olivia Brown) will be kidnapped and held hostage by a drug lord. The script calls for Trudy to be tied up in a trailer, and soon after Sonny Crockett sees her silhouette in a trailer window, the trailer will blow up. Honestly, and ironically, I don’t recall the outcome of the episode, (that is, if Trudy survives or not)  but I do recall that the trailer will be blown up.

Yes, the one we stand in front of will go KABOOM! On this episode, Paul Michael Glaser, (from Starsky and Hutch fame) is the Director. Michael Mann, the show’s executive Producer, loved old seventies TV shows, and hired George Stanford Brown, (from The Rookies), and David Soul, (Hutch from Starsky and Hutch) to direct some episodes.

The gentleman in the far right of the photo, holding the strip board, is the First Director. His job was to schedule each shot and camera move in the filming of each episode, so that the filming went as efficiently as possible. If I remember correctly, the two gentlemen to his right were higher-ups from the Special effects Department. They needed to know all details with regard to where and when the dangerous stuff was going to happen. I believe the woman leaning on my car was a wife of one of the Special Effects guys. And, that’s me, the guy who found and “purchased” the trailer, (with Universal’s money) and hired a trailer mover to get it to its location, (final resting ground).

I remember that day. The guy who came to move the trailer was just like a tow truck driver. He had a big truck, all the towing equipment, and knowledge of vehicles. The trailer had sat on someone’s land for several years, and feet of grass had grown around the wheels. The guy looked at the trailer’s tires, and was worried that one or two of the wheel hubs might be rusted tight, and could burn as we moved the trailer the seven miles through the streets of Miami to the set DOWNTOWN, in an empty lot.

I wasn’t Locations. I was Vehicles, so I was a little sketchy about where I was supposed to have the trailer delivered. So, with me in the lead, and the truck pulling the trailer through downtown Miami behind me, I saw an opportunity. I was at a streetlight, and happened to see a cop on the side of the road talking to someone. I opened my door, yelled across the street, and asked him where to go. I was so nerved up, I had forgotten to put my car in park, and after the cop gave me the directions, said matter of factly, “Hey, your car’s moving.” And it was. I got back in, and we proceeded down the road. One of the hubs on the trailer’s wheels did burn up, and it was red hot and smoking as we finally brought the leviathan into the empty lot and positioned it… IN TALL GRASS!

The driver hopped out of his truck and ran to the trailer’s wheels, and began yanking away the tall dried grass. I helped him as sweat poured from me.

“Could have easily caught fire,” the driver said to me over his shoulder. But it didn’t. Just another day at the office.