Emerald Flight: Wildest Dreams (continued)

Westin stared across the desk at Devereux.

"Are you sure about this, Christine?"

Devereux's eyes were on the tablet in Westin's hand.

No, she admitted silently to herself. I'm not sure. But it's the right thing to do.

When Devereux did not answer him immediately, Westin's eyes followed hers toward the tablet.

"I mean," he went on, "he's not even really an officer." Westin tapped his finger against the tablet's display surface. "And his civilian record . . ."

"He's one of the best qualified engineers I've ever seen," Devereux countered. She willed her tone to one of objective flatness. She did not want to sound pleading or, worse yet, that she had ulterior motives involving her selection of her Chief Engineer.

"Let's face it, Daniel," she offered, sounding a little more light-hearted now. "None of the Fleet engineers want to anything to do to this with this ship . . . except for those who want to take it apart."

Westin nodded grimly in agreement.

Fleet engineers were, Devereux knew, a proud and dedicated lot. Nearly all of them had been driven to serve in the Fleet solely through a desire to work with latest and greatest that space drive technology could offer. The number who would be willing to serve on a vessel with a drive that could barely meet current specs was small indeed. Devereux guessed that they could probably be counted on the fingers of one hand.

Even fewer than that, she decided. Considering that I haven't even seen that many qualified candidates.

"Do you think you'll have trouble getting it through?"

Westin seemed distracted, but then returned to the matter at hand. "No," he replied. "No, it shouldn't be a problem." He glanced at the tablet one more time and then placed it back on the desk in front of him. "I can authorize it. Since there's no real competition for the post, I suspect it will sail right through."

"Thank you, Daniel," Devereux smiled.

Westin looked skeptical. "I hope you still do after a month out of dock."

Devereux chuckled. "By that time, you'll be far out of range."

"Until your next shore leave," Westin deadpanned in response.

"You'll have plenty of warning." Devereux fought back a grin. "Seriously," she added, becoming more serious. "Thank you."

Westin only nodded. Any remark that he might have planned was interrupted by the intercom signal. His frown as he tapped the display told Devereux that her time was up. She rose and, with a quick salute, left the office.

As she stepped into the corridor, Devereux realized that she felt a strange sort of relief. She had been prepared to put up at least a token fight in order to get the officer that she wanted. That part had been easy. Any doubts she thought she should carry about her decision, she could not find. That made her feel even better about her choice.

Emerald Flight: Flotsam (continued)

She found the intercom switch and tapped it.

"Devereux to bridge. Report."

No even a background sigh of digital static answered her. She tried again.

"Devereux to Main Engineering."

Again, there was nothing.

She tried again using the connection on her tablet, but achieved no better results. Holding the tablet out for light, she headed for the hatch, realizing that she would most likely have to open it manually.

She had taken only a few steps before she stopped, feeling a warm flush fill her cheeks. While she was dressed in a suitable tunic, below she wore only her panties.

Probably not the best image for the Captain to project in a crisis situation.

Without too much fumbling around she managed to locate a pair of long workout pants. Not exactly regulation on-duty wear, she decided, but they at least sported the Fleet Academy logo.

Feeling a bit less conspicuously undressed now, she lifted the tablet again and headed for the hatchway. She checked its time display, frowned, and then checked that of the main clock in her cabin. There were synchronized.

Devereux's frown deepened. In her groggy state upon reawakening, she had misread the clock. It had not been only an hour since she had lost consciousness—it had been thirteen. That explained the cold, she realized. If there had been a ship-wide power outage, thirteen hours was plenty of time for the temperature to dip to chilling levels. The outer compartments, closest to the hull, had probably already dipped well below zero.

She dug into her closet and retrieved a hooded sweatshirt that matched the pants. That was merely coincidence, as warmth was her primary concern, not fashionable correctness. She shrugged into the sweatshirt, gritting her teeth against the pain in her right forearm as she slid it up and into the sleeve. Feeling warmer now, and mildly more protected, she worked the manual override lever for the hatch.

Devereux breathed a sigh of relief when she heard the sound of the locking mechanism disengage. She pulled the hatch aside and paused. There was no audible hiss of escaping atmosphere. The hull in this section of the ship did not appear to have been compromised. The air outside felt no colder than it had in her cabin.

Cautiously, Devereux moved out into the corridor.

Emerald Flight: Flotsam

- 1 -

Captain Christine Devereux awoke in darkness.

She was first aware that she was cold. That alone would not have alarmed her. Finding that she was lying on the deck raised her level of concern considerably. She turned her head, finding only a single faint source of light. It was her clock, illuminated by its own internal source of reserve power.

Devereux remembered returning to her quarters after her shift had ended. She tried to focus on the clock, but found the image blurry. Through sheer force of will, she managed to determine the time.

One hour. Whatever's happened, I've only been out for about an hour.

She tried to rise, but her arm refused to support her. At first, it tingled as though numbed from the pressure of her resting on it. Then the pain started, worse than the usual pins and needles from a reawakening limb. This felt like she imagined a metal stake and hot pokers might.

After several attempts, she pulled herself into a sitting position on the deck. She wondered whether she had any analgesics in the lavatory storage. Using a combination of her uninjured arm and leg muscles, she slid slowly across the deck, feeling out with her hand for something that might tell her where she was within the confines of her cabin.

That's assuming that's where I still am.

Her fingers encountered a metal post. It was surprisingly cold to the touch. Running her fingers up along it, she guessed that it was one of the two supports for her desk. When they reached the underside and then the edge, she was certain. Slowly and carefully, she rose, using the edge of the desk to pull herself upright.

Blindly, she groped along the desk's dark surface until she found one of the tablets she knew had to be there. It activated upon her touch, momentarily blinding her in the near-perfect darkness.

The tablet's glow cast an eerie illumination across the interior of her quarters. Strange washes of color danced along the bulkheads.

Nothing appeared to be damaged, nor did anything appear to be displaced. Whatever had happened to her did not seem to have affected the contents of her quarters.

At Death’s Door

- 1 -

I watched her die.

They brought her in, stripped naked, and chained with her arms raised toward the ceiling. Her legs remained free. She looked scared and embarrassed. Her eyes darted frantically around the room and at the two men and one woman who had escorted her inside the room.

Her lower lip trembled and I could tell that she wanted to cry. I'll give her credit for that. She must have been terrified, but bore it surprisingly well.

The slick-clad woman rolled the mounted box into position in front of the girl. Its blunt, innocuous-looking nozzle pointed at her torso. I swallowed against a tightening lump in my throat.

I stared through the transparent barrier that separated me from the girl. Her eyes found mine and she pleaded silently for me to help her. If I couldn't free her, then at make her to understand why this was being done to her.

I didn't look away, knowing that the truth would do little to comfort her.

In the small chamber from where I observed these proceedings, I was not bound. There was no need. Two guards, both as heavily armed as muscles held positions behind him at the door. With considerable effort, and even larger amounts of luck, I might be able to defeat one of them. Against two of them: I had no chance.

In the booth next to me, secure behind shatterproof glass, the old woman studied me. She said nothing. I don't think she planned to. This was intended to be a lesson to me—a punishment for my failure to tell them anything of significance.

The problem was: the young girl knew nothing. She had been nothing more than a passing dalliance on my way to my next destination. I had been careless, not noticing my shadows until much too late. Unfortunately, she was one who was going to pay the price for my lack of attention.

The old woman turned her head toward the chamber where the girl was being held. She gave a slight, silent nod to the woman. The woman's fingers moved at the controls of the machine.

I heard a faint hum, barely audible through the thick barrier. The young girl whimpered, trembling and fidgeting as if bothered by an immense itch. A moment later, the pitch of the sound changed. It was less audible, but yet more noticeable.

The young girl moaned. Her thigh and abdomen muscles tightened and flexed. At a gesture from the old woman, the woman adjusted the controls again.

The young girl screamed. Every visible muscle in her body contracted.

They held her like that for several long moments. Her head thrashed, causing the flow of her copper hair to dance like manic lightning about her head.

Her scream because a high-pitched howl. She threw her head backward, exposing the thick cord of her head. I kept my gaze fixed in her direction, but forced my awareness elsewhere. Her scream transformed into a thick gurgle before fading into silence.

I let my mind witness the scene in front of me once more.

Her head fell forward. I knew that she was dead and had not simply passed out from the pain. There is a definite difference between a body that become relaxed from unconsciousness and one slack with death. Most people tell the difference; I have seen it too many times not to know.

A thin drooling line of blood ran from the girl's mouth. This was followed a moment later by thick ghastly mucus of yellow, green, and brown.

I might have still saved her: if an emergency evacuation team was waiting right outside the body, if they could put her into stasis immediately, and if the best surgeons in the world were available and ready. If she survived, I doubt that she would thank me—not with the kind of life that she would have with most of her lower organs reduced to gelatin.

The old woman looked away. I think even she was disgusted by the sight. I couldn't be sure through the refracted light that separated us.

In the chamber in front of me, the two men released the chains that held the girl upright. They let her fall into a soft heap onto a tarp that had been placed beneath her. Both looked unnerved. I could see hesitancy in their movements. They were not at all pleased with their task. I would let them live. They were only following orders. I knew how that was.

The woman at the controls shut down the machine. Her eyes were unnaturally bright. They kept watching the motions of the dead girl's body. I was certain I saw satisfaction masked in her expression. Her I would kill—in as similarly suitable a manner as I could manage.

The two men finished covering the girl's body with the tarp. They dragged it from the chamber, showing a respectful amount of care. This reinforced my decision that they might not need to die when it came time for me to leave this place.

Unfortunately, it was not yet time to do so. I still had much to do.

Calico (continued)

Mikolai turns slightly toward Piotr.

Mikolai

Papa is not well.

Piotr
(sourly)

He will die soon.

Mikolai glares at Mikolai with horrified surprise. Piotr only shrugs and returns to eating his soup.

Donat (O.S.)

It will be as our Lord wishes.

Mikolai turns his head.

We see Donat. He holds his soup, apparently in between sips. His Bible rests in his lap. Despite his statement of faith, he appears troubled. He closes his eyes, places a hand on his Bible, and murmurs a silent prayer.

Mikolai closes his own eyes. After a moment, he opens them again and returns to his soup.

Jonathon approaches the fire. He pauses and peers into the soup pot. He glances around to see if anyone is looking. Seeing that attention of everyone else is on other things, he reaches for the serving ladle.

SFX: Lightning reflected from outside the cave.

SFX: Thunder echoes within the cave walls.

Jonathon freezes. A moment later, he snatches his hand away from the soup ladle.

We see Mikolai fighting to suppress a smile. Chuckling softly to himself, he motions for Jonathon to come to him.

Jonathon hesitates. His expression tells us that he is certain that he is to be reprimanded.

Mikolai motions to Jonathon again.

Jonathon slowly and reluctantly approaches Mikolai.

Mikolai struggles to keep a stern expression on his face.

Jonathon approaches Mikolai and stops, standing in front of him. His head is bowed respectfully.

Mikolai pats the ground next to him.

Jonathon's eyes dart between the place on the floor that Mikolai indicated and Mikolai's eyes.

Mikolai pats the ground again.

Jonathon eyes the spot again and then very slowly sits down next to Mikolai. He avoids eye contact with Mikolai.

Several moments of silence pass between them. Just when the silence starts to become awkward, Mikolai hands Jonathon his own bowl with his remaining soup.

Jonathon looks at the bowl with obvious suspicion and then takes it. He grins at Mikolai as he rapidly finishes the rest of Mikolai's meal.

Calico (continued)

Jonathon

I'm hungry. (beat) And cold.

Mikolai glances up irritably, but then realizes who it is. He gives Jonathon a quick smile.

Mikolai

Soon. (mutters) I hope.

Jonathon
(looking down at the kindling)

Can I do it?

Mikolai appears about to refuse and then reconsiders it.

Mikolai reaches down. He brings two small rocks, each just slightly smaller than Jonathon's fists, into view. He holds them out to Jonathon.

Mikolai

Take these.

Jonathon looks at the two rocks in Mikolai's hand warily. Mikolai holds them out further. After a moment, Jonathon takes them, holding one in each hand.

Mikolai (cont'd)

Like this.

Mikolai strikes his own two rocks together.

Jonathon strikes his rocks together--with very tentative force.

Mikolai (cont'd)
(chuckles)

Like this.

Mikolai repeats the action of striking the rocks together. He exaggerates the movements and strikes them together harder than he normally would have.

To the surprise of both Mikolai and Jonathon, Mikolai actually manages to generate a spark.

Mikolai and Jonathon laugh.

Mikolai (cont'd)

You try.

Jonathon tries again. He hits his rocks together much harder this time. There is no spark, but there is a satisfying-sounding crack as they impact each other.

Mikolai (cont'd)
(nods, smiles)

Good. Good. (beat) We take turns. Okay?

Jonathon nods.

Mikolai strikes his rocks together again. There is no spark this time.

Jonathon hits his rocks together.

Dissolve To:

1. Int. Cave – Night

Establishing shot of the cave interior.

The interior is a little brighter now.

There is a small fire going in the center of the cave. It is not particularly impressive, but it is a fire.

Martha passes Mikolai a medium-sized metal pan.

Mikolai accepts it and looks inside. He makes a face of displeasure.

Martha

You can have nothing, then. (beat) More for the rest of us. No one will complain.

Mikolai

I will.

Martha

Cook. Stir it. Do not let it burn.

Mikolai
(laughs softly)

Yes, Mama.

Mikolai carefully places the pot onto the fire. He adjusts its position so that it is relatively level. He picks up a large spoon and begins to stir it slowly.

After several moments, he hands the spoon to Jonathon.

Mikolai (Cont'd)

Stir slowly. (nods toward Martha, grinning with mock malice) If it burns, you get to tell Mama.

Jonathon looks a little scared, but takes the spoon from Mikolai. He begins to slowly stir the soup with a focused intensity.

Mikolai stands and walks over to where Martha is tending to Josef.

He kneels so that he is closer to Martha than to Josef.

Mikolai (Cont'd)
(quietly)

How is he?

Martha
(looks worried)

The cough drains his strength. (looks toward the center of the cave) The fire will help. So will the soup.

Mikolai

So would a doctor.

Martha
(shakes head)

We have none. (looks toward cave opening) Is it far?

Mikolai turns his head to follow Martha's gaze.

Mikolai
(sighs)

I don't know. (beat) Maybe when the storm passes . . .

Martha looks grim.

Mikolai squeezes Martha gently on the shoulder. He rises and looks down at Josef. With a determined expression on his face, Mikolai heads back toward the fire.

Dissolve To:

2. int. Cave – Night

The family is gathered in a rough circle near the fire. Bowls are in their laps. They are holding hands. Martha holds Donat's hand while her other one grasps Josef's hand. If Josef is aware of the proceedings, he makes no sign of it.

Donat

. . . and we thank you for this food and the beasts and crops from whence it came. Bless it as we place it in our bodies for sustenance. In the name of the Father, Son, and the Holy Spirit . . . Amen.

ALL
(in a loud murmur)

Amen.

One by one, each of the family members begin to eat their soup.

Jonathon starts first. He eats like a young child who has not seen a substantial meal in several hours--which he hasn't.

Mikolai eats more slowly. His thoughts appear to be elsewhere. Occasionally he glances in the direction where Martha tries to get Josef to drink some of the soup.

Martha helps Josef moves into a half-seated position. He looks weak, but less waxen than he had in the wagon. Martha holds the bowl of soup to his lips. Josef's sips from the bowl and then coughs hard. Some of the soup spills from his lips.

Josef looks both weary and disgusted. Martha looks determined.

Martha

More. Slowly this time.

Josef's eyes fix on Martha's.

Martha holds the bowl up to Josef's mouth again. Josef takes a small, hesitant sip of the soup. He coughs again this time, but less deeply, and keeps the soup down.

Calico (continued)

Martha

Jonathon, leave that alone.

Jonathon looks up from the pack he was trying to pry open, surprised that Martha knew what he was doing without looking in his direction.

Martha tucks a rolled-up blanket behind Josef's head as a pillow.

martha (cont'd)

There will be soup soon. The boys will have a fire.

Josef coughs. The sounds comes from deep within his chest. He nods and lies back weakly.

We can see from Martha's eyes that she is concerned. She masks it, setting her face in a stolidly cheerful expression.

We see Mikolai still seated by the barely smoldering tangle of kindling. He is working to get the fire going, fighting against the soaked wood to get something more than a few wisps of smoke going.

Calico (continued)

Cut To:

1. Int. Wagon #1

Martha leans over Josef. She wipes his forehead and tidies his clothes.

Martha

Mikolai has found a cave.

Josef grunts.

Martha (cont'd)
(not at all perturbed)

Fine. You stay here in the rain. More warm food for us.

Josef stares at her with obvious irritation. He knows that he has been out-maneuvered. He begins to sit up.

Martha turns so that Josef cannot see her slight smile.

Cut To:

2. Int. Cave – Dusk

It is nearly dark outside. We can see the dark gray twilight through the entrance of the cave.

Jonathon enters the cave. He carries the lantern in front of him. He moves slowly. He is afraid, but tries very hard not to show it.

He clears the cave opening. He stops, standing straighter and holds the lantern out to illuminate more of the interior.

Mikolai appears in the cave opening. He enters, but waits, standing at least a pace behind Jonathon, letting the boy explore on his own.

Jonathon takes a cautious step forward.

Shadows created by the light from the lantern dance across the walls and along the floor of the cave.

Jonathon hesitates, looking around the interior of the cave. We watch his expression as his curiosity overcomes his fear.

Jonathon ventures further into the cave.

He stops, startled. He looks momentarily wide-eyed and afraid.

We see a small rat scurry along the edge of the wall where it meets the floor. It darts away, disappearing through a crack somewhere in the shadows between the other stones on the floor of the cave.

Mikolai
(deadpan)

Dinner.

Jonathon turns his head to look at Mikolai. His expression is one of surprise and revulsion.

A moment later, Jonathon's expression turns into a reproachful glare as he realizes that Mikolai is teasing him.

Mikolai laughs, finding relief in his small joke.

Mikolai (Cont'd)

Come. Help me clear the floor and make room for a fire.

Jonathon hesitates for a moment before putting the lantern down on the floor.

Mikolai and Jonathon begin moving rocks out of the way to clear a space near the center of the small cave.

Dissolve To:

3. Int. Cave – Night

Establishing shot of the cave interior.

The space is primarily lit only by the two lanterns from the wagons.

The family is gathered inside it. With everyone there, it looks a lot smaller than it did when it was empty.

Some of the family's belongings are visible in the cave as well.

Mikolai and Piotr kneel near the center of the cave. They are trying to get a fire going--with limited success.

Piotr
(petulantly)

We need more tinder.

Mikolai

There is no more.

Piotr

There is more outside.

Mikolai glances at the cave opening.

We hear the sound of the rain. Some of the raindrops look golden in the reflected light of the lanterns.

Mikolai shakes his head.

Mikolai

We will keep trying. Papa needs to be warm. (beat) And I want hot food.

Piotr makes a sound of irritated disgust. He rises and walks away from the barely smoldering fire.

Mikolai watches Piotr leave. He gives a visible sigh and then turns back to trying to light the fire.

Martha is tending to Josef. She tucks him snugly with a blanket.

Calico (continued)

Mikolai

I've found a cave. Small, but dry. Papa needs to be warm.

Jonathon

Are there bears?

Donat
(rousing, annoyed)

There are not bears in this land.

Mikolai shoots Donat with an irritated look. He looks back at Jonathon.

Mikolai
(smiles, chuckles)

No. No bears.

Jonathon looks disappointed.

Mikolai glances at Donat again and then back at Jonathon.

Mikolai (cont'd)
(to Jonathon)

Come. You can help find and set up.

Jonathon brightens noticeably. He scrambles to climb out of the wagon. He trips over Donat in the process, earning himself a scolding look from the older man.

cUT tO:

1. Ext. prairie – Dusk

Wide shot as Mikolai moves away from the wagon.

Jonathon leaps from the bed of the wagon. He appears to ignore the rain, even as he begins to get soaked. He runs toward Mikolai, prancing impatiently as he reaches Mikolai.

Jonathon says something to Mikolai. After a moment, Mikolai nods. Jonathon runs off in the direction of the cave. Mikolai watches him go. He shakes his head slowly with amusement.

Cut To:

2. Ext. Prairie – Cave entrance – Dusk

Medium shot of cave opening.

We see Jonathon on his knees in the mud. He peers into the cave. He shifts nervously, apparently trying to build up the courage to actually enter it.

Mikolai enters the scene.

He sees Jonathon and chuckles. He wears a knowing smile. He holds out the lantern to Jonathon.

Jonathon eyes the lantern warily.

After several moments, he snatches it away from Mikolai and crouches once again in front of the cave entrance.

Calico (continued)

dISSOLVE tO:

1. Ext. prairie – LATE Afternoon

Broad establishing shot of prairie.

Although it is day, the light is dim and gray. There is a heavy storm, with rain coming down in thick sheets. The wind is blowing hard, in gusts that, along with the driving rain, occasionally obscure the scene.

Two covered wagons enter the scene from the right, clearly fighting to make progress against the storm.

We move in closer. We pass by the trailing wagon, just long enough to see someone wrapped in thick layers of clothing against the storm.

We continue to the leading wagon, moving in closer to see Mikolai trying to peer ahead into the rain. He is similarly dressed in thick layers of clothing. The top layers are clearly soaked through.

Someone shouts, just barely audible against the sounds of the storm.

Mikolai turns his head toward the covered section of the wagon.

Martha's head looks out through the flap.

Martha

Your father. He is not well.

Reaction shot of Mikolai. He grimaces and looks uncertain.

Mikolai peers ahead into the storm again.

We see the scene ahead. There is little visible except for rain and fog. Some distance ahead, there are dark irregularly-shaped silhouettes that might be anything.

Reaction shot of Mikolai. He peers into the distance. He is clearly tired and miserable. Now, he is also deeply worried.

Mikolai

There's something ahead. Maybe caves.

Martha
(nods)

Must be soon. Very soon.

Mikolai nods and urges the horses, also clearly tired, onward in the direction of the shadows.

Cut To:

2. Int. Wagon #1

Establishing shot of wagon interior.

The interior is lit by two lanterns at each end of the carriage. They are fastened to the top supports and sway with the movement of the wagon.

Martha moves back to Josef. He is wrapped in blankets. He is perspiring. His complexion is waxen. In the illumination given by the lanterns, it is difficult to tell whether he is pale, jaundiced, or florid with fever.

He coughs hard. It is obvious that it takes effort and he is weak. The deep, rough sound of the cough tells us that all is definitely not well.

Martha offers him a cup of water. Josef shakes his head weakly, refusing it.

Martha looks stubborn, but pours the water back into a nearby canteen.

Martha

Mikolai thinks there might be caves ahead.

Even though he is weak, Josef manages to look disdainful.

Martha (cont'd)
(scolding lightly)

You prefer here in the rain and wind? I will accept a cave--and a fire.

Josef's expression eases slightly. It is evident that he finds some appeal in the idea, even though he is unlikely to voice it.

Martha (coNt'd)
(smiles gently)

Rest, my beloved, stubborn man.

Martha wipes the perspiration from Josef's forehead. She kisses it softly and then turns away, still smiling softly.

Cut To:

3. Ext. prairie – LATE AfternooN

Wide shot with medium depth.

We see the two wagons moving onward into the storm toward the shadows.

Dissolve To:

4. Ext. prairie – Dusk

The storm continues. The rain has let up slightly. The light is darker now as night approaches. If there is a sunset, it is difficult to see through the clouds and rain.

The two wagons approach a clustered outcropping of rocks. There are not many of them. They are not particularly high--perhaps two or three times as tall as a man--but there are several of them.

Mikolai slows his wagon to a halt. He waits, making certain that the other wagon stops as well. He secures the reins and drops from the driver's bench. Huddled against the rain and wind, he moves toward the rocky outcropping.

He inspects the rocks. Most of them are either two narrow or too short to provide much for the wagons. One of them, about his height, but wide catches his attention. He walks around it, studying it.

In a crevasse between it and taller, pillar-like rock he finds an opening. It is large enough for a man to stoop and enter without too much difficulty. He stoops before it and peers into the opening.

He sees nothing and cautiously moves in closer. He is clearly nervous now.

After several moments, he steps away, shaking his head uncertainly.

He returns to the wagon and parts the covering slightly, sticking his head inside.

Cut To:

5. Int. Wagon #1

We see Mikolai's head through a part in the covering.

He looks around the interior until his eyes find Josef.

We see Josef sleeping. He appears to be calm, but his breathing is clearly labored.

Reaction shot of Mikolai. He looks concerned and determined.

After a moment, Mikolai looks away.

Mikolai

Mama, I need a lantern.

Martha nods and rises from where she sits next to Josef. She unfastens the lantern closest to Mikolai and hands it to him.

Martha

Do not lose it.

Mikolai
(smiles, chuckles softly)

Yes, Mama.

Martha

And careful.

Mikolai
(more seriously)

Yes, Mama.

We see Mikolai's head disappear from the opening. It closes behind him.

Cut To:

6. Ext. prairie – Dusk

Mikolai checks the lantern. Satisfied, he heads back to the opening in the rock.

Mikolai approaches the cave opening and, once again, cautiously peers inside. He holds the lantern ahead of him, trying to cast some light into its interior.

We see only a few loose rocks, but very little of the interior. Most of it remains in shadow.

Mikolai crouches and, very tentatively, starts to move further through the opening. With one hand, he gropes at the ground before picking up a fist-sized rock. He clutches it as a weapon and continues on.

More of the interior comes into view.

It appears empty. Rocks are scattered about the interior, but there are no immediate signs of recent habitation.

Mikolai continues further inside.

Dissolve to:

7. INT. WAGON #1

Medium establishing shot of the wagon interior.

Martha is tending to Josef.

Martha looks suddenly startled. She turns to look.

We see Mikolai's head through the opening in the wagon's covering.

MIKOLAI

There is a cave. Small, but dry.

Calico (continued)

This horse appears to be a bit more skittish. It sniffs noisily and prances slightly as Mikolai approaches.

Mikolai pauses and considers the horse carefully. He reaches out a hand to stroke its flank, as he had with the previous horse, but it sidesteps before his hand can reach it.

A few of the passers-by are now glancing in his direction. Some are mildly curious; others appear amused.

Mikolai tries to reach for the horse's leg once again. As before, the horse sidesteps just out of his reach. Faint chuckles of amusement are heard O.S..

Mikolai moves toward the front leg and meets with similar results. He takes a step back and studies the situation with an intense expression. If he is aware of the small crowd gathering around, he makes no sign of it.

He decides to make one more attempt.

He approaches the horse again, moving slowly. He is whispering something that is too faint to hear. It might be a prayer, a curse, and an attempt to sweet-talk the horse into cooperating.

The horse stamps its feet, shying away as before.

Suddenly, it becomes totally calm and stands still.

Reaction shot of Mikolai.

Mikolai gives a restrained smile of triumph and moves in.

We pull back to see Mikolai move back in and examine the front hoof without any trouble from the horse. He moves back, still cautious. He stops suddenly when he realizes that someone else is standing there.

Reaction shot of Mikolai.

At first, he looks startled and a little guilty, thinking that perhaps the blacksmith or Parke had returned.

His expression turned to genuine surprise, and then mild embarrassment, as he recognizes who it is.

We see Katerina slowly stroking the nose and neck of the horse. It stands calmly. She gives Mikolai a small, not quite coy, smile.

Mikolai looks like he is about to say something.

Carter (O.S.)

Hey! What are you doing there?

Mikolai starts at the unexpected voice.

The camera pulls back to a medium shot.

We see Carter approaching from the direction of the saloon.

Mikolai steps away from the horse. He looks skittish and mildly guilty.

Mikolai
(haltingly)

Man came for shoe. (with chagrin) Didn't say which horse.

Carter
(relaxing)

Oh.

Carter studies the carriage for a moment. He frowns.

Carter (cont'd)

I'd better handle it.

Mikolai

I can do.

Carter
(nods)

I know you can. (beat) But this is Mr. Parke. He's very . . . particular.

Mikolai gives Carter a puzzled look.

Carter (cont'd)
(frowns)

He wants things done a certain way. (pauses, sees that Mikolai still does not understand) If he doesn't get what he wants, he . . . finds ways to make things bad for you.

Mikolai understands now. His expression shows both fear and anger.

Carter (cont'd)
(inspects one of the hooves, sighs)

He's friends with the Bank. And the Sheriff.

It is obvious that he is none too happy to have to take on the work.

Carter (cont'd)
(pats Mikolai's shoulder)

C'mon, Mike. You can help me make up the shoe. (beat) We'd better make two or three . . . just in case.

Mikolai follows Carter back into the foundry area. He glances back toward Katerina.

Katerina watches Mikolai depart. She flashes him a quick smile. Mikolai's expression brightens. He turns his attention back at Carter, as the blacksmith is speaking to him again.

Dissolve To:

1. Ext. Blacksmith workshop – day

Establishing shot of blacksmith corral.

We move in to see Mikolai as he watches Carter complete his inspection of the installation of the new horseshoe.

Parke enters the scene. His gait is just a little bit unsteady.

Parke
(a little too loudly)

Are you done, boys?

Carter

Yes, Mr. Parke.

Parke eyes both Carter and Mikolai.

Parke

Then why are you fussing with that hoof?

Carter
(stammers slightly)

Because that's the one we replaced, sir.

Parke

T'weren't nothing wrong with that one.

Carter exchanges a quick glance with Mikolai.

Carter

It was broken clear through, Mr. Parke.

Parke
(loudly, angrily)

There was nuthin' wrong with it! (beat, breathes heavily) You t'was supposed to fix the rear one.

Carter looks at the horse and then back at Parke.

Carter
(with calm deference)

There wasn't anything wrong with that one.

Parke storms over to the horse's hind leg, although not too directly. He reaches down and pulls the horse's hoof upward, displaying the bottom of the hoof.

We see a perfectly good and sound horseshoe.

Parke
(sneers angrily)

See there?

Carter stares at the horse's hoof. He glances at Mikolai and then, with a firm determined set to his jaw, turns back to Parke.

Carter

No, sir. I don't.

Parke waves at the horse's hoof at Carter.

Parke

See? See there?

Carter looks down at the hoof and then back at Carter.

Carter

No, sir. That shoe there is perfectly fine.

Parke glares down at the hoof, clearly ready to burst forth with further anger.

Parke stops. He stares dumbly at the hoof he holds up in the air.

After a moment, he lets it fall.

Parke
(dismissively)

I need to get to Frisco. (beat) (to Carter) How much?

Carter

Two dollars.

Parke looks like he is about to protest, but then decides to let it go. He tosses two coins to Carter. He deliberately throws them short so that they land in the dirt at Carter's feet.

Parke climbs back into the carriage bench, unties the reins, and snaps the two horses into motion.

Carter waits until Parke is well down the street before kneeling down to pick up the coins. Mikolai walks over to join him.

Carter (cont'd)
(quietly)

Money'll do that to a man.

Mikolai stares down the road at the spray of dust from Parke's departing carriage.

Carter looks away and then hands one of the coins to Mikolai.

Carter (cont'd)
(smiles)

You earned this, Mike. (pats Mike's shoulder) C'mon. We've still got plenty to do while there's still daylight.

Mikolai looks down at the coin in his hand. He smiles and slides it into his pocket, following Carter back to the blacksmith shed.

Calico (continued)

Mikolai glances up from his work occasionally. Nothing in the crowd catches his attention and he keeps on working.

A shadow passes across Mikolai. A moment later, he looks up.

Wide shot showing a carriage led by two horses. The man driving the carriage, PARKE, is obviously wealthy. He stares down at Mikolai. He sniffs and then makes a face, obviously displeased by the odors.

Mikolai pauses in his work. He looks up, sees the man, and puts down his hammer. After wiping his hands on a nearby rag, he approaches the man sitting on the carriage. He squints as he stares up into the sun at the man.

Parke

You the blacksmith?

Mikolai
(shakes head)

Am helping today.

Parke
(clearly annoyed)

Where is he then?

Mikolai
(sighs expressively)(nods in the direction of the saloon)

Lunch.

parke
(sighs expressively)

I don't have time to wait. I'm late for a meeting in Frisco and my horse needs a shoe. (peers at Mikolai) Can you so it?

Mikolai glances down at the horses and then, a moment later, back up to Parke.

Mikolai
(nods)

I can.

Parke studies Mikolai skeptically for a moment and then nods with reluctant resignation. He wraps the reins around their holder and climbs down from the carriage bench.

Parke

Well, get to it, man!

Mikolai
(politely meek)

At once, sir.

Parke appears mildly mollified by the expression of respect. He checks his watch and then looks down the street toward the saloon.

Parke

Don't dally. I'll be back soon.

Mikolai bows his head respectfully.

Parke regards him once last time before heading off down the street.

Mikolai looks at the pair of horses. Realizing that the man did not tell him which horse, he approaches the nearest one to inspect its hooves.

The horse shies away slightly. Mikolai reaches out a tentative, but steady hand to stroke its foreleg. Carefully, he lifts the horse's hoof, inspects it, and then releases it.

He repeats this process with the hind leg, taking even more care where he stands. This inspection also goes without incident.

We follow him around the carriage.

He approaches the second horse.

Calico (continued)

Mikolai stares down at the floor and then, a moment later, back out the window into the night.

Dissolve To:

[insert more here]

Dissolve To:

1. Ext. Blacksmith workshop – day

Establishing shot of blacksmith shop.

The day is bright and warm.

There are the ambient noises of metal on metal. Shouts are audible, trying to heard over the sounds of the work.

There is an outdoor work area. A latticework roof covers it to provide some shade from the midday sun.

Medium shot of the interior of the shaded area.

We see Mikolai. He is shirtless, perspiring heavily as he bangs the heated metal into flattened strips.

Townspeople wander around in the dirt paths around the blacksmith area. Few pay any attention to the activity taking place inside.

Calico (continued)

Mikolai trails off at the sound of someone outside in the hallway. After the sound fades away, he continues.

Mikolai (cont'd)

This isn't the Old Country. (beat) Either of them.

Piotr

This is no place for us. We should be--

Mikolai

We're here. We live here now. We can't go back.

Piotr
(snorts)

You don’t care. Just because--

Mikolai
(with surprising calm)

--because I'm not eldest of his sons? Because the lands and titles would not be mine? (beat) That is gone.

Piotr

We are still--

Mikolai

We are nothing. We start again . . . like all who came with us in the boat across the sea.

Piotr

We should be great. As Papa says.

Mikolai
(with a faint smile)

We will be. But not the same.

Piotr
(sneers)

Then it is nothing.

Mikolai

Which is all we have now. (sighs) We will have even less if I do not work tomorrow. I will sleep now.

Piotr makes a derisive sound.

After a moment staring at Mikolai, Piotr exits the room. He closes the door a little too loudly behind him.

Calico (continued)

It is a clear, starry night. From the second-story apartment window, he can see a view of the town and toward the dark horizon.

From behind him comes the sound of the door opening. Piotr enters the scene.

Piotr

Was she worth it?

Mikolai turns to face Piotr with a puzzled look.

Piotr (Cont'd)

The girl. (beat) The one worth wasting whiskey for.

Mikolai

She was in trouble--with those men.

Piotr

So are we now . . . according to Papa.

It is clear that Piotr does not entirely believe it.

Mikolai

This is not home.

Piotr

No. It's worse.

Mikolai
(shakes head in annoyance)

It is not.

Piotr

Papa thinks so.

Mikolai

Papa wants . . .

Calico (continued)

Gallagher
(raises hand)

I'll cover it. (smiles) Now I want you to head for cover.

Reaction shot of Mikolai. He looks puzzled.

Gallagher puts a hand on Mikolai's shoulder.

Gallagher (cont'd)
(chuckles)

Go home, son. (beat) And I'd stay away from them boys for a few days--even if they don't remember you from tonight.

Mikolai
(nods uncertainly)

I will do. (smiles faintly) Thank you.

Gallagher

You’re welcome, young man. (beat) Now scoot.

With a mildly perplexed glance back at Gallagher, Mikolai leaves the bar.

Gallagher watches Mikolai leave. He shakes his head slowly and then approaches the bar again.

Dissolve To:

1. Int. Apartment – Night

Close establishing shot of the interior of the apartment.

It is dimly lit. What little light there is comes from two large candles on the dining table.

Mikolai's family is gathered around the table. They are intent on listening to Mikolai as he recounts the tale of his evening at the bar.

Mikolai

. . . and told me to come here--go home.

Josef shakes his head. He is mildly agitated, clearly disbelieving all or part of Mikolai's story.

Martha

He seemed like a fine man.

Piotr

He was constable. Not to be trusted. We have seen.

Mikolai

I think he is good man.

Piotr

He will send those men here. You will see.

Martha
(sternly)

Only if you owe them money.

Piotr scowls. Mikolai attempts to suppress a grin.

Josef
(hoarsely)

Now enforcers know who we are.

Mikolai

I never told them--him my name.

Josef
(fiercely)

They know! You put family in danger--again.

Mikolai looks toward Martha for support. He avoids Piotr's eyes completely.

Martha shakes her head slightly in sympathy, but says nothing.

Mikolai
(sighs)

Sorry, papa.

Josef offers a deep grunt.

Mikolai (cont'd)
rises from the table)

Going to bed. The blacksmith has work tomorrow.

Mikolai waits a moment and then leaves the room.

Martha
(hushed)

Josef!

Josef stares at Martha. His expression softens just slightly. He shrugs.

Martha shakes her head slowly. There is a very faint smile on her lips.

Cut To:

2. Int. Apartment – Mikolai's Bedroom – Night

Wide shot of room interior.

Mikolai has lit no candles. Everything appears as silhouettes and shadows. What little light there we can see comes in from through the window.

Mikolai undresses for bed. As he does so, he looks out the window into the night.

Calico (continued)

It takes the three men a few moments to recover, but then they realize what has just happened.

Stenelli

Polack . . . you shouldn't a done that.

Lake
(unsteadily tries to rise)

Yeah. We was just gonna have a little fun with her.

Mikolai
(stares back)

She didn't want to, I think.

Stenelli

She's a woman. She's gotta do what a man tells her to.

Lake

Any man.

Lake downs the contents of a filled shot glass from the table in front of him. He looks toward his companions.

Stenelli and Lake nod in inebriated agreement.

Lake (Cont'd)

Not you, though.

Lake reaches across the table, trying to grab at Mikolai's shirt. He misses half-sprawling across the tabletop and sending glasses everywhere.

Lake rises from the table, none too steadily. His shirt is soaked in several spots from the spilled drinks. He is truly angry now.

Lake (Cont'd)
(half-snarling)

Stupid pig farmer . . .

Mikolai backs away.

McCann and Stenelli rise now. There are spots where their clothing was splashed by the drinks. They are less angry than Lake, but still seem to be spoiling for a fight.

McCann

You really should show more respect for your betters . . .

Mikolai
(moving backward)

Sirs . . . I buy you new drinks.

Lake
(menacingly)

You'll lick them off my boots . . .

McCann moves to intercept Mikolai's escape as Lake comes around the table.

Stenelli watches, waiting to see which way he needs to move.

Mikolai bumps against a chair and realizes that he is now trapped. Turning aside to free himself from the chair will now put him into the reach of at least one of the approaching men.

Mikolai straightens. He is prepared now to fight--to do his best to defend himself, at least.

Lake takes another step forward.

Gallagher (O.S.)

Is there a problem here, gentlemen?

Reaction shot of Mikolai. He winces fearfully, convinced that he is now surrounded on all sides.

Lake

This . . . pig farmer spilled all of our liquor.

McCann

Aye. Wasted it all, he did.

Medium shot showing Gallagher studying the scene. He turns to Mikolai.

Gallagher

Is this true, son?

Mikolai
(stammering slightly)

It was an accident. (beat) I offered to pay again for new ones.

Gallagher looks over Lake, McCann, and Stenelli. He frowns upon seeing who they are and their state of inebriation.

Gallagher

I see. (beat) I think you boys might already have had enough. Haven't you?

McCann

We paid for 'em.

Gallagher
(nods)

It sounds like this gentleman offered to make right for spilling them.

Lake

He's a clumsy, stupid pig farmer.

Gallagher glances at Mikolai. He studies Mikolai for a moment and then turns back to the other three men.

Gallagher

Be that as it may. Are you saying that his money's no good because of that?

Lake looks stubborn.

Gallagher (cont'd)

Looks to me like they take his money here. He's paid his tab with it. (turns to Mikolai) You did pay your tab, son?

Mikolai

Yes, sir.

Gallagher
(nods, smiles and turns back to Lake)

See there?

Lake scowls.

Gallagher (cont'd)

Accidents happen, boys. (rests a hand on Lake's shoulder) Why don't we let the young man apologize and put it all behind us? (beat) I did hear that he offered to buy you new drinks?

McCann and Stenelli hesitate and then slowly nod their acceptance of the offer. Lake looks as though he intends to be stubborn. Lake winces as Gallagher tightens his grip on Lake's shoulder.

Gallagher turns back to Mikolai.

Gallagher (cont'd)

Go ahead, son.

Mikolai
(swallows nervously)

I'm sorry. (straightens) I buy new drinks for all.

Gallagher
(smiles broadly)

See there, boys?

Gallagher slowly surveys the faces of Lake, McCann, and Stenelli. They look unhappy with how things worked out, but some of the earlier anger and aggression appear to have receded.

The three men nod slowly.

Gallagher (cont'd)

Excellent! (places an arm around Mikolai's shoulders) I'll just take this young man back over to order your drinks then.

Lake and McCann still look unhappy, but say nothing. Stenelli just stares.

Gallagher guides Mikolai away.

After Gallagher and Mikolai are out of earshot of the three men, Gallagher leans slightly closer in toward Mikolai.

Gallagher (cont'd)

Son, I recommend that you order those drinks and then make yourself scarce.

Mikolai looks at Gallagher with a puzzled expression.

Gallagher (cont'd)

Be somewhere other than here. If you're lucky, they'll be drunk to remember who you were tomorrow. (beat) Even then, I'd keep my distance for a while.

Mikolai
(frowns)

They are angry with you also?

Gallagher

Probably. (chuckles) But that's not what I mean.

Mikolai and Gallagher reach the bar. Gallagher signals the bartender and holds up three fingers.

The bartender nods to acknowledge the order. Gallagher motions to the table where Lake and the others are seated. The bartender nods again.

Gallagher (cont'd)

Now you'd best find somewhere else to be, son.

Mikolai
(puzzled)

But I pay--

Calico (continued)

Stanelli

C'mon, Katy. We knows you got plenty for all of us.

McCann

I know I've got plenty enough for you. (laughs raucously)

LAKE

Sure, Katy. We'd be gentle . . . We'll each take our turn with ya.

Katerina's eyes grow wide. She is angry now, and definitely scared. She is outnumbered.

Her eyes dart around the bar, seeking help. Nearly everyone ignores what is happening in that little corner. One or two of them furtively watch.

Katerina
(softly plaintive, pleading)

Let me go.

McCann

C'mon, Katy. We just want to play with you for a bit.

Katerina tries to pull away again. Her skirt is still held tight. She tugs harder, but it does not help. Instead, she is pulled backward, nearly into the lap of one of the men.

She squeals, not quite screaming.

McCann

You'd best be quiet, Katy. Otherwise, everyone in this place will want some.

Katerina grows quiet. Her eyes blaze with anger.

She winces, almost snarling as someone's hand touches her somewhere she does not want it. She squirms against the hands holding her, almost managing to break free.

LaKe

C'mon, Katy. We knows you've got a room in the back here. T'won't take long.

Stanelli

Not for you. (snickers a little too loudly)

McCann laughs.

Lake
(glares at Stanelli)

Don't matter.

Katerina struggles harder.

Mikolai (o.S.)

My pardon?

Four sets of eyes suddenly register his presence. Those of the men react in surprise and then in anger. Katerina's eyes watch him with relief and caution.

Medium shot of Mikolai.

He is trying to look more confident than he feels.

Stanelli

What do you want, Polack?

Mikolai's eyes flash for a minute at the deliberate slur. He keeps his expression neutral, though.

Mikolai

The woman.

Lake
(snickers)

Sorry, Polack. He got her first. Wait your turn.

Mikolai stares back at them silently.

McCann

Bugger off, Polack. Go find one of yer pigs.

Instead of being angry, Mikolai looks almost resigned at the inferred insult.

Mikolai
(almost apologetically)

My pardon.

The trio of men mentally dismiss him, assuming that he is about to leave.

Mikolai (cont'd)
(a little more firmly)

You not understand.

The trio of men look up. All three of them appear surprised both that he is still there, and that he would dare interrupt them again.

Lake and Stanelli begin to look angry.

Mikolai (cont'd)
(shrugs)

I want my drink.

Stanelli

So go get it. (sneers) Or can't you find your back to the bar without one of your dogs to lead you?

Mikolai meets Stanelli's gaze evenly.

Mikolai

She brings my drink.

The three men look confused for a moment.

McCann looks at Mikolai with disgust, assuming that Mikolai is some kind of retarded fool.

McCann

She's busy right now. With us.

Lake

Yeah. (sneers) Get your own drink.

Mikolai looks at Lake and McCann if not understanding what they mean.

Mikolai

She comes . . . (half-beat) to get my drink.

Mikolai reaches out a hand to Katerina. She grabs it firmly and stands up.

Mikolai pulls her free from the three men before they can react.

Mikolai (cont'd)
(to Katerina, without looking at her)

My drink.

Katerina nods and tries not to look too relieved. She moves quickly back toward the bar, brushing at her clothing.

Calico (continued)

Josef stops before the table. He says nothing.

The immigration clerk watches Josef for a moment.

Immigration Clerk #1

Your papers, sir?

Josef stares blankly at the clerk.

Immigration Clerk #1
(sighs)

Papers.

Josef continues to stare at the clerk without comprehension.

Immigration Clerk #1
(irritably)

Your papers, sir?

The clerk holds up a thin stack of forms.

Immigration Clerk #1
(with exaggerated patience)

Papers. (beat) Do you have your papers?

Josef looks back toward Mikolai.

Mikolai starts to step forward.

Josef turns back to the clerk.

The clerk watches him expectantly.

Immigration Clerk #1

Sir? Do you have papers?

Mikolai
(coming into shot)

We have no papers. (beat) We keep on the boat.

The clerk gives a heavy, resigned sigh. He picks up two sets of forms and begins to hand them to Mikolai.

Reaction shot of the clerk as something beyond Mikolai and Josef catch his attention.

His expression is one of disbelief and defeat.

Immigration Clerk #1
(weakly)

Is that all your family?

Mikolai
(nods, grinning)

Yes.

Immigration Clerk #1
(resignedly)

I assume none of them have papers?

Mikolai
(with quiet respect)

No, sir.

The clerk looks at the family and then at the stack of blank forms. He looks at the family again.

Slowly, he begins counting forms.

Dissolve To:

[insert more here]

Dissolve To:

1. Int. Saloon – Night

Medium shot of saloon interior.

Mikolai sits at the bar nursing a glass of whiskey. His thoughts seem to be on something other than his immediate surroundings.

There are intense poker games taking place at some of the tables. Other tables contain men caught up in boisterous conversation. It is clear that it is far from their first round of drinks.

One of the waitress, KATRINA, heads toward a table in the back carrying a tray of drinks. The table is partially hidden by shadows, so it is difficult to see the faces of the men sitting there.

Katrina places a drink in front of each of the men. They say something to her that we can hear, but not quite make out. Katrina tries not to reveal her discomfort or disgust.

Katrina starts to walk away and then stops suddenly.

We see that one of the men has grabbed her skirt, preventing her from leaving.

Katrina now begins to look angry, but struggles to hide it.

The men speak to her again.

Katrina attempts to move away, but the hold on her skirt remains firm.

Her anger begins to fade into visible unease.

Calico (continued)

Dissolve to:

1. Ext. Harbor – DAY

Establishing shot of harbor.

The harbor is loud and crowded. There are signs of rust and debris everywhere. It probably smells as bad as it looks.

The aft gates of the vessel in the foreground open. A throng of shabbily dressed people move out onto the gangplank.

They seem to be dressed too warmly for the warm day. Squinting in the sunlight, they move off the boat and onto the dock.

Close shot of Mikolai.

Mikolai

America! We are here. We are free!

Those in the crowd behind him mumble happily. Their expression clearly convey their relief and joy.

Together, they move toward what looks like a large warehouse.

Cut To:

2. Int. Processing hangar

The throng of people from the ship enter.

They are visibly surprised to find the interior already packed with other immigrants.

They crowd in at the end of what seems to be the end of a queue. The woman at the end, dressed much as they are, glances back at them incuriously. She shuffles forward slightly and then stops.

Mikolai gestures for the others to join him.

They crowd tightly around. Many of them giving him questioning looks.

Mikolai
(uncertainly)

Processing.

Josef grunts.

Jonathon

Is it take a long time?

Mikolai peers out over the large crowd ahead of them.

Mikolai
(grimaces, nods)

I think so.

Jonathon looks unhappy.

Mikolai pats Jonathon on the shoulder and smiles.

Mikolai

At least we wait here in America, no?

Jonathon reluctantly nods.

Mikolai

It will not be so long. You'll see.

The camera pulls back to once again reveal the sea of waiting people.

Dissolve to:

3. Int. Processing Hangar

Medium establishing shot from the lines of processing tables.

Jonathon's family has reached the front of the line. They look even more weary than, and perhaps even a bit irritable.

Immigration Clerk #1

Next!

Mikolai pauses and holds his place in deference to his father. Josef moves forward with his wife trailing slightly behind him. The rest of the group remains several steps behind.

Mikolai moves in closer so that he can overhear, but allows Josef to approach the immigration clerk without him.

Calico (continued)

The scene rolls with the motions of the ship in the storm. Jonathon's mother staggers under the swaying of the deck, finally settling down to sit next to a older man--Jonathon's father. He looks tired and worn.

Jonathon

How much longer, Mama?

Jonathon's mother glances at Jonathon's father.

After a moment, he shrugs. Jonathon's mother looks back at Jonathon.

Jonathon's mother

Soon. (beat) Soon.

She visibly fights back a weary sigh.

Jonathon looks skeptical.

He settles down against a bulkhead across from his parents.

Jonathon

I'm hungry.

Jonathon's mother looks toward Jonathon's father.

After a moment, Jonathon's father nods.

Jonathon's mother reaches under a pile of blankets and coats. None of them appear particularly clean.

She withdraws a small woven bag. With effort, hampered by cold and stiff fingers, she manages to loosen the binding. She reaches inside and pulls out a dark strip of what appears to be dried meat.

She shows it to Jonathon's father. He makes a noncommittal gesture with his shoulders. Jonathon's mother looks around at the others and then passes the dried meat to Jonathon.

Jonathon stares at the strip of meat and then reluctantly accepts it. He leans back against the bulkhead and begins to gnaw on it hungrily.

Jonathon's mother replaces the bag into its hiding place. She settles in once again next to her husband.

Jonathon's Mother
(whispers)

Anton. He is not well.

Jonathon's father glances down the huddled groups of people.

Jonathon's father

It is the sea.

Jonathon's mother clearly does not believe him.

Jonathon's father pulls his clothing more tightly around him. He closes his eyes. His face does not relax into sleep.

Dissolve To:

5. Ext. Ocean – Transport Ship Outer Deck – Day

The waves beat hard against the vessel's hull. Rain continues to lash against the outer cabin and deck.

fade To:

6. Ext. Ocean – Transport Ship Outer Deck – Day

The sun shines brightly against the ship's hull.

In daylight, the ship does not appear to be in any better shape than it did during the storm. It might even look worse, as every stain and sign of rust is visible in the bright light of day.

The hatch creaks open.

As it opens, the sounds of the environment around the vessel becomes audible as well.

MIKOLAI stumbles through the hatchway, unsteady on his feet, even though the deck seems steady beneath them. He squints in the sunlight, raising a hand to shield his eyes.

He takes a few steps away from the open hatchway onto the open deck. He stops and looks around, studying the area around them.

He stops and stares. After a moment, a broad grin appears on his face.

Close shot of Mikolai's expression.

Mikolai
(shouts)

Come! (louder) Come!

More faces appear in the open hatchway.

Slowly, a few of them cautiously venture out into the deck. They all either blink in the sunlight or shade their eyes from the bright glare.

Jonathon appears and, somewhat braver than the others, continues on to stand beside Mikolai.

Mikolai grins and lifts the boy up so that Jonathon can see.

Mikolai

There! (adjusts Jonathon for a better view) We are nearly there.

The camera pulls back to reveal more of the vessel. More the people move out onto the deck to stare.

The camera pans slowly along the vessel even as it passes us. For a moment, the pilot cabin obscures the view. As it slides past, it reveals the Statue of Liberty, standing bright in the sunlight.

Calico

ACT I

Fade In:

1. Int. Hospital Room – Night – Present Day

Establishing shot of a hospital room.

Visible in the shot is a hospital bed. Beyond the bed is a window. The curtains are open, revealing a rainy night outside. Lighting from somewhere outside gives the scene out the window a grayish cast, revealing the rain.

We move in closer, allowing us a better view of the person in the hospital bed.

He is an old man, connected to tubes and medical devices. He looks old, but with the appearance of someone who has lived his life well. From a glance, it looks as though he is probably in his eighties.

He appears to be asleep. There is no sign of pain, but the pattern of his breathing tells us that the end of his life is not far off.

The ambient sounds in the room include the hum of the air conditioning, the rhythmic chiming of the medical equipment, and the sound of the rain outside the window.

The old man's head turns slightly. He mumbles, forming coarse sounds that might be words. If they are, the language is not English.

The sound of the air condition fades, leaving the sound of the medical equipment and the rain.

The sound of the medical equipment fades, leaving only the sound of the rain.

The noise of the rain grows louder. It now sounds like a full-fledged storm.

The scene of the rain outside the window grows closer and closer, until it fills our view. Accompanying is definitely the sound of a fierce storm.

A new sound becomes apparent. It seems muffled and garbled at first. The sound is repeated. Each time it becomes more distinct until it is clearly the sound of large waves crashing.

Dissolve To:

2. Ext. Ocean – Transport Ship Outer Deck – Day

The colors of the scene are gray, very similar, if not the same, as those from outside the hospital room.

Medium shot of a fierce ocean storm against the main forward hull of a ship. The ship moves through the water. Water crests along its sides from it passages, but those wakes are dwarfed by the storm-generated swells of the ocean.

We pull back to see waves crashing against the hull of an enormous vessel. Some of the spray cascades onto the deck. It joins with the rain as it falls.

What we can see of the ship--the deck, sections of the hull, hatches--show that the ship has seen better days. It is still plenty seaworthy, but hardly modern.

We hear voices off-screen. They are barely understandable over the sounds of the storm. The coarse sounds of the language are almost the same as that from the old man in the hospital bed.

A large wave crashes against the hull, spilling a wash of gray ocean water over the deck. For a moment, our view is obscured.

Cut To:

3. Ext. Ocean – Transport Ship Outer Deck – Day

The view clears.

The storm continues around us.

A young boy stands on the deck. His hands grip the rusted and peeling railing with a tight, claw-like grip. He stares out over the water.

There is no fear in his expression--only hard determination.

(The first few lines are spoken in Polish with subtitles.)

Jonathon's Mother

Jonathon! Come here. Back inside.

She waves him back toward the hatch. She clings to a handle as the deck rises and falls from the force of the storm.

JONATHON continues to stare out over the water. He turns to look at his mother. His expression never changes. The same determination is there. Whatever he is thinking beyond that, we cannot tell.

Jonathon's Mother (O.S.)

Jonathon! Come!

With a clear reluctance, Jonathon releases his hold on the railing.

He turns and moves toward the hatchway, struggling to keep his footing on the soaked and swaying deck.

He clings to the hatchway as he reaches it. The deck rises and falls heavily.

Jonathon stares out into the storm and, with his mother's help, closes the hatch against the storm.

Dissolve To:

4. Int. Transport Ship – CARGO HOLD

Medium shot of the cargo hold interior.

The light has a yellowish cast and there is not enough of it. Shadows are everywhere, creating an effect like harsh, but stationary candlelight.

The interior of the ship is in only slightly better shape than its exterior.

We see a large group of people huddled together in the cargo hold. Most are dressed in ragged clothing, with barely just enough of it to keep them warm in these quarters against the storm outside.