MALINKA AND OTHER TRUE STORIES

By

Jona Pelovska

(excerpt)

EXT. SLAVEIKOV SQUARE & CROSS STREET IN SOFIA. DAY.

It is summer on Slaveikov Square. In front of a passage between two buildings MALINKA, a plump woman around sixty overdressed in a cloak, long dress and a wide-brimmed hat made of violet mock velvet, is singing at the top of her lungs. TWO MIDDLE-AGED GENTLEMEN, cornered by her, listen impatiently and slightly embarrassed.

About mid-song, Malinka is still singing, only in English and on CARRE ST-LOUIS in Montreal. She wears the same clothes and is the same type, but not exactly the same woman.

Back on Slaveikov Square, Malinka finishes the song and pronounces in a high pitched voice the firm price of her dubious performance

The men mumble something, give her the money and quickly split as a street GYPSY BAND takes up Malinka’s tune and plays it on.

Crossing to the opposite sidewalk ANGEL, a tall elegant man in his forties, is hurrying through traffic. ALBENA, a girl-like woman in her thirties, follows him. She can’t take her eyes off Malinka’s performance and now has to catch up with Angel.

ALBENA:

Angel turns to look. Like a phantom vision, Malinka disappears into the crowd. The Gypsy Band’s music is also receding.

ANGEL (annoyed):

They turn to one of the small cross sections and stop in front of a DARK BLUE BMW. Angel takes out the car keys from his pocket and turns off the alarm. He swings the keys around his finger and looks tenderly at the remote hanging on the key chain.

ANGEL (proudly):

Albena briefly examines the small hi-tech gadget. Angel opens the passenger’s door for her and, examining his reflection in a storefront window, goes to the other side of the car.

A chestnut falls on a nearby car, activating its alarm system.

EXT. SLAVEIKOV SQUARE.

The Gypsy Band is back to the beginning of the song which is back fully audible.

Malinka counts the money she has just received and puts it under the neckline, supported by a pointed bra that gives her monumental bust a weapon-like appearance. She grabs the GREEN VIOLIN CASE standing by her side and, swinging it confidently, takes off with regal dignity.

EXT. DOWNTOWN CAFE & STREETS OF SOFIA.

Angel gets out of his BMW. He turns the car keys around his finger, slips them in his pocket and walks away. He seems nervous, looking around as if afraid that someone might be following him.

Malinka walks in a different direction.

At one point Angel stops, makes sure the street is clear and quickly enters an old apartment building. Malinka passes by the building with decisive step.

She is after someone else. The stalking transcends the streets of Sofia to trace the mysterious person in Montreal. At one point, Malinka seems to be almost catching up with her elusive aim - a woman exactly like her, her Montreal double or the Sofia double of the Montreal original, but she turns a corner and disappears. The action ends in Montreal.

Soon Angel comes out of the building, only this time in Montreal, suitcase in hand. He returns to his car and goes to the café across the street. As he crosses the street, the action snaps back to Sofia.

Just as he is about to enter the café, Angel casts a final glance around. At the same time Malinka also tries to enter. A snapshot freezes the moment of Angel in front of the café.

Back to normal motion, Angel fails to notice Malinka and steps on her small fleshy foot squeezed into a pointed shoe. She jumps and shouts. He looks at her distactedly and enters.

INT. CAFÉ IN MONTREAL AND CAFÉ IN SOFIA.

Malinka enters the cafe furiously.

MALINKA:

She stops in front of the counter, puts the violin case down and turns to the WAITRESS, a forty-something plain woman, standing behind the counter.

MALINKA (cont.):

The waitress looks at the man who is moving toward an empty table by the open terrace door. She hands Malinka a tissue, with an understanding smile.

WAITRESS:

Angel is sitting at the table occasionally glancing at his watch. From time to time his key chain seems to assume a life of its own around his finger.

MALINKA (O.S. almost loud):

A telephone ring proves her point. Angel takes a tiny cellular phone out of his inner pocket and answers it. The two women exchange a glance. The action has moved entirely in a Montreal café.

Enter KORELOV, a neat man in his early thirties. Angel cuts the phone conversation short and greets Korelov who takes a seat at his table. They start talking.

WAITRESS:

She gives Malinka a cup of coffee.

MALINKA:

Korelov leaves with Angel’s suitcase. Seconds later, Angel follows.

Not even trying to pay for the coffee, Malinka grabs it in one hand, the violin case in the other and, with a generous repetition of "Thanks", goes to the just liberated table. She sits down, overwhelmed with a sense of victorious calm as Angel exits the cafe.

Lying on the table is the key chain. Malinka starts examining it. Although the owner of the keys is still in sight, it doesn't even occur to her to run after him. Buttons and indications suggest that this is a valuable mechanism. Malinka starts pressing the buttons randomly. The remote happens to be pointed at the BMW parked across the street.

EXT. STREET IN FRONT OF THE CAFÉ, MONTREAL.

Angel reaches for his keys. Realizing he's forgotten them, he heads back toward the cafe. Suddenly, a big explosion throws him forth. His car is up in flames.

Back in the cafe panic has struck. Malinka grabs her violin case and joins the spectatorship.

Overwhelmed by dust and distress, Angel pushes his way through the crowd into the cafe. His keys are on the table. He examines them with profound incomprehension.

INT. HERITAGE FOUNDATION OFFICE (MONTREAL). EARLY EVENING.

Korelov opens the suitcase. MR. DOULOV, a solid gentleman in his golden years, takes a long inquisitive look.

KORELOV:

DOULOV (looks Korelov questioningly):

KORELOV:

A snapshot freezes the content gaze of the two men leaning over the suitcase.

Korelov leaves the office. Malinka, underdressed in playful albeit worn out lingerie, emerges from the next room. The camera zooms out of the room to bridge over the next shot which is in Sofia.

EXT. OLD BUILDING (SOFIA). NIGHT TO MORNING.

An old building of architectural elegance, typical of downtown Sofia, bears the sign of Heritage Foundation along with the names of private residents.

The night advances. Doulov comes out of the building. A snapshot commemorates his exit.

The day sets in slowly, together with the urban noise.

INT. HALLWAY IN FRONT OF MALINKA’S APARTMENT. MORNING.

Malinka’s apartment is right next door to Heritage Foundation. The plate on her door bears the names of the inhabitants.

DOOR PLATE (written):

A CITY OFFICIAL in a blue uniform arrives at the door and rings the bell. Steps approach the door from inside the apartment.

MALINKA (O.S):

CITY OFFICIAL:

MALINKA (affecting a child’s voice):

The receding jumps of a little girl singing a children song are insistently audible. The City Official hesitates and rings once more. Obviously none will open the door. He leaves the notice he carries at the door knob.

When the sound of the City Official’s footsteps fully fade out, the door opens ever so slightly. The notice falls on the floor. Malinka emerges, looks furtively around and picks up the notice.

Malinka reads it, stupefied. Suddenly, the summer song of birds comes in through the window. A few sun rays shimmer optimistically on the walls of the hallway. Malinka smiles and crumples the notice.

EXT. SOFIA AIRPORT.

A LUFTHANSA AIRPLAINE lands swiftly.

EXT. THE BUILDING.

Malinka, cheerfully clad in a pair of pink trousers, comes out of the building.

KATERINA EVXTAHIEVA, an old flirt with jet black hair, appears at the mezzanine window and beckons Malinka. The two start a confidential talk.

MALINKA:

KATHERINA:

MALINKA:

KATHERINA:

MALINKA:

KATHERINA:

Somewhere, out of frame, a telephone rings insistently.

INT. HERITAGE FOUNDATION OFFICE.

Doulov is sitting close to the window, just picking up the phone.

DOULOV
(in rhythmic response to Katherina’s exclamation from the end of the previous scene):

He fails to hear the brief knock that announces the slow opening of the door.

DOULOV (cont.):

Doulov looks at the silent phone. Malinka startles him with her sudden proximity.

MALINKA:

She grabs his hand, insisting.

DOULOV (cold):

He takes advantage of her grab to hold her and lead her meaningfully to the door.

MALINKA:

She fixes Doulov with lustful persistence. Her red nails skillfully slide on the naked part of his tightened neck. Malinka roars slightly. Small drops of perspiration appear on Doulov’s forehead.

DOULOV ?coming to his senses?:

Malinka can’t hold her excitement.

MALINKA:

EXT. STREETS TO THE HOTEL.

High angle on the beige Volvo driving the short distance from the building of the foundation to the Rila Hotel. Malinka gets out of the car with exaggerated grace and heads buoyantly toward the entrance.

INT. BEIGE VOLVO.

The view from the car’s interior is slightly obstructed as Malinka and MR.TONKOV approach, conversing politely. Mr.Tonkov wears thick glasses that lend a compassionate look to his eyes. His fine cashmere suit fits his small, slender for his age, figure. The CHAUFFEUR, a young man with naïve expression and uncanny resemblance with Angel, opens the back door.

Malinka and Mr.Tonkov position themselves comfortably in the back seat.

MR.TONKOV:

MALINKA (with an air of importance):

Mr.Tonkov examines her with contained suspicion.

MR.TONKOV:

MALINKA:

Mr.Tonkov pretends he knows.

MR.TONKOV:

He glances briefly through the window.

MR.TONKOV:

MALINKA:

MR.TONKOV:

His next words fade out of Malinka’s attention, although she keeps nodding almost lovingly, yet impatiently. She turns briefly to the chauffeur.

MALINKA:

"The communists", "tragic events", "crimes against the monarchy" cut through the chauffeur's attentions as he obeys Malinka's navigation.

EXT. ENTRANCE TO THE FOUNDATION'S BUILDING.

Doulov and Korelov are standing solemnly at the entrance waiting for the guest. Doulov glances at his watch. Two employees exchange puzzled looks. Korelov gazes hopefully at a beige car that indifferently passes by.

INT. & EXT. BEIGE VOLVO.

Malinka's attention is drawn to the luxurious upholstery of the front seat, the crafted ashtray, the sleek door handle, the enigmatic window buttons. Mr.Tonkov’s voice creates a hypnotic background. Malinka presses a button. The window opens a little, startling her.

MR.TONKOV:

Malinka pulls her attention together and beams at him thankfully.

MALINKA (to the chauffeur):

EXT. STREETS.

A HIGH ANGLE reveals the circular maneuvers of the car as it meanders between two blocks.

EXT. ENTRANCE TO FOUNDATION'S BUILDING.

KOrelov is smoking. Doulov is pacing nervously.

DOULOV:

Heavy clouds are gathering in the sky and slowly exiting the scene.

INT & EXT. BEIGE VOLVO.

The clouds are moving toward the car as seen through Malinka's POV. She ignores this omen nonchalantly.

MALINKA:

Mr.Tonkov tries to look sympathetically inclined.

MALINKA (cont.):

MR.TONKOV:

MALINKA:

Mr.Tonkov raises his brows questioningly, but Malinka doesn't let him utter a sound.

MALINKA (cont.):

Mr.Tonkov assumes a negotiating expression.

MR.TONKOV:

Malinka's eye pupils shrink, her smile freezes although she nods understandingly.

MR.TONKOV:

He takes out a meticulously ordered wallet.

MR.TONKOV (cont.):

He hands Malinka his business card.

EXT. BUSY BOULEVARD.

A high angle on the car reveals its crippled motion through the heavy traffic of the boulevard.

MR.TONKOV (O.S.):

MALINKA (O.S.):

EXT. FOUNDATION'S BUILDING.

The small delegation wanders in hopeless disorder. Korelov’s face reflects the same weakened solemnity clouding Doulov’s eyes. Sitting on the edge of a big stone flowerpot, he is numb. Only his fingers, mercilessly counting a steady rhythm on his knee, betray his feelings.

INT. ANGEL'S OFFICE. DAY.

The front page of DEMOKRATZIA newspaper shows a big picture of Doulov greeting Mr.Tonkov as the latter steps out of the beige Volvo, Malinka by his side.

HEADLINES:

Angel puts down the newspaper and turns 180 degrees on his office chair. He is now facing Korelov who casually leans on the windowsill.

ANGEL:

He slowly turns his chair 360 degrees, breathing in the soothing reassurance conveyed by his expensively furnished office. Korelov’s eyes wander nervously away.

INT. MALINKA’S FLAT.

Malinka opens her closet. Its door hangs freely on its upper hinge. She looks proudly at the chaos of glaring materials pushing out. Her figure is partially reflected in the mirror on the inside of the open closet door.

MALINKA:

She glances victoriously in the mirror.

MALINKA (cont.):

Her fleeting glance in the mirror is ironically puzzled.

MALINKA (cont.):

She rolls her eyes.

MALINKA (cont.):

She takes a green mock lilac dress, holds it to her body and turns to the mirror. Sitting on the sofa in the other room across the open door, TZONYO, a Gypsy man in his thirties, is fully visible through the mirror. He is watching Malinka distractedly while examining a DOCUMENT.

INT. NATIONAL MUSEUM OF HISTORY. DAY.

The somber halls of the museum surround glass-cased trophies from the battle against time. Icons, figurines, grails and pieces of ancient stone lead deceptively to the gutters of the museum.

Tzonyo walks solemnly through the halls, stopping for trance-like moments in front of an ancient manuscript or a medieval icon. A bronze headdress encased in thick glass arrests him. He takes out a pen and quickly writes the information about the piece on his cigarette pack.

Tzonyo goes to a secluded place in the connecting corridor, makes sure there is none in sight and takes the document out of his inner pocket. Using a windowsill for support, he fills in the blank spaces of the document with the information he has just written on his cigarette pack.

Tzonyo walks down the corridor and almost passes a door that reads: RESTORERS. He straightens himself, takes the forged document out of his inner pocket, checks it, puts it back in place, clears his throat and knocks on the door.

EXT. VITOSHA HOTEL AND FRONT PARK. NIGHT.

The street is quietly enchanting. Almost no windows are lit up. Even the hotel's entrance hall is dim as the slow breeze hustles around the dark silhouette of someone lying on a bench in the park across.

Mr.Tonkov is accompanied by Korelov, Mr. Doulov and his wife, MRS.DOULOV, a respectable lady in her fifties.

MR.TONKOV:

MRS.DOULOV:

They stop opposite the entrance of the hotel at the side of the small park.

MRS.DOULOV:

The dark bundle of a human body is a few meters away.

They approach the bench. The bundle moves a little. Mrs.Doulov leans over.

MRS.DOULOV:

Waking up, the woman starts moving up. She is none but Malinka.

MR.TONKOV:

Malinka jumps up and starts fixing her hair. Albeit wrinkled, her lilac velvet is still as striking.

MALINKA:

Mr. Doulov nods coldly. Mr.Tonkov takes a step back.

MR.TONKOV (formal to apologetic):

MALINKA:

She grabs Mr.Tonkov by the arm and starts crossing the street. His uneasiness stiffens his pace. Bewildered, the rest just follow the awkward couple.

MALINKA:

The small group establishes itself on the sidewalk in front of the hotel.

MR.DOULOV:

Petrified, Mr.Tonkov looks at Malinka and turns his begging eyes to Mr.Doulov.

MR.TONKOV (desperately):

Mr.Doulov seems to have missed the message.

MR.DOULOV:

MR.TONKOV (to Korelov):

The desperate plea in his eyes and the fearsome bearing of Malinka by his side could move the heart of the busiest of men.

INT. MR.TONKOV'S HOTEL ROOM. NIGHT.

Malinka, Korelov and Mr.Tonkov are drinking cognac in the living room of the luxury suite.

MR.TONKOV:

KORELOV:

His eye gleams as he mentions death. Malinka is uninterested in the conversation. She gets up and searches the radio waves. The room is soon overpowered by the chaotic sounds of the radio. A station is playing a familiar tango. Triumphantly, Malinka approaches the two men and invites Mr.Tonkov to dance.

MR.TONKOV (somewhat flattered):

MALINKA:

She tries to pull him up. He resists. The tango piece is over. Malinka just relaxes her grip when another tango piece starts. She resumes her harassment.

MR.TONKOV (stupefied, cutting):

Korelov jumps on his feet and invites Malinka himself.

They dance. Malinka is trying hard and taking the lead toward ever more provocative and dramatic choreography. She is about thirty years her partner’s senior but desperately more energetic. At first, she is glancing seductively at Mr.Tonkov but her glances grow more sporadic as she gains confidence and gives herself to the dance.

Glass of cognac in hand, Mr.Tonkov is stealing a nap. The voice of a radio anchor awakens him. Malinka and Korelov have finished dancing.

MR.TONKOV:

Malinka looks at him unconcerned.

MALINKA:

KORELOV:

Malinka quickly plants herself on the sofa, grabs her glass of cognac and assumes an unshakable position of relaxed abandon.

MALINKA:

Korelov hesitates and sits uncomfortably at the edge of the sofa. Mr.Tonkov has stood up and now goes to the radio and turns it off. He remains by the window, his back to the room.

MALINKA:

Sensing the deadlock situation he's in, Mr.Tonkov turns abruptly toward them and smiles.

MR.TONKOV:

EXT. PARK. NIGHT.

Malinka, Mr.Tonkov and Korelov are walking through the park. The distant sounds of one of the tango pieces float around in a faintly distinguishable restaurant arrangement.

MR.TONKOV:

Malinka is holding Mr.Tonkov by the arm while stepping in an increasingly dance-like manner. Her humming to the distant song becomes more audible.

KORELOV (from servile to determined):

Malinka makes a gesture of lighthearted displeasure with Korelov's words.

MALINKA:

She starts singing and dancing around the two men.

Mr.Tonkov observes her kindly, his mind drifting along her movements, the rustling of the trees, the vague distance.

MR.TONKOV:

They have approached the park's fountain. Malinka hasn't stopped her nocturnal performance. As she approaches the fountain, she gently takes off the layers of her clothing and leaves them roaming until caught by a bush or a tree.

MR.TONKOV:

MALINKA:

She winks teasingly and, now almost only in her obscure lingerie, steps happily in the water.

MALINKA (laughing):

KORELOV:

MALINKA:

Mr.Tonkov observes the scene with a mixture of curiosity and jolly consignment. He himself starts humming the song, but quickly sensors himself.

KORELOV:

Mr.Tonkov turns to him with an ill-concealed smile.

MR.TONKOV:

He pauses for a while.

MR.TONKOV:

Malinka is not coming out of the water.

(end of excerpt)

Montreal/Sofia, 2001-2002