"GIRL WITH A PEARL EARRING" (2003)

GIRL WITH A PEARL EARRING

A bare whitewall. Sunlight falls softly throughan open window.

Sounds from outside;water-lap against stone; awoman calls a greeting; wooden clogson cobbles.

The plaster is roughlyfinished. There are blue grey shadows,a fuzz of brown dust,pale cream highlights.

Inside the house quietnoises; the swish of a scrubbingbrush on stone; a rocking chaircreaking to and fro; a knife chopping.

CLOSE ON: A kitchenknife, sharp-edged, pitted black, slices through white-greenonion rings, juice flecking theblade. Slivers of onion pileup on a dark wood chopping board, tiny threads of yellow-greenin the white. Reflected for amoment before the blade sweepsthem away.

A handsome Dutch townhouse, red-brick, three storeys high.

The front door opens anda MAN and WOMAN come out. His clothes are dark and fine, his facehalf-hidden by a wide hat. She is ripely pregnant, her bellylarge against the swathes of her fine velvet dress. She leanson his arm for support, but still leads the way.

CAPTION OVER: DELFT 1664

As they walk through theprosperous town they are greeted and bowed to: people of consequence.He nods, she smiles and waves to acquaintances, blonde curlsdancing.

Splitting a red cabbage, exposingthe white veins between dark purple leaves. A GIRL’S hand,small and deft, places the cabbage by the onion.

The couple cross a bridge overthe canal, turn into narrower streets, poorer houses tightly-packed.WOMEN in white caps and aprons over dark clothes lookup fromscrubbing front door steps,WORKING MEN raise theirhats. He still nods, she ignores them.

A BOY (FRANS)leans on the bridge,watching from under a mop of blond curls. The moment they aregone he is off - racing down the street, cutting through an alleywayto get ahead of them.

November2003

In thekitchen his sister, GRIET, reactsto the sound of the door;eyes wide, lips parted. Anticipation,uncertainty, even fear.A look we will come to recognise.

FRANS (0/S)

Mother!

GRIETpulls the stiff folds of her whitecap further forward roundher face, resumes her work. She isslight, a young girl but with a sureness to her movementswhich seems older. Her clothesare as plain and severe as thenarrow Calvinist room, the fresh-cutvegetables the only strokeof colour. She slides carrotsonto the dish, absorbed in thepattern she is creating.

Her MOTHER comes hurrying into the roomin her starched best clothes.A brief, irritated glance atthe dish.

MOTHER

Leave that.

GRIET puts down the knife carefully.

GRIET hurries up narrow stairs to aroom under the eaves, so low even she must stoop. Only a shaft oflight penetrates the room. In the darkest corner a MAN hunches ina rocking chair.

GRIET

Father.

GRIET squats in front of him. We seehis hand is badly disfigured, fingers twisted into aclaw, skin taut and shiny pink in places, otherwise ridged andgnarled.

GRIET (CONT'D)

The Guild Master...

He nods, face in shadow. This is anexpected event.

There is a silent understanding betweenthem. GRIET places his best black jacket on the bed, guideshis hand with her spread fingers.

After a moment he stops her, insteadhe searches with fumbling fingers on a shelf by the bed. Thereare several tiles propped there, blue figures on white. He feelsfor one in particular.

A girl and boy, hand in hand. Theunmistakable line of GRIET’S cap, FRANS flinging an arm joyfullyin the air.

He presses it into GRIET’S hands,a gesture of regret and apology.

November2003

The handsomecouple stop at a small house.Now they have arrived the WOMANhesitates, suddenly nervous. HerHUSBAND tidies a strand of herhair then knocks at the door.

From below theWOMAN’S VOICE; over-loud, herheels clattering on the tiled floor.

GRIET’S FATHER liftshis head - the first fullsight of his face, taut andtwisted, as if it had beenmelted and re-set, the eyes scarred andblind. Recent, terrible injuries.GRIET tries to ease on hiscoat.

GRIET'S FATHER

I cannot...(meethim).

Griet runs intoposition, cheeks flushed, and isonce more chopping thevegetables as her MOTHER leads inthe visitors.

MOTHER

This is Griet.

The MAN and WOMANstep down into the kitchen, crowdingthe Narrow space. GRIETlooks to her MOTHER for guidance,carries on with her work,head bent.

The woman, CATHARINA,talks fast, distractedly, herhands forever moving,twisting the blonde curls on her neck.

CATHARINA

She's very small. You think she isstrong enough? We can’t have a girlwho isalways worn out and complaining. My mother isworried about her age. And she‘s never workedoutside the home before.

CATHARINA seems toolarge for the room, too opulent, apearl- inlaid crucifixdangles heavily between her breasts.

MOTHER

She is strong. A good girl andwilling.

CATHARINA

All things considered I suppose itmust do but there will have to be a trial. How longshould it be, husband?

He isn't listening,gazing abstractedly at the wall. CATHARINA hurries on.

November2003

CATHARINA (CONT'D)

I don’t know, I can’thave someone in the house who won’t pull herweight. As it is I hardly...(can make endsmeet.) There are all the children to think oftoo. My husband is Guild Master but we are underno obligation to do this. No obligation atall.

MOTHER

(Stony) She works hard.

CATHARINA twists her necklace roundher fingers. Maybe she went toofar.

CATHARINA

I mean to say we aresorry for your husband's misfortune. It wasa fire?

MOTHER

The kiln exploded.Two men died. He was spared.

CATHARINA crosses herself.

CATHARINA

Deo gratias.

GRIET’S MOTHER stiffens at the Papistwords. Uncomfortable silence.

MOTHER

(At last) Aye, Godbe thanked.

CATHARINA

(Brightly) Well,shall we say a month and if she proves satisfactory- (Iwill keep her on.)

MAN

What are you doing,Griet?

The MAN'S voice cuts across hiswife’s. GRIET looks up, startled. He is staring at thevegetables she has arranged in swathes of colour on the dish. GRIEThesitates. Her MOTHER glares at her.

GRIET

Cutting vegetablesfor soup, sir.

MAN

Why did you laythem out like that?

His quietness is intense, his coolgrey eyes hold hers.

GRIET

I- I- Ready forthe soup, sir.

November2003

CATHARINAsnorts. GRIET is thrown; hehas intruded into her privateworld. Instinctively she pullsher cap forward.

MAN |

(Gently) Is that the orderthey go in the pot?

GRIET

No, Sir.

The MAN makesa small impatient gesture, heranswers aren’t what he wants. HerMOTHER is silently urging her.

He picks up apiece of onion and turnip.

MAN

You have separated the whites.And the carrot and cabbage?

GRIET

The colours fight each other.

MAN

Ah.

His eyebrows go up,a small smile. GRIET finds she isvery pleased to have pleasedhim.

CATHARINA

Isthat how you spend your time - arranging vegetables?

Ohno. Not at all.

The MAN drops the shredsof onion and turnip, deliberately careless. GRIET'S fingersmove to rearrange them but she controls herself. TheMAN is still watching.

MAN

Shemight clean my studio.

His casual words are shockingto his wife. She gasps and turns; too quickly, the heavy bellyoff-balance. The kitchen knife spins off the table andclatters on the ground.

MAN (CONT'D)

Catharina! (Quietly)Be careful.

GRIET bends to pick up theknife, crouching at his feet, her faceinches from the rich trimof his cloak.

GRIET

Excuse me,Master Vermeer.

November2003

Inthe half dark GRIET neatly foldsa chemise, two starched aprons,a woollen shawl, her prayerbook. FRANS pretends to sleepas she tiptoes out.

GRIET’S MOTHER pulls oat cakes fromthe griddle and burns her hand. The only clue to her heartbreak.

GRIET holds a wet rag to the burn.A rare moment of contact. Recovering herself GRIET'S MOTHER foldsthe oat cakes into a clean muslin.

MOTHER

The food may be strangeto your stomach.

How can she begin to tell her daughterall she needs to know?

MOTHER (CONT'D)

Keep clear of theirCatholic prayers. Or if you must be with themwhen they pray, stop your ears.

GRIET nods dutifully. Her MOTHERhesitates then reaches to the back of the mantelpiece and bringsdown a tin box, the family treasure chest. It contains somesilver coins, a few legal papers and a tortoiseshell comb,prettily decorated but old.

MOTHER (CONT'D)

Had it frommy mother, the day I was married. I never thoughtour family would come to this. (A beat) I hearthe Master is a good man. She doesn’t knowher own mind - someone should've stood up to herbefore now. She'd work you to death and noteven notice.

A silence. Abruptly she thruststhe comb and cakes at GRIET.

MOTHER (CONT'D)

Go on then.

GRIET crosses the empty central square,at one end the grand fagade of the Town Hall, at the otherthe vast brick bulk of the New Church. A few stall holders aresetting up.

At the brick star in the middleof the square GRIET hesitates. She adjusts the bundle under herarm, squares her shoulders, heads across the square into theunknown. She looks small and lonely in the huge space.

November2003

GRIET walks along an unfamiliar street.

On a bench outside sit four well-dressedGIRLS, one with a BABY BOY on her lap. Four pairs of watchfuleyes assessing her in silence.The oldest, MAERTGE (pronouncedMertha) holds a cockle shelland pipe-stem. The youngest(LISBETH),clutching a rag doll,pulls at MAERTGE'S sleeve impatiently.

After a moment the next oldest, CORNELIA,a thin, quick child with bright red hair snatches them andblows a stream of bubbles.They float upwards, glisteningin the sunshine.

CORNELIA

Tell Tanneke the newmaid is here.

Aftera moment MAERTGE decides this isthe right thing to do. The littleones run after her. GRIET andCORNELIA are left alone.CORNELIA eyes GRIET, smirking ather heavy clothing and clumsy shoes.

TANNEKE,the stolid servant of the house, leadsthe way, talking as she goes.

TANNEKE

Young Mistress is out thismorning. I’m to show you round.

She sniffs,as if to say this is not a properpart of her duties. Her faceis red from the stove, cheekspocked.

She indicatesthe water pump as she leads theway up the steps.

TANNEKE (CONT'D)

Water for the table.

The WASHING KITCHENhas a big copper cauldron set overa fire. There is a largeheap of soiled laundry.

TANNEKE

Take water from the canal for laundry,it’s clean enough this side of town. Soda,coppers, boiler, sand and soap.

The middle of theroom is full of sheets drying, carelessly arranged. SurreptitiouslyGRIET straightens the nearestsheet.

November2003

TANNEKE (CONT'D)

Linen goes outto bleach in the sun. In here in bad weather. Flatirons, linen press, pressing table. Cookingkitchen...

She sweeps on down the steps.

TANNEKE'S stronghold, dominated bythe big cooking fire. Pots and pans, none too clean, hang onthe walls. TANNEKE carelessly throws some onion skins in the grate.

TANNEKE

You’re to help serveand clear. Buy fish and meat from the Marketwhen Young Mistress don’t want to - and that’soften enough.

She curves a hand out beyond her own substantialbelly.

TANNEKE (CONT'D)

You'll take yourmeals with me and the children. Pewter and silver,needs polishing every week.

Shepulls on a rope and pulley to opena trapdoor down to the cellar.

TANNEKE (CONT'D)

That’s your sleepingplace. Scour the pots and pans. Fetch in themilk and butter.

No time to pause as TANNEKE leads theway through to another room.

Thereare paintings hung thickly on everywall. GRIET is distractedby the dazzling variety of colour and images. Glancingup SHE SEES CORNELIA watching fromthe upstairs balcony.TANNEKE rattles off instructions.

TANNEKE

Dust and polish the woodwork,beat the carpets, trim the candlewicks. Floor scrubbedmorning and night. Young Mistress andMaster sleep and have company here.

The furnitureis solid and intricately carved, theheavy curtainsround the marriage bed richly brocaded. But dirty laundry,children's shoes and toys lie scattered on the floor, disorderlyand profuse, the opposite of GRIET’S clean, bare home.

November2003

TANNEKE (CONT'D)

Air the bedding, washand press the sheets and linen, heat water forYoung Mistress to bathe, empty the pots.

TANNEKE standswith hands on hips, outof breath. Her apron is grey and soiledwith grease spots, her fingersreddened from work. CORNELIAcomes and leans on TANNEKE,catlike in her temporary affection.

GRIET

Have you been doing all thisyourself, Tanneke? The cooking and cleaning andwashing?

The right words.TANNEKE puffs with grim pride.

TANNEKE

Nobody but. Would've put paidto a scrawny creature like you - day in,day out. On top of all the errands bar the Draperand 'Pothec’ry.

She looks aroundwith proprietorial pride.

TANNEKE (CONT'D)

(Kinder)You’ll get used to it.

CORNELIA noticesGRIET staring at the paintings.

CORNELIA

Do you like them?

CORNELIA is lookingup at her, alert and interested. GRIET smiles back.

GRIET

Did your father do all these?

CORNELIA laughs scornfully.

CORNELIA

No! He just sells them. All his paintingsgo straightaway.

GRIET feels stupid, asshe was meant to, but TANNEKE is already bustling out of the room,GRIET must hurry after.

TANNEKE

Thisway.

TANNEKE opens the door toa smaller but finely furnished room. She allows GRIET to glimpseinside.

November2003

TANNEKE

My Mistress,Maria Thins has this room. ‘Tis her owns the house -not her daughter, for all her fine airs.

GRIET has an impression-of gaudyCatholic paintings, fine velvet and a prie-Dieu.

GRIET follows Tanneke's broad backup the stairs. TANNEKE points towards the door at the end of thecorridor. In spite of herself sheis frightened, her voice a whisper.

TANNERE

You're to clean inthere.

As GRIET takes a step in that direction.

Not now! He's painting.

Carryinga night light, GRIET goes carefullydown the ladder intothe cellar. The glint of bottlesand jars, a broken footstool,a child’s wooden top, thepaint dim under layers of dust.

A sleepingplace with a mattress, bolsterand blanket has been madeon a low wooden shelf. GRIET arrangesher few possessions neatly:the prayer book and comb, her bestlace collar, chemises and aprons,her father’s tile. Wearily shekneels to pray. Her handsare already red and raw from all thework. She is about to take offher cap when she stops, uneasy. Shelooks around the dark room,shadows flickering in the candlelight.Suddenly she sees a face,ghostly white.

It is aPieta; Mary holding the dead body ofChrist, the Virgin's facehollow-eyed with grief, an armraised in wild despair.

GRIET looksat it uneasily. Then with a quickdecisive movement she takesher spare apron and drapes it overthe painting. Blows out her candle.Only the faintest glimmer of lightcomes from the open trapdoor.

In the darkshe can hear noises from the household,the MASTER'S low voice andlaughter. She curls up into aball.

With an effortGRIET heaves up a full pitcher ofwater and tips it into thewashing copper. A fire blazes under thecopper and GRIET wipesthe sweat from her eyes.

November2003

il

GRIET scrubsat soiled linen on a washboard.There are wet sheetshanging up, a huge pile still to do.Her fingers are raw from thewashing soda and hot water.

CATHARINA comesout, moving slowly with theweight of her belly. Her chemise isalready crumpled, she looks hotand tired, the blonde curlsdamp on her neck. She watches GRIETworking. GRIET turns and dipsa curtsey.

GRIET

Good Morning, Madam.

CATHARINA looksannoyed.

CATHARINA

Don’t speak till you’re spokento.

But she seemsexhausted by this, continues to standthere absently, onehand on her belly, the other nervouslyjangling the household keyswhich hang at her hip. GRIET takesa man’s shirt from the laundrybasket. CATHARINA makes aneffort.

CATHARINA (CONT'D)

Tanneke showed you what needs tobe done? The laundry and so on.

She has barelymore experience of this situation thanGRIET.

GRIET

Yes, Madam. The shopping when youwant. (Abeat) And the studio...

CATHARINA’S face tightensinstantly.

CATHARINA

This is only a trial, nothing is settledyet.

GRIET follows CATHARINAthrough the house, carrying a mop, cloths and bucket.CORNELIA darts up the stairs ahead ofGRIET.

Outside the STUDIOCATHARINA stops, catching her breath. GRIET waits in silence.CATHARINA stares at the closed door. CORNELIA tugs at her skirts.

CATHARINA

Cornelia,go down.

But when CORNELIA ignoresher CATHARINA makes no further effort. She seems trapped, helpless.A finger twists and twists inher hair.

KRovember2003

CATHARINA (CONT'D)

I..My husband...Youareto clean in there. (A beat) Go in. Go in!

Hesitantly GRIET sidles past them andopens the door. Inside is a heavy curtain she must push aside.CORNELIA tries to follow but CATHARINA grabs her back as if fromthe edge of a cliff.

Now GRIET is inside, looking out. CATHARINAis stuck in the doorway, holding back the curtain, CORNELIAglowering at her Side.

CATHARINA

You must disturb nothing,leave all just as it is.

Grietholds her mop and pail in the middleof the room, not wanting to start while CATHARINA watches.

CATHARINA (CONT'D)

Well, open the shutters.You can’t work in the dark.

GRIETmoves from window to window pullingopen the heavy wooden shutters,sunlight floods into the room.Downstairs the BABY Startscrying, CATHARINA pushes her curlsback impatiently.

CATHARINA (CONT'D)

He must not be disturbed. (Abeat) It’s important.

With thesewords, almost a plea, CATHARINA closesthe door.

Left aloneGRIET looks round the STUDIO. It is largeand uncluttered,unlike the rest of the house. Cleanpalettes and brushes laidneatly on a table, a tall cupboard, ahalf-open door throughinto a storeroom.

In one cornera table covered with a blue cloth, anopen letter, the tools of a lady’stoilette laid out in careful disarray.A wooden lay figure (artist'sdummy) draped in a brightyellow satin jacket. Thepicture setting.

Very carefully, anchoringher hand on the corner ofthe table, GRIET lifts the letter,dusts the cloth underneath and replaces it. She uses her fingersas she did with her father’s clothes, moving along methodically,fixing, lifting and cleaning.

A sudden flash ofmovement alarms her. Then she realises it isa mirror, fixed on thewall above the table. She stares at herself. The light fromthe window makes her skin glow; she looks beautiful, transfigured.She turns away, embarrassed.

November2003

She avoids the paintingfor as long as she can. It is notlarge. But at last she has to look.

A woman stands gazing intothe mirror as Griet did, transfixed, her pearl necklace forgottenin her hands. The light falis softly on her profile andon the objects littering the tablein artful disarray. Her yellowsatin mantle seems to glow.

GRIET stares, eyes wide inwonder. A chuckle.

GRIET swings round to finda LADY watching her from the doorway. She wears a stiff-bodiced blackdress encrusted with shiny beadwork and a wide white collar.Under her starched cap her eyes are shrewd and amused.

Instinctively GRIET pulls herown cap forward. MARIA THINS chuckles again, puffs on a pipeshe is holding in tobacco- stained fingers.

MARIA THINS

That's right, girl.You keep it to yourself in this house.

Inspite of herself GRIET looksback at the picture.

MARIA THINS (CONT'D)

You're not the firstto forget your manners in front of his paintings.

GRIETcurtseys, a mumbled “Madam”.

MARIA THINS (CONT'D)

Master Van Ruijven’swife.

MARIATHINS rakes the room with sharpeyes, gathering information.

MARIA THINS (CONT'D)

It's like enough -though I never saw so much in her.

GRIET looksfrom the painting to the setting.Although the objectslie on the table in the sameway, the map on the wall andthe window are almost the same,the effect is not.

GRIET

It‘s all...different.More...

MARIATHINS nods her head, then sighs.

MARIA THINS

Should have asked more forit too. Do you think it finished?

GRIET studiesthe painting. It certainly looksfinished. MARIA THINS laughsharshly.

November2003

MARIA THINS (CONT'D)

Threemonths already. Another three before he’s satisfied, nodoubt.

GRIET’S eyes widen in surprise.Suddenly MARIA THINS is angry.

MARIA THINS (CONT'D)

Get along, girl.You’re not paid to stand gawping allday.

GRIET hurriedly gathers up hercleaning things.

The courtyard is hung withwhite sheets, drying in the sun. GRIET is cleaning silverware, herhands and apron are black with tarnish, the cups and bowls besideher sparkle. She makes reflections dance across thewalls for the children (also black- handed) to run after.

The GIRLS laugh and squeal, theBABY gurgles and tumbles after them.

CORNELIA is quickest, her red-goldhair brilliant in the sunshine. She leaps after thewill-o-wisp of light.

CORNELIA

I'll catch it!

GRIET too is fascinated by the light,white flame across the white cloth, pale orange on the redbrickwork, dazzling at the window.

Through the glass she catches a movementin the room above, the lightflickers over the MASTER’S face.

GRIET lets the bowl drop from her hand,confused. She wants to pull her cap forward but her hands aredirty. The girls fall Silentat once, CORNELIA glares.

CORNELIA (CONT'D)

You made us!

GRIETcrouches to pick up the bowl.When she dares look up again thewindow is empty. The girls have disappeared.

Lisbeth? Aleydis?

Gigglesfrom amongst the sheets. GRIET searchesamong the linen to findLISBETH and ALEYDIS happily making filthyhand prints on the cleansheets.

GRIET (CONT'D)

Stop that!

November2003

SeeingGRIET'S face ALEYDIS stops atonce, old enough to know better.LISBETH still thinks it's agame. GRIET pulls aside anothersheet to reveal CORNELIA. Thesheet is smeared with grime.

CORNELIA

It's dirty now.

CORNELIAmakes another hand print and laughs.In response GRIET slaps her, sharpon the cheek, a black smirchover the red. CORNELIA’Seyes widen in shock but she doesn’tcry.

MAERTGE and CORNELIAaccompany TANNEKE and GRIETtowards the grand fagade ofthe MEAT MARKET; stone ox headsover the classical entrances.

The Meat Marketis bustling with housewives andmaids buying meat. Porters carrybloody carcasses along the sawdust-~strewn aisles. TANNEKE leadsthe way importantly to oneof the smartest stalls, where themeat has been laid out with gruesomewit: a wreath of kidneysround a calf's head, a flower inits hairy ear. PAUL, theBUTCHER, watches them coming witha shrewd smile.

PAUL

What have you got for me, Tanneke?

TANNEKE

Paul. This is Griet, the new maid. Shewill fetchthe meat now.

With an effort GRIET looksaway from the jaunty calf.

PAUL

SoGriet, what takes your fancy?Nothing's too goodfor this family.

PAUL winks at her. He isa handsome man with greying fairhair and a broad, cheerful face.GRIET hesitates, looks to TANNEKE. TANNEKE counts off theorder on her stubby fingers.

TANNEKE

An oxtongue and a dozen chops.

PAUL

In the bookagain?

TANNEKE nods curtly, shehates this conversation. PAUL laughs, holds out the slab of tongueto MAERTGE and CORNELIA.

PAUL (CONT'D)

What d’youthink girls? Best tongue in Delft, eh?

November2003

He sticks his own tongue out, MAERTGEand CORNELIA giggle. GRIET looks at the chops going into her pail,pulls one out, holds and sniffs it.

GRIET

This is not fresh.The Mistress wont like it.

The butcher looks at her in surprise, TANNEKEgoes red. GRIET holds the meat out stubbornly. A longmoment then PAUL smiles broadly.

PAUL

Pieter!

A young man comes over, wiping his handson his apron. He is talland broad-shouldered like his father,with golden curls, an easysmile. GRIET blushes and tightens hergrip on the shopping pailas he looks at her then his father.

PAUL (CONT'D)

Get the parcel on the cart.

PIETER

But that’s for...(MistressVander Velde.)

His fatherfrowns. PIETER shrugs and brings overa parcel which PAUL unwrapsand holds out to GRIET. She inspectsthe meat, nods curtly.

GRIET

That's better.

TANNEKE turnsaway crossly. Father and son exchangean amused, approvingglance.

PAUL

We’‘llsee you again, Griet.

GRIET is sweepingthe hall when she suddenly stops.Framed in the doorway shesees a MAN unloading a narrow wooden box.Plain and dark, likea child’s coffin. VERMEER supervises fromthe stairs.

Carrying her cleaningthings Griet cautiously goes into the studio.

The room is just asusual except that on a table, placed where the easel would normallystand, is the strange wooden box.

November2003

GRIET beginsher cleaning, but her curiosity istoo strong for her. She goesover to the strange box, a faintpretence at cleaning it as sheexamines it.

VERMEER (0.S.)

You want to look into it?

GRIET jumps back guiltilyat the disembodied voice.VERMEER laughs and swingsdown from a trapdoor in the attic.

VERMEER (CONT'D)

A camera obscura.

The strange wordsmean nothing to GRIET but she is curiousas he looks into the box,making adjustments. Satisfied, he steps back.

VERMEER (CONT'D)

Look intothe glass.

GRIET moves jerkily forwardand looks down at the glass plate inside the box. She seesnothing.

VERMEER (CONT'D)

Put thison. Over your head.

VERMEER takes his heavycloak and gently drapes it over her, enveloping her in darkness.Like a jewel, an image is there in the dark, The painting,minute and perfect in glowing colours. Only the real woman is Missing.

GRIET steps back in confusion,the robe falling to the floor. Her face is flushed, she dropsto her knees grabbing at the cloak.

GRIET

I’m sorry, sir.I’ll clean it straight away.

VERMEER takes it carelessly.

VERMEER

Never mind that.What did you see?

GrietSwallows. His questions seemsto be asking for more than merefacts.

GRIET

I saw the setting.

He startsto fiddle with the box, adjustingangles. GRIET is fascinated.

GRIET (CONT'D)

But...

November2003

VERMEER

Hmm?

GRIET

How did it get inthere?

VERMEER smiles. It is as thoughthe sun is shining on her.

VERMEER

I was amazed whenI first saw it.

He beckons her forward to look intothe box beside him.

VERMEER (CONT'D)

Beams of reflectedlight from the corner pass through this lensand are bent onto the glass plate here.

GRIET strains to understand. Withboth of them leaning over the box the image can be faintly seen, aghost. GRIET puts her fingerson the glass.

GRIET suthiaanine glite

Is it real?

VERMEER a

It's an image - a picturemade of light.

Hestarts to shut up the camera. GRIETis intrigued.

GRIET

Does the box show youwhat to paint?

VERMEER laughs, not unkindly.

VERMEER

It helps.

She frowns,confused. He is watching her now.

VERMEER (CONT'D)

You clean the table, Griet.Why are the things set on it as they are?

GRIET

For the lady. To look as if itwere her dressing table.

VERMEER

More than that...

VERMEER movesimpatiently, she wishes she knew the answerhe wants. Suddenlyhe strides across the room and removesthe silver bowl,stands the powder brush on its bristles. GRIET is startled; it'sa kind of sacrilege to disturb the setting.

November2003

VERMEER (CONT'D)

Now, look again.

He holdsthe cloak over them both so that asthey bend over the screen theirfaces are lit by the image onthe glass. She is intensely consciousof his face next to hers,he is intent on what he sees. She makes herself concentrate. The image is there again,this time without the silver bowl at itscentre.

It's darker. And the brush pokesup at the end.

A faint sound of approvalfrom VERMEER.

VERMEER

The line is broken... You can see.

GRIET wakes with a start.It is dark, a spill of light fromthe trapdoor above. WildSHRIEKS fill the house.

GRIET tumbles up the steps,still tying her apron, to find TANNEKE in the kitchen,blowing on the fire, agitated.

TANNEKE

Thereyou are. Fetch some water, will you. (Muttering)Blessed Mary, Mother of God...

More SCREAMS from the Hall,MARIA THINS’ calming voice.

TANNEKE (CONT'D)

eee — (hidingher fear) Six babies.Why does she have to make such a racket?

GRIET pumps water from the cistern,cold water splashing into the metal pans, not loud enoughto drown CATHARINA‘’Sgroans.

GRIET hides on the steps, handsover her ears.

TheCHILDREN crowd around theirMOTHER and the new BABY (a BOY) onthe bed. CATHARINA is radiant,pink-cheeked and smiling. TANNEKElooks proud and pleased, holdingup little JOHANNES to seehis new brother. A PRIEST rattlesthrough a blessing, a MIDWIFEclears away bloody cloths.GRIET brings wine, hesitates inthe doorway.

November2003

MAERTGE

Put iton, Papa! You must. There.

VERMEER crawls out fromthe embrace of his daughters. He is wearing a little velvet “paternity”cap decked with ribbons.His face is flushed, hair andclothes rumpled and messy.

MARTA THINS taps with hercane, startling GRIET, who stands aside at once. MARIA THINSwatches her daughter and family, a wry smile. She has a foldednote in her hand.

MARIATHINS

Takethis invitation to the house of your Master'spatron, Pieter van Ruijven.

A boat ferries GRIET towardsan imposing Renaissance mansion, one of the grandest housesin town.

VAN RUIJVEN'S business occupiesthe quayside, a prosperous commercial bustle. The boatnoses into the boathouse.

ti te, li:

ellie: ular.

VAN RUIJVEN reads the letter,holding it up to the light from ae the window. He is richly dressed,with longish dark hair anda moustache hiding a weak mouth andchin.

VAN RUIJVEN

So, finished atlast. And the baby too. Jan's brood mare.Hot-tempered is she, your mistress? Hard to handle?

nae

He looks up from the note and runshis eyes over GRIET, so blatantly lascivious that GRIET cannotstop herself from blushing. She pulls the points ofher cap forward. VAN RUIJVEN laughs.

VAN RUIJVEN (CONT'D)

She wants an answer,you’ll have to wait.

He goes over to a carved desk, finds aquill and paper. GRIET gazesaround the Hall, far granderthan Vermeer's with several Vermeer paintings among others on thewalls.

VAN RUIJVEN (CONT'D)

A very pretty picture.

VANRUIJVEN is eyeing her. GRIET looksdown in silence. He pourswine from a porcelain jug.

VAN RUIJVEN (CONT'D)

Are you thirsty?

GRIET isshocked, tries to hide it.

November2003

GRIET

No, sir.

VAN RUIJVEN

I wouldn’t tell.

He smilesconspiratorially.

GRIET

No, sir.

He drinks andwipes his moustache, glances atCATHARINA's note.

VAN RUIJVEN

Hm, “Honoured guest". Itwas the old woman's idea to combine the birth feastand the viewing, no doubt. She's a tight fist.

He scrawls hisreply and blots it as he talks.

VAN RUIJVEN (CONT'D)

I'm not turning out for smallbeer and biscuit, tell her. This brat and I deservea proper feast. It's time they made a show,let the world know their worth. You have verywide eyes. What do they call you?

GRIET

Griet.

VAN RUIJVEN

Your Master's a fine painter, Griet.Finest in eS Delft, though I shan’t tell him so.He has OS paintedme. Perhaps that will be my epitaph.

He laughs at his own joke;a rich, powerful man of theworld. GRIET has never met anyonelike him.

VANRUIJVEN (CONT'D)

Come,take a look.

He draws back the curtainto reveal a painting by his desk. GRIET has to move a stepor two closer to look at it, closerto him too.

The painting, by Vermeer, isa drinking scene: in the foreground a young woman in a gorgeousred dress (the WOMAN from the Tavern) smiles towards us,while a gentleman (VAN RUIJVEN) gives her a glass of wine. Behind themin a shadowy corner another man, head on hand, is boredor asleep.

VAN RUIJVEN (CONT'D)

Look at thatdress, you can almost stroke the satin. Andthe wine winking through the glass. It stank mindyou, sour as vinegar by the endof each day - Ihad to send out for more.

November2003

VAN RUIJVEN (CONT'D)

My back ached, her hand shook somuch he had to put the napkin there to save the dress.

GRIET looks at thepainting, drinking in the detail, fascinated. VAN RUIJVEN standstoo close.

VAN RUIJVEN (CONT'D)

Can you see yourself in such finery,my dear? Sheloved it you know: lace and satintight against her plump little bubbies, heavy silkon her thighs, the gentlemen looking ather. My God, she was happy.

Sure?

VAN RUIJVEN leans towardsher in conscious imitation of his painted self. She shakesher head.

VANRUIJVEN (CONT'D)

It'sa moral lesson, of course. There's Temperancein the window holding the reins;the peeled fruit,her silly smile, mouth gaping -

li

onlyone way things can end.

Al: na:

He is right by GRIET now.She takes a step back. oe”

GRIET

The letterfor my Mistress?

VAN RUIJVEN drips scarlet sealingwax onto the back of the letter, presses his signetring onto the molten blob.

VAN RUIJVEN rr

Take care, itis hot.

He holds out the note, so shemust tug it from his plump, white fingers. Behind them the paintingof VAN RUIJVEN and the GIRL.

TANNEKE (V.O.)

She thought shewas somebody, all dressed up like a lady.

The kitchen is full of smoke and steamas TANNEKE cooks, GRIET assistingher.

TANNEKE

Green as grass,mind you. Only worked there a few months beforeMaster van Ruijven brought her over for the painting.Got her into his wife's finery, poured winedown her like he was forcing a goose, took herhome the long way. Sure enough she was carrying hisby-blow before the paint was dry.

November2003

She slamsdown the meat dish with a clang.

TANNEKE (CONT'D)

He thinks we don't knowhow to celebrate a birth, does he?

LINEN, CROCKERY,CUTLERY, PEWTER are allwhisked out of chests or cupboards:washed, scrubbed, polished, ironed.

GRIET scoursthe frontdoor step with furiousenergy.

TANNEKE tips jelliedmeat out of a mould, puts itin the STOREROOM alongsiderows of other delicacies

GRIET hangs laundryto dry, including a fineCHRISTENING ROBE.

MEN bring in furnitureand hangings, their muddy feetmarking the door step. GRIETscrubs it again, her back aches.

MUSICIANS tuning theirinstruments: FIDDLE and DRUMand PIPES. CATHARINA plays amelody on the fiddle, the others follow.

More deliveries: basketsof FLOWERS and GREENERY.MARIA THINS takes money from hercash box for the umpteenth time.She snaps it shut. BANG, BANG atthe door.

GRIET goes to answerthe back door. Everything aches andthe hand she puts up to thelatch is cracked and bleeding.

PIETER the butcher grinsat her. GRIET stares back blankly, stupid with tiredness.

GRIET

Why areyou here?

PIETER laughs.

November2003

PIETER

A nice greeting!When I brought the meat order just for you.

He gestures to a laden handcartbehind him. GRIET hides her hands under her apron.

GRIET

Better carry itthrough.

PIETER

Not even a smile formy pains?

GRIET

Not today.

PIETER

Come on.

She shakes her head.

PIETER (CONT'D)

I'll put it in the book,then? Owed by Griet - one smile.

GRIET smiles at last but at that momentPIETER straightens up formally,his open face clouds, his handautomatically takes off. his cap. GRIET turns and sees VERMEERwatching from the dark interior,his grey eyes running past herto PIETER before he disappearsinside. GRIET bites her lip.

Lightsblaze from the windows. Torches are sethigh on the wall to lightthe street. GUESTS arrive, the rustleof rich materials and glitterof jewels. Already the house iscrowded, a bright thrumof voices over the MUSIC.

VAN RUIJVENand his entourage arrive by boat.

A pig spit-roastsin the backyard, a SMALL BOY sleepilyturning the handle.

GRIET re-fillswine jugs from a barrel, carries theminto the house.

The remains of abanquet are spread out on long trestletables in the Hall, the fruitof TANNEKE’S labours - and ofmost of the bakers, pastry chefsand grocers of Delft. GRIET serveswine.

VERMEER sits at oneend of the table, VAN RUIJVEN atthe other with CATHARINA besidehim.

November2603

She wearsher green velvet dress, fat pearlsgleam at her neck and ears,her blonde hair is piled high andheld in place by beautifultortoiseshell combs, inlaid withmother-of-pearl. She is stillbig from the pregnancy but there isa lightness about her now, hereyes darting this way and that,her laughter rising over the othervoices, that makes it hard notto look at her.

The bundle thatis the new BABY is passed fromGUEST to GUEST along the tableuntil he starts to yell in protest,when he is handed back,with much laughter, to his mother.CATHARINA coos over him gently,soothing him with a finger, butthe WET-NURSE is standing by.Reluctantly she hands him over, thebaby latches on greedily tothe breast.

VAN RUIJVEN

Lucky whelp. Where's mine?

CATHARINA laughsbravely as he eyes her cleavage.MARIA THINS rises to her feet andtaps a glass for quiet.

MARIA THINS

Friendsand neighbours, our honouredguest Master Van Ruijven, Mistress Emilie.Not only arewe gathered tonight to celebratethe safe deliveryinto this world, God be praised,of littleFranciscus-

(Cheersand applause)

Ourthanks to you all for so many kindpresents - butalso to rejoice at another birth: anew masterpiece from the hand of my son-in-law, JohannesVermeer.

He walks this way and thatbefore the painting, studying itwith a great air of connoisseurshipuntil the room falls quiet. His wife EMILIE VAN RUIJVEN (thesubject of the painting), MARIA THINS and CATHARINA wait anxiouslyon his judgement. Only VERMEER sits still, shieldinghis painting hand with the other.

VAN RUIJVEN

Is this Indianyellow?

Vermeer nods.

VAN RUIJVEN (CONT'D)

Extracted fromthe urine of sacred cows fed only on mango leaves. You've glazed my wife in dried piss, eh?

Generallaughter.

November2003

VERMEER

It is the rightcolour.

CATHARINA flashes a look ather husband: Play the game. She motions GRIET to pour morewine.

CATHARINA

(Smiling) I cannotbear the suspense a moment more, MasterVan Ruijven. Pray tell us what you think.

iii: ste:

VAN RUIJVEN takes a stance infront of the painting,

sellin,

authoritative, proprietorial.

ant

VAN RUIJVEN

I like it betterwhen the sitter looks out from

it

a painting -takes one’s eye, so to speak. Hmm

lili a tii

His sharp eyes flick over theworried faces of VERMEER'S womenfolk. He smiles graciously.

VAN RUIJVEN (CONT'D)

Still, it is good.The colour and perspective lle true, the illusionperfect. Such skill lavished

tilt

on my dear Emilie.Why it is almost as if she

icant’:

were thinking. ae

VAN RUIJVEN laughs. MARIA THINS leadsmore applause - of VAN RUIJVEN'S approval and discerningtaste - as VAN RUIJVEN places a heavy purse on the table in frontof CATHARINA. EMILIE sits passively - her husband is cruelly accurate- as GRIET pours wine for her.

And have you considereda subject for your next commission? We cannotexpect you to give up Emilie for so long again.

VAN RUIJVEN

Considered - it‘s alreadyin hand. Didn't I tell you? A coming fellow fromAmsterdam.

A palpableshock of disappointment from CATHARINAand MARIA THINS.VAN RUIJVEN chats on, enjoying theirdiscomfort.

VAN RUIJVEN (CONT'D)

Trained with RembrandtVan Rijn, though who hasn’t these days. A MerryCompany by Candlelight, candlelightbeing his forte. I have business there at present soit suits me well. And he takes a deal more careof his sitters than some painters I could name.Fresh coffee and cakes aplenty, good companyand no stinting the wine flask.

November2003

MARIA THINS signals for GRIET to refillVAN RUIJVEN’S glass.

VAN RUIJVEN (CONT'D)

So, what will you daubnext, Jan? Have you found inspiration up in that roomof yours? Is there another patron in Delftwith pockets as deep as mine?

An expectantsilence. But there is no otherpatron and VAN RUIJVENknows it. The silence grows awkward.

CATHARINA

For pity’s sake you tell him,Master Van Ruijven. I swear I bring forthbabies with less moaning than he the notion for apainting.

General laughter.VAN RUIJVEN stops GRIET, a handon her arm and grins down thetable at VERMEER.

VAN RUIJVEN

Here's what to paint.

VERMEER smiles politely.

VAN RUIJVEN (CONT'D)

I‘d keep her company of course, offermy advice.

VERMEER

Griet. The wine.

VAN RUIJVEN lets hergo.

VAN RUIJVEN

Lookat her, man. How hard can it beto paint a prettygirl?

VERMEER glances at GRIET.GRIET is in turmoil; hating the attention yet hoping, inspite of herself, that he'll see something in her. But hiseyes slide away.

VERMEER

I have not founda subject.

CATHARINA struggles to puton a brave face.

CATHARINA

Are you inthis new painting, Emilie?

EMILIE opens her mouth, as if shemight speak.

VAN RULJVEN

The company isnot fit. Besides she likes to stay home.

November2003

Rain drives along the canaland splatters the window panes as GRIET hurriedly pulls them closedfrom within.

LISBETH and ALEYDIS stare glumlyout of the window at the rain pouring down; they both haveracking coughs. CORNELIA is clacking the pieces on a tric-tracboard, MAERTGE is trying to amuse the toddler JOHANNESwith pat-a-cake games. CATHARINA paces to and fro failing tosoothe the BABY.

CATHARINA

Cornelia, stopthat noise.

GRIET leaves quietly.

GRIET can still hear CORNELIAarguing with the others downstairs. The perpetual,thin wailing of the BABY. She closes the door, pulls the curtainacross.

ea

The STUDIO is bare and cold.Only one thing has changed. A new canvas sits blank on the easel.

ee

EAT. VERMEER HOUSE DAY

GRIET carries her pitchersto the canal. A few doors down the street BAILIFFS are haulingfurniture from a house. A SERVANT comes out after them, holdingher apron to her face. TANNEKE has

owe

come to see what’s goingon.

ee — GRIET

What isit?

TANNEKE

Bankrupt.Three ships lost in a month they say. The shame.

GRIET watches wide-eyed asmore fine possessions are dragged out and loaded onto a barge.

An old GENTLEMAN and hiswhite~haired WIFE come slowly out of the house. Stupefied by theirmisfortune. The OLD WOMAN tries to intervene to save some personalmemento, a BAILIFF pushes her off roughly so she falls tothe ground.

TANNEKE crosses herself,warding off evil.

TANNEKE (CONT'D)

God saveus all. Watch out for Young Mistress - shehates to hear of money troubles. She'll turn spitefulat this, you mark my words.

November2903

TANNEKE, GRIET and theCHILDREN are eating their supper in apprehensive silence.The front door opens and shuts.

At once CATHARINA’SVOICE rises in complaint, a string of shrill accusations.

— It's late and the two servantssit by the fire. — —

TANNEKE

One year itgot so bad they had to sell someof her jewels.

TANNEKE rolls her eyes indelicious horror at the memory. we

TANNEKE (CONT'D)

Phew! Youcan imagine how that pleased her. She went off likea thunderclap, crashing allover the house- I kept my head down I cantell you. hw? - Smashedhalf the china off the dresser,even wentto spoil one of his precious paintings. o_o Well,he’s a temper on him too, for allhe's so quiet. She'snever set so much as a foot inthe C= studiofrom that day to this.

GRIET listens, open-mouthed.

The household has goneto bed. GRIET lingers by the dying embers of the kitchen fire. When shehears the door she gets up.

VERMEER comes in quietly,his cloak wrapped around him against the freezing night. Hiseyes meet GRIET'S for a moment before she looks down and he goesupstairs.

GRIET in her best lace collar.MARIA THINS counts out small coins into her hand. Faroff a church bell ringing, then another.

MARTATHINS

Offto tell them all about us, eh.

GRIET returns through thegates and over the bridge to the poorer quarter. Home.

November2003

GRIET kneels beside FRANSbetween her FATHER and MOTHER. Their church is a modest place.

GRIET'S FATHER holds GRIET'Shand, caressing the callused, cracked fingers.

A movement in the doorway. She looks up and sees PIETER.

The family and PIETER outsidethe church.

i GRIET

Father,Mother. This is Pieter, our butcher’s son.The family’sbutcher.

nS PIETER a

Sir,Mistress. I am glad to meet you.

He pauses politely but noneof the family are able to take up the conversation. He smilesencouragingly.

PIETER (CONT'D) a

I've lived ne

inDelft all my life and not seenthe

half -—

of it. So I thought to visit every church

in theCity and find the best.

MOTHER

And howdo you like ours?

ee PIETER ee

Verywell. So well I may stop my searchhere -

Ne

ifyou'll let me, Mistress.

He addresses himself entirelyto GRIET’S MOTHER, who is charmed by his good looks and goodmanners.

MOTHER

(Laughing)By all means. Will you walkwith us a little,Pieter?

(Theywalk a few steps)

So,a butcher. That's a good trade.

PIETER

Grietis the hardest to please of all our customers.

MOTHER

Aye,she gets that from me.

GRIET is annoyed at theknowing smile that passes between her MOTHER and PIETER. FRANSelbows her.

November20603

There nowI forgot! We must speak withWillem Jansson.Griet, you go on with Pieter here.

She whisks her husband andson away, leaving GRIET facing a grinning PIETER.

PIETER

Ah, Griet.Where's that smile you owe me,when I’ve been soclever as to track you down.

GRIET refuses to be impressed.

GRIET

You had nothingbetter to do.

The GOSSIPS are watching them,a handsome young man is not going to pass unnoticed. GRIET takesthe arm he offers, holds her head up as she walks away.

Walking by the canal. There areother courting couples - for that’s what they must be - prayerbooks under their arms, going home slowly. PIETER skims astone. It bounces and bounces down the flat water, far beyondwhat seems possible. PIETER laughs, turning back to GRIET, armswide.

PIETER

My lucky day.

GRIET‘'Sarms are folded but shecannot resist answering his smilewith her own.

GRIETlooks round the empty studio,wanting to do something. The stretchedcanvas is as blank asbefore, the room bleak. She pullsback the last shutter, mottledcold light on the wall.

GRIETfinds CATHARINA with hermother by the fire, heads together,talking in low voices.CATHARINA glares at GRIET, annoyedat the interruption.

CATHARINA

What is it?

GRIET

About the studio,Mistress.

CATHARINA

Yes?

November2003

CATHARINArocks the baby’s cradle, to show sheis not being idle.

GRIET

Should I clean the windows?

CATHARINArolls her eyes.

CATHARINA

You don‘t need to askme suchstuff.

GRIET

Only it may change the light.

CATHARINApauses, considering this. MARIATHINS smiles wryly. CATHARINAnotices.

CATHARINA

(Sharply) Of coursewash them.

Hardat work GRIET wrings out her cloth ina basin of water and wipes the windows. There are patterns ofcoloured glass, the lightstains her fingers as she works;pale blue, rose pink. The samelook of absorbed pleasure aswhen shecut the vegetables.

Sheis startled when she turns to rinsethe rag and sees VERMEER standingstock still in the doorway.

GRIET

I‘m sorry sir, I-

VERMEER

stay aS you were.

GRIET stands still, the rag in her hands.That small impatient gestureof his hand.

VERMEER (CONT'D)

Just now. At thewindow.

Awkwardly GRIET tries to go back towiping the window. He points atthe rag.

VERMEER (CONT'D)

Drop it.

Shelets it fall. Dirty water splatterson the clean floor. After a moment she pushes the rag underher skirt with one foot. Looks at her left hand again. A suddenlaugh of delight from VERMEER.

VERMEER (CONT'D)

You can go.

November2003

GRIETtakes down laundry, frozen stiffinto scarecrow shapes. From insidethe thin keening of theBABY stops for a moment. GRIETbreathes in relief, vapour curlingfrom her lips. The BABY starts again,GRIET tenses. CATHARINA callsher.

It is gloomyin the big room even with candleslit. A small fire burns inthe wide grate. The BABY grizzlesfretfully, refusing to feed fromthe WET-NURSE.

CATHARINA isat her desk but she looks exhausted,nerves frayed. She frowns atGRIET as if she can’t rememberwhy she is here.

GRIET

You called me?

Something inthe appearance of the maid; her scrupulous neatness, her starchedwhite cap, her blatantyouth, is deeply galling to CATHARINA.

CATHARINA

The child needs a draught. (Toherself) My mother will not be content tillone of them dies from her meanness. (To GRIET)You will go to the apothecary.

An errand CATHARINAalways reserves for herself.

GRIET

Me, Madam?

CATHARINA

Isuppose I should do everything!But I have to staywith the baby and besides it'scold and I believe I am falling sick too. (Impatiently)I will write what to ask for.

CATHARINA pushes asideloose papers to make space. Some fallto the ground and GRIEThurries to pick them up. Columns of figures, accounts, bills:CATHARINA snatches them back.

CATHARINA (CONT'D)

Canyou read?

GRIET hesitates, herhead dipping under the cap.

GRIET

I canfollow my prayer book.

CATHARINA smiles. Startsto write; a big, bold hand, dipping the quill fast and splashingdrops of black ink across the paper. She sands and folds thepaper with a flourish.

November2003

CATHARINA

Coltsfoot elixir,hyssop and elderflower. Enough for both boys. Youwill need...

She looks through the desk for money.Finds only a few coins.

No, no, that's notit! To go on the Master's account.

She hands the note to GRIET, flushedwith indignation.

Anywhere away from a fireside isbitterly cold. GRIET shivers as she puts on her wooden pattens,wraps her rough woollen shawl mee tighter round her shoulders. Theroom darkens.

wm. — VERMEER

Griet.

She spins round. VERMEER has followedher in to the narrow space. He puts a hand out, asone might to calm a frightened animal, then lets it fall.

GRIET

Sir?

VERMEER

It’s very cold.

She waits, tense at the suddenstrangeness.

VERMEER (CONT'D)

Will you getsomething for me too?

VERMEER hands her a scrap ofpaper.

VERMEER (CONT'D)

Some colours.He knows.

GRIET

On your account,sir?

VERMEER is taken aback for amoment.

VERMEER

Yes.My wife need not know.

The exchange feels conspiratorial,guilty, reinforced by the dark and narrow space. He touchesthe edge of her shawl.

VERMEER (CONT'D)

(Vaguely)This is too thin. I have a cloak-

November2003

CORNELIA (0/S)

Can I come?

VERMEER shakes his head, coming outof the moment. He turns abruptly and pushes past CORNELIAwho is peering inquisitively. GRIET tucks the paper into her shawlquickly, but not fast enoughto avoid CORNELIA’S sharp eyes.

GRIET

No. It’s too cold.

CORNELIA

What's that?

GRIET bitesher lip.

GRIET

I have to get medicines foryour brother. You don’t want to get sick too.

But the evasion- the lie - hangs between them.CORNELIA’S eyes narrow, cat-like,accusing.

CORNELIA

You better hurry. We had abrother that died.

A single skaterpushes a sled-barrow down the frozencanal, hunched against thebiting wind. GRIET hurries along deserted streets.

Three steps down intothe gloom of the apothecary’s shop. GRIET shakes the snow offher shawl and looks around: the firsttime she has ever been in sucha place.

All around the walls glassbottles and jars are filled withdark liquids or packed withdried herbs. A desiccated lizard dangles in mid-air. The atmosphereis smoky from a grumbling peat fire.

APOTHECARY

Well?

GRIET is startled. Peering intothe corner by the fire she sees a tiny old man, as brown andwrinkled as one of his remedies. He iswatching her curiously.

GRIET

My Mistress, CatharinaBolnes, sent me. The baby is sick.

Shebrings out the note and the oldman scans it quickly and startsgetting down different jarsand bottles, weighing out herbsin his scales.

November2003

APOTHECARY

Youmust be the new maid. She spoke of you,I guessedyou were pretty. Is she expectingagain, that shesent you? This weather, eh.

GRIET watches his quickhands working, crushing and mixing the dried leaves.

APOTHECARY (CONT'D)

Cold cureswhere it don't kill.

The APOTHECARY ties up thepackages neatly.

APOTHECARY (CONT'D)

There. Mybest regards to your Mistress. And Master Vander Meer.

oli

GRIET reaches into her shawland pulls out his paper. tic

woo

GRIET

The Master...

The APOTHECARY opens it and findsVERMEER’S instructions. He ate,

‘tit

frowns at GRIET.

cams sue APOTHECARY ce

He always getsthis himself.

GRIET meets his eyes, blank totheir prying.

GRIET

The weather.

APOTHECARY

Hm.

With another suspicious look at herhe climbs a ladder to a high cupboard and unlocks it with a key chainedto his belt. Clearly the pigments are the most preciousthings in his shop. He takes out dark glass jars, sealed withwax, stands them on the counter.

APOTHECARY (CONT'D)

A year's wages couldn'tbuy you these.

GRIETstares at the mysterious raw materialsof magic.

He wants the very best, it'sall that matters to him.

Bittercold weather, the wind whips snow flurriesalong the frozencanals. Even so, one window is open up inthe studio.

November2003

At first we see only overthe model's shoulder; VERMEER painting, his face raptwith concentration. Moving round the camera reveals one ofCATHARINA’S bodices, blue stripedwith yellow, then GRIET’Swhite cap. But the model is not GRIET.

Another GIRL, pale andthin, stands in the same pose, encased asexually in CATHARINA’Sclothes.

GRIET is mopping the flooron hands and knees when MARIA THINS' black cane pins down hercloth. GRIET looks up, startled. The old woman studies her, athin smile.

MARIATHINS

He's starteda new painting. But you knowthat.

GRIET

Yes,Madam.

MARIA THINS is watchingher sharply.

MARIATHINS

There'sno buyer, he wont even let me see it. But he'sworking again... It usually takes longer.

CORNELIA runs in throughthe front door, dirty footprints onthe clean floor.

CORNELIA

Grandmother,Aleydis won't give me-

MARIA THINS cuffs her sharply.

MARIATHINS

See what you'vedone, silly child! Now Griet must do itover.

CORNELIA scowls at GRIET.MARIA THINS softens.

MARIA THINS (CONT'D)

There, poppet,get along and don't sulk.

Going to bed GRIET sees thather things have been disturbed. Her tile has been deliberatelybroken in half, she and Frans split either side of the jagged edge.She is very upset.

November2003

While the other girls bend diligentlyover their cushions and bobbins CORNELIA teases a kittenwith the dangling threads of her lace work. GRIET, with a pileof mending before her, tries to concentrate. The kitten’s clawssnag in the delicate threads. CORNELIA laughs.

GRIET

You’ll spoil it.

CORNELIA als

I don‘t care. i

Shegets up, letting the cushion fall onthe floor, pins and bobbinsscattering.

i. tli GRIET eae ht

Pick it up.

CORNELIA

No.

The otherCHILDREN are watching round-eyed.Gentle MAERTGE tries tomake peace.

MAERTGE

(Pleading) Cornelia.

CORNELIAsneers at GRIET.

CORNELIA

You don’t tell me what to do.You’re only a servant.

GRIET getsup angrily and CORNELIA, scared and excited,hides behind the furniture.

CORNELIA (CONT'D)

Go away! Leave me alone! I didn'tdo anything.

CATHARINA comeshurrying in, the BABY asleep in her arms. CORNELIA runsto her, clings to her skirts as if for protection.

CATHARINA

What's the matter?

There is no answer,except CORNELIA'S plaintive snivels. CATHARINA pets her distractedlybut the BABY has woken and starts crying again.CATHARINA glares at GRIET.

CATHARINA (CONT'D)

What'swrong with you? Be off about yourwork.

Hovember2003

GRIET sees withrelief that the STUDIO door is open.She steps inside and leansagainst it, shutting out the hostileworld, the noise and clatterof everyday life. It is not till sheis three steps into theroom that she realises VERMEER isthere, silent and still on hispainting stool.

GRIET

I’m sorry, Sir.

He waves her intosilence, concentrated on his painting.

VERMEER

stay.

GRIET waits awkwardlyin the middle of the room.

VERMEER (CONT'D)

The lead-whiteneeds re-filling fromthe cupboard.

GRIET opens the doorrevealing jars, pouches and pots of different pigments. Shetakes one of the larger pots and Measures out white pasteinto the small dish on the table.

VERMEER seems to payno more attention to her. She standsand watches, enthralled, ashe mixes and thins the paint on the palette, making markswith a sure hand.

GRIET stares at the chillyMODEL standing uncomfortably atthe window, trying to seewhat he sees. She looks back at thetable and then, seized by an inspiration,she goes quietly to the cupboard. She looks throughthe jars until she sees the one she wants.

VERMEER comes over to themixing table to re-fill his palette with white. He sees theother colour.

VERMEER (CONT'D)

I didn’task for blue.

GRIET

Her skirt.I thought-

Put it away.

He turns back to the easel.She is left at the table holding the little pot of blue.

November2003

GRIET walks along a parapet, atthe end PIETER must jump her down. They are in a corner shelteredby a bridge. He keeps hold of her waist, slides one hand upto her neck.

PIETER

(Tender) Griet.

He moves closer, she tries to pushhim away, he laces his fingers through hers. She focuseson his hand: dried blood caked at the base of the nails. He smilesat her, starts to lift one a side of her cap. ee

PIETER (CONT'D)

Let me see yourhair.

lt: “same

She pulls the cap down, he tugs it upagain, laughing. lis’

“au: PIETER (CONT'D)

What colour is it?

Shepushes him off.

Brown.

PIETER

Straight or curly?

GRIET

(A beat) Neither.

PIETER

Long? Very long?

He triesto pull off the cap again. She beatsat his arms in deadlyearnest.

GRIET

No!

He sees sheis serious, lets his hands drop. Shestraightens her cap in silence.

PIETER

It was only a game.

GRIET

Mother will expect me home.

PIETER grins.

PIETER

Sheknows where you are.

November2003

GRIETshoots him a look of fury, outragedat the truth and shame of it.

GRIET cleansthe picture setting, buffingthe silver jug, her reflectiondistorted in the gleamingmetal. She compares the settingto the painting. Areas are blocked indark colours: the jug andbowl are red-brown, the girl’s skirtis black. Dull, dead colours.

VERMEER

Griet.

VERMEER is behindher, his dark reflection overwhelminghers in the jug. He can'tapologise, turns instinctivelyto the painting for support.

VERMEER (CONT'D)

Were you looking at it?

GRIET nods.

VERMEER (CONT'D)

Well?

GRIET hesitates, thenblurts out her confusion.

GRIET

I don’tunderstand. Nothing is the rightcolour.

VERMEER

Like theblue skirt? This is the base colour,it gives thetone, the shadow and light. When it's dry I glazeover with blue, but thinly sothe black showsthrough.

VERMEER walks to the window andopens it wide.

VERMEER (CONT'D)

Look, Griet.Look at the clouds.

Shesteps to the window, hemoves aside but still close enough to feel the warmth of his body.She stares intently at the puffy cloudsand blue sky.

VERMEER (CONT'D)

What colour arethey?

Shefrowns, it must be some kind oftrick. Wants to speak but darenot. That impatient gesture.

GRIET

White?

November2003

She knows it was the wrong thingto say and can see he is about to dismiss her.

GRIET (CONT'D)

No, not white.There are colours in the clouds. Blue, yellow,grey....

He smiles.

VERMEER

Yes. Now youunderstand.

She doesn’t, but she doesn’twant to admit it. She steals a glance at him, his sombre faceaglow.

VERMEER (CONT'D)

Forget howthe world is meant to be. Only look Mm. beneath. Inthe shadows. in

-—-_—

Words frustrate him.

VERMEER (CONT'D)

(A command)Look, Griet.

a

ae

GRIET stares out of the highkitchen window at scudding clouds, a pewter jug forgotten inher hands.

TANNEKE

Thinking aboutyour butcher boy?

She laughs, not unkindly, asGRIET blushes and goes back to polishing the jug. me

ti —

GRIET slips away from theMarket stalls down the alley to the Apothecary's shop.

GRIET creeps up the stairsand slides through the studio door.

VERMEER is sitting, massaginghis painting hand as he stares at the painting, no brush orpalette to be seen.

Sir?

She holds out the little packagesfrom the apothecary. He looks back at the drab reds andbrowns of his painting, already seeing what will be there.

November2003

VERMEER

Did you get the lapis?

GRIET findsa small lump of blackish stone (lapislazuli).

VERMEER (CONT'D)

For the skirt. (An afterthought)You can mix the colours.

GRIET is excited,but also fearful.

GRIET

Mix the colours?

He is alreadypulling open his painting cupboard,taking out scallop shells,a wide copper bowl.

GRIET (CONT'D)

Sir, I haven't time. All the chores-

VERMEER

Make time.

GRIET

Inhere, sir? With you?

VERMEER makes his impatientgesture, then realiseswhat sheis saying.

VERMEER

No, no. Upstairs. Come.

In a corner of the studiois a wooden ladder leading up.VERMEER climbs up swiftly, leavingGRIET alone. Hesitating a moment she Ee picks up the bowl anddishes and clambers after him.

A bare, bright room. Theonly furniture is a heavy table witha stone top, dipped in thecentre and a cupboard with many small drawers.

VERMEER lays out the pigmentswith deft, delicate fingers. Dark powders and unpromising lumpsof ore.

VERMEER

Cochineal..cinnabar..indigo..burntumber...Lapis lazuli.

He hangs over them with the helplesslove of the obsessive. GRIET watches in fascination.

He fishes narrow strips - “buckles”- of lead from a jar of brown liquid. They are furredwith white powder which he scrapes intoa dish.

November2003

VERMEER (CONT'D)

Lead-white.

A dark mash of grape skins andpips is spooned into the copper bowl.

VERMEER (CONT'D)

This will makeverdigris.

From one of the packages he takeslittle black sticks.

VERMEER (CONT'D)

Bone black. Yougrind it with the muller, like this.

He takes a smooth egg-shape stonefrom the table, puts a piece of charred bone into the dip andquickly grinds it to a fine le powder. Deftly he spoons it intoa shell.

ie VERMEER (CONT'D)

Now, you try.

He puts another piece of bone inthe hollow. GRIET picks up the

i

muller and tries to do as he did.She finds it awkward, the stone slips in her hand, the bone flakesout of the hollow.

ee

VERMEER watches her intently.

VERMEER (CONT'D)

Twist from the shoulder.

He puts his hand over hers.

At the shock of his touch she freezes,her breath and his loud inthe silence. His white hand on hers,outlined against the black powder. The seconds stretch. Sherecoils abruptly and the muller skids from her grasp across thetable.

GRIETsneaks through the house in the blue-greybefore dawn. Throughthe room where TANNEKE and theWET NURSE are snoring. TheBABY starts to cry and the WET NURSE stumblesout of bed to theHALL, TANNEKE moans at her. GRIET shrinksinto the shadows asthe disturbance spreads among the sleepersall around her.

She climbsthe stairs. Stops outside the studiodoor and feels above theframe for a hidden key.

GRIET grindsand refines colours, sieving the grounddust through amuslin, absorbed in her work.

November2003

GRIET helps TANNEKE foldsheets into the linen cupboard.TANNEKE yawns theatrically.

TANNEKE

Lord,I'm that tired I can barely stand.

CATHARINA is preparingto go out, she is in high spirits.Her jewel box is open and shewears a wide white linen collar to protect her rich yellowmantle from her face powder. The girls are hanging around her,CORNELIA trying on her necklaces.

CATHARINA

Be careful,pigeon.

TANNEKE

How much longeris the wet nurse to bewith us, Mistress?

CATHARINA doesn’t look round fromthe mirror.

CATHARINA

TANNEKE sighs again. —__S_ SS

TANNEKE

ey A month! Or more!

CATHARINAdangles a bright chain overthe BABY’S crib fondly, laughingas his fat fingers grab forit.

CATHARINA

Ah, ah, greedy! (ToTANNEKE) Franciscus is taking his rusk nowbut he still needs milk. Why? What is it toyou?

TANNERKE

Oh nothing. She’seating us out of house and home for a start...

CATHARINA

She must eat well - forthe baby.

TANNEKE

All I'm saying is, Ican't cook twice as much and have no sleep at all.It’s more than a body can stand, to be woken allhours by her coming and going.

November2003

CATHARINA holds up her pearl earringsand approves herself with a smile.

CATHARINA

Tell her to be quietthen.

TANNEKE

If I could moveback to the cellar...

CATHARINA

Well, you can't.Griet has your place.

GRIET continues to fold linen quietly,hearing the unreasonable tone in CATHARINA’S voice at hername.

VERMEER kneels on the black andwhite tiles playing stones with little JOHANNES. Now he looksup. ie

VERMEER ite

Why not moveTanneke back?

The WOMEN all look at him in astonishment.He is not one for domestic detail. He throws thestones again, seeming unconcerned.

VERMEER (CONT'D)

Put a mattressin the attic for Griet. Tanneke can sleep soundlyand Griet may clean the studio before she comesdown in the morning.

CATHARINA, GRIET and TANNEKEtake in the implications of this warily. He smiles wide-eyed, likeCornelia bent on mischief.

VERMEER (CONT'D)

Well?

Catharina plays for time, takesher necklace back from CORNELIA to put in her jewel box.

CATHARINA

My jewels!You always have my jewels up there to paint. She...

VERMEER comes to her, offeringa key like a love token.

VERMEER

You lockup at night, open it in the morning.

He puts the key in her hand,CATHARINA weighs it up. She wants this key, this control, but...Sheglancesover at GRIET surreptitiously. GRIET is frozen,waiting for her fate to be decided.

CATHARINA adds the key tothe bunch at her waist.

November2003

CATHARINA

There. Are you satisfied,Tanneke?

TANNEKEthrows GRIET a sour look, feelingthe girl has somehow come outbetter than her.

TANNEKE

(Sulkily) Yes, Mistress.

VERMEER touchesCATHARINA’S linen collar.

VERMEER

What is this? You’ve neverworn it before.

CATHARINA

(Laughing)Only every time I goout. It catches the powder.

VERMEER

Hmm.

He is looking at herwith his painter’s eye, runs a handover her cheek and jaw,watching the shadows.

VERMEER (CONT'D)

That'sgood. May I have it?

Tugging at the bow already.His fingers caress her neck. CATHARINA pushes him awaycheerfully.

CATHARINA

No, Jan!We shall be late. Again.

GRIET wakes early. The sun isstreaming through the attic skylight, church bells ringingover the town. A wonderful sense of freedom after the dark cellar.

She lays out her few preciousthings on a beam, puts her prayer book by the trapdoor.

Shestrains a pigment left to soakovernight, takes off her “painting”apron before climbingdown to the studio.

Theroom is spotlessly clean and tidy.GRIET inspects the painting.

Thegirl’s clothes and the objects allhave their true colours now:the blue skirt shadowed with black;red just visible under themultiplicity of reflected colours inthe bowl.

November2003

The girl in the paintingwears not only GRIET'S cap, cowling her face, but the wide white collarCATHARINA wore to powder herself. The effect is nun-like,a physical and spiritual separation from the body.A chair fills the foreground, adding depth to the composition.

GRIET frowns. Something is notright. She blocks different parts with her hands.

CATHARINA unlocks the door,the great bunch of keys jangling and knocking her hand. GRIET iswaiting inside, eyes down. CATHARINA stands aside for her to leave,the girl goes by her without looking up, a murmur of acknowledgement.

CATHARINA looks into theempty studio, craning her neck to see something significant inthe bare room.

GRIET is grinding pigment,her action now as smooth and easy as VERMEER'’S,a quiet trance-likestate. Interrupted by MEN'S VOICES.

MAN (0/S)

Youmight get your own and save my back.

GRIET freezes. They arecoming into the STUDIO. Below her noises of moving furniture, agrunt as the MEN lift something heavy.

VERMEER (0/S)

Maria Thins suspects it a distraction.

MAN (0/S) en

Frompainting? How could a painter ignoresuch aninvent-

VERMEER (0/S)

Fromfinishing.

They laugh. GRIET peersdown into the STUDIO.

GRIET'S POV

VERMEER holds one endof the camera obscura, the MAN (VAN LERBUWENHOEK)the other.An extension, obviously home-made,has been put on one end andthey are struggling to fit thewhole contraption safely onthe table.

VAN LEEUWENHOEK talksat top speed, ideas bursting outwithout time to catch hisbreath.

November2003

VAN LEEUWENHOEK

Did I tell you I grounda perfect lens last week? The very smallestdistortion at one edge. Careful - I was awakea great part of the night at this; the new lensis not so well-secured as I wanted.

They liftthe box but as they do soVAN LEEUWENHOEK catches sightof GRIET watching from the attic.He gasps and drops his endof the camera obscura with a crash.

VAN LEEUWENHOEK (CONT'D)

Aah! There's a girl inyour attic.

VERMEER

The lens is off.

GRIET hides.

VAN LEEUWENHOEK

Confound it, the whole thingis out of true. What's she doing up there?

He starts disassemblingthe camera obscura ashe talks.

VERMEER

Can you set it right?

VAN LEEUWENHOEK

Hmm.. I don't know... You seethe bracket...no,no I believe itis only a little bent...if I... Hold that steady,yes, there it goes... I know who she is!Catharina complained at length - a brace of customerswaiting - at eee the strain of running so large ahousehold. I thought she was bragging.

VERMEER

Come down, Griet.

(toVAN LEEUWENHOEK)

Ifyou kept your shop in better orderyou wouldn't have to listen to so muchtalk

VAN LEEUWENHOEK

It'sthe talk fills my shop - andwith sickness inthe town that's no small matter. Iam not the onlydraper in Delft selling fine silk infive weights but I am the only one willingand able toconverse on any subject under God'ssun.

Hold forth.

November2003

VAN LEEUWENHOEK

So Griet,now we are on the level - AntonyVan Leeuwenhoek,your servant - What were you doing in the attic?Spying for Mother Thins?

GRIET hesitates, this is her secretwith VERMEER. But something in VAN LEEUWENHOEK'S face givesher confidence.

GRIET

Grinding pigments,sir.

aiee VAN LEEUWENHOEK en

Griet theAssistant, eh? What next? Have you

ee

taken a pupil atlast? You won't teach me.

VERMEER

You have no aptitude.She can stand in if it's ae working. Overthere.

poe

Uncertainly GRIET takes up thepose of the model at the window.

ns

The two MEN burrow under VERMEER’Scloak to see the image. They look more than a little absurd, asort of lumpy pantomime horse. senasssitilis,

lll <i VAN LEEUWENHOEK aaa:

A little more, stop,the other way, more more... ecco: there. D'you seethe diffraction- ow, my foot.

GRIET’S lips curl upwards. calles:

ie VERMEER

Stop that, Griet.

GRIET tries to look solemn.

Oi VERMEER (CONT'D)

(Sharply) Don’t think.You're spoiling the picture.

GRIET struggles to obey. VAN LEEUWENHOEKemerges from under the cloak, laughing.

VAN LEEUWENHOEK

You're a tyrant. Tellher next she may not breathe, your blessedpicture doesn't. (Looking at the painting) Whatdoes it mean? Who is she?

GRIETholds her breath. VERMEER straightensup, turns away.

VERMEER (CONT'D)

No one. A vision I had.

Theymove away, leaving GRIET in the paintingcorner.

November2003

VANLEEUWENHOEK

Why isn'tVan Ruijven buying it? Hispockets are deepenough surely, even if he neverpays a bill tillthe next quarter but one. Did youquarrel?

VERMEER

He choosesa painter who offers wine and company.

VANLEEUWENHOEK

Are youbeing stiff-necked, Jan? He's visitedby every notablein the country - still waiting for my invitation- and your pictures are the pride of hiscollection.

VERMEER

He has goodtaste.

VAN LEEUWENHOEK laughs.

VAN LEEUWENHOEK

It isn't modestyholds you back! Make it upwith him for God's sake.

VERMEER

It's not thathe tells me what to paint and how; I know to supwith the Devil I must take a long spoon. No, it'swhy he wants them. all VAN LEEUWENHOEK lowers his voice. tn i,

VAN LEEUWENHOEK

That businesswith the maid? You're only a painter, Jan, nothis confessor. eeea

VERMEER

You know he offeredto lend me more money?

VAN LEEUWENHOEK

Well, if you need somemaybe I could-

VERMEER

It's not the money.He’s greedy. The paintings aren't enough. Hewould be my Master.

November2003

VAN LEEUWENHOEK

He's used tohaving his way and you cross him, that 's-

The door opens abruptly andMARIA THINS stands there.

MARIA THINS

It’s true then.You are here.

VAN LEEUWENHOEK

Mistress Thins.You look well. I have the black satin-

MARIA THINS ignores him, ee

turnsangrily on her son-in-law.

MARIA THINS lu

You toldme you were painting today. ae

oe

VERMEER cradles his paintinghand. —ah

VERMEER

I am. Iwas.

ei

She is too annoyed to beable to speak to him, switches back to wei VAN LEEUWENHOEK. ee

eae MARIATHINS

Anthony, it'stime you were on your way and pray Godyou never have the burden of a family to interruptyour interesting notions.

i

VAN LEEUWENHOEK bows toher.

VANLEEUWENHOEK eee

Your servant,Mistress. Good Day Jan. Griet. lee

MARIA THINS looks thunderstruckas she realises GRIET, still in the painting pose, haswitnessed this scene.

MARIATHINS

Whatthe Devil is she- Downstairs, girl.At once.

GRIET hurries to leave.MARIA THINS turns to VERMEER again.

Joannis,in the Name of Christ - think! You are notthe only one in this house with eyes.

EAT. COURTYARD - EVENING

It is the end of the day.TANNEKE sits on a bench trying to light a pipe. GRIET takesdown the last of the laundry. CORNELIA and MAERTGE are practisingdance steps.

November2003

TANNEKE

No need for the FishMarket tomorrow, Mistress wants eggs.

Shepuffs at the pipe, drawing outthe moment. Looks over at the twogirls.

No, she cannot abidethe smell when she’s with child.

GRIET, armsfull of baby clothes, can’thide her surprise.

GRIET

So soon?

TANNEKE isdelighted to be first with bad news.

TANNEKE

As if there weren't enoughmouths to feed already. But what can you do?

eee window significantly. She looks upto the lit studio

TANNEKE (CONT'D)

ner Men!

ae GRIET doesn’twant to hear this.

GRIET

Did you never want children, Tanneke?Your own family.

ia TANNEKE Dunno.Maybe I will, one day.

Again GRIET is taken aback.TANNEKE laughs.

TANNEKE (CONT'D)

How olddid you think I was, then?

Wisely GRIET doesn’t attemptto guess. If she did she might say forty.

TANNEKE (CONT'D)

Startedwith Old Mistress when I was fourteen. (Countingon her fingers) Year beforeMaertge was born.What’s that, then?

Twenty eight.

November2003

TANNEKE

Twenty eight.There you are.

GRIET is horrified but TANNEKEexamines her beefy forearms and broad girth with some satisfaction.

TANNEKE (CONT'D)

It’s thework does it. Few more years, you'll thickenup.

GRIET must pass through theGreat Hall to get to bed but dare 0 a not interrupt the scenebefore her. ~—o

CATHARINA sits at the delicatekeyboard of a spinet, all her — fretful energy released inthe music, her hands floating over m——_ the notes. —

~~

VERMEER leans forward toturn the page for her, inhaling her scent. His hand caressesher bare shoulder. A deeply sensual, intimate moment.

GRIET sinks back in theshadows.

GRIET playfully runs awayfrom PIETER. He catches her and kisses her.

GRIET lays out colours forthe day with absolute certainty and precision, glancing atthe painting to be sure of what is needed.

She stops short, circlesthe easel, looking from different angles.

Very carefully and deliberatelyshe drags the heavy lion-headed chair out of the foregroundof the setting.

She looks at what she'sdone, astonished by her own boldness.

The key turns in the lock,she hurries to the door, breathless.

Instead of CATHARINA,CORNELIA is at the door, holding the heavy bunch of keys with pride.She eyes GRIET intently, taking advantage of her surprise.

What were you doing?

November2603

GRIET is wrong-footed,tries to keep calm.

GRIET

Where's your mother?

CORNELIA is peering intothe studio over GRIET'S shoulder.

CORNELIA

Shehas a headache. You're to mind the little onesthis morning.

GRIET sits on the bench inthe sunshine with baby FRANCISCUS on her knee. LISBETH and ALEYDISare playing with their dolls, CORNELIA interfering intheir game. MAERTGE is sewing.

VERMEER comes down the street,CORNELIA and LISBETH run to meet him. He goes into the housewithout looking at GRIET. She waits, tense.

GRIET carries her candle throughthe darkened house and upstairs. She stands outsidethe studio door, hardly daring to go in.

The room is neat and empty.No sign of work, the window closed, the cupboard locked. GRIETholds up her candle to see the painting. He has made her change,painted out the chair. GRIET stares, exultant, at what shehas done.

GRIET and VERMEER are at workpreparing colours; GRIET grinding bone black, VERMEER kneading apaste of precious blue lapis lazuli.VERMEER clears his throat.

VERMEER

Why did you movethe chair?

GRIETpauses, not uncertain, butwanting to say rightly what she means.

GRIET

When you took themap from the painting of Mistress Van Ruijven- it was better.

November2603

She puts down the muller,thinking it through carefully.

GRIET (CONT'D)

The clear spacebelow her arm, it balances the wall above now.She is not trapped.

She has finished and looks up athim for his reaction but he stands still and silent for a longtime. At last he starts working again, GRIET picks upher muller too. Almost at once he stops.

sllae VERMEER

So. I never thoughtto learn from a maid.

ala

They are both very still, theirhands next to each other by the bright pigments. His beautiful long,white fingers, so close to ete

wie

hers they can feel each other’swarmth. hii

iy, anus,

Then suddenly a clatter of footstepsand voices below; MARIA THIN’S voice, a warning tone.

MARIA THINS re

Griet, are you upthere?

ee a

ae

VERMEER climbs down the ladder. MARIATHINS is at the door, her eyes flick anxiously up to the ATTIC.

CATHARINA fumes behind her, infuriatedat her exclusion, her hair half-dressed.

CATHARINA

One of my tortoiseshellcombs is gone.

ItiS an accusation not a statement.

VERMEER stands at the window, looking out.GRIET reads disaster inMARIA THINS’ scowl. CATHARINA's eyesrest on a smear of scarletmadder on GRIET's arm. She drawsherself up with fierce dignity.She is totally vindicated.

CATHARINA (CONT'D)

Perhaps now I will be listenedto in my own home. She's nothing buttrouble.

She sweepsher skirt round to go downstairs,MARIA THINS close behind,her clever, soothing words for once passunheeded. CORNELIA’Sface at the door, a brief triumphant smirkbefore she followsthem. Suddenly GRIET understands.

GRIET andVERMEER are left alone in the studio.A painful silence,punctuated by the WOMEN’S VOICES frombelow.

VERMEER turnsabruptly and crosses the room, notmeeting her eyes. As hereaches the door:

November2003

GRIET

Master. I did not do it.

He hesitates,back turned.

GRIET (CONT'D)

(Awhisper) Help me.

On his face, frozenin dismay.

The whole house inuproar: CATHARINA furious, CORNELIA crying, TANNEKE red-facedwith indignation.

VERMEER goes fromroom to room, pulling back bed covers, sweeping stuff off shelves,the WOMEN squawking behind himlike hens.

He finds GRIET’S tortoiseshellcomb under CORNELIA‘Smattress.

VERMEER

Cornelia!

It is MARIA THINS who takesup her cane while CATHARINA turns away weeping. CORNELIA’S faceis white and defiant, her grey eyes like stone.

VERMEER and MARIA THINS sitat the oak table while CATHARINA paces to and fro, kicking herskirts out of her way. There is something a little unhinged,disturbing, about her anger, the way it controls her body, jerksher this way and that.

GRIET and TANNEKE stand and facethe family, but CATHARINA acts as if GRIET weren’t in the room.

CATHARINA

She's dishonest.Always sneaking around, skiving her work.

GRIETlooks towards VERMEER, hopinghe will explain, defend her. He isstudying his boots. MARIATHINS glares at her warningly.

CATHARINA (CONT'D)

Tanneke has complainedof it. Creeping upstairs all day long.

She bumpsagainst the table in her anger,thumps it with her open hand.VERMEER half-reaches outto her. She stops abruptly, shemight be going to hit him. MARIATHINS decides to take charge.

November2003

MARIA THINS

My daughter is right.There has been too much sneaking about.

Her tone includes her son-in-law in thecharge.

CATHARINA

(A fresh outburst) Ionly took her out of charity. If I’d thought-

MARIA THINS cuts her off.

ee MARIA THINS ee

With another childdue we need the extra help. te

CATHARINA is quelled for the moment.

sham: we MARIA THINS (CONT'D) -

Griet, fit in allyour duties and do not slack —e or it will be theworse for you.

Her eyes are dark and beady, calculating,holding them all in her grasp.

eee MARIA THINS (CONT'D)

I shall inviteMaster Van Ruijven. Joannis must have a new commission.And ~~

it will have to be a

big one, severalfigures.

VERMEER cradles his painting handin the other protectively, but he neither speaks nor looks at anyof them. MARIA THINS claps her hands, dismissing them all. oe

~~ MARIA THINS (CONT'D)

Now back towork.

CATHARINA is very nervous, shebrushes the GIRLS’ hair, ignoring their protests.

GRIET helps MAERTGE into her firstgrown-up dress, of which she is shyly proud. MAERTGE willnever be a beauty but dressed up, her hair curled and ribboned,she begins to look like a lady: only a couple of years youngerthan GRIET but already her life set on an utterly differentcourse.

CATHARINA sees them together- the mousy, richly-dressed girl, the linen-capped maid who effortlesslyeclipses her - and her mouth tightens.

CATHARINA

Maertge!Come here.

November2003

ObedientlyMAERTGE goes to her MOTHER.CATHARINA’S hands are stillbusy taming CORNELIA’S hair, she canthink of nothing to keepMAERTGE with her.

CATHARINA (CONT'D)

Don’t gawk your head likethat, child. It’s ugly.

MAERTGE droopsinstantly. CORNELIA pokes hertongue out at her sister,winces as CATHARINA tugs at her hair.

NOISE from outside,the guests arriving. They allrun to look out of thewindow.

VAN RUIJVEN,with his wife and daughter, arrives atthe house in grand style ontheir barge. Their clothes are even richer,his voice booms louderthan before. VERMEER, stepping forwardto greet him, looks shabbyin comparison.

As the honoured guestsVAN RUIJVEN sits at one end of thetable, his WIFE EMILIE onVERMEER’S right. VAN RUIJVEN meets CATHARINA’S eye witha lascivious grin.

VANRUIJVEN

I swearyou get lovelier every time I seeyou, Oe Catharina.Do you paint yourself? SSS He laughs again, then licksa finger and rubs it on CATHARINA’S cheek, examines it for signsof make-up. As an afterthought me licks it again, as if hehad dipped it in honey. CATHARINA smiles at him, a woman ofthe world.

CATHARINA

One painterin the house is enough. Raisingmy children isall my pride.

VAN RUIJVEN

Ah, littleMaertge. Filling out nicely, isn’t she?

MAERTGE, sitting between herMOTHER and FATHER, quails at his attention, ears burning red.

VAN RUIJVEN (CONT'D)

All those girls,eh. Lads swarming round ‘em like flies beforelong. If I were a few years younger...

GRIET serves EMILIE VAN RUIJVEN, ascalm and silent as her painting.

MARIATHINS turns to VAN RUIJVENwith a smile.

November2903

MARIA THINS

A connoisseur ineverything, Master Van Ruijven. But you shouldbe faithful to one mistress above all others.

VAN RUIJVEN is intrigued.

MARIA THINS (CONT'D)

Art. Your namewill surely be famed as one of the great patrons,the Maecenas of Delft. With your exquisitetaste, your subtle understanding oe of allegory andallusion- wile

—tew

VAN RUIJVEN laughs, head back. ~

VAN RUIJVEN

Damn, you couldsell sour milk to cows, woman. What do youwant now?

MARIA THINS straightens the delicatewhite lace on her cuff.

MARIA THINS

A group painting.A family portrait perhaps...

She glances at VERMEER, knowinghe won’t like this. He eee concentrates —

on helping MAERTGE.

MARIA THINS (CONT'D)

Yourself andEmilie. Your lovely daughter too. ae

No sign of interest from VAN RUIJVEN. MARIA THINS pushes further.

MARIA THINS (CONT'D)

Or a Merry Company.Wine and a good meal on the ee table; a still lifewith your friends all about. (A beat) Musicand dancing.

VAN RUILJVEN

Better, better.

GRIET serves MARIA THINS. CATHARINAputs a hand on VAN RUIJVEN’S arm.

CATHARINA

It will haveto be a Slow Measure if he paints it.

VAN RUIJVEN leans closer to her, shamelesslyogling her cleavage.

VAN RUIJVEN

That‘s the onlydance I know.

November2003

They giggle together like smuttychildren. GRIET goes round to serve VAN RUIJVEN, headdown, shoulders hunched, trying to be invisible.

VAN RUIJVEN (CONT'D)

There’struth in what you say, Maria, larded in with allthose sweet words. It so happens your son-in-lawis a damn fine painter, as good as any Amsterdamfellow I’d say-

He breaks off to take amouthful of meat.

VAN RUIJVEN (CONT'D)

Ah, that'sgood. Fat Tanneke learnt to cook at last.What Imean is, I‘1llswallow your bait, the big picture,several figures, a Merry Company. But not a family portrait...

VAN RUIJVEN (CONT'D)

If I’m to putup with all those tedious hours of sitting I needsomething to rest my eyes on. I want her inthe painting.

He reaches back with one armand grabs GRIET, pulling her forward. VERMEER is on his feet.CATHARINA shrieks, VAN RUIJVEN releases his grip, still smiling.His sharp eyes are on VERMEER as he sinks back into his chair,the reaction noted.

MARIA THINS licks her lips,eyes darting from one end of the table to the other. VERMEERruns one fingertip round his wineglass till it sings.

VAN RUIJVEN (CONT'D)

A tavern scene,why not? That would make a change for you.Griet could serve me.

GRIET glances at CATHARINA,who is leaning forward, cheeks flushed, eyes burning, readyto explode in fury. VAN RUIJVEN stuffs another lump of meat inhis mouth, enjoying himself.

VAN RUIJVEN (CONT'D)

So, what do yousay? Can I have her?

GRIET waits to be served. A flycrawls slowly over the meat. A huddleof WOMEN nudge and stare.GRIET looks away, mortified. Thereis no sign of PIETER. PAUL leansover to her.

PAUL

There’s been talkof you.

GRIETflushes, her face tight.

GRIET

I’ve done nothingto be talked of.

November2003

PAUL shrugs.

PAUL

Van Ruijven’s cook.Says you’re to be painted with her master. You'llhave heard about him and the maid that waspainted before.

Agitated, GRIET stuffs the meat inthe shopping pail.

You shouldn’t believegossip.

ioe ls

PAUL laughs.

ols

PAUL

Oh, I don’t. Not thehalf of it. (A beat) I’1l tell Pieter you askedafter him.

GRIEThurries back through the crowds,the girls trotting to keepup.

PIETER

Griet! Wait!

PIETERhurries along the street after them.He has a carcass on oneshoulder, his apron is smeared with blood.Passers-by look roundin surprise.

PIETERarrives, breathless. Props the carcasson stiff hind legs.

PIETER (CONT'D)

Did you hear what-

GRIET

I heard.

He waits forher denial.

PIETER

No smoke without fire, they say.

GRIET

Is that what you think?

PIETER

No. I...You'reonly a maid. What canyou do?

GRIET bites her lip.

GRIET

I must get back. Tanneke...

November2003

Shestarts walking again, the GIRLSbeside her. PIETER shoulders thecarcass and comes after them.

PIETER

Griet! Don’t walk away.Listen to me.

MAERTGEholds GRIET’S hand possessively,CORNELIA glares at him. He comescloser, lowers his voice to amurmur.

PIETER (CONT'D)

Remember who you are, Griet.Don’t get caught up in his world.

She turns on himangrily.

GRIET

You listen to me, Pieter theButcher. I am only a maid but I will never give into Master van Ruijven.

PIETER

I don't speak of van Ruijven.

GRIET hurries backto the house. Too late she seesVERMEER and VAN RUIJVEN talkingby the canal and turns away.

VAN RUILJVEN

Hey, you. Girl. Griet. Come here!

GRIET turns slowly.VAN RUIJVEN comes up to meet her,VERMEER following reluctantly.

VANRUIJVEN (CONT'D)

Wherewere you today, Griet? I missedyou.

VAN RUIJVEN smiles sidewaysat VERMEER, winks at GRIET.

VANRUIJVEN (CONT'D)

We bothdid. I tried to keep him amused but all I got formy pains was my face to thewall.

He leans close, confiding.

VAN RUIJVEN (CONT'D)

I hear you'vebeen of great use to your Master, pretty Griet.All that grinding and stirring, eh.

VAN RUIJVEN is delighted atthe effect of his jibes on GRIET and VERMEER.

November2003

VAN RUIJVEN (CONT'D)

Master andMaid - there's a tune we all know. And youcan practise it together, now we’vemade our bargain,eh Jan. You won’t forget, will you?

VERMEER shakes his head stiffly,like a puppet. EMILIE VAN RUIJVEN and a teenage DAUGHTERcome up behind them.

VAN RUIJVEN (CONT'D)

Good. You'llwant to make a start on that before we come again.

VAN RUIJVEN tucks his wife’sarm into his. GRIET looks up at her — MASTER. His grey eyes slidepast hers and away. He is angry. She —_— hurries into the house.

GRIET sweeps the studio; orangepeel and crumbs mark VAN RUIJVEN'S place among the chairsand instruments. The key turns in the lock but it is notCATHARINA. VERMEER stands in the doorway as if he too wereunable, or unwilling, to come into the STUDIO.

VERMEER

Griet.

He gestures to the paintingcorner.

Two tapestry-covered chairshave been arranged around the harpsichord, a lute on one,a bass viol propped against the wall. VERMEER busies himselfat the table. GRIET looks at the paintings on the wall, bothtaken from downstairs.

One is a landscape, trees and anopen road into the distance. The other is of a man andtwo women. The man is buying the young one’s favours from the old,he already has an arm round her. [The Procuress, Dirk van Baburen]

VERMEER clears his throat andGRIET looks round, full of foreboding, waiting for her instructions.But none come. He simply sits and stares at her.And stares. His face wears a familiar abstracted expression.Her eyes slowly fill with tears. He is going to paint her.

She looks bleakly at the musicalinstruments lying around her.

GRIET

What should I...(pretendto play)?

VERMEER frowns.

VERMEER

No! I have alreadybegun the group painting. You are not to sitwith Master Van Ruijven. That much is agreed.

November2003

The tears that threatenedbefore now spill down hercheeks.

GRIET

Thank you, sir.

VERMEER stands up abruptly,profoundly ill at ease.

VERMEER

I amto paint you alone.

MARIA THINS

My daughter must not hear of this ‘other’ painting.

MARIA THINS counts outcoins while GRIET waits with the shopping pail.

MARIATHINS (CONT'D)

In hercondition...

GRIET looks down at thecoins in her hands.

GRIET

Ma'am.What of Master van Ruijven..

MARIA THINS fingers thehandle of her cane.

MARIATHINS

It isto hang in his private cabinet,with a curtainover.

Gimlet eyes on GRIET to seehow she takes this.

She turns to go back up herprivate staircase.

MARIATHINS (CONT'D)

He’s no fool,mind you. And he won't be taken for one, sodon't think otherwise. You're a fly in his web.(Toherself) We all are. Joannis should havegone about it another way.

GRIET’S sombre face reflected fora moment before the pitcher breaks the surface.

Carrying the pitcher in shemeets VERMEER returning home, his cloak wrapped round him. He holdsthe door open. As she passes hemurmurs in her ear.

VERMEER

Tomorrow morning.

November2003

She hesitates for a moment, heartracing. She can feel his eyes on her, the warmth of his body.

GRIET

I cannot. I havework...

VERMEER

Find a way.

He moves on into the house.

a

esos cee VERMEER

Look out of the window.Down at the table. Away.

He frowns.It isn't working.

SurroundingGRIET are all the "props" familiarfrom the paintings- The silver bowl and jug, the studdedbox, powder brush,an open book. CATHARINA’S yellow bodicehangs on a chair. GRIET ishedged in by things. VERMEER pullsthings away, drags a differenttable carpet into place, pushes achair across, franticallybuilding walls between himself andher. GRIET watches.

These are ladies’ things.

VERMEER

You want me to paint you with amop in your hands?

He is closing shutters:slam, slam. The studio growsdarker and darker.

GRIET

No, sir.

VERMEER

(Gentler)No. I don't know... (A beat)Perhaps thecostume. What if...

He reaches for the yellowmantle. GRIET plucks up courage.

GRIET

I cannotwear her clothes.

VERMEER

{A beat)No.

He looks at her across thetable.

November2003

VERMEER (CONT'D)

I am not to paint you as amaid. Or a lady. What then?

GRIET doesn’tanswer. VERMEER keeps looking.Suddenly he starts pulling everythingaway, chair, table, bowlsand boxes, all swept away.Until there is nothing between them,she stands alone, in the lastpatch of light.

VERMEER (CONT'D)

There. I will paint you as I firstsaw you. Not a maid. You.

CLOSE ON:VERMEER‘’Sbroad brush painting the firstshadow in the bottom corner,bone black and burnt umber. Powerfulstrokes obliteratingthe pale ground.

GRIET reachesup on tiptoe to get a dish,white arm and neck at full stretch.CATHARINA sees her husband staring,spellbound.

CATHARINA

Jan. My necklace.

She holds upthe ribbons of her necklace forhim to tie. Looks at him in themirror as he does so; a seductive smile,an oh-so- casual adjustmentof her bodice to revealmore of her magnificentbosom. Quite unaware he ties theribbons and walks out.

VERMEER

I’‘llbe in the studio till dinner.

MARIA THINSwatches from the fireplace, puffing silentlyon her pipe. CATHARINA seesGRIET in the background of herreflection.

CATHARINA

(Acid)Haven’t you finished yet

VERMEER mixes lead-whitewith crimson lake: pale andbuttery- soft under his paletteknife. His hand drizzling inmore linseed oil, the paint growsricher and creamier.

The brush poised topaint. VERMEER looks over to GRIETby the window, looking out.Clears his throat.

VERMEER

Look at me. Turn your head, not yourshoulders.

She adjusts her position,seated, looking over her left shoulder, the lightfalling on her right cheek. Face enclosedby her cap, her mouthshut. She stares at the floor.

November2003

VERMEER (CONT'D)

Look at me.

Slowly she raises hereyes to meet his but can't hold his gaze. The brush still poised.

VERMEER (CONT'D)

Look at me.

Her eyes waver andmeet his again. His brush blanks out the downcast eyes in thepainting. He lets out a sigh, almost a shudder of pleasure.

VERMEER'S face, intent, alight.His whole being involved in the ee act of painting: nothingelse in the world.

The brush on the palette,stroking the canvas. Now that he has it, there is nothing tentativeabout his painting.

The shadow of GRIET'S eyebrow,the intersection of curves across and down. VERMEER'S eyesdrinking in every detail.

VERMEER is working on thecheek.

VERMEER

The pointof your cap. Fold it back.

GRIET pushes the long pointback onto her shoulder, revealing her jaw and cheek. She swallows,feeling exposed. Her lips are pressed tight. Her eyeswaver and meet his again.

VERMEER (CONT'D)

I never satso close before.

GRIET

How long haveI been here, sir?

He changes brushes, continuesto paint.

VERMEER

It doesn'tmatter.

GRIET strains to hold her twistedpose. VERMEER is staring at her again.

VERMEER (CONT'D)

Take off yourcap.

GRIET reaches up then stops, her handprotective on the white linen.

GRIET

No, Sir. I cannot.

November2003

VERMEER

Cannot?

GRIET drops herhead.

In the paintingbehind her: The young woman, bare-headed,leans back in surrender,while the client and Madam, headscovered, press forward onher.

GRIET

Will not.

VERMEER

I need to see your face, the capcovers too much. There’s some cloth in the storeroom.

GRIET goes into the littlestoreroom. There is no catch onthe door, no need for one.

There is a trunk of clothesin the corner; props for use inthe paintings; cloths to coverthe table; gentlemen’s sashes;the trimmings from CATHARINA’Srich velvet gown. GRIET finds some strips of cloth and laysthem in front of her.

She reaches up and untiesher cap, releases an unruly mane of blonde hair.

She lifts one of the clothsto wrap round her hair, looks into the mirror. Sees a movementand turns to find him standing in the doorway.

Looking at her. Not at GRIETthe Maid, but at her. The real, secret GRIET. Desire holdinghim transfixed in the doorway.

She returns his gaze, herhair tumbled round her face, lips parted, bold, liberated, naked.

The CHILDREN'S VOICES fromdownstairs. VERMEER backs away.

GRIET folds clothes into thetall wardrobe. The stiff blue bodice worn by the girl in thePitcher painting. The yellow satin mantle, trimmed with fur.

CATHARINA sits by the fire withVAN RUIJVEN. MAERTGE and CORNELIA are working on an embroideryframe, though CORNELIA is farmore interested in the conversation.

VAN RUIJVEN

Emilie enjoys sitting,God knows why. If only he’d let one do somethingelse.

November2003

CATHARINA offers him thesewing on her lap. He pretends a few dainty stitches, hands itback laughing.

Butyou agree, or you'd be up there getting painted allthe time. Why not, with such a good- lookingwife? %

CATHARINA falters, upset.

I have thehousehold to run, you know. I can't ‘a be foreverup and down.

VAN RUIJVEN

There you are — "Lifegoes on". I mean God knows I admire thepaintings, extravagantly - Christ, I pay enough forthem - but I am flesh and blood, I must feedmy grosser parts.

CATHARINA glances at the girls,wondering if she should send them out. They are bent studiouslyover their frame. GRIET stays dead still behind the wardrobe door.

VAN RUIJVEN (CONT'D)

Not to deny Imay be consoled in a painting for what I cannot havein the flesh. Hunger is the best sauce, eh.

GRIET presses her face against the cool,starched linen.

VAN RUIJVEN (CONT'D)

If I had you againstmy private wall, for instance, painted byyour artful husband, I could take pleasure atwill in your charms and he none the wiser.

CATHARINAlaughs as best she can.

CATHARINA

I never think painting so livelyas when you speak of it.

VAN RUIJVENtakes a long draught of wine.

VAN RUIJVEN

You know I’ve a mind to goup and surprise him sometime - in the act.

CATHARINA

But you said yourself it’s verydull.

VAN RUIJVEN

Oh, not with Emilie. When he’s alonewith some young beauty.

November2003

VAN RUIJVEN (CONT'D)

You musthave noticed how he never botherswith old women.Only young and pretty ones. Ontheir own.

He helps himself to anotherglass of wine. CATHARINA does her best to ignore his meaning.

CATHARINA

You'll haveto wait then. He makes only one paintingat a time, though my mother has often pressedhim otherwise.

VANRUIJVEN

(Smug) Indeed?

GRIET listens in terror.

CATHARINA

He claimshe cannot hold two in his head, though when I considerall I must manage with thehouse and children...

VAN RUIJVEN secretly givesCORNELIA a sip of wine. She screws her face up in disgust.

CORNELIA

I like it.

VAN RUIJVEN gives her a squeeze.

VAN RUIJVEN

That’smy girl.

They giggle and whispertogether, both looking over at GRIET. CATHARINA looks up and catchesCORNELIA taking another sip. She is shocked, though she triesto laugh it off.

CATHARINA

MasterVan Ruijven, what are you doing?

VAN LEEUWENHOEK gazes quizzicallyat GRIET’S strange turban-like head gear.

VAN LEEUWENHOEK

What is shemeant to be?

VERMEER

It is Griet’sinvention. Ask her.

VAN LEEUWENHOEK is struckby the casual intimacy of this. GRIET is trembling with the strainof holding her twisted pose. VERMEER scowls at the painting.

VAN LEEUWENHOEK

Whatever itis, it becomes you, Griet.

November2003

VAN LEEUWENHOEK wants to break the tensionthat thickens around thetwo of them.

VAN LEEUWENHOEK (CONT'D)

Jan, did I tell you of themeeting tomorrow? Optics and lenses. You shouldspeak on painting.

VERMEER

I have nothing to say.

VAN LEEUWENHOEK ee

The camera obscura then. Youknow more about light than anyone. ee

— VERMEER

I know? Every painting I startagain at the beginning, I’1llnever know.

VERMEERstabs a brush angrily towards a canvaspropped on the table ~-theConcert painting.

VERMEER (CONT'D)

There's what happens when onepays heed to theory. A one-point perspectiveof nothing.

Amyriad of chalk lines going this way andthat. Small blocks of colourdotted disjointedly over the canvas.

VAN LEEUWENHOEK

It's promising. Do you havethe small lens? I want to show it at themeeting.

VERMEER

I'll fetch it.

VERMEERgoes out. VAN LEEUWENHOEK turns backto GRIET.

VAN LEEUWENHOEK

Rest a minute, why don’t you?

GratefullyGRIET moves. VAN LEEUWENHOEK looksat her painting. He is startledby what he sees. [We, like GRIET,do not see the painting]His eyes flick from her to the paintingand back.

VAN LEEUWENHOEK (CONT'D)

What is this? Not his usualmanner. Not at all. (Abeat) It's for Master VanRuijven, is that so? Mistress Thins will be pleased.

He hesitates,needing to warn her, wanting tobe fair.

VAN LEEUWENHOEK (CONT'D)

Hmm. You do see his interest inyou is partly because Master Van Ruijven..Howshould I put this?

November2603

GRIET frowns.He examines the painting again.

VAN LEEUWENHOEK (CONT'D)

He sees things as he wantsthem to be, perfected by him. Everything serves thepainting, everything. He doesn't thinkof the consequences. You must.

He looks at GRIET,his eyes kindly, concerned.

VAN LEEUWENHOEK (CONT'D)

There's no bridge across thiswater. You understand me, Griet?

GRIET dips herhead, but the head dress doesn’thide her face. She looks upagain.

GRIET

I do not think he would hurtme, Sir.

VAN LEEUWENHOEK

(Gently)How much do you knowof men?

GRIET chops vegetables.A moment of reflection beforeshe sweeps the pattern intothe pot.

GRIET, utterly stillin her pose, almost as if shewere the painting. There isnow a black drape behind her.

VERMEER sits at theeasel, dissatisfied. Tries onebrush after another, stands andstares at her, goes back to the painting.

VERMEER

Open your mouth.

GRIET

Sir?

VERMEER

Openyour mouth.

GRIET is horrified. Butwhat can she do? She licks her lipsand opens them.

VERMEER (CONT'D)

Lickyour lips. Again.

GRIET brings in a wine jugand glasses. Only MARIA THINS looks up, sharp-eyed.

November2003

VERMEER is going through CATHARINA’S jewelbox, searching for something.CATHARINA moves slowly, easingherself off the bed, already heavy with the new baby.

CATHARINA

Jan, please.

He brings over the box, settles on a lowstool and massages her feetbetween his hands.

CATHARINA is dressed in her fine velvet.She stifles a yawn.

CATHARINA (CONT'D)

I am so tired.

GRIET pours their wine, sets it in frontof them.

VERMEER

Wear these.

He holds out her big pearl earrings,glossy white drops nesting in his hand. CATHARINA smiles, delightedby this attention.

VERMEER (CONT'D)

I must be there.The City Fathers have asked... There might be acommission...(Seeingthe earrings) Ah...good.Look,Griet.

CATHARINA swings round.

VERMEER (CONT'D)

That point of lightin the shadow of the neck, leading the eye.

CATHARINA

Jan!

GRIET’S eyes meet VERMEER’S. She seesthat he has found what he needs. That he is pitiless. MARIATHINS sees it too.

VERMEER is arranging the setting ofThe Concert. The Concert painting, half-covered, has progressedconsiderably. GRIET hurries in.

GRIET

Sir. Do not askthis of me.

He knows exactly what she’s talkingabout.

VERMEER

It is needed.

GRIET

My ears are notplerced.

November2003

He laughs at such amundane excuse. But GRIET isn’t laughing, she is angry.

GRIET (CONT'D)

I'vedone everything you wanted.

VERMEER

The composition- it's not balanced.

Sometimesyou paint without a model.

VERMEER

Youwant me to imagine how the earringwould look?

She wont give in.

GRIET

Shewill findout.

Nor will he.

VERMEER

Thishas to be, Griet. See for yourself.

He insists that she lookas he uncovers her painting. GRIET covers her mouth in horror. WE SEE only her reaction.

Oh. You lookedinside me.

GRIET hurries along, hershawl pulled tight round her shoulders, head down.

The APOTHECARY smiles whenhe sees it is her.

APOTHECARY

Well then.What will it be today? I set aside some lapis-

GRIET

It’s- it’s forme.

The APOTHECARY‘S expression changes.He is sharp-eyed, he can seetrouble in her face. Hisquick fingers continue to shred dried leaves into a leatherapron.

November2003

APOTHECARY

Oh, it’s that way, is it? (Reluctant)I have a draught if you want to bringit off.

There 1smore disappointment in his eyes than disapproval.GRIET takes hismeaning.

GRIET

Oh no. No. I need somethingto numb the skin. I have money.

She pullscoins from her pocket. The OLDMAN scansher face again, goesoff grumbling, knowing something'swrong.

GRIET goesto pull her cap forward, her fingertip touches her ear and stopsthere.

GRIET looksat the tiny vial of oil, tips someonto a handkerchiefand rubs it onto her earlobe.

Sheheats a needle in the candle flame.

Clutchingthe needle in trembling fingersshe stares into the mirror from downstairs. Her frightened facereflected in the candlelight.

FOOTSTEPSon the stairs. Into the STUDIObelow. GRIET hides the needleand vial. MARIA THINS comes up throughthe trap door, breathinghard. She gives GRIET a long searchinglook.

MARIA THINS

Well, girl? What’s tobe done?

GRIETsays nothing.

MARIA THINS (CONT'D)

You may fool the menwith your downcast eyes. Master Van Ruijvenwants his paintings and he will bear no more delay.

MARIATHINS' bony hand on the black canetrembles, for the first timeshe seems vulnerable, frightened even.

MARIA THINS (CONT'D)

I've protected you, forhis sake and yours but if he crosses Van Ruijvenover this he will lose him. Then what?

Itmakes her angry to be so helpless,begging a maid for help. Sheglares at GRIET.

MARIA THINS (CONT'D)

Flood water seeps underthe door and the house comes down. I won't letthat happen here.

November2003

GRIET hangs up sheets inthe courtyard. Strong arms grab her from behind, pinning her armsby her side. A voice whispers thick and hot in her ear:

VANRUIJVEN

Got you!

GRIET struggles silently,terrified, but VAN RUIJVEN is far stronger.

VANRUIJVEN (CONT'D)

Hold still.I want to look at you.

GRIET writhes to get free,scared and angry.

He turns her round to facehim, swathed in sheets.

VAN RUIJVEN (CONT'D)

Tellme, girl, how do you get on up there?Has he foundhis composition? Do you inspire him?Do youmove him? Does the Master's brush unlockthe secretsof your heart?

His tone is leering buthis sharp eyes miss nothing. He canread Griet's face exactly.

VANRUIJVEN (CONT'D)

No! Ripeas a plum and still unplucked.

VAN RUIJVEN is disconcerted,angry, he did not expect this.

VANRUIJVEN (CONT'D)

What ishe playing at?

She looks away, face hiddenby her cap. He pulls is back roughly. A grunt of satisfactionas his hand tangles in her hair.

VANRUIJVEN (CONT'D)

Hemade a bargain you know, he paints youat my pleasure.

He is right up against heragain. She pushes him away, he grabs her wrists. GRIET writhesto get free, scared and angry. He holds both her wristswith one hand, yanks the chemise of her shoulder with the other.

VANRUIJVEN (CONT'D)

I havewaited long enough. What a great foolhe is.

He paws at her skirts, herlegs give way and she starts to fall. He twists one arm behindher back, forcing her up again.

November2003

GRIET'S eyes search desperatelyfor something to stop him. In the shadow of the passageshe sees someone watching.

CORNELIA. GRIET pleadswith her eyes. CORNELIA returns her look, her face cat-like, impenetrable.She turns away slowly, deliberately, disappears.GRIET wants to cry.

VAN RUIJVEN is unbucklinghimself, GRIET struggles harder, Manages to free one arm,claw at his face. He snarls. They wrestle till he has botharms pinned again.

VANRUIJVEN (CONT'D)

Don't fightme, girl.

Breathing hard he crushesher against the copper, grotesque reflections swim in frontof her.

CATHARINA(O/S)

(Petulant)Griet. Griet!

She is coming along thecorridor towards the back of the house. VAN RUIJVEN lets GRIET go,quickly straightens his clothing.

VANRUIJVEN

Nota word. You’ll lose your place. He’d never lookat you again.

He steps out to meet CATHARINA,all smiles.

VANRUIJVEN (CONT'D)

Ah, my dear. There you are. Your maid keptme with somecock and bull story.

Cold dawn light. GRIET slidesher finger through fine-ground rose madder, a red streak acrossthe stone table. Her torn chemise waits to be mended.

GRIET pours water into thecopper, every movement an effort, arms like lead. Someone grabsher from behind.

MAERTGE

Surprise!

GRIET spins round, ready to fight- to find MAERTGE and the other CHILDREN all smiling ather. MAERTGE has a package which she hands over shyly.

MAERTGE (CONT'D)

For your nameday. I made it.

CORNELIA

I thoughtof the surprise.

November2003

A perfectlyinnocent smile. With tremblinghands GRIET unwraps her present:a child-made lace collar.

GRIET

Thank you.

The CHILDRENclamour for her to put it on. Sheholds it up to her neck -there are bruises from where VANRUIJVEN held her - and they admireher.

MAERTGE

You‘re beautiful.

CORNELIA

Take off your cap. Then you’1lllooklike a lady.

That tell-tale smirk.GRIET pulls off the collar.

GRIET

I've work to do.

GRIET is on her handsand knees clearing the grate.MARIA THINS comes in hurriedly.

MARIA THINS

My daughter is out for the day.

She unlocks CATHARINA’Sjewel box.

MARIATHINS (CONT'D)

Do itnow.

She thrusts the openbox towards GRIET, who is still wipingthe smuts from her hands.Reluctantly she takes the pearl earrings out of their velvet nest.The seconds seem to crawl.

VERMEER watches GRIET, herpartner in this slow dance. She takes off her cap, puts on theturban. Rubs the oil of cloves onto her ear lobe. Heats the needle ina candle flame.

She holds out the earrings.

GRIET

You do it.

Her eyes widen at her own boldness.He opens his mouth to speak then says nothing.

He steps up to the chair andtakes the pearls.

Mixing oil into lead-white, oozingcreamily under the sharp knife.

November2003

He touches her earlobe, shegasps. He rubs the soft flesh between his forefinger andthumb then pulls it taut and withhis other hand pierces her skinwith the needle. A scarlet globe of blood glistens on thewhite skin. He takes a breath, forces the twisted silver wire of theearring through the hole.

The pain is excruciating,her eyes brim with tears.

Laying on a grey ghost of paintamong shadows, the under-layer of the pearl.

His fingers brush her jaw, gentlytrace the bruises on her neck. lid

an

She closes her eyes, inhalinghis smell.

A thick white clot of paint twistedoff the brush in a moment for the highlight.

He blots the tears that spilldown her cheek and rubs his wet thumb slowly along her lips, heropen mouth.

Pale sable hairs across the crimsonof her lips, a trail of white.

GRIET pushes her way through busystreets.

The benches are crowded, a jostling,careless press. Admiring catcalls and whistles follow GRIET as shemakes her way through the DRINKERS.

PIETER’S back is turned, he doesn’t seeher approach. His FRIEND nudges him and moves away. PIETER staresin frank astonishment.

PIETER

Griet!

Shetakes him by the hand and leads him out.

A narrowalley behind the BEAST MARKET, thebellowing of CATTLE mixes intothe background clatter. GRIET tugsPIETER after her, presseshim against the wall. Pulls his facedown to hers and kisseshim passionately. He responds, bewilderedbut thrilled. Shemoves his hand to her backside, turning tillshe is against thewall. She closes her eyes. PIETER doesn’tquestion his good fortune.

LATER:

PIETERwatches as GRIET carefully adjusts her clothes,smoothes her hair underher white cap. He pulls out a longwavy strand and kisses it, joyfullyintimate.

November2003

PIETER

Sweet Griet.

She reties her cap. Herear is bleeding a little.

PIETER (CONT'D)

Griet,don't rush away. Where are you going?

He grabs her by the shouldersso she must face him.

PIETER (CONT'D)

Leave thathouse, join me and Paul at the Market.

She meets his eyes levelly,very still.

GRIET

I haveto go back

PIETER

I'll fetchyour things. We'll send someone.

GRIET

No.

PIETER

Griet.Our own life. Answering to no one.Don’t go. Marryme.

She puts a hand on his cheek,kisses him. Walks away.

He leans against thewall, head down.

GRIET drops the earringsin MARIA THINS’ wrinkled hand. Awhore and her madam.

CORNELIA watches from thebed, her cat-like eyes unblinking.

CLOSE ON: the raised lidof the harpsichord. GRIET cleans the studio, alone and silent.The Concert painting is on the easel, almost finished. The other- her painting - is propped against the wall, covered. She avoidsthem both.

VOICES are raised downstairs;an almighty row is brewing.

Feet tumbling up the stairs:CORNELIA’S little shoes leading, MARIA THINS’ stick, CATHARINAslow and heavy.

November2003

GRIET braces herself. The door crashesopen, a tidal wave of anger and distress.

CATHARINA

No, I will notbe calm. Am I a child? Does no one speak the truthto me in my own house?

CORNELIA is snivelling, frightenedby her MOTHER’S passion.

MARIA THINS }

By all the Saints,if you would stop screaming for a moment I canexpl-

CATHARINA

More lies. I don’twant to hear any more of your lies, Mother. Ihave a right to know.

But, finding herself at last inthe forbidden room, CATHARINA falls silent, afraid.

VERMEER is the last to enter,quietly, the eye of the storm. He meets GRIET’S eyes across theroom.

CATHARINA recovers herself a little.

CATHARINA (CONT'D)

So. No morehiding now. Here I am. I want to see this painting.

VERMEER makes a weary gesture.

VERMEER

There’s no point.

CATHARINA flares up again.

CATHARINA

No point! I amtoo stupid to look at a painting now.

A savage finger at GRIET.

CATHARINA (CONT'D)

She can’t read!You know that?

MARIA THINS pulls forward a chair.

MARIA THINS

Sit down, you’llexhaust yourself.

CATHARINA ignores her.

CATHARINA

Why can’t I look?What have you done?

November2003

VERMEER is bythe easel, his accustomed place.

VERMEER

It‘s a commission. Gone in a fewdays. You need never see.

CATHARINA is laughingand crying. Sinks onto the chairin the middle of theroom.

MARIA THINS

They're just paintings. Picturesfor money. They mean nothing.

Is it true she wore my pearls?

VERMEER cannot answer.CATHARINA groans in anguish.

CATHARINA (CONT'D)

How could you? How could you?

She heaves herselfup and stands in front of The Concert painting, breathingheavily, staring. Then she bursts out laughing.

CATHARINA (CONT'D)

He's backwards. Backwards. Look athim - fat arsespilling off the chair. My God,I'm not the onlyone that’s been had.

MARIA THINS laughstoo, her dry, cracked laugh.

MARIA THINS

That'sright. He wanted a portrait andhe got one.

CATHARINA

And there’s yours, Mother.

She points at the oldhag in the Procuress painting.

CATHARINA (CONT'D)

I alwayshated that picture and now I knowwhy. Mymother the whore-monger.

VERMEER

Catharina!Enough.

CATHARINA blinks, turnsround slowly to him. A wide, dangerous smile.

CATHARINA

Why?Was painting enough for him? Was it enough for you? (Abeat) Show me the other.

November2003

VERMEER

You’ll make yourselfill.

VERMEER moves towards her slowly, cautiously.She stares at him with shining eyes, then quick as a snake,grabs a palette knife fromthe work table.

CATHARINA

Show me.

VERMEER faces her, arms wide, palms out.

VERMEER

Very well.

Never taking his eyes from her he liftsdown the Concert paintingand puts the other on the easel.Tenderly lifts the cover.Everyone cranes to look. GRIET,behind the easel, can see onlytheir reactions.

VERMEER looks oddly peaceful, a workachieved. MARIA THINS glancesat GRIET, her lips a thin,bitter line, her eyes warning silence.CATHARINA’S face sags, mouthagape.

CATHARINA

(A whisper) It’s obscene.Everyone will see your...Sin...

Shegasps for breath. The words aretorn from her.

CATHARINA (CONT'D)

(Anguished) Why don’tyou paint me?

VERMEER

Because you don’t understand.

CATHARINA

And she does!

Herwords hang in the air: the truth.

Suddenlyshe lunges at the paintingwith the knife. But VERMEER is tooquick for her, grabs her wrist sohard it hurts, she criesout.

He isblazing, his fury all the more terrifyingfor its quietness.She goes limp in his grasp andhe lets her go.

CATHARINAbacks away, finds CORNELIA to clingto. A single glanceof hatred at GRIET.

CATHARINA (CONT'D)

Get her out of here.Get out of my house.

GRIET hasbeen waiting for this but even soit falls like a whiplash.

November2003

Her eyes seek out VERMEER,although she can hear CATHARINA’Sin- drawn hiss of fury. He isinfinitely sad, infinitely distant.

Wearing her Sunday bestclothes, GRIET takes her aprons andcaps from the linen cupboard.CATHARINA’S yellow mantle hangs there, silky smooth and glowing.

GRIET’S hand runs alongthe rim of the silver bowl, a last glimpse of its multi-fracturedreflections.

Carrying her small bundle,GRIET walks through the series of rooms. TANNEKE stands framedin the Cooking Kitchen doorway, arms folded. Left tomanage alone again.

GRIET goes up the stairsand along the corridor to the STUDIO. The door is shut fast.She stands outside listening. Silence.

VERMEER sits on his paintingstool, every nerve strainedto listen, wanting her tocome in but unable to call her. His painting hand is balledtight as a fist.

He hears GRIET'S footstepsleaving.

VERMEER is left alone inthe studio, a blank canvaswaiting on the easel behind him.

GRIET walks away fromthe house, her bundle under her arm. She wont look back.

VAN RUIJVEN sits alonein his cabinet with the painting of GRIET. It gives him nopleasure, after all. He draws a curtain over it.

GRIET walks across thegreat Market Square. Other people carry on with their everyday livesbut the sound is muffled and distant; she is lost inher own world.

She stops on the brick starat the centre of the square.

November2003

GRIET sits in the lateafternoon sun near the back doorway, finishing her headdress.Her wedding dress is laid out on the bed, other wedding preparationsvisible in the background.

TANNEKE appears at thedoor, out of breath.

A moment’s silence asthey size each other up.

TANNEKE

I’vecome to the right place then.

GRIET

GoodDay, Tanneke.

TANNEKE

So it’strue, you’re to be married.

GRIET

Yes.

TANNEKE nods, taking itin.

TANNEKE

Weuse another butcher nowadays.

She searches in her apronpocket and brings out a small cloth wrapped package. She handsit to GRIET.

TANNEKE (CONT'D)

Foryou. I had to bring it myself - nevermind thatthe dinner’s left to spoil. Men!

She stops abruptly. GRIETholds the package gingerly, not daring to look at it.

TANNEKE (CONT’D)

Bestbe off then.

GRIET

I'll seeyou to the bridge.

TANNEKE

No need forthat.

She turns away, her faceworking.

GRIET

Thankyou, Tanneke.

Left alone GRIET uncurlsthe hand gripping the package. She takes a deep breath then undoesthe layers of cloth, the familiar blue of the turban.And there, nestled in the folds of fabric, lie the pearl earrings.

Bovember2903

GRIET holds up one pale globe,fathoming its meaning, her eyes shining with pent up tears.

FADE TO BLACK:

FADE UP ON:

A very slow pull back reveals thereal painting: Girl With A Pearl Earring.

Cracked and aged but no lessbeautiful or immediate. A girl's face as brim full of emotion as ifshe were looking at us now.

November2003