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The Sound of Music
FADE IN
EXT. THE AUSTRIAN ALPS - DAY - HELICOPTER SHOTS
The screen glows an eerie blue, then fills with swirling white mists. We fly
through the misty cloud and emerge over a craggy, snow-draped mountain range.
The massive, forbidding peaks stretch to the horizon, then disappear behind
more dense mist. The white fog gives way to silky sheets of snow covering a
mountainside.
We fly over a sheer rock face. Hundreds of feet below a river runs through a
grassy valley like a glistening white ribbon.
The snow-covered Alps give way to gently rolling hills and lush forests.
Birds whistle. We fly out from behind a hillside and over a broad lake,
glittering in the brightening sunshine. MUSIC sneaks in.
We fly over a clear glassy lake that mirrors a huge mountain beside it and
the blue sky above. Then over a magnificent green valley nestled among the
hills.
In the valley below, the roofs of a small town lie clustered together around
a church and its steeple.
Now, we glide over elegant, lakeside castles and mansions with acres of
emerald green farmland.
We fly toward a sunny alpine meadow where a young woman with short blonde
hair strolls through the grass, swinging her arms in a carefree stride. She
wears black shoes and stockings and a gray smocked apron over a black dress.
Her name is Maria.
As we close in on her rapidly, she spreads her arms and twirls in a joyful
spin.
MARIA
(sings)
The hills are alive with the sound of music
With songs they have sung for a thousand years
The hills fill my heart with the sound of music
My heart wants to sing every song it hears
My heart wants to beat like the wings of the
birds that rise from the lake to the trees
My heart wants to sigh like a chime that flies
from a church on a breeze
She runs to a brook and skips stones in it.
MARIA
(sings)
To laugh like a brook when it trips and falls over
stones on its way
To sing through the night like a lark who is learning to
pray
I go to the hills when my heart is lonely
I know I will hear what I've heard before
My heart will be blessed with the sound of music
And I'll sing once more
Church bells toll in the distance.
Maria's dreamy smile fades and becomes a confused frown. With sudden
realization, she puts a hand to her head and gallops across the field. She
stops, searches for something, and spots a black wimple headpiece lying in
the grass.
MARIA Ohhhh!
She snatches it up, then dashes off.
MAIN TITLE SEQUENCE - VIEWS OF SALZBURG, AUSTRIA
A title reads: "Salzburg, Austria in the last Golden Days of the Thirties"
INT. THE ABBEY - DAY
Nuns in black habits and novices wearing smocked gray aprons walk calmly
across a cobblestone courtyard. Carrying Bibles, they file into a chapel
decorated with richly colored stained glass windows and stone sculptures.
The women chant in Latin: "Dixit dominus" -- followed by a "Morning Hymn" and
"Alleluia."
Kneeling at the altar with two sisters the Reverend Mother raises her gently
lined face to an artistic rendering of the Madonna and Child and clasps her
white-gloved hands in prayer. The other sisters kneel in the pews. Black
hood-like wimples, lined with pleated cloth frame their faces and cover their
hair. Frail, elderly nuns kneel side by side with youthful novices in
meditation and prayer.
Church bells ring. The Reverend Mother rises to her feet, turns to the
congregation of sisters and crosses herself.
OUTSIDE THE CHAPEL - LATER
The Reverend Mother walks with two sisters: SISTER BERTHE, the Mistress of
Novices who would probably enjoy using a ruler on your knuckles and SISTER
MARGARETTA, the Mistress of Postulants, who probably will one day be made a
saint. A young nun approaches.
SISTER BERNICE Reverend Mother?
MOTHER ABBESS Sister Bernice?
SISTER BERNICE I simply cannot find her.
MOTHER ABBESS Maria?
SISTER BERNICE She's missing from the Abbey again.
SISTER BERTHE Perhaps we should have put a cowbell around her neck.
SISTER MARGARETTA Have you tried the barn? You know how much she adores the
animals.
SISTER BERNICE I have looked everywhere, in all of the usual places.
MOTHER ABBESS Sister Bernice, considering that it's Maria, I suggest you
look in someplace unusual.
Sister Bernice nods and walks away. The three nuns cross the courtyard.
SISTER BERTHE Well, Reverend Mother, I hope this new infraction ends
whatever doubts you may still have about Maria's future here.
MOTHER ABBESS I always try to keep faith in my doubts, Sister Berthe.
SISTER MARGARETTA After all, the wool of a black sheep is just as warm.
SISTER BERTHE We are not talking about sheep, black or white, Sister
Margaretta. Of all the candidates for the novitiate I would say that Maria is
the least likely--
MOTHER ABBESS (chides them) Children, children.
Mother Abbess sees several nuns gathered, staring at them, puzzled.
MOTHER ABBESS (to the other nuns) ... er, we were speculating about the
qualifications of some of our postulants. The Mistress of Novices and the
Mistress of Postulants were trying to help me by expressing opposite points
of view. Tell me, Sister Catherine, what do you think of ... Maria?
SISTER CATHERINE She's a wonderful girl ... some of the time.
MOTHER ABBESS Sister Agatha?
SISTER AGATHA It's very easy to like Maria ... except when it's, uh,
difficult.
MOTHER ABBESS And you, Sister Sophia?
SISTER SOPHIA Oh, I love her very dearly. But she always seems to be in
trouble, doesn't she?
SISTER BERTHE Exactly what I say!
(sings)
She climbs a tree and scrapes her knee
Her dress has got a tear
SISTER SOPHIA (sings)
She waltzes on her way to Mass
And whistles on the stair
SISTER BERTHE (sings)
And underneath her wimple
She has curlers in her hair
SISTER CATHERINE (sings)
I've even heard her singing in the Abbey
SISTER AGATHA (sings) She's always late for chapel
SISTER SOPHIA (sings) But her penitence is real
SISTER BERTHE (sings) She's always late for everything
SISTER CATHERINE (sings) Except for every meal
SISTER BERTHE (sings)
I hate to have to say it
But I very firmly feel
SISTERS BERTHE AGATHA SOPHIA CATHERINE (sings)
Maria's not an asset to the Abbey
SISTER MARGARETTA (sings) I'd like to say a word in her behalf
MOTHER ABBESS (spoken) Then say it, Sister Margaretta.
SISTER MARGARETTA (sings) Maria makes me laugh
Sister Berthe scowls. Reverend Mother smiles.
MOTHER ABBESS (sings)
How do you solve a problem like Maria?
How do you catch a cloud and pin it down?
SISTER MARGARETTA (sings) How do you find a word that means Maria?
SISTER CATHERINE (sings) A flibbertijibbet!
SISTER SOPHIA (sings) A will-o'-the wisp!
SISTER BERTHE (sings) A clown!
MOTHER ABBESS (sings)
Many a thing you know you'd like to tell her
Many a thing she ought to understand
SISTER BERTHE (sings)
But how do you make her stay
And listen to all you say?
MOTHER ABBESS (sings) How do you keep a wave upon the sand?
SISTER MARGARETTA (sings) Oh, how do you solve a problem like Maria?
MOTHER ABBESS (sings) How do you hold a moonbeam in your hand?
SISTER SOPHIA (sings)
When I'm with her I'm confused
Out of focus and bemused
And I never know exactly where I am
SISTER AGATHA (sings) Unpredictable as weather
SISTER CATHERINE (sings) She's as flighty as a feather
SISTER MARGARETTA (sings) She's a darling!
SISTER BERTHE (sings) She's a demon!
SISTER MARGARETTA (sings) She's a lamb!
SISTER SOPHIA (sings)
She'd outpester any pest
Drive a hornet from its nest
SISTER AGATHA (sings) She can throw a whirling dervish out of whirl
SISTER MARGARETTA (sings)She is gentle! She is wild!
SISTER CATHERINE (sings)She's a riddle! She's a child!
SISTER BERTHE (sings)She's a headache!
SISTER MARGARETTA (sings)She's an angel!
MOTHER ABBESS (sings) She's a girl!
The nuns press their hands together and gaze heavenward.
THE SINGING NUNS
How do you solve a problem like Maria?
How do you catch a cloud and pin it down?
How do you find a word that means Maria?
A flibbertijibbet!
SISTER MARGARETTA A will-o'-the wisp!
SISTER BERTHE A clown!
THE SINGING NUNS
Many a thing you know you'd like to tell her
Many a thing she ought to understand
MOTHER ABBESS (sings) But how do you make her stay
SISTER BERTHE (sings) And listen to all you say?
SISTER MARGARETTA (sings) How do you keep a wave upon the sand?
THE SINGING NUNS Oh, how do you solve a problem like Maria?
A door slams. Footsteps, running. Maria races headlong into the courtyard,
snatches a handful of water from a nearby pump and gulps it down. Then,
wimple in hand, she tears past the nuns and stops dead in her tracks. She
meets their startled gaze. Then rolls her eyes to Heaven helplessly and walks
away.
THE SINGING NUNS How do you hold a moonbeam in your hand?
DISSOLVE TO:
INT. CORRIDOR - LATER
Maria waits in the dark, austere hallway. Sister Margaretta emerges from an
office.
SISTER MARGARETTA You may go in now, Maria.
Maria gulps nervously. Sister Margaretta smiles and squeezes her arm in
encouragement. Maria steps into ...
THE REVEREND MOTHER'S OFFICE
Maria shuts the door behind her.
MOTHER ABBESS Come here, my child.
Maria hurries over to the Abbess who sits behind a large desk. She kneels and
quickly kisses the Reverend Mother's hand.
MOTHER ABBESS Now, sit down.
MARIA Oh ... Oh, Reverend Mother, I'm so sorry. I just couldn't help
myself. The gates were open and the hills were beckoning and before I--
MOTHER ABBESS Maria, I haven't summoned you here for apologies.
MARIA Oh, please, Mother, do let me ask for forgiveness.
MOTHER ABBESS If it'd make you feel better.
MARIA Yes. Well, you see, the sky was so blue today and everything was so
green and fragrant, I just had to be a part of it. And the And the Untersberg
kept leading me higher and higher as though it wanted me to go right through
the clouds with it.
MOTHER ABBESS Child, suppose darkness had come and you were lost?
MARIA Oh, Mother, I could never be lost up there. That's my mountain.
I was brought up on it. It was the mountain that led me to you.
MOTHER ABBESS Oh?
MARIA When I was a child, I would come down the mountain and climb a tree
and look over into your garden. I'd see the sisters at work and I'd hear them
sing on their way to vespers. Which brings me to another transgression,
Reverend Mother. I was singing out there today without permission.
MOTHER ABBESS Maria, it is only here in the Abbey that we have rules about
postulants singing.
MARIA I can't seem to stop singing wherever I am. And what's worse, I
can't seem to stop saying things. I ... everything and anything I think and
feel.
MOTHER ABBESS Some people would call that honesty.
MARIA Oh, but it's terrible, Reverend Mother. You know how Sister Berthe
always makes me kiss the floor after we've had a disagreement? Well, lately,
I've taken to kissing the floor when I see her coming -- just to save time.
MOTHER ABBESS Maria ... when you saw us over the Abbey wall and longed to
be one of us, that didn't necessarily mean that you were prepared for the way
we live here, did it?
MARIA No, Mother, but I, I pray and I try. And I am learning. I really am.
MOTHER ABBESS And what is the most important lesson you have learned here,
my child?
MARIA To find out what is the will of God and ... to do it wholeheartedly.
The Reverend Mother stands up decisively.
MOTHER ABBESS Maria, it seems to be the will of God that you leave us.
MARIA Leave?!
MOTHER ABBESS Only for a while, Maria.
MARIA Oh, no, Mother! Please don't do that! Don't send me away! This is
where I belong. It's my home, my family. It's my life.
MOTHER ABBESS But are you truly ready for it?
MARIA Yes, I am.
MOTHER ABBESS Perhaps if you go out into the world for a time, knowing what
we expect of you, you will have a chance to find out if you can expect it of
yourself.
MARIA I know what you expect, Mother. And I can do it. I promise I
can.
MOTHER ABBESS Maria.
Maria gazes into the nun's stern, kind face.
MARIA Yes, Mother. (sinks into her chair) If it is God's will.
The nun picks up a letter from her desk.
MOTHER ABBESS There is a family near Salzburg that needs a governess until
September.
MARIA Until September!
MOTHER ABBESS To take care of seven children.
MARIA Seven children!
MOTHER ABBESS Do you like children, Maria?
MARIA Oh, yes, but seven ... ?
MOTHER ABBESS I will tell Captain Von Trapp to expect you tomorrow.
MARIA Uh, Captain?
MOTHER ABBESS A retired officer of the Imperial Navy. A fine man and a
brave one. His wife died several years ago leaving him alone with the
children. Now, I understand he's had a most difficult time managing to keep
a governess there.
MARIA Uh ... why "difficult", Reverend Mother?
MOTHER ABBESS The Lord will show you in His own good time.
Maria gives her a look.
DISSOLVE TO:
EXT. THE TRIP TO THE VON TRAPPS' - DAY
Maria walks out of the Abbey wearing a drab gray dress, baggy burlap jacket,
and a wide-brimmed leather hat. She carries a guitar case in one hand and a
carpetbag in the other.
Maria stops and looks back with a sad, wistful frown, then continues toward
the Abbey's iron gates.
MARIA When the Lord closes a door... (sighs)... somewhere he opens a window.
(sings)
What will this day be like? I wonder.
Maria steps through the gate and out into the sunlight.
MARIA
(sings)
What will my future be? I wonder.
It could be so exciting to be out in the world, to be free
My heart should be wildly rejoicing
Oh, what's the matter with me?
I've always longed for adventure
To do the things I've never dared
Now here I'm facing adventure
Then why am I so scared?
Maria leans against a stone wall.
MARIA
(sings)
A Captain with seven children
What's so fearsome about that?
She walks into the town square.
MARIA
(sings)
Oh, I must stop these doubts, all these worries
If I don't I just know I'll turn back
I must dream of the things I am seeking
I am seeking the courage I lack
She stops by a fountain.
MARIA (sings)
The courage to serve them with reliance
Face my mistakes without defiance
Show them I'm worthy
And while I show them
I'll show me
So, let them bring on all their problems
I'll do better than my best
I have confidence they'll put me to the test
But I'll make them see I have confidence in me
She boards a bus.
MARIA (sings)
Somehow I will impress them
I will be firm but kind
And all those children -- Heaven bless them!
They will look up to me
And mind me with each step I am more certain ...
She gets off the bus.
MARIA (sings)
... Everything will turn out fine
I have confidence the world can all be mine
They'll have to agree I have confidence in me
She skips and dances down a tree-lined road, swinging her baggage and kicking
her heels together.
MARIA (sings)
I have confidence in sunshine
I have confidence in rain
I have confidence that spring will come again
Besides which you see I have confidence in me
Strength doesn't lie in numbers
Strength doesn't lie in wealth
Strength lies in nights of peaceful slumbers
When you wake up -- Wake Up!
It's healthy!
All I trust I leave my heart to
All I trust becomes my own
I have confidence in confidence alone ...
Panting, Maria stumbles to a stop in front of an imposing, elegant manor. She
approaches the huge iron gate and peers in, unconfidently.
MARIA (spoken quietly) Oh, help!
She opens the gate and enters. She hesitates for a moment, her back to the
gate, then marches forward.
MARIA (sings)
I have confidence in confidence alone
Besides which you see I have confidence in me!
She sprints across the circular gravel driveway and stops at the front door,
setting her luggage down and pressing the door bell. She leans, out of
breath, on the wall by the doorbell.
MARIA Oh!
Franz, the dour-faced butler, opens the door. She instantly straightens.
MARIA Hello! Here I am!
He studies her homely clothes with a doubtful look.
MARIA I'm from the convent. I'm the new governess, Captain.
FRANZ And I'm the old butler, Fraulein.
MARIA (disappointed) Oh. (makes the best of it, upbeat) Well, how do you do?
She shakes his hand. He doesn't smile.
MARIA Hmm.
Maria picks up her guitar case and carpetbag and follows him into the house.
INT. VON TRAPP VILLA - CONTINUOUS
Maria's eyes widen at the cavernous, opulent front hall.
FRANZ You'll, uh -- wait here please.
With a last dubious glance at Maria, Franz stalks away. As if in a trance,
Maria walks slowly down the front stairs and sets her baggage down. She
stares at the gilded furniture and glittering crystal chandelier. Balconies
line the upper walls on either side of the vast, spotlessly white room.
Walking across the gleaming wood floor, Maria stops in front of a closed door
and peers in through the crack. She gently pushes the door open and stares
into a dark, ornate ballroom lined with gilt-edged mirrors and dusty windows.
Maria enters hesitantly. Cloth dustcovers hang from the chandelier. Maria
wanders across the dance floor, clasping her hands together in excitement.
She drops an exaggerated curtsy to an imaginary dance partner, then switches
places and bows deeply. Suddenly, the doors to the ballroom fly open. Maria
straightens from her bow.
A tall, elegantly handsome man with sharp, aristocratic features stands in
the doorway. He wears a trim gray suit with green cuffs and lapels. Startled,
Maria gazes fearfully at him and hurries out of the room.
CAPTAIN In the future, you will kindly remember there are certain rooms in
this house which are not to be disturbed.
MARIA Yes, Captain. Sir.
Captain Von Trapp closes the ballroom doors. Maria stares at him and smiles.
CAPTAIN Why do you stare at me that way?
MARIA Well, you don't look at all like a sea Captain, sir.
CAPTAIN I'm afraid you don't look very much like a governess. Turn
around, please.
MARIA What?
CAPTAIN Hmm, turn.
Maria turns around as the Captain scrutinizes her clothes.
CAPTAIN Hat -- off.
She removes her leather hat.
CAPTAIN Sss -- It's the dress. You'll have to put on another one before you
meet the children.
MARIA But I don't have another one. When we enter the Abbey, our worldly
clothes are given to the poor.
CAPTAIN What about this one?
MARIA Well, the poor didn't want this one.
CAPTAIN Hmm.
MARIA Well, I would have made myself a new dress, but there wasn't time. I
can make my own clothes.
CAPTAIN Well, I'll see that you get some material... today, if possible.
Now, Fraulein ... uh ...
MARIA Maria, sir.
CAPTAIN Fraulein Maria, I don't know how much the Mother Abbess has told you.
MARIA Not much.
CAPTAIN You are the twelfth in a long line of governesses, who have come to
look after my children since their mother died. I trust that you will be an
improvement on the last one. She stayed only two hours.
MARIA (giving him a worried look) What's wrong with the children?
CAPTAIN (pauses) There's nothing wrong with the children -- only the
governesses.
MARIA Oh.
CAPTAIN They were completely unable to maintain discipline. Without it,
this house cannot be properly run. You will please remember that, Fraulein.
MARIA Yes, sir.
CAPTAIN Every morning you will drill the children in their studies. I will
not permit them to dream away their summer holidays. Each afternoon, they
will march about the grounds, breathing deeply. Bedtime is to be strictly
observed, no exceptions...
MARIA Excuse me, sir, when do they play?
CAPTAIN ... You will see to it that they conduct themselves at all times
with the utmost orderliness and decorum. I'm placing you in command.
MARIA (with an overly enthusiastic salute) Yes, sir!
The Captain gives her look as if to ask, "Are you mocking me?" Maria raises
her eyebrows at him. The Captain abruptly takes a silver boatswain's whistle
from his pocket and blows it shrilly. Maria's mouth drops open in surprise.
Thunderous, pounding footsteps are heard above. Maria ducks for cover beside
the Captain.
Upstairs, six children, wearing identical blue sailor's uniforms dash out of
their rooms and line up according to age along the balcony railing, standing
at attention. Maria silently counts them. The Captain blows his whistle again
in a rhythmic pattern. Swinging their arms, the children march briskly
downstairs into the hall.
The oldest is a pretty, fresh-faced sixteen year old girl with wavy brown
hair (Liesl). The next is a blonde, blue-eyed boy (Friedrich). Behind him
marches a girl with golden braids (Louisa). Then, a chubby-cheeked boy (Kurt).
A little girl with brown hair and a button nose follows (Marta). A five year
old girl with a round face brings up the rear (Gretl). There's a noticeable
gap between Kurt and Marta -- one of the children is missing.
Responding to the Captain's whistle, they line up and stand at attention.
A dreamy-eyed girl with long black hair wanders in, her nose buried in a book
(Brigitta). The Captain holds out his hand. She gives him the book and turns
to take her place in the line-up. The Captain gives her a gentle, scolding
tap on the rear. She takes her place.
The Captain paces back and forth before them, inspecting his troops. He
straightens Kurt's collar. Friedrich's posture is not all that it could be.
The Captain demonstrates.
CAPTAIN Hup.
The boy puffs out his chest.
CAPTAIN Now ...
He drops Brigitta's book on a nearby table.
CAPTAIN ... this is your new governess, Fraulein Maria.
The children eye her disapprovingly.
CAPTAIN As I sound your signals you will step forward and give your name.
(to Maria) You, Fraulein, will listen carefully, learn their signals, so that
you can call them when you want them.
The Captain blows a variety of whistle signals. Each child, responding to
their signal, steps forward in a military manner, announces his or her name,
and then steps back in line.
LIESL Liesl!
FRIEDRICH Friedrich!
LOUISA Louisa!
KURT Kurt!
BRIGITTA Brigitta!
MARTA Marta!
The littlest girl forgets to step out. The Captain has to blow her signal
twice. She steps out and in but forgets to shout her name.
Maria is rather amused at this.
CAPTAIN (a little embarrassed, to Maria) And Gretl. Ahem.
Gretl makes a face. The Captain takes another whistle from his pocket and
holds it out to Maria.
CAPTAIN Now, let's see how well you listened.
MARIA Oh, I, I, I won't need to whistle for them, Reverend Captain. I mean,
um, I'll use their names. And such lovely names.
CAPTAIN Fraulein, this is a large house, the grounds are very extensive,
and I will not have anyone shouting. You will take this, please -- learn to
use it. The children will help you.
Maria accepts the whistle reluctantly.
CAPTAIN Now, when I want you, this is what you will hear.
He starts to blow a particularly obnoxious signal on his whistle.
MARIA (interrupts) Oh, no, sir, I'm sorry, sir! I could never answer to a
whistle. Whistles are for dogs and cats and other animals, but not for
children and definitely not for me. It would be too -- humiliating.
CAPTAIN Fraulein, were you this much trouble at the Abbey?
MARIA Oh, much more, sir!
CAPTAIN Hmm.
The Captain starts to walk away when Maria blows the whistles. He stops and
looks back at her, annoyed.
MARIA Excuse me, sir, I don't know your signal.
CAPTAIN (coldly) You may call me -- Captain.
The Captain stares at her a moment, then exits. Maria smiles to herself. The
children start to giggle. Maria turns to the children who snap back to
attention and stare straight ahead.
MARIA (sighs) At ease.
In unison, they place their hands behind their backs. They're a well-trained
bunch.
MARIA Well, now that there's just us, would you please tell me all your
names again and how old you are?
The children step forward and back in military fashion announcing their names
and ages.
LIESL I'm Liesl. I'm sixteen years old, and I don't need a governess.
MARIA Well, I'm glad you told me, Liesl. We'll just be good friends.
FRIEDRICH I'm Friedrich. I'm fourteen. I'm impossible.
MARIA (laughs) Really? Who told you that, Friedrich?
FRIEDRICH Fraulein Josephine. Four governesses ago.
The blonde girl in braids steps out and in.
LOUISA I'm Brigitta.
MARIA (smiles) You, um, didn't tell me how old you are, Louisa.
Brigitta, the bookworm, steps out.
BRIGITTA I'm Brigitta. She's Louisa. She's thirteen years old, and you're
smart. I'm ten, and I think your dress is the ugliest one I ever saw.
Brigitta steps back in line. Kurt, the chubby cheeked boy, turns to her.
KURT Brigitta, you shouldn't say that.
BRIGITTA Why not? Don't you think it's ugly?
KURT Of course. But Fraulein Helga's was ugliest.
Kurt steps forward.
KURT I'm Kurt. I'm eleven. I'm incorrigible.
He steps back.
MARIA Congratulations.
KURT What's "incorrigible"?
MARIA I think it means you want to be treated like a boy.
Kurt rather likes that answer. Marta, the button-nosed girl, steps forward
and tugs at Maria's sleeve.
MARIA Mm-hm?
MARTA I'm Marta, and I'm going to be seven on Tuesday, and I'd like a pink
parasol.
MARIA Well, pink's my favorite color too.
The littlest, Gretl, stamps her foot.
MARIA Yes, you're Gretl.
Gretl holds up her hand showing all five fingers.
MARIA And you're five years old? My, you're practically a lady.
Gretl and Marta laugh at this. Maria looks at the line of children from Liesl
to Gretl.
MARIA Now, I have to tell you a secret. I've never been a governess before.
The children look at one another, ready for mischief.
LOUISA You mean you don't know anything about being a governess?
MARIA Nothing. I'll need lots of advice.
LOUISA Well, the best way to start is to be sure to tell father to mind his
own business.
They crowd around Maria.
FRIEDRICH You must never come to dinner on time.
BRIGITTA Never eat your soup quietly.
Friedrich makes slurping noises.
KURT And, during dessert, always blow your nose.
GRETL Don't believe a word they say, Fraulein Maria!
MARIA Oh, why not?
GRETL Because I like you!
Then Frau Schmidt, the housekeeper, walks in clapping her hands.
SCHMIDT All right now, children. Outside for your walk. Father's order.
Now hurry up. Hurry up. Quick, quick, quick, quick, quick.
The children walk reluctantly to the front door.
SCHMIDT (to Maria) Uh, Fraulein Maria. I'm Frau Schmidt, the housekeeper.
MARIA How do you do?
SCHMIDT How do you do? I'll show you to your room. Follow me.
They shake hands. Frau Schmidt picks up Maria's bag and leads her. Maria
picks up her guitar and follows her up the stairs.
MARIA (quietly, to Frau Schmidt) Poor little dears.
At the front door, the children pause and turn back to watch as Maria
suddenly drops her guitar, screams, and reaches into her dress pocket.
MARIA What? Ah! Ah! Aah! Oh! Ohh --
She pulls out a frog and flings it down the stairs. It creeps out the open
front door. Maria, leaning on the bannister, sighs with relief.
SCHMIDT (to Maria) You're very lucky. With Fraulein Helga it was a snake.
MARIA Ugh!
Maria glares at the children who turn and somberly exit through the door.
DISSOLVE TO:
IN THE DINING ROOM - THAT NIGHT
Captain Von Trapp and the children (who now wear dresses and suits) sit at a
long dining table, waiting. Maria dashes in and stops.
MARIA Good evening.
She walks to her seat.
MARIA Good evening, children.
THE CHILDREN Good evening, Fraulein Maria.
Maria starts to sit in her chair and then leaps up.
MARIA Whaaaah ha ha ha!
A pine cone sits on her chair.
CAPTAIN (mystified) Enchanting little ritual. Something you, uh, learned at
the Abbey?
MARIA No, it's, um, er ... um ... (patting her rear) ... rheumatism.
Maria sits. The children glance at each other, surprised and relieved not to
be punished for their practical joke. The Captain starts to eat. The children
follow suit.
MARIA Excuse me, Captain, but haven't we forgotten to thank the Lord?
The Captain, with a mouthful of food, stares at her for a second and
reluctantly puts down his fork. Everyone folds their hands and bows their
heads.
MARIA For what we are about to receive may the Lord make us truly thankful.
Amen.
CAPTAIN Amen.
THE CHILDREN Amen.
Everyone starts to eat. Maria casts a shrewd glance around the table.
MARIA I'd like to thank each and every one of you for the precious gift you
left in my pocket earlier today.
The children exchange uneasy looks.
CAPTAIN (to Maria) Um, what gift?
Maria glances at Kurt's worried face.
MARIA It's meant to be a secret, Captain, between the children and me.
CAPTAIN Uh huh. Then I suggest that you keep it and let us eat.
MARIA Knowing how nervous I must have been, a stranger in a new household,
knowing how important it was for me to feel accepted, it was so kind and
thoughtful of you to make my first moments here so warm and happy and
pleasant.
Maria grins at the Captain who forces himself to smile. Marta begins to sob.
CAPTAIN What is the matter, Marta?
MARTA Nothing.
Maria smiles to herself as the rest of the children break down into sobs, one
by one. The Captain glances around the table, astonished.
CAPTAIN Uh, Fraulein, is to be at every meal or merely at, uh, dinner time
that you intend leading us all through this rare and wonderful new world of
... indigestion?
MARIA Oh, they're all right, Captain. They're just happy.
The children sob louder.
OUTSIDE THE TRAPP VILLA
A teenage courier with blonde hair rides up to the house on a bicycle. He
hops off and rings the doorbell. Wearing a gray uniform and cap, he crosses
his arms and waits. The door opens and Franz appears.
FRANZ Ah, Rolfe. Good evening.
ROLFE Good evening, Franz. I trust everything is under control.
FRANZ Yes, yes.
ROLFE Good.
Franz glances back into the house to make sure no one is listening and steps
outside to confer with Rolfe.
FRANZ Are there, uh, any developments?
ROLFE Perhaps. Is the Captain at home?
FRANZ He's at dinner.
ROLFE With the family?
FRANZ Yes.
ROLFE Please give him this telegram at once.
FRANZ Certainly.
Franz goes into the house and closes the door. Rolfe peeks through a window,
then walks his bike down the driveway.
IN THE DINING ROOM
Moments later, Franz hands the Captain the telegram.
FRANZ A telegram for you, sir.
CAPTAIN Hmm.
The Captain opens the telegram and reads it. Liesl glances toward the window.
LIESL Franz, who delivered it?
FRANZ That young lad, Rolfe, of course.
Liesl's hormones kick in.
LIESL Father, may I be excused?
The Captain grunts negatively. Maria notices Liesl's disappointment.
CAPTAIN Children, in the morning, I shall be going to Vienna.
The children groan.
MARTA Oh, no, Father!
FRIEDRICH Not again, Father.
The Captain glares at them.
GRETL How long will you be gone this time, Father?
Liesl rises with her empty water glass and moves to fill it at a nearby table.
CAPTAIN I'm not sure, Gretl. I'm not sure.
LOUISA (to the Captain) To visit Baroness Schraeder again?
FRIEDRICH (to Louisa) Mind your own business!
CAPTAIN As a matter of fact, yes, Louisa.
MARTA (to the Captain) Why can't we ever get to see the Baroness?
KURT (to Marta) Why would she want to see you?
CAPTAIN It just so happens, Marta, that you are going to see the Baroness.
I'm bringing her back with me to visit us all.
Maria has watched as Liesl stands up to get a glass of water but then quietly
leaves the room, behind her father's back.
CHILDREN Good!
CAPTAIN And ... (rolling his eyes) ... Uncle Max.
CHILDREN (delighted) Uncle Max! Uncle Max!
EXT. TRAPP VILLA
Moments later. Liesl runs out of the house, across a marble terrace, and
searches the banks of the moonlit lake. In a formal garden, near a glass-
walled gazebo, she calls:
LIESL Rolfe!
Rolfe appears from behind a tree, against which leans his bike. She runs to
him.
LIESL Oh, Rolfe!
They throw their arms around each other. Rolfe breaks the clinch.
ROLFE No, Liesl, we mustn't.
LIESL Why not, silly?
ROLFE I don't know, it's just--
LIESL Isn't this why you're here waiting for me?
ROLFE Yes, of course. I've missed you, Liesl.
LIESL You have? How much?
ROLFE So much that I even thought of sending you a telegram just so I'd be
able to deliver it here.
LIESL Oh, that's a lovely thought. Why don't you? Right now.
ROLFE (laughs) But I'm here!
LIESL Please, Rolfe. Send me a telegram. I'll start it for you: "Dear Liesl
..."
ROLFE (amused, playing along) "Dear Liesl, I'd like to be able to tell you
how I feel about you. Stop. Unfortunately, this wire is already too expensive.
Sincerely, Rolfe."
LIESL Sincerely?
ROLFE Cordially.
LIESL Cordially?
ROLFE Affectionately?
She hugs him tightly.
LIESL Mmmmmm!
ROLFE Will there be any reply?
LIESL "Dear Rolfe, stop. (she hugs him again) Don't stop! Your Liesl" If
only we didn't always have to wait for someone to send Father a telegram.
How do I know when I'll see you again?
ROLFE Well, let's see. (pacing) I could come here by mistake -- with a
telegram for Colonel Schneider. He's here from Berlin staying with -- Oh, no
one's supposed to know he's here. Don't tell your father, now.
LIESL Why not?
ROLFE Well, your father's so -- so Austrian.
LIESL We're all Austrian.
ROLFE Well, some people think we ought to be German, and they're very mad
at those who don't think so. They're getting ready to -- Well, let's hope
your father doesn't get into trouble.
LIESL Don't worry about Father. He's a big naval hero. He was even
decorated by the Emperor.
ROLFE I know. I don't worry about him. But I do worry about his daughter.
LIESL Me? Why?
ROLFE Well, you're so --
LIESL What?
ROLFE Well, you're such a baby!
LIESL I'm sixteen. What's such a baby about that?
Rolfe smiles knowingly.
ROLFE (sings)
You wait, little girl, on an empty stage
For fate to turn the light on
Your life, little girl, is an empty page
That men will want to write on
LIESL (sings)
To write on
Liesl leans seductively close. Rolfe backs away, his eyes widening.
ROLFE (sings)
You are sixteen going on seventeen
Baby, it's time to think
Better beware, be canny and careful
Baby, you're on the brink
You are sixteen going on seventeen
Fellows will fall in line
Eager young lads and roues and cads
Will offer you food and wine
Totally unprepared are you
To face a world of men
Liesl tries unsuccessfully for a kiss.
ROLFE
Timid and shy and scared are you
Of things beyond your ken
You need someone older an wiser
Telling you what to do
I am seventeen going on eighteen
I'll take care of you
Liesl flies into his arms, Rolfe spins her around, then pushes her gently
away and holds up a warning finger. As thunder rolls above, Liesl pouts and
marches away. Rolfe follows and holds out his hand to her. She shakes it
firmly and then turns her back on him. Rolfe follows her around a tree. She
relents and takes his hand. Just as they sit down, raindrops start to fall.
Rolfe leads Liesl into the glass-walled gazebo which is lined with benches.
Liesl brushes the raindrops from her dress. The storm hits hard and heavy
now.
LIESL (sings)
I am sixteen going on seventeen
I know that I'm naive
Fellows I meet may tell me I'm sweet
And willingly I believe
I am sixteen going on seventeen
Innocent as a rose
Bachelor dandies, drinkers of brandies
What do I know of those?
Totally unprepared am I
To face a world of men
Timid and shy and scared am I
Of things beyond my ken
Rolfe dodges her fingers when she walks them up his arm and tries to tickle
his neck.
LIESL (sings)
I need someone older and wiser
Telling me what to do
You are seventeen going on eighteen
I'll depend on you
Rolfe smiles dreamily as Liesl runs her hands through his hair, then catches
her as she drops into his arms. He lifts her up on one of the benches, then
takes her hand and sashays her along its length. Liesl reaches the end of the
bench and points to the wide gap between her bench and the next one. Rolfe
spins and gallantly goes down on one knee -- Liesl uses his other knee as a
stepping stone to cross to the next bench. Skipping and twirling, he escorts
her around the interior of the gazebo. Gaining momentum, Liesl circles the
gazebo, jumping gracefully from bench to bench.
Rolfe takes Liesl's hands and swings her down in a graceful spin. With one
arm around her back, Rolfe leads Liesl around the gazebo. The two step up and
down on the benches in perfect unison. They separate and leap onto opposite
benches with spinning leg kicks. In the middle of the gazebo, they jump down
into each other's arms, twirl around exuberantly, then let go and drop onto
two facing benches. Breathing heavily, they gaze at each other with wide,
uncertain eyes.
Each stands up and spins away only to end up face to face. They twirl apart
and bump into each other again on the other side of the gazebo. Again, they
back away from each other but meet again on the opposite side. Liesl starts
to pull away when Rolfe grabs her and places a firm kiss on her lips.
Grinning, Rolfe sprints out of the gazebo into the rain. Liesl, mouth open in
shock, finally smiles, arms spread in joy.
LIESL Wheeeeeee!
CUT TO:
INT. MARIA'S BEDROOM - LATER THAT NIGHT
The thunderstorm continues outside. Wearing long white nightgown, Maria
hurries to the window and closes it. There is a knock at the door.
MARIA Come in.
Frau Schmidt enters, carrying two bolts of cloth.
MARIA Frau Schmidt ...
SCHMIDT For your new dresses, Fraulein Maria. The Captain had these sent
out from town.
MARIA Oh, how lovely. Oh, I'm sure these will make the prettiest clothes
I've ever had. Tell me, do you think the Captain would get me some more
material if I asked him?
SCHMIDT How many dresses does a governess need?
MARIA No, not for me. For the children. I want to make them some playclothes.
SCHMIDT (re-opening Maria's window) The Von Trapp children don't play. They
march.
MARIA Oh, surely, you don't approve of that?
SCHMIDT Ever since the Captain lost his poor wife, he - he runs this house
as if he were on one of his ships again. Whistles, orders. No more music,
no more laughing. Nothing that reminds him of her ... even the children.
MARIA It's so wrong.
SCHMIDT Ah, well ... How do you like your room? There'll be new drapes at
the windows ...
MARIA New drapes? But these are fine.
SCHMIDT Nevertheless, new ones have been ordered.
MARIA Oh, but I really don't need them.
SCHMIDT Good night, now.
MARIA Frau Schmidt. Do you think if I ask the Captain tomorrow about the
material ...?
SCHMIDT Oh, he's leaving for Vienna in the morning.
MARIA Oh, yes, of course. Well, how long will he be gone?
SCHMIDT That all depends. The last time he visited the Baroness he stayed
for a month.
MARIA Oh.
SCHMIDT I shouldn't be saying this -- not to you, I mean I don't know you
that well -- but if you ask me, the Captain's thinking very seriously of
marrying the woman before the summer's over.
MARIA Oh, that'd be wonderful! Well, the children will have a mother again.
SCHMIDT Yes ... well ... Good night.
MARIA Good night.
Schmidt leaves and Maria closes the door behind her. Maria takes off her
robe, and places it over a chair. She makes the sign of the cross, kneels
beside her bed and prays. Behind her, the night air billows through window
curtains and thunder rolls.
MARIA Dear Father, now I know why You've sent me here. To help these
children prepare themselves for a new mother. And I pray that this will
become a happy family in Thy sight. God bless the Captain, God bless Liesl
and Friedrich, God bless Louisa, Brigitta, Marta and little Gretl. And, oh, I
forgot the other boy. What's his name? Well, God bless What's-his-name.
Liesl enters through the windows. She is soaking wet.
MARIA God bless the Reverend Mother, Sister Margaretta ... (sees Liesl try
to exit the room) ...and everybody at Nonnberg Abbey. And now, dear God,
about Liesl.
Liesl stops at the door and turns back to Maria.
MARIA Help her to know that I'm her friend, and help her to tell me what
she's been up to.
LIESL Are you going to tell on me?
MARIA (to Liesl) Shh. (finishes her prayers) Help me to be understanding so
that I may guide her footsteps. In the name of the Father, and of the Son,
and of the Holy Ghost. Amen.
LIESL I was out taking a walk and somebody locked the doors earlier than
usual and I didn't want to wake everybody up. So, when I saw your window
open-- You're not going to tell Father, are you?
MARIA Hmm. (rises, goes to window) How in the world did you climb up here?
LIESL That's how we always got into this room to play tricks on the
governess. Louisa can make it with a whole jar of spiders in her hand.
MARIA (slamming window shut) Spiders!? (puts a hand to her chest in disgust)
Liesl, were you out walking all by yourself?
Liesl nods yes at first, then she shakes her head from side to side.
MARIA You know, if we wash that dress out tonight, nobody would notice it
tomorrow. You could put this on.
Maria hands Liesl a nightgown from her armoir.
MARIA Take your dress in there, put it to soak in the bathtub, then come
back here and sit on the bed and we'll have a talk.
Liesl pauses in the bathroom doorway.
LIESL I told you today I didn't need a governess. Well, maybe I do.
Liesl smiles gratefully. Maria closes the bathroom door and walks over to
shut the door of her armoir. Hands on hips, she looks at the bed, then at the
bathroom door. Frowning suspiciously, she reaches for the comforter and
flings it back to reveal ... clean, spider-less white sheets. She checks the
rest of the bed. No spiders. Relieved, she puts the comforter back in its
place.
A loud thunder clap. The door suddenly opens and Gretl, in a nightgown, runs
in and stands stiffly against the wall.
MARIA Gretl? Are you scared?
Gretl shakes her head. There is another clap of thunder and she runs into
Maria's arms.
MARIA You're not frightened of a thunderstorm, are you? You just stay right
here with me. Oh! Uh! Where are the others?
GRETL They're asleep. They're not scared.
More thunder. Maria cuddles Gretl. Louisa, Brigitta and Marta run into the
room.
MARIA (to Gretl) Oh, no? Look.
Gretl sees the other girls.
MARIA All right, everybody. Up here on the bed.
BRIGITTA Really?
MARIA Well, just this once. Come on.
The girls crowd onto the bed.
MARIA Now, all we have to do is to wait for the boys.
LOUISA You won't see them. Boys are brave.
As the thunder continues, the girls bury their heads in the bed. Friedrich
and Kurt run into the room, then force themselves to walk calmly. Maria grins.
MARIA Eh, you boys weren't scared, too, were you?
FRIEDRICH Oh, no. We just wanted to be sure that you weren't.
MARIA That's very thoughtful of you, Friedrich.
FRIEDRICH It wasn't my idea. It was Kurt's.
MARIA Kurt! That's the one I left out. (to the ceiling) God bless Kurt.
A huge thunder clap -- everyone ducks. Maria looks at them all with amusement.
MARTA Why does it do that?
MARIA Well, the lightning says something to the thunder, and the thunder
answers back.
MARTA The lightning must be nasty.
MARIA Not really.
MARTA Then why does the thunder get so angry? It makes me want to cry.
More loud thunder. Really, they should soundproof these old villas. The
children bury their faces in the covers again.
MARIA Well, now, when anything bothers me and I'm feeling unhappy, I just
try and think of nice things.
LOUISA AND MARTA What kind of things?
MARIA Uh .. well, let me see, nice things. Daffodils. Green meadows. Skies
full of stars. Raindrops on roses and whiskers on kittens ...
(sings)
... Bright copper kettles and warm woolen mittens
Brown paper packages tied up with strings
These are a few of my favorite things
More thunder. The children cower.
MARIA (sings)
Cream-colored ponies and crisp apple streudels
Doorbells and sleigh bells and schnitzel with noodles
Wild geese that fly with the moon on their wings
These are a few of my favorite things
Girls in white dresses with blue satin sashes
Snowflakes that stay on my nose and eyelashes
Silver white winters that melt into springs
These are a few of my favorite things
When the dog bites
When the bee stings
When I'm feeling sad
I simply remember my favorite things
And then I don't feel so bad
Maria puts her arms around Marta and Gretl.
MARTA Does it really work?
MARIA Of course it does. You try it. What things do you like?
MARTA Pussy willows!
LOUISA Christmas!
GRETL Bunny rabbits!
KURT Snakes!
BRIGITTA Chocolate icing!
FRIEDRICH No school!
Liesl emerges from the bathroom, surprised to see the others.
LIESL Telegrams!
LOUISA Birthday presents!
BRIGITTA Any presents!
MARIA (agreeing) Yes!
GRETL Ladybugs!
MARIA What?
MARTA Cats!
KURT Rats!
LOUISA A good sneeze!
KURT Ah-choo!
MARIA Gesundheit! See what fun it is?
(sings)
Raindrops on roses and whiskers on kittens
Bright copper kettles and warm woolen mittens
Brown paper packages tied up with strings
These are a few of my favorite things
The children watch her expectantly. Maria and Oscar Hammerstein are running
out of favorite things to sing about. Maria puts a hand to her head and her
eyes widen -- she decides to repeat some stanzas.
MARIA (sings)
Cream-colored ponies and crisp apple streudels
Doorbells and sleigh bells and schnitzel with noodles
Wild geese that fly with the moon on their wings
These are a few of my favorite things
Maria twirls hand in hand with the girls.
MARIA (sings)
Girls in white dresses with blue satin sashes
Snowflakes that stay on my nose and eyelashes
Silver white winters that melt into springs
These are a few of my favorite things
When the dog bi--
The music abruptly stops as Maria suddenly runs into the Captain who stands
in the doorway with a disapproving frown.
MARIA ... dog bites ... uh ...
She steps back. The children, more terrified of their father than the
thunder, line up in a row at attention.
MARIA (cheerfully) Uh, hello ...
CAPTAIN Fraulein, did I not tell you that bedtime is to be strictly
observed in this house?
MARIA Well, the children were upset by the storm, so I thought that if I ...
You did, sir.
CAPTAIN And do you or do you not have difficulty remembering such simple
instructions?
MARIA (defiantly) Only during thunderstorms, sir.
Kurt laughs.
CAPTAIN Liesl?
LIESL Yes, father?
CAPTAIN I don't recall seeing you anywhere after dinner.
LIESL Oh, really? Well, as a matter of fact --
CAPTAIN Yes?
LIESL Well, I-I was, I was...
MARIA Uh, what she would like to say, Captain, is that, uh, she and I have
been getting better acquainted tonight. But it's much too late now to go into
all that. Come along children. You heard your father. Go back to bed
immediately.
As the children run out the room, Maria picks up her robe. The Captain turns
toward the door, watching the children go.
CAPTAIN Fraulein, you have managed to remember that I'm leaving in
the morning?
Maria nods.
CAPTAIN Is it also possible that you remember that the first rule in this
house is discipline?
She nods again, reluctantly.
CAPTAIN Then I trust that before I return you will have acquired some?
MARIA Captain? Uh, I wonder if, before you go, I could talk to you about
some clothes for the children ...
CAPTAIN Fraulein Maria ...
MARIA ... for when they play. If I could just have some material ...
CAPTAIN You are obviously many things, not the least of which is
repetitious.
MARIA But they're children!
CAPTAIN Yes. And I am their father. Good night.
The Captain leaves the room, shutting the door.
MARIA (furious) Oh!
Maria looks around angrily, flings her robe on the bed, and sits in a chair
next to the window. She looks at a window drape decorated with green flowers.
She stands up and takes the drape in her hands. An idea dawns on her.
MARIA (sings to herself)
Girls in white dresses with blue satin sashes
Eyes widening in excitement, she runs across the room and grabs another
curtain.
MARIA (sings to herself)
When the dog bites
When the bee stings
When I'm feeling sad
I simply remember my favorite things
And then I don't feel so bad
She drapes a curtain over her head like a scarf and wraps it around herself
as a dress.
DISSOLVE TO:
EXT. THE FIRST OUTING - DAY
Carrying her guitar case, Maria opens the villa's front gate and waves the
children out.
CHILDREN Where are we going?
They emerge one by one, carrying toys and picnic baskets. Each wears an
outfit made from the green, flowered drapes. The boys wear lederhosen and the
girls wear smocked dresses. Grinning, Maria closes the gate and runs after
them.
The children sprint across a foot bridge. They stop to watch boats on the
river.
MARIA Look over here!
FRIEDRICH Oh, look!
MARIA Come on!
Maria skips away, the children follow.
Later, they run across a busy square in Salzburg, bustling with boxy, 1930s
automobiles and horse-drawn carriages. They stop in front of a fountain to
look at the statue of a horse standing in its center.
In an outdoor market, Maria picks out fruit and hands it to Kurt who passes
it down the line to Brigitta who puts it Louisa's basket.
MARIA Ho!
Maria holds up three tomatoes, pretends to juggle them, waving her hands in
the air without actually letting go. Smiling, she puts one down and juggles
two of them, to the delight of the children.
She tosses them to Gretl who drops one. The ripe tomato splatters on the
ground. Gretl looks up nervously. Maria holds up a mock-warning finger. Gretl
grins.
Later, with Maria in the lead, the children skip along a grassy, sun-dappled
river bank.
Later still, they lean out the windows of train car pushed by an old steam
engine locomotive, chugging slowly up a mountainside.
They bound across a grassy meadow, dotted with wildflowers. The Alps loom
peacefully in the background.
The girls picnic while the boys throw a ball back and forth. Louisa lies on
the ground and talks with Maria.
LOUISA Fraulein Maria?
MARIA Mm hmm?
LOUISA Can we do this every day?
MARIA Don't you think you'd soon get tired of it, Louisa?
LOUISA I suppose so... Every other day?
KURT I haven't had so much fun since the day we put glue on Fraulein
Josephine's toothbrush.
MARIA I can't understand how children as nice as you can manage to play
such awful tricks on people.
BRIGITTA Oh, it's easy.
MARIA But why do it?
LIESL Well, how else can we get Father's attention?
BRIGITTA Yes.
MARIA Oh, I see. Well, we'll have to think about that one. All right,
everybody. Over here.
MARTA What are we going to do?
MARIA Let's think of something to sing for the Baroness when she comes.
MARTA Father doesn't like us to sing.
MARIA Well, perhaps we can change his mind. Now, what songs do you know?
FRIEDRICH We don't know any songs.
MARIA Not any?
LOUISA We don't even know how to sing.
[BRIGITTA?] No.
MARIA Well, let's not lose any time. You must learn.
GRETL But how?
Maria picks up her guitar and ... blasts through the opening lick from
"Johnny B. Goode" -- no, just kidding ... strums her guitar and sings:
MARIA (sings)
Let's start at the very beginning
A very good place to start
When you read you begin with ...
GRETL (sings) A-B-C
MARIA (sings)
When you sing you begin with do-re-mi
THE CHILDREN (sing)
Do-re-mi
MARIA (sings)
Do-re-mi
The first three notes just happen to be
Do-re-mi
THE CHILDREN (sing)
Do-re-mi
MARIA (sings)
Do-re-mi-fa-so-la-ti
(spoken)
Oh, let's see if I can make it easier. Mmm ...
(sings)
Doe, a deer, a female deer
Ray, a drop of golden sun
Me, a name I call myself
Far, a long, long way to run
Sew, a needle pulling thread
La, a note to follow Sew
Tea, a drink with jam and bread
That will bring us back to Do (oh-oh-oh)
MARIA AND THE CHILDREN
Doe, a deer, a female deer
Ray, a drop of golden sun
Me, a name I call myself
Far, a long, long way to run
Sew, a needle pulling thread
La, a note to follow Sew
Tea, a drink with jam and bread
That will bring us back to ...
Do, a deer, a female deer
Ray, a drop of golden sun
Me, a name I call myself
Far, a long, long way to run
Maria runs through the grass leading the children like the Pied Piper.
MARIA AND THE CHILDREN
Sew, a needle pulling thread
La, a note to follow Sew
Tea, a drink with jam and bread
MARIA (sings)
That will bring us back to Do
Do-re-mi-fa-so-la-ti-do
So-do!
Suddenly, it's another day -- the children are dressed differently, on some
steps overlooking the city.
MARIA
Now, children, do-re-mi-fa-so and so on are only the tools we use to build a
song. Once you have these notes in your heads, you can sing a million
different tunes by mixing them up. Like this. Uh ...
(sings)
So Do La Fa Mi Do Re
(spoken) Can you do that?
CHILDREN (sing)
So Do La Fa Mi Do Re
MARIA (sings)
So Do La Ti Do Re Do
CHILDREN (sing)
So Do La Ti Do Re Do
MARIA (spoken) Now, put it all together.
MARIA AND THE CHILDREN (sing)
So Do La Fa Mi Do Re, So Do La Ti Do Re Do
MARIA (spoken) Good!
BRIGITTA (spoken) But it doesn't mean anything.
MARIA (spoken) So we put in words. One word for every note. Like this...
(sings)
When you know the notes to sing
You can sing most anything
(spoken) Together!
The children sit on a sidewalk bench -- one leaps up with every note.
MARIA AND THE CHILDREN (sing)
When you know the notes to sing
You can sing most anything
On another day, wearing their playclothes, they peddle bicycles along a lake.
MARIA AND THE CHILDREN (sing)
Doe, a deer, a female deer
Ray, a drop of golden sun
Me, a name I call myself
Far, a long, long way to run
Sew, a needle pulling thread
La, a note to follow Sew
Tea, a drink with jam and bread
That will bring us back to Do
On yet another day, wearing regular knickers and dresses, they ride a horse-
drawn carriage through the streets of Salzburg. Maria points to each child in
turn:
CHILDREN (sing)
Do Re Mi Fa So La Ti Do
Do Ti La So Fa Mi Re
CHILDREN (sing)
Do Mi Mi
Mi So So
Re Fa Fa
La Ti Ti
They repeat the lines above four more times at a faster tempo as Maria sings
in counterpoint:
MARIA (sings)
When you know the notes to sing
You can sing most ...
MARIA AND THE CHILDREN (sing)
... anything!!!
They march around the edge of a fountain. Maria skips through an arbor,
followed by the children. She pretends to wave a flag to start an impromptu
foot race between her and the boys. Then they dance around fountains and
statues and things.
MARIA AND THE CHILDREN (sing)
Doe, a deer, a female deer
Ray, a drop of golden sun
Me, a name I call myself
Far, a long, long way to run
Sew, a needle pulling thread
La, a note to follow Sew
Tea, a drink with jam and bread
That will bring us back to
The children stand on different levels of an outdoor staircase, hopping up or
down the steps with each note:
MARIA:
CHILDREN:
D
Date: 2015-12-17; view: 871
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