Original subtitles

(CHOIR SINGING IN GERMAN)

(INDISTINCT CHATTER)

Maybe you can hear the train entering the station,

bringing the choirboys home to Vienna after their four-month tour of America.

(BOYS CHEERING)

Hello, Max.

Oh, good to see you. And you, Herr Director?

How are the boys? Are they well?

They are fine, all of them. Don't they sound like it?

(SINGING IN GERMAN)

-Welcome back, Max. -Freddy. Hi, boys.

Hello, Peter. Had a good time?

Yes, thanks, sir.

All ready for school tomorrow? Huh?

(EISINGER CHUCKLING)

Harry. Welcome home.

-Skip! -I brought him for you.

Thanks.

I wish I could go to America.

How do you get in the choir?

Oh, you give an audition.

What's an audition?

You sing for the teachers and Director Eisinger.

A song, you mean?

Mmm. I've got to find my parents.

Hey! I can sing.

You can?

Can I join the choir?

Will you be going on another trip soon?

-I guess so. -Where to?

Oh, I don't know. Japan, maybe, or Australia.

Dad! Mother!

MOTHER: Peter, darling.

FATHER: Hello, Son.

FIALA: Hey, Tony.

Come on.

A fine thing. So busy you can't even say hello, eh?

Sorry, Dad. Hello.

Dad, have you ever been to Australia?

Of course not.

Now, listen, Tony, I've got a big surprise for you.

Guess what?

You're going to drive the train into the shed.

How about that, huh?

Mom, they're going to Japan and Australia next.

Oh, are they, dear?

-You always say I sing well, don't you? -Mmm.

Now, Tony, you'll be driving a train like this yourself one day.

Maybe even bigger.

So now's the time to learn, come on. First lesson.

Pull that.

(WHISTLE BLOWS)

(VOCALIZING)

(PIANO PLAYS)

(SINGING SCALE)

Very good. All right, you can sit down.

Eh, Felix Meinl, please.

Now, Felix, I want you to sing a C-major scale, all right?

Yes, sir.

Now.

(PIANO PLAYS)

(SINGING SCALE)

That's Felix now. Pretty good, eh?

Mmm-hmm.

-Your boy sung yet? -No.

Only two vacancies, you know.

Only two?

Shh, listen.

(VOCALIZING)

(PIANO PLAYS)

(VOCALIZING)

Good.

(PIANO PLAYING)

(FELIX VOCALIZING)

Do you hear that? Clear as a bell.

How old is your boy?

He'll be 12 in January.

Hmm, they like them young, you know.

Felix isn't ten yet.

(SIGHS)

(FELIX SINGING OFF-KEY)

(SIGHS)

(SIGHING)

I wouldn't worry. It's the voice that matters.

It's a nice-looking building, isn't it?

I wish they could live at home, though.

They look after them well.

(FRIEDEL SINGING SCALE)

That's Friedel now.

Your boy?

Mmm-mmm. He's an orphan.

Sings in the village choir. I'm the organist.

Ah.

He sings well.

Hmm. I taught him everything he knows.

(FRIEDEL YODELING BEHIND DOOR)

(FRAU FIALA LAUGHING)

What's he doing?

(YODELING)

(FRIEDEL CONTINUES YODELING)

(ALL CHUCKLING)

That's just what I told him not to sing.

(LAUGHING)

I like it. It's fun.

Maybe. But it won't get him into the choir.

-(TONY SINGING) -Shh!

Your boy?

Mmm-hmm.

(SINGING SCALE)

Mmm-hmm.

You have a song there, haven't you?

Yes, sir.

Go ahead, then.

(PLAYING SLOW SONG ON PIANO)

(SINGING IN GERMAN)

When did this come?

-Yesterday. -Huh?

Well, you were tired last night.

Vienna Boys Choir? Augarten Palace?

What's this?

"In connection with the audition given by Tony Fiala..."

What audition? Did he give an audition?

-Yes, he did. -When?

Last week.

He sang beautifully.

Oh, did he? And may I ask who arranged it?

(SCOFFS) Well, I did, of course.

I wrote to Herr Eisinger, the director, and he...

Fixed it all up on your own, without a word to me.

Behind my back.

Well, I had to.

I knew you'd never let him go.

Oh, did you? Well, you could've asked me.

And what would you have said?

I'd have said no. What do you think I'd have said?

Ah!

This all comes of...

-This all comes of you playing the piano. -Huh?

I should have stopped it years ago.

What do you mean, stopped it?

You talk as if music is something to be ashamed of.

Well, I know what's good for my son, that's all.

You know!

You don't know anything about him.

Tony's my son, too. Don't forget that.

And it's me he takes after, not you.

Oh, does he?

Yes, he does.

Tony was born to sing.

He has real talent, and I want him to develop it.

And I want him to go to a proper school and learn a proper trade.

And that is what he's going to do!

FRAU FIALA: But this is a proper school.

Don't you understand that?

He'll get a good education, besides singing in the choir.

FIALA: Until his voice breaks. They'll throw him out.

FRAU FIALA: No, they wouldn't. He could stay.

And how am I supposed to pay for all this?

You don't pay. It won't cost you anything.

Herr Eisinger told me.

Don't believe it.

Where do they get the money to run the place?

FRAU FIALA: From their concerts.

All over the world, people go to hear the Vienna Boys Choir.

Tony could travel, see other countries.

Well, he's not going.

Music, singing. Standing up on a platform in a sailor suit.

I won't have it.

Oh, why can't I make you understand?

Tony loves music. It means something to him.

He's different from other boys.

I don't want him to be different.

Well, I do. One day he'll be famous.

Composing maybe, or playing in a great orchestra, like...

FIALA: Like your brother with his trumpet.

A dance band in Prater Park on Saturdays and Sundays, if he's lucky.

Well, that's not going to happen to Tony.

Dad, please.

I'm late for work.

But, Dad!

To be a Vienna choirboy!

Dad!

There were eight boys there, and they only wanted two.

And they chose me.

Well, now they can choose somebody else.

Dad, please, you've got to let me go.

Tony, come on up.

We'll talk about it some more tonight.

If you think I'll change my mind, you are wrong.

Come on.

(BOYS SINGING LIGHT SONG IN GERMAN)

(BELL RINGING)

(BOYS CHATTERING)

So if you'll get the parts together, Joseph?

-I can go to the library now. -All right.

Oh, you are Tony, aren't you?

Yes, sir.

Here's Director Eisinger. This is Tony Fiala, sir.

Oh, yes, of course. Good morning, Frau Fiala.

-Good morning, Herr Eisinger. -Tony.

-This is my husband. -How do you do, sir?

Your first visit, of course.

Yes, it is.

He's quite happy now, about Tony's coming here.

Good. I'm sure you won't regret it.

He'll be in the choir under Herr Heller here.

How about his ordinary lessons?

You don't have to worry about that, Herr Fiala.

We have first-class teachers.

He's had proper schooling up to now.

I'm sure he has.

You understand, of course, he'll be on probation for a month

before we accept him as a permanent choirboy.

If he works hard at his music,

shows promise, then he stays.

He'll work hard. Won't you, Tony?

And if he's no good, you throw him out, eh?

Well, that goes for me, too.

If he doesn't get on with his schooling, I'll pull him out.

-Now you remember that, Tony. -Yes, Dad.

EISINGER: Uh, Peter.

Peter...

This is Tony Fiala. He'll be in your choir.

-How do you do? -Pleased to meet you.

Will you look after him till he knows his way around?

Yes, sir.

Right.

Goodbye, dear.

Work hard, hmm?

Bye, Dad.

Bye, Son.

I'll show you where to put your things.

(PLAYING SCALE)

(PLAYING NOTE ON PIANO)

That's all right. But listen as you play.

Train your ear as well as your fingers.

Yes, sir.

A good ear will help you sing well, too.

(BOYS SINGING LIGHT SONG IN GERMAN)

It was you in the eighth part, wasn't it?

Yes, sir. I sang a B natural.

That's right. Sing the bar again, please.

(SINGING IN GERMAN)

That's it.

Now there was something wrong in bar three.

Let me hear it from the start again.

(PLAYING PIANO)

(SINGING IN GERMAN)

Well?

(WHISPERING) Put your hand up.

Put it up.

I thought it was you, Tony.

Know what was wrong?

I think I sang D sharp instead of E.

I'm sure you did. All right.

But always put your hand up at once if you know you've made a mistake.

Don't wait for me to spot it.

I want you to know you're wrong yourself.

-All right? -Yes, sir.

Good. And now, come out in front, all of you.

But no, no, no, leave your music.

Let's see how you manage when you're all together.

Come on, come on. Come, come.

Right?

Now then, group one, on the up beat.

And hit that first note good and firm, hmm?

Group two, you come in on bar five, all right?

(PLAYS PIANO)

(BOYS SINGING IN GERMAN)

No, no, no. Those top notes.

Not through the nose.

(SINGING NASALLY IN GERMAN)

(LAUGHING)

Take a breath, deep, down here, like this.

(INHALING DEEPLY)

And then sing out through your mouth, good and full, right?

Take it from the beginning.

(PLAYING PIANO)

(SINGING IN GERMAN)

(CHILDREN SHOUTING)

You should be outside. It'll be dark soon.

Yes, sir.

Arithmetic?

Do you enjoy reading this?

No, sir.

What are you trying to do? Get ahead of the others?

Oh, no, sir. They're all better than me.

And my father says if I don't do well in class...

Come along.

Naturally your father wants you to do well with your schoolwork.

He'll take me away if I don't.

I know.

Are you working hard?

Yes, sir.

Peter Schaefer says I just don't work fast enough.

But then, he's so smart.

Peter is very fortunate.

He's got a quick, clear mind and a wonderful feeling for music.

Do you think he'll be famous some day?

Well, he's a very gifted boy.

He can even compose music. Did you know that?

Mmm-hmm.

And to be able to do arithmetic, too...

(HELLER CHUCKLING) Cheer up, Tony. Know who that is?

-It's Franz Schubert, isn't it? -Mmm-hmm.

He was a Vienna choirboy.

Was he?

Has the choir been going on as long as that?

Much longer. Nearly 500 years.

Schubert was a choirboy in 1808.

Well, not so very long ago, really.

And do you know something, Tony? He wasn't any good at arithmetic, either.

He only wanted to sing and write music.

Know this?

(PLAYING UPBEAT TUNE)

Schubert wrote this while he was still a choirboy.

-He did? -And plenty more.

Music seemed to pour out of him.

He just couldn't write it down fast enough.

And then, one day,

his father came to the school and looked at his school record.

It was terrible.

He told the director he was taking his son away.

And did he?

No. (CHUCKLES)

The director persuaded him to give Franz another chance,

and so he stayed.

Do you think the director could persuade my father?

Maybe your grades will improve.

Do you know this?

(PLAYING THE LINDEN TREE ON PIANO)

Yes, sir. That's Schubert's The Linden Tree.

Hello, Peter.

This is one of your favorites. Come and join in. It'll help Tony.

You sing the alto line, Peter.

I've always sung the lead.

It's a little high for you now. Try the alto this time.

(CONTINUES PLAYING PIANO)

(SINGING IN GERMAN)

Good. You sing well together.

When you're a famous conductor, don't leave Schubert out, Peter.

You know what he meant.

There's still some light.

Peter, take Tony out for some fresh air before bedtime, hmm?

Yes, sir.

(PLAYING PIANO AND HUMMING)

But why did you blame me?

-He asked me to sing. -That's my song. I've always sung it.

Herr Heller said we sing well together.

Look, I'm the leader in this choir.

I will be for a year yet.

And I'm not singing any duets with any new kid.

Hey, over here.

(SIGHS)

TONY: Hey, leave that alone.

Is it yours?

Yes. My dad gave it to me last Christmas.

It's got two wavebands, seven transistors.

Boy, I never saw one like this before.

-How do you turn it on? -No, don't.

A radio?

You're not supposed to have it here.

It's mine, Peter. I'm taking it home with me this weekend.

Anyway, I wasn't playing it.

Come on, Peter, let's have some music.

Uh-uh. It's against the rules.

There's nobody around.

No, don't do it. We'll get into trouble.

You'll get into trouble.

It's your radio.

(UPBEAT MUSIC PLAYING)

TONY: Oh, give me that.

Try and get it.

(PETER GROANS)

(UPBEAT MUSIC CONTINUES PLAYING)

(BOYS LAUGHING)

Ah!

(LAUGHING)

Watch it!

(WHISPERS) Hey, Tony.

(MUSIC STOPS)

You're wanted in the director's office.

What for?

Can't you guess?

Come on, hurry up.

It wasn't only me.

You're the one who got caught.

Go on.

Do you think he'll tell?

How do I know?

EISINGER: Come in.

Well, Tony, you've completed your period of probation.

Herr Heller came in to see me and we had a long talk about you.

I've studied your report card. Your grades are not too good.

Although your teachers assure me that you are determined to improve.

And so...

We have decided to accept you as a Vienna choirboy.

Well?

You mean I can stay?

We want you to stay.

TONY: Hey!

Peter, I can stay! Herr Eisinger told me I can stay.

What about last night? Did you talk?

He didn't even ask me.

Herr Heller was there, too. I'm sure he hadn't said anything.

That's 'cause it was you.

Anyway, I'm really in the choir now.

And we're giving a concert in two weeks at the children's hospital

and Herr Heller says I'm going to sing a solo.

For eight bars?

No, a whole song. And we're all going to dress up for it.

It's called The Postman. Do you know it?

Yeah. Yeah, I know it.

I've got to find Friedel and tell him I'm staying.

(PLAYING TOY SYMPHONY)

You know the cue for you and Peter to come in?

-Yes, sir. -Good.

(GRUNTING)

I've never sung to an audience before.

Not a solo.

Come on, get into it.

-It feels too big. -It is too big.

It was made for me. I always sang The Postman song.

I'm sorry, Peter. It was Herr Heller's idea.

Maybe you won't sing it.

Maybe you'll miss your entrance cue.

Heller wouldn't like that, would he?

(LOCK CLICKS)

Peter!

Peter, let me out!

Unlock the door. Please, Peter.

Ferdie, go and see what's keeping Tony and Peter.

Yes, sir.

Where's Tony?

-I've locked him in. -What?

Just to scare him.

Peter! Please open the door!

Don't worry, I'll let him out in time.

(PLAYING UPBEAT TUNE ON HORN)

(SINGING) Our mail is on its way...

Go on, Peter, let him out now.

It's his first solo.

All right.

PETER: Okay, Tony...

Look.

(SIGHING)

(SINGING) His back is bent beneath the load

The letters, we're awaiting

The news, anticipating

My goodness, we all feel the same

It's time the postman came...

(SOFTLY) Again.

It's time the mailman came

Our watches say the same

The letters, we're awaiting

The news, anticipating

My goodness, we all feel the same

It's time the postman came

Here's mail for one and all

Now answer to my call

For you, a letter

And, for thee a package from across the sea

The parcels, fascinating

And letters here are waiting

So gather round and you shall see

Here's mail for one and all

ALL: So gather round and we shall see

There's mail for one and all

-Tony. -Yes, sir.

I want to talk to you about your entrance today.

Don't you think it was a little bit foolish of you?

Peter.

That stunt of young Tony's,

spectacular, but a little dangerous.

Did you know about it?

Yes, sir.

Of course, he swore you didn't.

He said he thought it up all by himself.

But he might have fallen, you know.

I'm sorry, sir. It was my fault.

Well, maybe.

I don't expect you to be a flock of angels,

even though you sing like them.

But you are the eldest, Peter.

All right.

Anyway, his solo was good, wasn't it?

Yes, it was.

Take a little interest in him and help him along, if you can.

Good.

(TONY SINGING SLOWLY IN LATIN)

Why are you learning that?

I'm supposed to sing it at high mass Sunday.

But it's so hard. I'm not really good enough.

Who says so?

Come on.

So, uh, it was all your own idea, was it?

What?

Oh, uh, climbing in through the window.

Yes. 'Course it was.

Come on, sing.

(SINGING SLOWLY IN LATIN)

No. No, no, no. You're taking it too slow.

Sorry.

(SINGING QUICKLY IN LATIN)

Again, from here.

(SINGING QUICKLY IN LATIN)

(ORCHESTRAL MUSIC PLAYING)

(SIGHING)

(FRAU FIALA EXCLAIMS SOFTLY)

Stop fidgeting.

Why don't they give us cushions to sit on?

Be quiet. Remember where you are.

I know that all right. How much longer?

Shh!

(SINGING SOLEMN SONG IN LATIN)

(TONY SINGING SOLO)

(MEN SINGING)

(ALL SINGING)

He sings again, doesn't he?

I think so. Shh.

(SINGING SOLO)

(BOYS SINGING CHEERFUL SONG IN GERMAN)

-HELLER: Tony. -Yes?

-Where's Peter? Have you seen him? -No, I haven't.

He hasn't eaten his lunch yet.

Go and look for him, will you, please?

Okay, I will.

Hey, wait for me.

(PETER VOCALIZING)

(PETER CONTINUES VOCALIZING)

Shh!

(ALL APPLAUDING, LAUGHING)

Might have been Heller himself.

-Best orchestra I ever heard. -Especially the strings.

PETER: No! Give it back! It's none of your business!

It's a song. Words and all. Is it yours, Peter?

Let me see.

Come on, boys, let's sing it.

Okay.

You'd only laugh.

Why should we? Come on, Peter, you conduct.

Go on, Peter.

Yeah, give us the note.

All right,

but if you laugh,

I'll murder the bunch of ya.

(ALL LAUGHING)

All right, here's the note.

(SINGING NOTE)

Now.

(BOYS SINGING) Oh, once upon a time

Oh, once upon a time

There lived a hen, and every day as hens will do, an egg she'd lay

And thought she was sublime

And thought she was sublime

Cluck, cluck, cluck, cluck Cluck, cluck, cluck, cluck

And thought she was sublime

And nearby was a stream

And nearby was a stream

And in that stream there lived a trout who very calmly swam about

And listened to her scream

And listened to her scream

Cluck, cluck, cluck, cluck

Cluck, cluck, cluck, cluck Cluck, cluck, cluck, cluck

And listened to her scream

The trout said to the hen

The trout said to the hen

Why such a fuss for just one, dear?

I lay a million eggs a year

And never flip a fin

And never flip a fin

Cluck, cluck, cluck, cluck Cluck, cluck, cluck, cluck

Nor end up in a tin

Nor end up in a tin

Cluck, cluck, cluck, cluck, cluck Cluck, cluck, cluck, cluck, cluck

Cluck, cluck, cluck, cluck, cluck Cluck, cluck, cluck, cluck, cluck

Cluck, cluck, cluck, cluck, cluck Cluck, cluck, cluck, cluck, cluck

Cluck, cluck, cluck, cluck, cluck

Nor end up in a tin

(SENTIMENTAL SONG PLAYING)

Never mind, let's do it again.

He's frowning terribly, Mom.

FRAU FIALA: Oh, don't you worry, dear.

I'll deal with him. Come on.

(CONTINUES PLAYING SONG)

Hello, Dad. It's not very good, is it?

It's not good at all.

But look, dear, just because they say he...

What is that you were playing?

-That? Oh, it's Mozart. -Mmm-hmm.

Do you have a lesson every day?

Most days.

Besides your singing?

We sing every day, of course.

Will you take that, uh, thing on the tour with you?

I suppose so, if I go on the tour.

What do you mean? You are going, aren't you?

I don't know. They might not let me, because of that.

You mean because your arithmetic's not so good,

they'll stop you from going on the tour?

That's a fine thing, isn't it?

Well, I won't have it.

But you always said if his schoolwork wasn't good, you...

Never mind what I said.

The boy's a musician, any fool can see that.

And I'm not having them spoil his chances for the sake of a lot of figures.

Dad, you mean it?

You leave it to me, Son. I'll talk to that director of yours.

Come on, now.

Let's hear some more music.

(SCOFFS) Arithmetic!

(CHUCKLES)

No, no, no, not that.

Sing.

(SLOW SONG PLAYING ON PIANO)

(SINGING LULLABY SOFTLY)

(FRAU FIALA SINGING ALONG)

(FIALA SINGING ALONG)

But, Herr Fiala, when Tony first came here,

it was you who insisted it was his schooling that mattered.

A man can change his mind, can't he?

But in three or four years' time, when his voice breaks...

Arithmetic, who cares if he's not so good at it?

He's not going to be a bank clerk or a lawyer or a bookkeeper, is he?

Possibly not.

Let me tell you, that boy's got talent.

And if you can't see it, I can.

I'm sorry, Herr Eisinger.

I'm afraid my husband is rather outspoken.

I know my own mind, that's all.

But you understand, don't you, that the final decision must rest with me?

All the other boys are going, aren't they?

As it happens, yes.

Their schoolwork was satisfactory.

And Tony's wasn't? All right, then.

But I want him to go on that tour, and that's final!

Your husband may not be a musician,

but he knows how to change his tune, doesn't he?

(GREENSLEEVES PLAYING)

(SINGING) Alas, my love

You do me wrong

To cast me off discourteously

And I have loved you so long

Delighting in

Your company

Greensleeves was all my joy

Greensleeves was my delight

Greensleeves was my heart of gold

And who but my Lady

Greensleeves

Very nice, fellows.

But you haven't told us yet where we're going on tour this year.

You must tell us now.

Please, sir.

All right, all right.

We're going to India,

Japan,

and Australia.

(ALL CHEERING)

Wow!

I told you it was gonna be Australia!

I'm gonna buy a boomerang.

(MIMICKING BOOMERANG WHOOSHING)

(DISCORDANT NOTES POUNDING ON PIANO KEYS)

And now about the Strauss opera.

I've picked the cast and the director has approved it.

Peter, this time you'll play Kipfel the baker.

It's within your range and not too high.

Yes, sir.

Uh, Friedel,

you'll be Mitzi, the baker's daughter, all right?

Yes, sir. Who's going to be my boyfriend?

Franz, um...

Let's see now.

Oh, yes. That'll be you, Tony.

(GASPS)

Joseph, you'll play the dandy.

Eh, Ferdie, you are the policeman.

And, Gerard, you'll be the captain of the guard.

Yes, sir.

Hey.

They should be turned up, shouldn't they?

Don't take them off, I'll pin them.

Come here, Friedel. Oh, stand still, will you?

That's right.

Oh, Mitzi, will you marry me?

Ouch.

Isn't she sweet?

May I see you home?

(SINGING SLOW SONG IN GERMAN)

(VOICE CRACKS)

(VOICE CRACKING)

Has it really broken, Peter?

Maybe it's just the top notes.

You could fake them.

No.

It's gone.

What are you going to do?

You know the part.

Here.

Hey, Tony!

TONY: What's the matter?

(SOFTLY) It's... It's Peter.

His voice is gone.

Gone?

It's broken. He can't sing anymore.

Not at all?

I heard it. Just now.

But if he can't sing...

He said I'd have to play for him. I know the part.

Where is Peter?

He ran out. What should we do?

Nothing yet. And don't tell anyone.

(BOYS PRACTICING SCALES)

(BOY SINGING SCALES)

How many vacancies are there this time?

Only two, I think.

Three.

Hey, Joseph. Have you seen Peter?

Peter? No, I haven't.

(BOYS VOCALIZING)

(SINGING VOICE CRACKING)

(VOICE CRACKING)

(VOICE CONTINUES CRACKING)

TONY: Peter.

Bet I can beat you to the top.

Bet you can't.

Come on, then.

Go.

What's the matter?

(GASPING)

Didn't eat your spinach today?

I'm sorry, Peter.

What for?

Ferdie told me.

I don't know what you're talking about.

I heard it, too, just now.

Oh, well.

That happens to all of us sooner or later.

Are you sure it's gone?

I'm not a choirboy anymore.

That's not everything.

I'll have more time for composing, learning to conduct.

I'll go to the conservatory.

But, Peter, what about the tour?

You won't be able to go.

Maybe it's just a cold. Maybe it'll be back tomorrow.

Peter, where are you going?

You can't see Herr Heller, he's gone downtown.

I'll see him when he comes back, then.

Don't tell him, Peter. Please don't tell him.

Why not?

I can't sing anymore.

I know, but maybe there's a way.

Anyway, don't tell him yet. Please, Peter.

I've got to tell him.

We'll think of something.

With the dress rehearsal tomorrow?

Why don't you grow up?

Hello, Peter.

Have you come to lend us a hand?

Sir, I wanted to talk to you.

Right. Won't be a minute. Hey, catch this cable.

Is it something urgent?

Well...

Now, plug it into the wall, over there.

He'll never get away with it. They'll notice.

Not if we work it right.

He'll just have to keep his mouth shut until we leave, that's all.

(ALL LAUGHING)

That'll take some doing.

Not if we all help him.

He won't let us. He'll tell Heller.

That's why we've got to hurry.

It's worth it, isn't it? To have him on the tour with us.

They'll send him back as soon as they find out.

All the way from India?

What will he do, then? He can't sing.

He can help Herr Heller, look after the music, that sort of thing.

What about tomorrow, though? The dress rehearsal?

He has to sing a solo. That's sure to give him away.

Ferdie's gonna sing for him.

What?

Shh.

How?

I've thought it all out. There's a way.

Sir, I just wanted to...

It won't take a minute, then I'll be down.

Yes, sir.

So, that'll do it.

Come and have a look at it from out front.

Can I say something, please, sir? I...

EISINGER: Max?

I'd like to check all the concert dates with you.

-Right now? -In my office.

-Do you mind? -Of course not.

Please, sir...

Stay and help them here, Peter. I'll be right back.

Yes, sir.

Oh, Peter!

I was looking at the song you wrote. It's very promising.

Thank you, sir.

Why not put it in as an encore now and then, Max?

I'd like to. How about it, Peter?

That'd be wonderful, sir.

Good.

Come along then, Max.

Hey, hey, what's this?

We just wanted to look at the stage, sir.

All right, but don't get in the way.

TONY: Hey, Peter.

-We've got to talk to you. -What about?

Up in the attic. Come on.

(BOYS SINGING SLOWLY IN GERMAN)

Ouch!

(FRIEDEL SINGING ROMANTIC SONG)

(TONY SINGING ROMANTIC SONG)

(FERDIE SINGING) (PETER MOUTHING)

(SOFTLY) You're doing great, Peter. I'm sure they'll think it's you singing.

I'll never keep it up.

Yes, you will. You're doing fine.

(SINGING IN GERMAN)

(FERDIE SINGING) (PETER MOUTHING)

Hey!

Eh!

(MOUTHING SILENTLY)

(SINGING IN GERMAN)

(STOPS SINGING)

(ALL MURMURING)

MAN: Is something wrong?

I'm sorry, Peter.

Oh, go away.

I was trying to help you.

And I ended up making a fool of myself, in front of everybody.

But, if you'd only kept it up...

How could I? He knew! Heller knew!

I'll take the blame. I'll tell him.

Oh, go away. Get out, will ya?

Hello, Tony.

It was my idea. Peter had nothing to do with it.

I talked the others into it so he wouldn't miss the tour.

I know.

Why didn't you tell me about your voice?

We've both known it was going for some time, haven't we?

It was just bad luck it should happen now,

but you should have told me.

I tried to yesterday when you were fixing the lights.

Then Herr Eisinger came in and talked about my song.

I see. That did make it tough for you.

It's not my voice that matters. That happens to all of us.

It was being left behind,

just when...

Just when what, Peter?

I'd planned to start writing on the tour.

Really work at composition.

-You could do that here. -I know, but...

But what?

I wanted you to help me. You...

You understand.

And you know what I'm getting at.

Well, maybe when I come back.

Try to see it straight, Peter.

This isn't the end for you, it's the beginning.

It's fun being a kid, but...

Well, till now you've only been rehearsing.

See what I mean?

Anyway, we'll talk about it some more tomorrow.

Naturally, it's a shame that this should happen now.

But for Peter there are compensations.

He'll still live here, he'll work at the music conservatory.

He is talented, no doubt about that.

There's a great promise there, as Max says.

Which is why I think he deserves special consideration.

And that's not favoritism.

It's simply doing our job,

to encourage outstanding talent when we find it.

I agree with that, of course.

He's still only a boy, don't forget.

He's not sure of himself yet.

He's a little scared of growing up.

So, just for a while, he still needs other boys around him,

the boys he's worked and played with for the past four years.

And that's why I say he should come on this tour.

But, Max, we simply can't afford it.

Not as a passenger. I'm not suggesting that.

-As what, then? -As my assistant.

Let him be deputy conductor.

Well, that's certainly a revolutionary idea.

He could do it.

His knowledge and understanding are remarkable for his age.

And his technique's not bad at all.

The choir conducted by one of the boys themselves?

That might be quite effective. But would it be good?

It could be. He wants to conduct and I'd coach him.

And it'd give him the belief in himself he needs so badly at this moment.

Well, gentlemen,

what's our decision going to be?

(BOYS SINGING IN GERMAN)

(APPLAUDING)