why didnt u put a spoonful of sugar in ur tea maria?

sorry terrible joke

Lovely conclusion.
Maria's recollections and daydreams were great. I love Theresa's argument that they can stay out of the cold at the cinema, and Maria agreeing because surely the nuns wouldn't get upset at them trying to stay healthy. But, naturally, word got back to Sister Berthe.
But the scene from the film worked great as a focus point for Maria's daydreams. Love her deciding that Georg was more handsome that David or Valentino simply because he was a real, living human being.
And then she stops him...because the children want a bedtime story. But I do really like how the story in question connected to the song. Not only in content, but in backstory within in the story as something he used to tell the children. Georg's comment about how it would make Brigitta sad and terrify Marta and disgust Kurt was awesome.
But he did it anyway.
And the story ends and they're not any closer to being together than they are at this point in canon. And that's more than okay.

Amazing. This chapter may have indeed been the best so far.
I love conversations between Max and Georg and this one did not disappoint. Everything was perfect; from Georg's quips about Max being a poet to his talk with Maria - just because he asked her - to him realising Georg is indeed jealous, to Maria's story about winding up at the Abbey and Georg's comments that it couldn't have happened the way she described (because convents and the Navy weren't that different if you stopped to think about it) to flowers and the double meanings of the song and how Maria really is the edelweiss.
And Max is a two-time widower? I have not seen that one before.
The section after Elsa arrived was great. I like the idea Elsa would leave the guest list for the party up to Georg after he commented about not knowing who to invite. The little nod to Cinderella (particularly that she runs away) was great and I love that, even with his relationship with Elsa being what it is, he wants to go about everything properly - introducing his friends to her and asking her mother for permission to marry her.

Magnificent.
Love getting inside Elsa's head at the very beginning. I really enjoyed how both she and Georg knew exactly who Max was talking about 'exploiting' as soon as he started speaking, and how they both brought up answers they knew were false. The way she also stood on Georg's side and called Max out was another welcome, unique addition.
Georg's thoughts on Max's plan - how singing in public was something he didn't approve of, when there was so many other things he did and enjoyed that would also be blasphemous to the aristocracy was great. The line about not considering letting the children sing in public even if Mozart rose from the dead to accompany them was awesome.
And then Maria brings up Walther von der Vogelweide. And of course Agathe was a fan. Though given how many years ago that was, I'm siding with Georg.
I never even bothered to count how many times he says 'no' before, but using it as 'seven no's - one for each child' was brilliant. Marta's comment and his thought about how one of the children got the family sense of justice - and that he was proud of that despite the circumstances was gorgeous. And his thoughts about how he wanted to sing for Maria was beautiful.
And his thoughts on Elsa's suggestion - about how much he mightn't like it, it had an upside - was great.

Lovely.
Love the idea of Max asking for more people to come and see the musical soiree and being denied. Maria's thoughts on the Captain and the Baroness and her talk with Theresa were also great, and I love that Georg peeping behind the stage is what eventually draws her out of her reverie completely. That he asks for permission to come aboard and Friedrich shoots him down with a 'Denied' was brilliant, and I love the idea of Maria using naval terms in place of ordinary ones every so often.
Love that the performance wasn't flawless but it's imperfections only made it more enjoyable, and how Georg noticed he hadn't laughed and been quite that happy in a long, long time.
And then a slightly AU turn once Maria has let out her theatrical sigh, exploring what everyone's thinking in a little more depth than we see on screen.

Great job.
Love both Maria and Georg trying to sort through all the feelings they have for each other and what's happening in their lives right now. I love the fact that Maria originally wanted the children to do the performance on their own - she would do that. And the line about new clothes restoring a woman's confidence - whether she was a nun or a Baroness was awesome.
Georg immersing himself in the world of Vienna and Elsa and the funeral was a great way for him to briefly gain his self-control back. And of course make his loss of it when he saw Maria by the lake in the blue dress that much bigger.
And that daydream - oh my! Love how the one constant in Georg's thoughts was the dress.
Him blurting out the line about swimming when both he and Maria were very much in the real world was awesome - and I love that it took a moment for it to register in Maria's brain and her to call him out on it.
His comment on how could she possibly cause problems for the Abbey when she wasn't even at the Abbey was awesome, and I love that their conversation about Theresa led him to realise that she hadn't had the spiritual calling as she claimed.

Oh my!
I really liked how this chapter started with Georg attending to Maria's injured hand and then flashed back for a more in-depth version of the accident. And Maria brushing his hair out of his face. Oooh. And her thoughts throughout that whole first section really showed how much things between them have changed since day one.
Love that Maria is relieved when the Captain asks her about where she learnt to curse, because the fact that she touched his hair is infinitely more embarrassing to her. His comments on her plan to live out her life as a nun and her relationship to the Reverend Mother were also very interesting.
And then Elsa walked in. And strangely, it only got better.
Love how her first worry was when dinner was happening, and her reactions to the medicine or the material was spot on. I loved how Maria was constantly interrupting and voicing her opinions and Elsa just seemed bored by it.
Maria's thoughts when she heard about why the marriage wasn't happening - about how glad she was she wouldn't have to worry about any of that in her life - were very intriguing. But they also made sense.
And I'm glad she's as happy as she is about the blue material. Elsa giving it to her because she doesn't want it is just like her, but I feel she's going to be sorry she gave that up.

Well, given it's Maria and her first introduction to the ballroom, she probably would be appalled just at the semi-unpacked puppet theatre.
Georg's first reaction being to tell her that the Battle of Otranto was fought on the sea and the room was closer to Gallipoli was great. Love how, like the aristocratic side of him, Georg's status as a widower also informs him; his thoughts that people look at him and see Rochester or Maxim de Winter was a brilliant touch.
Love how Maria called him out on his recent actions towards her (re. the blasted newspaper), and her comments on the differences between Max and Georg when it came to the children was especially wonderful. I loved Georg being shocked at her putting the pieces of the puppet show together and all she can come back with is 'Instructions'.
Like the widower thing, I love the idea of Georg being irritated at people thinking aristocrat is synonymous with someone who's never worked. AND that when he starts to explain all this to Maria, she's disinterested in a way that hasn't even happened with Elsa.
And that ending. Oooh.

Interesting...
Love Georg's acknowledgement that, although he was Maria's employer, he should not be intruding on her private moments.
He knows exactly what's in her hand, even though the only way she could have it is if one of the children had helped her, and the conversation that followed about recipes and paprika schnitzel and how much either of them knew about the Reverend Mother was awesome - especially since it just went on and on, because as Georg points out, Maria's running mouth gets her into trouble.
I really liked how Georg dropped it, but made it very clear they would talk about it at some point.
And then they're off to help with the puppet theatre. Their lines about the potentially dangerous tools and fearing for their safety was awesome.
Now, what could could be going on in the ballroom?

Well I was right to type 'I'm guessing' in my last review, because her trip outside the house did not last long.
Though to be fair, I don't think it was entirely her fault - and not something Georg can blame her for. Though his final line about whether she fell in the lake again was brilliant.
Love that Liesl wanted to show Maria something about her mother - and you did a great job explaining why Liesl would be the child who would do such a thing. Also loved Maria deciding that she owed it to the children - as their governess - to look in the box.
Really liked the idea that Agathe was far more striking or unique looking that straight out classically beautiful and the box of memories was a great insight into obviously not just Agathe, but Georg as well.
Which made his unexpected appearance at her door all the more powerful.
Great job.

Great.
Once again Georg's (relatively unsuccessful) attempts to keep Maria out of his mind disappear when they're in close proximity.
And what a song for her to be singing. Of course that would only intrigue him more. And when he finally did make his presence known, she almost fell off the ladder - awesome.
Naturally Maria defended her actions, and I liked that Georg acknowledged that she did have a point and that he could see it. But at the same time, his argument was valid and eventually got her down and (I'm guessing) on her way out of the house.
The fact that her friend introduced her to the song was a great way for Georg to ask her how she felt about her vocation. And despite what they both said I like that it was very clear what the truth actually was.
Also loved how Georg already knew he was paying for the children's surprise from Max.

Oh my. Lots to talk about here.
Love Maria and Georg having tea in the middle of the night because they can't sleep. The way both of them at one point just rambled about something or other was great, and I loved the point that Maria could talk forever, but didn't like repeating herself. So true.
Great idea to combine not only the anime and have Frau Schmidt into fortune-telling, but also the excerpt quoted in the beginning. That's actually kind of eerie - but in a totally awesome way. And the scene was much more enjoyable with Frau Schmidt that Baroness Matilda (she frustrated me so much). Anyway...
Love that Liesl was so excited about the prospect of a man in her Fraulein's life - a handsome man at that - and Georg arriving and picking the card of the lovers (which Maria picked a moment later) was not only great overall, but the perfect transition to Maria's thoughts on the time she did spend with him.
It would be just like Maria to decline a day off - love that Georg wouldn't let her do that. Though she semi-disobeyed him anyway. Love that Franziska and Hilde put the Captain's changes down to Maria, and the bow from Georg was awesome.

This was absolutely amazing! I love how you made all the small gaps fill in, the dress idea was just perfect!
I just love to see them interact...you are so spot on with their dialogue!
I see it's been awhile since you've posted but your stories are wonderful!

Pls Update...!

So good!