SUBTITLES SYNCED BY YOSHI224 FOR THE BEAUTIFUL ANGEL TWEETIE PIE (ANNA-MARIA)
BOY: Listen.
Can you hear it?
The music.
I can hear it everywhere.
In the wind...
...in the air...
...in the light.
It's all around us.
All you have to do is open yourself up.
All you have to do...
...is listen.
[MARK MANCINA'S ''WHEATFIELDS'' PLAYING]
HeIIo, Porky. Where's your IittIe friend?
-I don't know, Mr. Mannix. -Go find him or your big butt's mine.
AUGUST: Where I've grown up--
Evan!
PETER: Evan!
--they tried to stop me from hearing the music.
But when I'm alone...
...it builds up from inside me.
And I think if I could learn how to play it...
...they might hear me.
They would know I was theirs...
...and find me.
MANNIX: Knock, knock.
BO Y 1 : Knock, knock. MANNIX: Knock, knock.
-Knock, knock. BO Y 2: Wake up.
MANNIX: Who's there? Who's there?
Freak. Freak.
-Said, knock, knock, freak. -Who's there?
Your Iong-Iost mommy and daddy.
Can you hear them?
Yes.
No, you can't.
I can.
You don't have no famiIy.
You can't hear anything.
Say it.
-Say it. BO Y 1 : Say it. Say it.
MANNIX: Say it. BO Y 2: Say it.
MANNIX: Say it. BO Y 1 : Say it.
Say it.
Yes...
...I can.
He doesn't hear anything.
BO Y 3: Yeah.
What is he?
He's a freak.
MANNIX: Sweet dreams, freaks. BO Y 2: SIeep tight.
-Good night. BO Y 1 : Don't Iet the bed bugs bite.
Sometimes the world tries to knock it out of you.
But I believe in music...
...the way that some people believe in fairy tales.
I like to imagine that what I hear came from my mother and father.
Maybe the notes I hear...
...are the same ones they heard the night they met.
Maybe that's how they found each other.
Maybe that's how they'll find me.
[BANGING ON DOOR]
MAN: Louis. Louie, where are you?
-LyIa? She's here. What are you doing? LYLA: Dad.
They're waiting for us. Hey, sit up straight, pIease.
Where are you, baby bro?
We didn't foIIow you from San Francisco to pIay for free, man. Yeah?
We need this one, baby bro. AII right? I need this one.
THOMAS: Don't forget to smiIe and Iook reIaxed.
AII right, not that reIaxed. Come on, come on.
I believe that, once upon a time...
...long ago...
...they heard the music and followed it.
[MARK MANCINA'S ''MAIN TITLE'' PLAYING]
[SYMPHONY PLAYING JOHANN SEBASTIAN BACH'S ''PRELUDE FROM PARTITA NO. 3'']
[BAND PLAYING JOHN ONDRASIK'S ''BREAK'']
[SINGING] I break
I borrow
I live
I lose
I pray
I'm hollow
I'm dead confused
I'll find you
Once you're here, you're never gone Once you're here, you're never gone
Fallen from a night of cold A piece of me that I can't hold
I love you as I lose you more I break outside this open door
Catch me as I wash away You'll catch me as I wash away
Well, catch me as I wash away
Oh, oh
Oh
Yeah
Don't
Don't wait, don't wait
I break
[CROWD APPLAUDING]
[DANIEL LEVY'S ''THE SWAN'' PLAYING ON SPEAKERS]
MAN: Not bad, ConneIIy. Not bad. -Thanks very much, man.
Where's the main man?
Goddamn it, Louis. Just wait, man.
Louis? Louis, wait up, man.
LIZZY: GirIs, we are going to a party tonight.
It's a fuII moon, you know what that means, right?
[WOMEN SCREAM]
[MARK MANCINA'S ''CONFESSIONS OF LO VE'' PLAYING ON SPEAKERS]
LIZZY: LyIa.
[HARMONICA PLAYS ''MOONDANCE'' IN DISTANCE]
LOUIS: It's a great sound, isn't it?
What are you doing?
Listening.
What are you doing?
-I just came up here to, um.... -Get away?
Have a seat.
Come on, be brave.
Front row, center.
Can you hear that?
What is that?
It's a wish.
Now, what does that sound Iike?
[SINGING] Well, it's a marvelous night For a moondance
With the stars up above in your eyes
A fantabulous night to make romance
'Neath the cover of October skies
When I was a young feIIow...
...I used to taIk to the moon.
Are you making that up?
God, I haven't done that in a Iong time.
Does it ever taIk back?
WeII, it used to.
Now I just find myseIf on a roof taIking to myseIf...
...Iike a Ioon.
Just out here on me own.
WeII, I'm here.
Yes, you are.
I'm Louis.
LyIa.
So, what's your story, LyIa?
I don't know. I'm just, um....
I'm just me.
What are you Iooking at?
You.
[MARK MANCINA'S ''5-NOTE WINDCHIMES'' PLAYING]
MAN: Next.
What did he want? What did you say?
You know, same oId junk. New guy.
My name is Mr. Jeffries.
I'm with ChiId Services for the state of New York.
[WIND CHIMES TINKLE]
Okay, Evan.
Born December 1 7th, 1 995.
LegaI adoption to New York ChiIdren's.
[WHISTLING]
How Iong have you been here, Evan?
EIeven years and sixteen days.
I've been counting.
That's a Iong time.
-How do you do that? -Do what?
[BLOWS]
WeII, it's just imitating the wind chimes.
[BLOWS]
[WHISTLES]
[CHUCKLES]
You don't wanna be pIaced with a reaI famiIy?
-I have a famiIy. -Yes, you do.
I mean, you have parents and aII, but they don't Iive with you.
Not now.
But stiII, you don't have contact with them.
-Yes, I do. -You do?
What, do they caII you?
Come and visit you?
-Send--? -I....
I don't wanna be sent away.
I understand.
You see, there's a Iot of chiIdren...
...who are scared that if they Ieave their first home...
...their parents wouId never be abIe to find them.
Right?
But see, my job is to make sure...
...that nothing Iike that wiII ever happen to you.
So there's nothing to be scared of.
Thank you.
I'm gonna do something I never do.
This is my number.
If you ever need to taIk to me, about anything...
...you caII.
Think about what I said too.
There's a whoIe worId out there with miIIions of wind chimes.
I know.
You can go now.
PETER: Mannix says we're never gonna see our real parents again.
Mannix is a big Iiar.
Yeah, I know. But what if he's right?
I mean, what if they don't ever come?
HardIy remember what my mom Iooks Iike, you know?
WeII, if they don't find us, we'II just have to go find them.
[VAN MORRISON'S ''MOONDANCE'' PLAYING]
[CORK POPS]
[LYLA SCREAMS]
[MEN CHEER]
[LAUGHING]
LYLA: Oh, my God. -Morning.
-How's it going? LYLA: Oh, my God.
Get away.
[LAUGHING]
LYLA: I have to go.
-Let me waIk you home. -No.
LYLA: My dad's waiting at the Sherry. I--
I've never done this before. I'm in so much troubIe.
Hey, hey.
MEN: Woo!
Meet me here at 1 0:00 by the arch.
[MARSHALL LAUGHING]
LOUIS: Say yes. -Put him out of his misery. Say yes.
-Say yes. -Say it.
Say yes.
After you.
I'II take that as a yes.
You are gonna be in so much troubIe. You shouId have Ieft your dad a note.
Yeah, ransom note. You know what? I don't even care.
I just had the most incredibIe night of my Iife.
Taxi!
[MARK MANCINA'S ''WASHINGTON SQUARE'' PLAYING]
MARSHALL: Louis. She ain't coming.
Oh, man. One girI?
Come on, we're gonna miss the fIight.
-Taxi! MARSHALL: Louis. Where you going, Louis?
Excuse me.
MARSHALL: Louie.
THOMAS: You are not going anywhere.
-LyIa! LYLA: Dad, I'm not going with you.
-LyIa, you Iisten to me. -No.
-Don't you dare waIk away. LYLA: I'm not going with you.
LOUIS: LyIa!
THOMAS: Get in the car right now.
LyIa! LyIa!
MARSHALL: Louis.
Do you remember what Da used to say about princesses? Huh?
They're aIways Iooking for their prince. And you ain't no prince, brother.
How wouId you know?
What am I gonna do now?
I know they're out there somewhere.
[VIBRATING AND BUZZING]
[MARK MANCINA'S ''WIRES'' PLAYING]
I don't know where it comes from...
...but it's what I hold on to.
And I can't let go.
[WIND WHISTLES]
Somewhere inside me...
...I know that they always wanted me.
Maybe they just got lost.
LOUIS [SINGING] : Walking through wintertime
When the stars all shine
The angel on the stairs
Will tell you I was there
[CELLO PLAYING MARK MANCINA'S ''CELLO O VERLUDE'']
Under the front porch light
On a mystery night
I been sitting
Watching life pass from the sidelines
Been waiting for a dream
To seep in through my blinds
I wondered what might happen
If I left this all behind
Would the wind be at my back?
Could I get you off my mind
This time?
LOUIS: What's the point in singing, Marshall?
She's not gonna hear me.
I'm leaving the band. I'm sorry, Marshall.
MARSHALL: Don't quit on us, Louis.
[SINGING] The things I left behind
THOMAS: Everything you've given up, everything I've given up--
[SINGING] Have melted in my mind
I can't do it. I'm sorry, Frank. I can't do it, man.
-Listen to me. Listen to me. -No!
-You know what I mean? I don't know... -Dad!
...how to approach this probIem.
I mean, where are you gonna put the baby?
And what about this boy? He's not here now. He's not here now.
-I'm Ieaving. -You can't Ieave.
-Where you going, then? -Just Iet me go. WiII you just Iet me go?
LOUIS [SINGING] : Would the wind be at my back?
Could I get you off my mind
MARSHALL: Louis. THOMAS: LyIa.
This time?
Hey, Louis.
THOMAS: LyIa.
[SCREAMS]
[TIRES SCREECH]
[THUDS]
[MARK MANCINA'S ''HOSPITAL PT. 1 '' PLAYING]
WOMAN: We have fetaI distress.
Baby's heart rate is faIIing.
It's faIIing.
I'm sorry.
He's gone.
MAN: Picked him up on the thruway outside of Montrose.
Just wandering down the road. Said he's foIIowing the music.
The moon toId him to. Yeah. Kid's a space cadet.
[CAR HORNS HONKING]
Look, I got a busy day ahead of me.
AII right, big guy, out you go.
This Jeffries guy wasn't in his office yet...
...so I Ieft him a message to pick you up right here.
AUGUST: Okay. -Here. HoId on.
Don't Iose it. If he doesn't show in an hour, give him another caII.
You can handIe that, right?
-Yeah. -You got any money?
Here's 1 2 bucks. Damn, kid, put it in your pocket.
See you.
[TRAINS CLICKING ON TRACKS]
[TRAIN HORN BLOWS]
[SCREECHING]
[HORNS HONK, TIRES SCREECH AND FOOTSTEPS TAP]
[HIP HOP MUSIC PLAYS ON STEREO]
[WHISTLE BLOWS, HORN HONKS AND DOG BARKS]
[BELL RINGING]
[THUDDING]
[MARK MANCINA'S ''UNION SQUARE'' PLAYING]
[HORN HONKS]
[GASPS]
[GRUNTS]
MAN: Get on the sidewaIk!
[HORNS HONKING AND SIRENS WAILING]
BO Y [SINGING] : Para bailar la bamba
[GIRLS SINGING]
Give me your money
Come here, sweet honey
Come here, baby
Yeah.
[PLAYING ALI DEE'S ''MY COUNTRY 'TIS OF THEE'']
Okay, citizen. You paid. Any requests?
AUGUST: No.
AIrighty, then.
[SINGING] Father, hear me when I
Call your name
I need you to answer me now
Father, here I am
Weak in your sight
Can you rescue me now?
I'm crying out Can't figure it out on my own
Back off. Away, away. Yo, son, you're messing with my equiIibrium.
Nobody touches this instrument but me. Roxy's my girI.
Son, we done here, so why don't you go find your mommy.
-I don't know where she is. -Good, that's just great. Uh....
Cops show up around 6. TeII them you're AWOL.
They'II send you back where you come from.
I don't wanna go back there.
WeII, good.
This day's been a bust anyway. I'm out.
[MARK MANCINA'S ''FOLLOWING ARTHUR'' PLAYING]
What?
I don't have a pIace to stay.
Do I Iook Iike a reaI-estate tycoon to you?
How many dead presidents you got?
Nuggets? Shorts?
Show me the money.
-Are you thinking what I'm thinking? -No, I'm thinking something eIse.
I'm gonna Iet you buy me a pizza.
I've been doing this for 1 0 years, Bob. I said 1 0 percent.
We need to cIose the deaI. HoId on a second.
No. We said 1 0 percent.
Yeah, weII, it makes the worId go round, doesn't it, Bob?
Just get me the 1 0 percent, wiII you?
Thanks.
[SIGHS]
MAN: Need anything, sir? -Do you know any hit men?
I do know a bass pIayer might be abIe to heIp you out.
Likes to get in fights with Iead singers.
Nick?
What are you doing, man?
StiII driving. Paying off those wedding biIIs from Iast year.
Oh, fair pIay to you. Oh, she's a nice girI.
So you pIaying at aII?
Nope.
Why the heII not? Your fingers faII off?
WeII, you move on.
What about the Iads? Seen any of them IateIy?
We stiII mess around...
...but the ConneIIy Brothers never reaIIy bounced back minus one brother.
You seen MarshaII IateIy?
Have you?
[VAN MORRISON'S ''MAGIC TIME'' PLAYING]
It's my birthday on Saturday.
Session's at my pIace. Come, bring your girIfriend.
It's great seeing you, man.
Reminds me of New York. The good oId days, eh?
[SIRENS WAILING]
[LYLA HUMMING BEETHO VEN'S ''FUR ELISE'']
GIRL: I know.
-I know. Okay, I don't know. -Oh!
''Fur EIise'' by Beethoven. And you shouId know that one.
Oh, yeah.
WiII you be our teacher forever, Miss Novacek?
WeII, at Ieast untiI your oId teacher comes back.
But onIy if you caII me...?
-LyIa. -That's right.
You're crazy, Miss Novacek.
WOMAN: Megan. -Got everything?
-Okay. -Bye.
[MARK MANCINA'S ''ELEVEN YEARS LATER'' PLAYING]
Hi, sweetie.
Did you have a good day?
Thanks.
LIZZY: There you are. -Hey.
Okay, now, before you say no.... Okay, picture this.
You on stage, me accompanying, thousands of peopIe.
-Liz. -The New York PhiIharmonic.
I just got the invite. They want you back.
It's just one night, but they want you back.
I don't wanna be up there.
LyIa....
When are you gonna Iet yourseIf be happy again?
I am happy.
I'm taIking about when everyone eIse goes home.
Look....
I know. Okay? I know.
Just think about it.
I mean, you're a music teacher who doesn't pIay music anymore.
CaII me crazy.
Okay, Crazy.
-I'II see you at home, okay? -AII right.
ARTHUR: No, I ain't got no daddy.
See, my pops is a drunk.
And my mama, she took off with this crackhead named LittIe Jesus.
But, you know, he wasn't no IittIe Jesus, you know what I'm saying?
[BILLIE HOLIDAY'S ''GOD BLESS THE CHILD'' PLAYING]
No, they never gave a damn about me.
Come on, man. This is us right here.
-I've been with Wizard for years. AUGUST: Who's Wizard?
ARTHUR: Oh, he's a reaI piece of work, that's what he is.
His reaI name's MaxweII WaIIace.
He took me in. He said that I was an investment.
He gave me Roxy here. He bought it in the oId days.
WeII, he reaIIy didn't buy it. Guess you'd kind of say he found it.
AII right, he stoIe it.
Wizard? He gave me his pIace at the Square.
My parents? They ain't gave me nothing.
We aII gonna be big stars someday.
MAN: What's the password? -Open the damn door aIready.
You're getting on my nerves with that.
Okay, foIIow me.
[MARK MANCINA'S ''WIZARD'S LAIR'' PLAYING]
What's your name again? It's Evan, right?
Yo, this is our home, son.
It's kind of crazy in here, so stay on your feet.
[BO Y YELLS]
Watch out.
Yeah, I've been Iiving here for a whiIe. Come on, man.
Hey, check it out.
-How much you make? BO Y 1 : Ten doIIars.
ARTHUR: You Iying. Let me see. BO Y 1 : I am not Iying.
ARTHUR: What did I teII you about that? -Boo!
[BABBLING]
BO Y 2: Hey, it's Arthur. ARTHUR: I'II be Iaughing at your funeraI.
BO Y 1 : I'm gonna go pIay basketbaII. ARTHUR: AII cIear.
[SINGING] My life, the sky Like a feather I'll fly
ARTHUR: Man, you shouId've knocked him in his head, son.
[PLAYING IMPACT REPERTORY THEATRE'S ''WIZARD'S THEATER SONG'']
BO Y 3: Shoot it, shoot it, shoot it!
Pizza!
Pizza, pizza, pizza.
GIRL 1 : Don't make me come up there.
BO Y 4: Yo, you better hurry before Wizard shows.
He'II be pissed if he's seen you bought a pie.
I ain't take no famiIy money.
Citizen bought it.
Hola, music Iovers.
Wow, whiIe the cat's away....
Oh.
Who Iikes pizza?
Who did this?
Arthur?
-What is he? -He's a damn fooI.
He's a damn fooI.
-He's gonna get it good. -Shh.
What are you, Arthur?
I'm a reaI piece of work, Wizard.
You're on thin ice.
I didn't take no famiIy money. He bought it.
What?
You Iook crazy.
I am crazy.
[SCREAMS]
See?
Come here.
Now!
Come on.
-What's your name? -Evan, sir.
What are you doing here?
I foIIowed the music.
Where did you pick this one up, Arthur, BeIIevue?
You never pIayed a note in your Iife.
Do you know what music is?
It's God's IittIe reminder there's something eIse besides us in this universe.
Harmonic connection between aII Iiving beings everywhere, even the stars.
Is this a schooI?
Yeah, the schooI of Screw You and Take AII Your Damn Money.
-Yeah. -Yeah, we're top of the cIass.
Not!
It's a business.
-Pockets. GIRL 2: Okay, Iet's go.
-Let's go, Iet's go. WALLACE: Pockets.
BO Y 1 : Oh, man. Get up.
[CHATTERING]
WALLACE: Peanut, weII done.
I got eyes in the back of my head.
Good job. Gracias, amigo.
Chain is onIy as strong...
...as its weakest Iink.
Come on, Arthur.
That's chump change.
You got Washington Square. That was my spot for 1 0 years.
Go ahead, before I change my mind.
You kids are gonna put me in the poorhouse.
AII right, IittIe mice, scurry back to your hoIes. Go, go.
Harmonic dreams, sweet chiIdren.
[PLAYING VAN MORRISON'S ''MOONDANCE'' ON HARMONICA]
[PLAYING MARK MANCINA'S ''BARI IMPRO V'']
ARTHUR: Roxanne. Man, I'm gonna kiII him.
WALLACE: You know what's out there?
A series of higher tones.
It's arranged by nature.
It's governed by the Iaws of physics of the whoIe universe.
It's an overtone, it's an energy, it's a waveIength.
And if you're not riding it, good Lordy, you'II never hear it.
Where do you think it comes from?
What I hear.
I think it comes from aII around you, reaIIy.
I mean, it's--
Comes through us, some of us.
It's invisibIe, but-- But you feeI it.
So onIy some of us can hear it?
OnIy some of us are Iistening.
Do you think my parents are Iistening?
I hear you, kid.
Like:
[STRUMS GUITAR]
Yeah.
WOMAN: Are you hearing a word I'm saying?
[CHATTERING]
Louis.
Come on. It's about time I met your famiIy.
[CHRIS TRAPPER'S ''THIS TIME'' PLAYING IN DISTANCE]
Listen, Jen, maybe this isn't such a good idea.
Grow up.
Come on.
-Come on. -''Grow up.''
[SINGING ON VIDEO] The angel on the stairs
JEN: Are aII Irish peopIe this Ioud? -Yeah.
Will tell you I was there
Under the front porch light
On a mystery night
I been sitting Watching life pass from the sidelines
MAN: Hey, Louis.
Been waiting for a dream
To seep in through my blinds
NICK: Hey, MarshaII, your brother's here.
Louis.
Hey, Nick.
Could I get you off my mind
JEN: Oh, my God. Is that you?
This time?
When were you gonna teII me you're in a band?
I'm sure there's a Iot of things our Louis hasn't toId you, darIing.
-Like who did you write the song for? -I toId you this is a mistake.
That's it, go on. WaIk out on us again.
-Eh, Lou? LOUIS: Say what you gotta say, MarshaII.
-Say what you have to say. -No, go on.
-Come on, say it. MARSHALL: That the best you got?
-Say it. -That the best you got?
-Come on. Hit me. Come on, hit me. -Come on.
FeeI what? Come on. Hit me.
I'm suffocating here.
The things I left behind
You aII right, man?
WeIcome to the ConneIIy cIan.
[MARSHALL LAUGHS]
Jennifer.
You know, it was good having the oId Louis back in there...
...even if it was onIy for a second.
Louie...
...aren't you supposed to be in the car with the girI...
...as she drives off into the sunset?
You'II get your suit dirty sitting there, man.
[MARK MANCINA'S ''5-NOTE TRANSITION'' PLAYING]
[PHONE RINGING]
[ANSWERING MACHINE BEEPS]
WOMAN [O VER PHONE] : This is a message for Lyla Novacek.
Please call Good Samaritan Hospital.
I'm calling about your father, Thomas Novacek.
THOMAS: I wasn't sure you were going to come.
My wiII is in the top drawer of the desk in my study.
Dad, stop, come on.
THOMAS: LyIa, pIease.
There's more.
AII I ever wanted was for you to have aII that promise, aII that Iife.
But you were so young.
We had so much work to do.
-You weren't ready. -That's pIenty, Dad. ReaIIy.
I mean, a baby.
That baby, he couId have hurt you.
[MARK MANCINA'S ''HOSPITAL PT. 2'' PLAYING]
He couId've hurt you, and I-- I wasn't gonna Iet that happen, LyIa.
I made a choice for us.
Oh, my God.
THOMAS: A choice for us.
Wait....
THOMAS: I'm sorry.
Where?
Where is he?
-I didn't mean-- -Where is he?
I don't know.
I don't.
[PLAYING MICHAEL HEDGES' ''RITUAL DANCE'']
WALLACE: You gotta love music more than you love food.
More than Iife. More than yourseIf.
You feeI it?
Then show me.
PIay it for your parents.
You're fIying, kid.
[CROWD CLAPPING]
WALLACE: Yeah!
You know what I'm thinking?
You're supposed to say, ''What are you thinking, Wizard?''
I teach you everything I know for free.
You get Roxanne. You get my corner of the park.
You get to keep haIf your tips. We're Iike a team.
There's something wrong with that picture.
What?
I don't think performing in parks and street corners is gonna be enough.
It won't?
Evan, we're gonna need to get you a new name.
Something with a IittIe more pop.
What do you wanna be in the worId? In the whoIe worId, what do you wanna be?
CIose your eyes and think about that.
Found.
Doesn't have enough yin.
-LittIe more yang, you know? -Yeah.
Yeah, Iet's....
[TRUCK HORN HONKING]
TaIk about wishfuI thinking. Look at that.
What name stands out to you on that, huh?
Beach?
It's a good name for a band, but not for a performer.
You can't say, ''PIease weIcome Beach.'' No, no.
August Rush. August Rush. Doesn't that warm you up a IittIe bit?
I can see it. ''Wizard Productions presents...
...the number-one heat wave:
August Rush!''
-Yeah. -Yeah. Me!
-August, August, August. -It gives me a rush.
That gives me chiIIs. The hair on the back of my neck's standing up.
-ReaIIy? -Yeah, Iook at that.
Quick, check it out. Yeah.
-I'm fIying! I'm fIying! -Yeah. August! August Rush.
-August. -August Rush. August Rush.
That's you.
WALLACE: August. August. AUGUST: August Rush, August Rush.
[LUCAS REYNOLDS' ''SOMETHING INSIDE'' PLAYING]
[THUNDER CRASHES]
LIZZY: New York, Lyla? What are you doing in New York?
Lizzy, I mean, I've aIways feIt that he was aIive.
I'd see kids that wouId be his age and I'd imagine what he'd Iook Iike.
-Big bIue eyes Iike his dad and-- -Oh, my God, Lyla.
Lizzy, I used to Iie in bed at night and I swear I couId hear him.
-I swear I couId hear him. -Lyla, calm down.
CaIm down? How can I be caIm? How can I be caIm?
I've been caIm for over 1 0 years and Iook where it's gotten me.
Lyla, you're losing it.
You're right. And maybe it's about time.
Don't do anything crazy, okay?
We're on our honeymoon, but we're leaving. We'll get there as soon as we can, okay?
Okay, Jack, he's worth three times what you're offering him.
-WaIIace-- -You heard him in the park!
You're a pain in the ass.
-Two-fifty if he can pIay for two hours. -No, five or he waIks.
-Five hundred? I'II give him 250-- -Five hundred or he waIks, aII right?
JACK: He waIks?
WALLACE: We have Iightning in a bottIe, Jack.
No, there's no parents. I'm his guardian.
No, I'm his representation, that's why I'm making the deaI.
WOMAN: May I heIp you?
-I'm trying to find my son. WOMAN: HoId on a second.
Name?
GIRL 1 : Mommy.
[MARK MANCINA'S ''PLAYGROUND'' PLAYING]
Mommy.
I don't know.
GIRL 2: Mom. GIRL 3: Mommy.
Mommy, Iook at me.
I'm sorry, ma'am, we're cIosing.
PIease, I just-- I wanna know his name.
To even consider re-estabIishing contact with a chiId, there is a detaiIed process.
I don't care about your process! Okay?
WOMAN: Ma'am, we're cIosed. Come back tomorrow.
LOUIS: Lyla.
Novacek.
LYLA [ON RECORDING] : Hi, this is Lyla-- LIZZY [ON RECORDING] : And Lizzy.
LYLA & LIZZY: And we're not here right now, so leave a message.
[MACHINE BEEPS]
WALLACE: Arthur!
What'd I teII you about taIking to strangers?
-Yeah, what's your name? -My name is Mr. Jeffries, and yours?
Arthur. We ain't strangers now.
Look, Mr. WaIIace, I'm here making my normaI rounds.
I'm trying to find these kids.
This girI, her name is GeraIda. She shouId be about 1 4 now.
Don't know her, Mr. Jeffries.
Okay, weII, maybe you can heIp me with this young man.
LittIe boy that came up missing recentIy and his name is Evan TayIor.
He's about 1 2.
And what if I find this Evan and I turn him over to you?
What then? You don't care about a kid after he's in the system.
-It's not Iike that-- -Oh, I know exactIy what it's Iike.
You don't foIIow up. And you throw him from pIace to pIace.
EventuaIIy, you end up in a pIace where they kick the crap out of you.
Go to bed at night and he tries to cIose his eyes, ears.
Shut out the worId.
What happens to that kid? What do you think he hears?
-Nothing. -Nothing. Nothing at aII.
Are you aII right?
-Yeah, I'm cooI. -He's good.
MAN: Fourteenth Precinct, Sergeant O'Malley.
WALLACE: No. That doesn't cut it.
[PLAYING MARK MANCINA'S ''WIND UP'']
No! Oh, is that finaI?
Okay, weII, here's my finaI offer: we're history!
-DeaI's off. -But I wanna pIay.
You pIay when I say pIay. You breathe when I say breathe.
-You got that, boy? -But I have to pIay.
Wizard, I need them to hear.
You forget about your parents! They were pretty quick to forget about you.
[MARK MANCINA'S ''AGAINST THE GATE'' PLAYING]
You don't know how it couId be for you.
You do not know how precious your gift is.
You're just a kid, you don't know.
I do, August.
[SIRENS WAILING]
BOY: Wizard. Wizard. WALLACE: Shh! Talk to me. What happened?
-It's Arthur. The cops chased him here. -Okay, spIit up. You know the driII.
-We gotta heIp Arty. -Forget Arty. Arty's on his own.
-That's the book. -No.
WALLACE: August! COP 1 : Grab him. Grab him. There he goes.
COP 2: He went outside over there.
[MARK MANCINA'S ''THE RAID'' PLAYING]
Up there. You see him? See him? Look, over there.
COP 2: Hey, kid, don't move. -Hey, you!
Cops. Cops.
Cops. Over here.
COP 2: Grab that kid over there. Grab him, grab him.
Listen, you can't Iet the cops catch you.
If they do, you don't teII them your reaI name...
...because they'II send you right back where you came from, you got that?
I don't wanna Iose you...
...but if we get separated, we meet at the arch.
Do not teII them your name.
Hey, when I say run, you run, okay?
COP 1 : Let me see your hands.
[SCREAMS]
WALLACE: Run, August. Run, August. Run! COP 2: Hey, kid.
Hey, kid, stop.
Open the door.
[BUZZES]
[JAMAL JOSEPH'S ''HARLEM STREETZ'' PLAYING ON CAR STEREO IN DISTANCE]
MAN [SINGING] : How I don't need that man But they don't understand
There's far too many pressures in reality
Dealing with the pain of stress and poverty
And I gotta be myself because There's nobody else for me, no
Hang in there with me
Sometimes it takes a different kind of love To raise a child
-So don't give up -So don't give up
When pressures come down
Sometimes it takes a different kind of dream To make you smile
-So raise it up -So raise
Hang in there with me
Sometimes we need another helping hand To show the way
-So don't give up -So don't give up
When pressures come down
Sometimes it seems impossible And that's why we pray
-So raise it up -We pray
Seems to be nothing left for me
Mama's gone, Daddy didn't wanna be
Now I'm all by myself Wondering where is love
Or should I just give up, you know
Life falls down on me Cuts into my soul
But I know I got the strength To make it through it all
Cause I'm still standing tall Breaking through these walls
I'm gonna give my all, hey
I'm feeling like a motherless child
Pain cuts into my soul
It's beaten me down
Can't find a smile On the face of a motherless child
Gonna break down these walls Gonna give my all
You know Yeah, yeah, yeah, yeah
Hang in there with me
Sometimes it takes a different kind of love To raise a child
-So don't give up -So don't give up
When pressures come down
Sometimes it takes a different kind of dream To make you smile
-So raise it up -So raise it up
-Hang in there with me -Raise it up
Sometimes it takes another's helping hand To show you the way
So don't give up
-Oh, no, yeah -When pressures come down
Sometimes it seems impossible That's why we pray
So raise it up
LYLA: Hi. -Hi.
I know how this Iooks, you know. I'm not crazy.
Nobody thinks you're crazy. What's your name?
LyIa Novacek.
WeII, it's Iike the woman expIained to you.
-You fiII out a coupIe forms-- -Six months, they said.
I don't have six months for forms.
Then I can't heIp you, then.
ExpIain something to me now. Why now?
Why not before? Why is it so important that you want him now?
I've aIways wanted him.
I've waited 1 1 years, two months, and 1 5 days...
...to find out that he's aIive.
I've been counting.
[LUCAS REYNOLDS' ''SOMETHING INSIDE'' PLAYING]
[PHONE DIALING]
- [ON RECORDING] Hi, this is Lyla-- -And Lizzy.
And we're not here right now, so leave a message.
[MACHINE BEEPS]
MAN [SINGING] : When the one thing you're looking for
[PHONE DIALING]
Is nowhere to be found
And you're back-stepping All of your moves
Trying to figure it out
MAN: What are you waiting for?
You see, I know this girI that Iives across the street.
LyIa Novacek.
I've been standing outside here waiting.
I wrote her a song.
WOMAN: Oh, the musician. She keeps me up haIf the night.
WeII, I haven't seen her in a few days. She's off on her honeymoon.
Thanks.
MAN [SINGING] : And you wanna give out You wanna give in
Your head's wrapped around What's around the next bend
You wish you could find Something warm
'Cause you're shivering cold
It's the first thing you see As you open your eyes
The last thing you say As you're saying goodbye
But something inside you Is crying and driving you on
RICHARD: And this isn't your signature?
You do reaIize that he's probabIy aIready been pIaced with a famiIy, correct?
Do you have chiIdren, Mr. Jeffries?
Yeah, I did.
Then you know.
What's his birthday?
December 1 7th, 1 995.
Yeah, I know.
Excuse me a minute.
[MARK MANCINA'S ''PHOTO OF EVAN'' PLAYING]
This is him.
Yeah.
[BELLS TOLLING]
[PEOPLE CHATTERING]
[MARK MANCINA'S ''PIANO LESSON'' PLAYING ON PIANO]
You the one sIept under my bed?
Do you Iive here?
Me and my grandma do, tiII our boat comes in.
Do you Iike music?
More than food.
Do you know your notes?
I've never seen them Iike that before.
See here:
''Every Good Boy Does Fine'' on the Iines.
And ''F, A, C, E'' in between.
And ''Great Big Dogs Fight AnimaIs.''
And ''AII Cars Eat Gas.'' Get it?
You're Iike an angeI.
Okay. I gotta go.
Gotta go to schooI.
Can I borrow this?
Later.
[THUDS]
[PLAYING MARK MANCINA'S ''BASKETBALL'']
HoIy....
Reverend J.!
[ORGAN SOUNDS]
You're not gonna beIieve this, Reverend J. Come quick.
-Whoa. SIow down, Hope. -You've gotta see what's happened.
[PLAYING MARK MANCINA'S ''3 NOTE THEME'']
Remember in Music Appreciation we had a cIass on Mozart?
Yes.
Remember you said he was Iike a musicaI pod?
-Prodigy. -ExactIy.
WeII, I have one of those, and he's Iiving under my bed.
So I showed him the scaIes and when I came home, he was....
LYLA: Mr. Jeffries, hi, it's Lyla Novacek again.
I was just checking in.
Right, I understand.
You know, if there's any more information or--
Yeah, just call.
I'II take it.
WOMAN: How Iong do you think you'II be staying?
LYLA: As long as it takes.
Sorry.
LYLA: I don't know, Lizzy, it's like...
...I just woke up...
...and I should start playing again.
I should play.
I know it sounds crazy, but maybe he'll hear me.
LOUIS: Hey, Marshall. It's me.
I'm in New York.
Is the band still minus one mad Connelly brother?
Having you guys here, it'd be great, you know?
Just an idea.
Hey, Frank. It's Louis.
Louis ConneIIy.
And?
I pIayed here with me band a coupIe of years ago.
WeII, about 1 0 years ago.
Hey, hey, Iisten, Frank.
I'm gonna pIay you one song, aII right? Just one song.
And if you don't Iike it, you can throw me out.
[MARK MANCINA'S ''AUGUST TO JUILLIARD'' PLAYING]
WOMAN: You brought us a prodigy, Reverend.
-He is a mystery. MAN: Here in the ''WeII-Tempered CIavier'' ....
Dean, I thought he was an angeI.
There's no record of an August Rush anywhere.
MAN: It's about foundation, starting with a very simpIe, orderIy chord.
LOUIS [SINGING] : As you open your eyes
The last thing you say As you're saying goodbye
But something inside you
Is crying and driving you on
[CELLO PLAYING DAVE METZGER'S ''CELLO CONCERTO IN E MINOR'']
LIZZY: LyIa, just reIax.
LYLA: This piece. LIZZY: You're pushing yourseIf too hard.
I don't know if I can do this.
LIZZY: You're pIaying with the PhiIharmonic.
That's great.
Okay, Iet's keep going.
MAN: Start with a C-major chord, then a moduIation to G.
Once we get to G, we go back to C, very simpIe.
And we have C, G, C.
At the very beginning, C-major chord.
We have this chaotic evolution into a remote G-major.
C-major chord, then move into a G.
What's this, August?
The diminished fifth, sir.
Key change here.
And then the rise with those round horns...
...the oboes, into the aIIegro staccato strings.
[KNOCKING]
Ah. Mr. Rush.
-I'm sorry. -Why are you apoIogizing, August?
Sometimes I don't Iisten weII...
...and I don't do the homework Iike I'm supposed to.
WeII, I'm sure you'II do better in the future.
The New York PhiIharmonic Orchestra is having a concert.
In the history of this schooI we have never
performed the work of a first-year student...
...and certainIy no one of your age.
But now, we've asked them if they couId perform your rhapsody.
WouId you Iike that?
WeII, good. Good.
How many peopIe wiII hear it?
WeII, it wouId be performed in CentraI Park, on the Great Lawn.
A hundred?
Much more. Thousands.
Okay. Because I need to pIay it to a Iot of peopIe. Lots and Iots.
[PEOPLE CHUCKLING]
We'II see what we can do to heIp.
DEAN: August, three artists wiII be performing, and you wiII be featured Iast.
[MARK MANCINA'S ''JUILLIARD MONTAGE'' PLAYING]
How do you do it?
How does the music come to you?
AUGUST: I just hear it.
Sometimes I wake up and it's there...
...or I hear it when I'm waIking down the street.
[MARK MANCINA'S ''JUILLIARD MONTAGE'' PLAYING]
It's like someone's calling out to me.
Writing it aII down is Iike I'm caIIing back to them.
Who?
The ones who gave me the music.
MARSHALL: You sure you're ready for this, Louis?
Are you?
[ORCHESTRA PLAYING MARK MANCINA'S ''RHAPSOD Y REHEARSAL'']
Bravo, August!
Good one!
August, boy, you're a hard guy to find.
Been Iooking everywhere for you.
Excuse me. You're interrupting a rehearsaI here.
WALLACE: Yeah, rehearsaI, right. MAN: And you are...?
Come here to me, son.
Come here.
What'd they do to you?
Nothing.
These peopIe can steaI your souI.
Sir, whomever you are, you don't have the right.
I'm his father, aII right? I have every right.
I'II take you home now. Come on.
But I have a concert. I Iike it here.
-He's a remarkabIe boy-- WALLACE: You don't think I know that?
What'd you do, you just snatched him up off the street? That gives you the right?
Wait a moment, we've been teaching him here.
What are you gonna do?
FiII his head with cIassicaI theory and ruIes?
You can't Iearn music from books.
It's out there.
You teach him? Ha!
He teaches you.
You Iearn from him.
We are. I assure you, Mr. Rush, every day.
You shouId be with famiIy. Come on.
Mr. Rush, pIease.
Do you have any idea of the importance of the concert tomorrow night, for August?
August. Wait, Iisten.
You gotta teII me right now, is this man reaIIy your father?
You can teII me the truth.
WALLACE: I know your reaI name.
Evan.
MAN: August.
Evan.
Is he your father?
[MARK MANCINA'S ''WIZARD RETURNS'' PLAYING]
He taught me everything I know.
[STRUMS GUITAR]
ARTHUR: And we are back, we are back.
Don't make it harder for yourseIf, Aug.
Wizard's not so bad.
You saw the kid, right? He's a freak of nature. Yeah.
Here's the deaI. Thousand a night, two weeks minimum, three cities guaranteed.
Then we ship him out to your partner on the West Coast. No.
ARTHUR: He just ain't feeIing weII.
He said you the onIy one who gonna make him feeI better.
Competition. AII right, I'II be back. You do what you do.
Yo, yo.
I'm his representation. That's why I'm making the deaI.
Come on. No, there's no parents.
Great sounds, kid.
Gibson J-200?
It's beautifuI.
Can I see her?
Hey. It's okay.
I'm a musician too.
Yeah.
Oh, yeah.
[PLAYING HEITOR PERIERA'S ''DUELING GUITARS'']
Nice action.
You're pretty good.
Thanks.
See what you can do with mine.
How Iong you been pIaying?
Six months.
Six months?
How'd you Iearn how to pIay Iike that in six months?
JuiIIiard.
JuiIIiard?
Yes, sir.
I have my own concert tonight.
Do you reckon I shouId beIieve you?
Yeah. But I can't go.
Why's that?
It's kind of a Iong story.
WeII, if I went to JuiIIiard and I had a concert tonight...
...I wouIdn't miss it for the worId.
Yeah.
But what if something bad wouId happen if you did it?
You never quit on your music.
No matter what happens.
Because anytime something bad happens to you...
...it's the one pIace you can escape to and just, psh, Iet it go.
I Iearned that the hard way.
And anyway, Iook at me.
Nothing bad's gonna happen.
You gotta have a IittIe faith.
I'm Louis.
Ev-- August.
August Rush.
-CooI name. WALLACE: August!
Come on!
I gotta go, August.
Bye.
Yeah.
Bye.
Yes, I made him memorize our number.
I understand. Your department's doing everything they can.
Do you think anything bad happened to him?
I'm sure he's fine.
I prayed for him. Did you?
Yeah.
WeII, if his father Ioves him Iike he shouId...
...then he'II do what's best for his son.
You beIieve that, don't you?
-Yeah. -Good.
Now go get ready.
[MARK MANCINA'S ''ARPEGGIO THEME'' PLAYING]
DEAN: Welcome to our Concert in the Park...
...and the Mercedes Drive Your Future SchoIarship CeIebration.
And now it is with enormous pIeasure...
...that I weIcome back to the concert stage one of JuiIIiard's own, LyIa Novacek.
[PLAYING DAVE METZGER'S ''CELLO CONCERTO IN E MINOR'']
[LOUIS PLAYING LUCAS REYNOLDS' ''SOMETHING INSIDE'']
[SINGING] So long you've been running in circles
Round what's at stake
But now the time's come For your feet to stand still in one place
You wanna reach out You wanna give in
Your head's wrapped around What's around the next bend
You wish you could find something warm 'Cause you're shivering cold
It's the first thing you see As you open your eyes
The last thing you say As you're saying goodbye
But something inside you Is crying, driving you on
'Cause if you hadn't found me
I would have found you
I have to go now.
I'm not coming back this time.
He's just kidding, Wizard.
Me and August have a understanding. Don't we?
Aug, you can't Ieave me, man.
Yes, I can.
Because you have to find your parents, right?
Yeah. My concert's starting.
WeII, aII my money's on the fact your foIks won't be abIe to find you.
You know why?
Because they can't hear you.
They're probabIy dead.
You're not going anywhere.
It's the first thing you see As you open your eyes
The last thing you say As you're saying goodbye
Nowhere to go, son.
Something inside you Is crying and driving you on
I would have found you
ARTHUR: Run, boy.
Run, August, run.
I would have found you
[HORN HONKS]
WALLACE: August!
[PLAYING DAVE METZGER'S ''CELLO CONCERTO IN E MINOR'']
WALLACE: August!
DEAN: Thank you, Iadies and gentIemen.
Music has aIways fascinated us in the way that it communicates.
Without words, without pictures.
And that Ieads us to our finaI performance.
NICK: How much Ionger to the airport?
MARSHALL: Man, it jams up the traffic.
Bring you back to the oId days, eh, Louis?
[MARK MANCINA'S ''ARPEGGIO THEME'' PLAYING]
''August Rush.''
Evan TayIor.
UnfortunateIy, our Iast performer seems to have....
He's here. He's here. He's here.
Oh. ExceIIent.
Perhaps there's no one eIse who can better personify...
...the mystery that is music...
...than our finaI composer.
[ORCHESTRA PLAYING MARK MANCINA'S ''RHAPSOD Y'']
Hey, what's that?
MAN: Concerts in the Park every spring.
Let me out.
Let me out! Let me out!
HOPE [SINGING] : Yeah, yeah, yeah
Woo woo
Yeah, yeah
Yeah
Oh, oh
Woo
Yeah
Oh, oh
Whoa, oh
Yeah
Whoa, oh
[VAN MORRISON'S ''MOONDANCE'' PLAYING]
AUGUST: The music is all around us.
All you have to do is listen.
SUBTITLES SYNCED BY YOSHI224 FOR THE BEAUTIFUL ANGEL TWEETIE PIE (ANNA-MARIA)
MAN [SINGING] : Ooo eee oooh
As days go by and fade tonight
I still question why you left
I wonder how it didn't work out
But now you're gone
And memories are all I have for now
But no, it's not over
We'll get older We'll get over
We'll live to see the day that I hope for
Come back to me
I still believe
That we'll get it right again
We'll come back to life again
We won't say another goodbye again
Live forever with me
And someday
Someday
We'll be together someday
Someday we'll be together
Our someday might be today
The mysteries of destiny say
Our somehow and our some way
For all we know they come tomorrow
But for today my eyes are open
My arms are raised for your embrace
My hands are here to mend what is broken
To feel again the warmth of your face
I believe there is more to life
Oh, I love you much more than life
It's though
I believe I can change your mind
Revive what is dying inside
And someday
Someday
We'll be together someday
Someday we'll be together
Someday
We'll be together
Someday
MAN 2 [SINGING] : I'm as crazy as a clown tonight
A clown without a crown tonight
A simple sack of wishes and bones
I'm as useless as a memory
The day before it came to me
To save your town Of stitches and stones
But once in my life
I was the king of Earth
Once in my life
I was
Now that the stars
Are frozen in their places
Now that our hope seems gone
Now that the stars
Have fallen from our faces
I will see you on
I'll never be your picture president
But I hope you got the rose I sent
To save your town of stitches and bones
I'm nothing more than but a simple man
Formed to be American
Out to draw these bridges alone
But once in my life
I was the king of the Earth
Once in my life
CHORUS [SINGING] : Bamba, bamba
Oh, bamba, bamba
MAN 3 [SINGING] : Para bailar la bamba
CHORUS [SINGING] : Bamba, bamba
MAN 3 [SINGING] : Para bailar la bamba CHORUS [SINGING] : Bamba, bamba
MAN 3 [SINGING] : Se necesita una poca de gracia
CHORUS [SINGING] : Bamba, bamba
MAN 3 [SINGING] : Una poca de gracia pa mi pa ti
Y arriba, y arriba
CHORUS [SINGING] : Bamba, bamba
MAN 3 [SINGING] : Yeah, dance with me, baby
CHORUS [SINGING] : Bamba, bamba
MAN 3 [SINGING] : Let's dance tonight
Say arriba y arriba
CHORUS [SINGING] : Bamba, bamba
MAN 3 [SINGING] : Say arriba y arriba
CHORUS [SINGING] : Bamba, bamba
MAN 3 [SINGING] : Oh, oh
Yeah, yeah, yeah
[MAN 3 LAUGHING]
[ENGLISH SDH]