August Rush (2007) Movie Script
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]
Hello, Porky. Where's your little 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.
BOY 1: Knock, knock.
MANNIX: Knock, knock.
-Knock, knock.
BOY 2: Wake up.
MANNIX:
Who's there? Who's there?
Freak. Freak.
-Said, knock, knock, freak.
-Who's there?
Your long-lost mommy and daddy.
Can you hear them?
Yes.
No, you can't.
I can.
You don't have no family.
You can't hear anything.
Say it.
-Say it.
BOY 1: Say it. Say it.
MANNIX: Say it.
BOY 2: Say it.
MANNIX: Say it.
BOY 1: Say it.
Say it.
Yes...
...I can.
He doesn't hear anything.
BOY 3:
Yeah.
What is he?
He's a freak.
MANNIX: Sweet dreams, freaks.
BOY 2: Sleep tight.
-Good night.
BOY 1: Don't let 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?
-Lyla? She's here. What are you doing?
LYLA: Dad.
They're waiting for us.
Hey, sit up straight, please.
Where are you, baby bro?
We didn't follow you from San Francisco
to play for free, man. Yeah?
We need this one, baby bro. All right?
I need this one.
THOMAS:
Don't forget to smile and look relaxed.
All right, not that relaxed.
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, Connelly. Not bad.
-Thanks very much, man.
Where's the main man?
Goddamn it, Louis. Just wait, man.
Louis? Louis, wait up, man.
LIZZY:
Girls, we are going to a party tonight.
It's a full moon,
you know what that means, right?
[WOMEN SCREAM]
[MARK MANCINA'S "CONFESSIONS
OF LOVE" PLAYING ON SPEAKERS]
LIZZY:
Lyla.
[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 like?
[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 fellow...
...I used to talk to the moon.
Are you making that up?
God, I haven't done that in a long time.
Does it ever talk back?
Well, it used to.
Now I just find myself on a roof
talking to myself...
...like a loon.
Just out here on me own.
Well, I'm here.
Yes, you are.
I'm Louis.
Lyla.
So, what's your story, Lyla?
I don't know. I'm just, um....
I'm just me.
What are you looking at?
You.
[MARK MANCINA'S
"5-NOTE WINDCHIMES" PLAYING]
MAN:
Next.
What did he want? What did you say?
You know, same old junk. New guy.
My name is Mr. Jeffries.
I'm with Child Services
for the state of New York.
[WIND CHIMES TINKLE]
Okay, Evan.
Born December 17th, 1995.
Legal adoption to New York Children's.
[WHISTLING]
How long have you been here, Evan?
Eleven years and sixteen days.
I've been counting.
That's a long time.
-How do you do that?
-Do what?
[BLOWS]
Well, it's just imitating the wind chimes.
[BLOWS]
[WHISTLES]
[WHISTLES]
[CHUCKLES]
You don't wanna be placed
with a real family?
-I have a family.
-Yes, you do.
I mean, you have parents and all,
but they don't live with you.
Not now.
But still,
you don't have contact with them.
-Yes, I do.
-You do?
What, do they call you?
Come and visit you?
-Send--?
-I....
I don't wanna be sent away.
I understand.
You see, there's a lot of children...
...who are scared
that if they leave their first home...
...their parents would never
be able to find them.
Right?
But see, my job is to make sure...
...that nothing like that
will 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 talk to me,
about anything...
...you call.
Think about what I said too.
There's a whole world out there
with millions 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 liar.
Yeah, I know. But what if he's right?
I mean, what if they don't ever come?
Hardly remember what my mom
looks like, you know?
Well, if they don't find us,
we'll 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 walk you home.
-No.
LYLA:
My dad's waiting at the Sherry. I--
I've never done this before.
I'm in so much trouble.
Hey, hey.
MEN:
Woo!
Meet me here at 10:00 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'll take that as a yes.
You are gonna be in so much trouble.
You should have left your dad a note.
Yeah, ransom note.
You know what? I don't even care.
I just had the most incredible night
of my life.
Taxi!
[MARK MANCINA'S
"WASHINGTON SQUARE" PLAYING]
MARSHALL:
Louis. She ain't coming.
Oh, man. One girl?
Come on, we're gonna miss the flight.
-Taxi!
MARSHALL: Louis. Where you going, Louis?
Excuse me.
MARSHALL:
Louie.
THOMAS:
You are not going anywhere.
-Lyla!
LYLA: Dad, I'm not going with you.
-Lyla, you listen to me.
-No.
-Don't you dare walk away.
LYLA: I'm not going with you.
LOUIS:
Lyla!
THOMAS:
Get in the car right now.
Lyla! Lyla!
MARSHALL:
Louis.
Do you remember what Da used to say
about princesses? Huh?
They're always looking for their prince.
And you ain't no prince, brother.
How would 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 OVERLUDE"]
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 problem.
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 leaving.
-You can't leave.
-Where you going, then?
-Just let me go. Will you just let me go?
LOUIS [SINGING]:
Would the wind be at my back?
Could I get you off my mind
MARSHALL: Louis.
THOMAS: Lyla.
This time?
Hey, Louis.
THOMAS:
Lyla.
[SCREAMS]
[TIRES SCREECH]
[THUDS]
[MARK MANCINA'S
"HOSPITAL PT. 1 " PLAYING]
WOMAN:
We have fetal distress.
Baby's heart rate is falling.
It's falling.
I'm sorry.
He's gone.
MAN: Picked him up on the thruway
outside of Montrose.
Just wandering down the road.
Said he's following the music.
The moon told him to.
Yeah. Kid's a space cadet.
[CAR HORNS HONKING]
Look, I got a busy day ahead of me.
All right, big guy, out you go.
This Jeffries guy
wasn't in his office yet...
...so I left him a message
to pick you up right here.
AUGUST: Okay.
-Here. Hold on.
Don't lose it. If he doesn't show
in an hour, give him another call.
You can handle that, right?
-Yeah.
-You got any money?
Here's 12 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 sidewalk!
[HORNS HONKING AND SIRENS WAILING]
BOY [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.
Alrighty, 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 equilibrium.
Nobody touches this instrument but me.
Roxy's my girl.
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.
Tell them you're AWOL.
They'll send you back
where you come from.
I don't wanna go back there.
Well, good.
This day's been a bust anyway. I'm out.
[MARK MANCINA'S
"FOLLOWING ARTHUR" PLAYING]
What?
I don't have a place to stay.
Do I look like a real-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 else.
I'm gonna let you buy me a pizza.
I've been doing this for 10 years, Bob.
I said 10 percent.
We need to close the deal.
Hold on a second.
No. We said 10 percent.
Yeah, well, it makes the world go round,
doesn't it, Bob?
Just get me the 10 percent, will you?
Thanks.
[SIGHS]
MAN: Need anything, sir?
-Do you know any hit men?
I do know a bass player
might be able to help you out.
Likes to get in fights with lead singers.
Nick?
What are you doing, man?
Still driving. Paying off
those wedding bills from last year.
Oh, fair play to you. Oh, she's a nice girl.
So you playing at all?
Nope.
Why the hell not? Your fingers fall off?
Well, you move on.
What about the lads?
Seen any of them lately?
We still mess around...
...but the Connelly Brothers never really
bounced back minus one brother.
You seen Marshall lately?
Have you?
[VAN MORRISON'S
"MAGIC TIME" PLAYING]
It's my birthday on Saturday.
Session's at my place.
Come, bring your girlfriend.
It's great seeing you, man.
Reminds me of New York.
The good old days, eh?
[SIRENS WAILING]
[LYLA HUMMING BEETHOVEN'S
"FUR ELISE"]
GIRL:
I know.
I know.
-I know. Okay, I don't know.
-Oh!
"Fur Elise" by Beethoven.
And you should know that one.
Oh, yeah.
Will you be our teacher forever,
Miss Novacek?
Well, at least until your old teacher
comes back.
But only if you call me...?
-Lyla.
-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 people.
-Liz.
-The New York Philharmonic.
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.
Lyla....
When are you gonna let yourself
be happy again?
I am happy.
I'm talking about
when everyone else goes home.
Look....
I know. Okay? I know.
Just think about it.
I mean, you're a music teacher
who doesn't play music anymore.
Call me crazy.
Okay, Crazy.
-I'll see you at home, okay?
-All 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 Little Jesus.
But, you know, he wasn't no little 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 real piece of work,
that's what he is.
His real name's Maxwell Wallace.
He took me in.
He said that I was an investment.
He gave me Roxy here.
He bought it in the old days.
Well, he really didn't buy it.
Guess you'd kind of say he found it.
All right, he stole it.
Wizard?
He gave me his place at the Square.
My parents? They ain't gave me nothing.
We all gonna be big stars someday.
MAN: What's the password?
-Open the damn door already.
You're getting on my nerves with that.
Okay, follow 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.
[BOY YELLS]
Watch out.
Yeah, I've been living here for a while.
Come on, man.
Hey, check it out.
-How much you make?
BOY 1: Ten dollars.
ARTHUR: You lying. Let me see.
BOY 1: I am not lying.
ARTHUR: What did I tell you about that?
-Boo!
[BABBLING]
BOY 2: Hey, it's Arthur.
ARTHUR: I'll be laughing at your funeral.
BOY 1: I'm gonna go play basketball.
ARTHUR: All clear.
[SINGING] My life, the sky
Like a feather I'll fly
ARTHUR: Man, you should've knocked him
in his head, son.
[PLAYING IMPACT REPERTORY THEATRE'S
"WIZARD'S THEATER SONG"]
BOY 3:
Shoot it, shoot it, shoot it!
Pizza!
Pizza, pizza, pizza.
GIRL 1:
Don't make me come up there.
BOY 4: Yo, you better hurry
before Wizard shows.
He'll be pissed
if he's seen you bought a pie.
I ain't take no family money.
Citizen bought it.
Hola, music lovers.
Wow, while the cat's away....
Oh.
Who likes pizza?
Who did this?
Arthur?
-What is he?
-He's a damn fool.
He's a damn fool.
-He's gonna get it good.
-Shh.
What are you, Arthur?
I'm a real piece of work, Wizard.
You're on thin ice.
I didn't take no family money.
He bought it.
What?
You look crazy.
I am crazy.
[SCREAMS]
See?
Come here.
Now!
Come on.
-What's your name?
-Evan, sir.
What are you doing here?
I followed the music.
Where did you pick this one up,
Arthur, Bellevue?
You never played a note in your life.
Do you know what music is?
It's God's little reminder there's
something else besides us in this universe.
Harmonic connection between
all living beings everywhere, even the stars.
Is this a school?
Yeah, the school of
Screw You and Take All Your Damn Money.
-Yeah.
-Yeah, we're top of the class.
Not!
It's a business.
-Pockets.
GIRL 2: Okay, let's go.
-Let's go, let's go.
WALLACE: Pockets.
BOY 1:
Oh, man. Get up.
[CHATTERING]
WALLACE:
Peanut, well done.
I got eyes in the back of my head.
Good job. Gracias, amigo.
Chain is only as strong...
...as its weakest link.
Come on, Arthur.
That's chump change.
You got Washington Square.
That was my spot for 10 years.
Go ahead, before I change my mind.
You kids are gonna put me
in the poorhouse.
All right, little mice,
scurry back to your holes. Go, go.
Harmonic dreams, sweet children.
[PLAYING VAN MORRISON'S
"MOONDANCE" ON HARMONICA]
[PLAYING MARK MANCINA'S
"BARI IMPROV"]
ARTHUR:
Roxanne. Man, I'm gonna kill him.
WALLACE:
You know what's out there?
A series of higher tones.
It's arranged by nature.
It's governed by the laws of physics
of the whole universe.
It's an overtone, it's an energy,
it's a wavelength.
And if you're not riding it, good Lordy,
you'll never hear it.
Where do you think it comes from?
What I hear.
I think it comes from all around you, really.
I mean, it's--
Comes through us, some of us.
It's invisible, but-- But you feel it.
So only some of us can hear it?
Only some of us are listening.
Do you think my parents are listening?
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 family.
[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 all Irish people this loud?
-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, Marshall, 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 tell me
you're in a band?
I'm sure there's a lot of things
our Louis hasn't told you, darling.
-Like who did you write the song for?
-I told you this is a mistake.
That's it, go on. Walk out on us again.
-Eh, Lou?
LOUIS: Say what you gotta say, Marshall.
-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.
Feel what? Come on. Hit me.
I'm suffocating here.
The things I left behind
You all right, man?
You all right, man?
Welcome to the Connelly clan.
[MARSHALL LAUGHS]
Jennifer.
You know, it was good
having the old Louis back in there...
...even if it was only for a second.
Louie...
...aren't you supposed to be in the car
with the girl...
...as she drives off into the sunset?
You'll get your suit dirty
sitting there, man.
[MARK MANCINA'S
"5-NOTE TRANSITION" PLAYING]
[PHONE RINGING]
[ANSWERING MACHINE BEEPS]
WOMAN [OVER 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 will is in the top drawer
of the desk in my study.
Dad, stop, come on.
THOMAS:
Lyla, please.
There's more.
All I ever wanted was for you
to have all that promise, all that life.
But you were so young.
We had so much work to do.
-You weren't ready.
-That's plenty, Dad. Really.
I mean, a baby.
That baby, he could have hurt you.
[MARK MANCINA'S
"HOSPITAL PT. 2" PLAYING]
He could've hurt you, and I--
I wasn't gonna let that happen, Lyla.
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 life. More than yourself.
You feel it?
Then show me.
Play it for your parents.
You're flying, kid.
[CROWD CLAPPING]
WALLACE:
Yeah!
You know what I'm thinking?
You're supposed to say,
"What are you thinking, Wizard?"
"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 half your tips.
We're like 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 little more pop.
What do you wanna be in the world?
In the whole world, what do you wanna be?
Close your eyes and think about that.
Found.
Doesn't have enough yin.
-Little more yang, you know?
-Yeah.
Yeah, let's....
[TRUCK HORN HONKING]
Talk about wishful 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, "Please welcome Beach."
No, no.
August Rush. August Rush.
Doesn't that warm you up a little 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 chills. The hair
on the back of my neck's standing up.
-Really?
-Yeah, look at that.
Quick, check it out. Yeah.
-I'm flying! I'm flying!
-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 always felt that he was alive.
I'd see kids that would be his age
and I'd imagine what he'd look like.
-Big blue eyes like his dad and--
-Oh, my God, Lyla.
Lizzy, I used to lie in bed at night
and I swear I could hear him.
-I swear I could hear him.
-Lyla, calm down.
Calm down? How can I be calm?
How can I be calm?
I've been calm for over 10 years
and look 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.
-Wallace--
-You heard him in the park!
You're a pain in the ass.
-Two-fifty if he can play for two hours.
-No, five or he walks.
-Five hundred? I'll give him 250--
-Five hundred or he walks, all right?
JACK:
He walks?
WALLACE:
We have lightning in a bottle, Jack.
No, there's no parents. I'm his guardian.
No, I'm his representation,
that's why I'm making the deal.
WOMAN:
May I help you?
-I'm trying to find my son.
WOMAN: Hold on a second.
Name?
GIRL 1:
Mommy.
[MARK MANCINA'S
"PLAYGROUND" PLAYING]
Mommy.
I don't know.
GIRL 2: Mom.
GIRL 3: Mommy.
Mommy, look at me.
I'm sorry, ma'am, we're closing.
Please, I just-- I wanna know his name.
To even consider re-establishing contact
with a child, there is a detailed process.
I don't care about your process! Okay?
WOMAN: Ma'am, we're closed.
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 tell you
about talking to strangers?
-Yeah, what's your name?
-My name is Mr. Jeffries, and yours?
Arthur. We ain't strangers now.
Look, Mr. Wallace,
I'm here making my normal rounds.
I'm trying to find these kids.
This girl, her name is Geralda.
She should be about 14 now.
Don't know her, Mr. Jeffries.
Okay, well, maybe you can help me
with this young man.
Little boy that came up missing recently
and his name is Evan Taylor.
He's about 12.
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 like that--
-Oh, I know exactly what it's like.
You don't follow up.
And you throw him from place to place.
Eventually, you end up in a place
where they kick the crap out of you.
Go to bed at night
and he tries to close his eyes, ears.
Shut out the world.
What happens to that kid?
What do you think he hears?
What do you think he hears?
-Nothing.
-Nothing. Nothing at all.
Are you all right?
-Yeah, I'm cool.
-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 final?
Okay, well, here's my final offer:
we're history!
-Deal's off.
-But I wanna play.
You play when I say play.
You breathe when I say breathe.
-You got that, boy?
-But I have to play.
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 could 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, split up. You know the drill.
-We gotta help 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 let the cops catch you.
If they do,
you don't tell them your real name...
...because they'll send you right back
where you came from, you got that?
I don't wanna lose you...
...but if we get separated,
we meet at the arch.
Do not tell 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 looks, you know.
I'm not crazy.
Nobody thinks you're crazy.
What's your name?
Lyla Novacek.
Well, it's like
the woman explained to you.
-You fill out a couple forms--
-Six months, they said.
I don't have six months for forms.
Then I can't help you, then.
Explain something to me now. Why now?
Why not before? Why is it so important
that you want him now?
I've always wanted him.
I've waited 11 years, two months,
and 15 days...
...to find out that he's alive.
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 girl
that lives across the street.
Lyla Novacek.
I've been standing outside here waiting.
I wrote her a song.
WOMAN: Oh, the musician.
She keeps me up half the night.
Well, 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 realize that he's probably
already been placed with a family, correct?
Do you have children, Mr. Jeffries?
Yeah, I did.
Then you know.
What's his birthday?
December 17th, 1995.
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 slept under my bed?
Do you live here?
Me and my grandma do,
till our boat comes in.
Do you like music?
More than food.
Do you know your notes?
I've never seen them like that before.
See here:
"Every Good Boy Does Fine"
on the lines.
And "F, A, C, E" in between.
And "Great Big Dogs Fight Animals."
And "All Cars Eat Gas." Get it?
You're like an angel.
Okay. I gotta go.
Gotta go to school.
Can I borrow this?
Later.
[THUDS]
[PLAYING MARK MANCINA'S
"BASKETBALL"]
Holy....
Reverend J.!
[ORGAN SOUNDS]
You're not gonna believe this,
Reverend J. Come quick.
-Whoa. Slow down, Hope.
-You've gotta see what's happened.
[PLAYING MARK MANCINA'S
"3 NOTE THEME"]
Remember in Music Appreciation
we had a class on Mozart?
Yes.
Remember you said
he was like a musical pod?
-Prodigy.
-Exactly.
Well, I have one of those,
and he's living under my bed.
So I showed him the scales
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'll take it.
WOMAN:
How long do you think you'll 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 Connelly.
And?
I played here with me band
a couple of years ago.
Well, about 10 years ago.
Hey, hey, listen, Frank.
I'm gonna play you one song, all right?
Just one song.
And if you don't like 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 "Well-Tempered Clavier"....
Dean, I thought he was an angel.
There's no record of
an August Rush anywhere.
MAN: It's about foundation,
starting with a very simple, orderly 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:
Lyla, just relax.
LYLA: This piece.
LIZZY: You're pushing yourself too hard.
I don't know if I can do this.
LIZZY:
You're playing with the Philharmonic.
That's great.
Okay, let's keep going.
MAN: Start with a C-major chord,
then a modulation to G.
Once we get to G,
we go back to C, very simple.
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 allegro staccato strings.
[KNOCKING]
Ah. Mr. Rush.
-I'm sorry.
-Why are you apologizing, August?
Sometimes I don't listen well...
...and I don't do the homework
like I'm supposed to.
Well, I'm sure you'll do better
in the future.
The New York Philharmonic Orchestra
is having a concert.
In the history of this school we have never
performed the work of a first-year student...
...and certainly no one of your age.
But now, we've asked them
if they could perform your rhapsody.
Would you like that?
Well, good. Good.
How many people will hear it?
Well, it would be performed in Central Park,
on the Great Lawn.
A hundred?
Much more. Thousands.
Okay. Because I need to play it
to a lot of people. Lots and lots.
[PEOPLE CHUCKLING]
We'll see what we can do to help.
DEAN: August, three artists will be
performing, and you will be featured last.
[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 walking down the street.
[MARK MANCINA'S
"JUILLIARD MONTAGE" PLAYING]
It's like someone's calling out to me.
Writing it all down
is like I'm calling 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
"RHAPSODY REHEARSAL"]
Bravo, August!
Good one!
August, boy, you're a hard guy to find.
Been looking everywhere for you.
Excuse me.
You're interrupting a rehearsal here.
WALLACE: Yeah, rehearsal, right.
MAN: And you are...?
Come here to me, son.
Come here.
What'd they do to you?
Nothing.
These people can steal your soul.
Sir, whomever you are,
you don't have the right.
I'm his father, all right?
I have every right.
I'll take you home now. Come on.
But I have a concert. I like it here.
-He's a remarkable 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?
Fill his head with classical theory
and rules?
You can't learn music from books.
It's out there.
You teach him? Ha!
He teaches you.
You learn from him.
We are.
I assure you, Mr. Rush, every day.
You should be with family. Come on.
Mr. Rush, please.
Do you have any idea of the importance
of the concert tomorrow night, for August?
August. Wait, listen.
You gotta tell me right now,
is this man really your father?
You can tell me the truth.
WALLACE:
I know your real 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 yourself, Aug.
Wizard's not so bad.
You saw the kid, right?
He's a freak of nature. Yeah.
Here's the deal. 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 feeling well.
He said you the only one
who gonna make him feel better.
Competition. All right, I'll be back.
You do what you do.
Yo, yo.
I'm his representation.
That's why I'm making the deal.
Come on. No, there's no parents.
Great sounds, kid.
Gibson J-200?
It's beautiful.
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 long you been playing?
Six months.
Six months?
How'd you learn how to play like that
in six months?
Juilliard.
Juilliard?
Yes, sir.
I have my own concert tonight.
Do you reckon I should believe you?
Yeah. But I can't go.
Why's that?
It's kind of a long story.
Well, if I went to Juilliard
and I had a concert tonight...
...I wouldn't miss it for the world.
Yeah.
But what if something bad
would 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 place you can escape to
and just, psh, let it go.
I learned that the hard way.
And anyway, look at me.
Nothing bad's gonna happen.
You gotta have a little faith.
I'm Louis.
Ev-- August.
August Rush.
August Rush.
-Cool name.
WALLACE: August!
Come on!
I gotta go, August.
Bye.
Yeah.
Bye.
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.
Well, if his father loves him like he should...
...then he'll do what's best for his son.
You believe 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
Scholarship Celebration.
And now it is with enormous pleasure...
...that I welcome back to the concert stage
one of Juilliard's own, Lyla 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 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 leave me, man.
Yes, I can.
Because you have to
find your parents, right?
Yeah. My concert's starting.
Well, all my money's on the fact
your folks won't be able to find you.
You know why?
Because they can't hear you.
They're probably 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
I would have found you
[HORN HONKS]
WALLACE:
August!
[PLAYING DAVE METZGER'S
"CELLO CONCERTO IN E MINOR"]
WALLACE:
August!
DEAN:
Thank you, ladies and gentlemen.
Music has always fascinated us
in the way that it communicates.
Without words, without pictures.
And that leads us
to our final performance.
NICK:
How much longer to the airport?
MARSHALL:
Man, it jams up the traffic.
Bring you back to the old days,
eh, Louis?
[MARK MANCINA'S
"ARPEGGIO THEME" PLAYING]
"August Rush."
Evan Taylor.
Unfortunately, our last performer
seems to have....
He's here. He's here. He's here.
Oh. Excellent.
Perhaps there's no one else
who can better personify...
...the mystery that is music...
...than our final composer.
[ORCHESTRA PLAYING
MARK MANCINA'S "RHAPSODY"]
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.
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
Someday
We'll be together
We'll be together
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]
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]
Hello, Porky. Where's your little 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.
BOY 1: Knock, knock.
MANNIX: Knock, knock.
-Knock, knock.
BOY 2: Wake up.
MANNIX:
Who's there? Who's there?
Freak. Freak.
-Said, knock, knock, freak.
-Who's there?
Your long-lost mommy and daddy.
Can you hear them?
Yes.
No, you can't.
I can.
You don't have no family.
You can't hear anything.
Say it.
-Say it.
BOY 1: Say it. Say it.
MANNIX: Say it.
BOY 2: Say it.
MANNIX: Say it.
BOY 1: Say it.
Say it.
Yes...
...I can.
He doesn't hear anything.
BOY 3:
Yeah.
What is he?
He's a freak.
MANNIX: Sweet dreams, freaks.
BOY 2: Sleep tight.
-Good night.
BOY 1: Don't let 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?
-Lyla? She's here. What are you doing?
LYLA: Dad.
They're waiting for us.
Hey, sit up straight, please.
Where are you, baby bro?
We didn't follow you from San Francisco
to play for free, man. Yeah?
We need this one, baby bro. All right?
I need this one.
THOMAS:
Don't forget to smile and look relaxed.
All right, not that relaxed.
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, Connelly. Not bad.
-Thanks very much, man.
Where's the main man?
Goddamn it, Louis. Just wait, man.
Louis? Louis, wait up, man.
LIZZY:
Girls, we are going to a party tonight.
It's a full moon,
you know what that means, right?
[WOMEN SCREAM]
[MARK MANCINA'S "CONFESSIONS
OF LOVE" PLAYING ON SPEAKERS]
LIZZY:
Lyla.
[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 like?
[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 fellow...
...I used to talk to the moon.
Are you making that up?
God, I haven't done that in a long time.
Does it ever talk back?
Well, it used to.
Now I just find myself on a roof
talking to myself...
...like a loon.
Just out here on me own.
Well, I'm here.
Yes, you are.
I'm Louis.
Lyla.
So, what's your story, Lyla?
I don't know. I'm just, um....
I'm just me.
What are you looking at?
You.
[MARK MANCINA'S
"5-NOTE WINDCHIMES" PLAYING]
MAN:
Next.
What did he want? What did you say?
You know, same old junk. New guy.
My name is Mr. Jeffries.
I'm with Child Services
for the state of New York.
[WIND CHIMES TINKLE]
Okay, Evan.
Born December 17th, 1995.
Legal adoption to New York Children's.
[WHISTLING]
How long have you been here, Evan?
Eleven years and sixteen days.
I've been counting.
That's a long time.
-How do you do that?
-Do what?
[BLOWS]
Well, it's just imitating the wind chimes.
[BLOWS]
[WHISTLES]
[WHISTLES]
[CHUCKLES]
You don't wanna be placed
with a real family?
-I have a family.
-Yes, you do.
I mean, you have parents and all,
but they don't live with you.
Not now.
But still,
you don't have contact with them.
-Yes, I do.
-You do?
What, do they call you?
Come and visit you?
-Send--?
-I....
I don't wanna be sent away.
I understand.
You see, there's a lot of children...
...who are scared
that if they leave their first home...
...their parents would never
be able to find them.
Right?
But see, my job is to make sure...
...that nothing like that
will 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 talk to me,
about anything...
...you call.
Think about what I said too.
There's a whole world out there
with millions 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 liar.
Yeah, I know. But what if he's right?
I mean, what if they don't ever come?
Hardly remember what my mom
looks like, you know?
Well, if they don't find us,
we'll 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 walk you home.
-No.
LYLA:
My dad's waiting at the Sherry. I--
I've never done this before.
I'm in so much trouble.
Hey, hey.
MEN:
Woo!
Meet me here at 10:00 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'll take that as a yes.
You are gonna be in so much trouble.
You should have left your dad a note.
Yeah, ransom note.
You know what? I don't even care.
I just had the most incredible night
of my life.
Taxi!
[MARK MANCINA'S
"WASHINGTON SQUARE" PLAYING]
MARSHALL:
Louis. She ain't coming.
Oh, man. One girl?
Come on, we're gonna miss the flight.
-Taxi!
MARSHALL: Louis. Where you going, Louis?
Excuse me.
MARSHALL:
Louie.
THOMAS:
You are not going anywhere.
-Lyla!
LYLA: Dad, I'm not going with you.
-Lyla, you listen to me.
-No.
-Don't you dare walk away.
LYLA: I'm not going with you.
LOUIS:
Lyla!
THOMAS:
Get in the car right now.
Lyla! Lyla!
MARSHALL:
Louis.
Do you remember what Da used to say
about princesses? Huh?
They're always looking for their prince.
And you ain't no prince, brother.
How would 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 OVERLUDE"]
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 problem.
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 leaving.
-You can't leave.
-Where you going, then?
-Just let me go. Will you just let me go?
LOUIS [SINGING]:
Would the wind be at my back?
Could I get you off my mind
MARSHALL: Louis.
THOMAS: Lyla.
This time?
Hey, Louis.
THOMAS:
Lyla.
[SCREAMS]
[TIRES SCREECH]
[THUDS]
[MARK MANCINA'S
"HOSPITAL PT. 1 " PLAYING]
WOMAN:
We have fetal distress.
Baby's heart rate is falling.
It's falling.
I'm sorry.
He's gone.
MAN: Picked him up on the thruway
outside of Montrose.
Just wandering down the road.
Said he's following the music.
The moon told him to.
Yeah. Kid's a space cadet.
[CAR HORNS HONKING]
Look, I got a busy day ahead of me.
All right, big guy, out you go.
This Jeffries guy
wasn't in his office yet...
...so I left him a message
to pick you up right here.
AUGUST: Okay.
-Here. Hold on.
Don't lose it. If he doesn't show
in an hour, give him another call.
You can handle that, right?
-Yeah.
-You got any money?
Here's 12 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 sidewalk!
[HORNS HONKING AND SIRENS WAILING]
BOY [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.
Alrighty, 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 equilibrium.
Nobody touches this instrument but me.
Roxy's my girl.
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.
Tell them you're AWOL.
They'll send you back
where you come from.
I don't wanna go back there.
Well, good.
This day's been a bust anyway. I'm out.
[MARK MANCINA'S
"FOLLOWING ARTHUR" PLAYING]
What?
I don't have a place to stay.
Do I look like a real-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 else.
I'm gonna let you buy me a pizza.
I've been doing this for 10 years, Bob.
I said 10 percent.
We need to close the deal.
Hold on a second.
No. We said 10 percent.
Yeah, well, it makes the world go round,
doesn't it, Bob?
Just get me the 10 percent, will you?
Thanks.
[SIGHS]
MAN: Need anything, sir?
-Do you know any hit men?
I do know a bass player
might be able to help you out.
Likes to get in fights with lead singers.
Nick?
What are you doing, man?
Still driving. Paying off
those wedding bills from last year.
Oh, fair play to you. Oh, she's a nice girl.
So you playing at all?
Nope.
Why the hell not? Your fingers fall off?
Well, you move on.
What about the lads?
Seen any of them lately?
We still mess around...
...but the Connelly Brothers never really
bounced back minus one brother.
You seen Marshall lately?
Have you?
[VAN MORRISON'S
"MAGIC TIME" PLAYING]
It's my birthday on Saturday.
Session's at my place.
Come, bring your girlfriend.
It's great seeing you, man.
Reminds me of New York.
The good old days, eh?
[SIRENS WAILING]
[LYLA HUMMING BEETHOVEN'S
"FUR ELISE"]
GIRL:
I know.
I know.
-I know. Okay, I don't know.
-Oh!
"Fur Elise" by Beethoven.
And you should know that one.
Oh, yeah.
Will you be our teacher forever,
Miss Novacek?
Well, at least until your old teacher
comes back.
But only if you call me...?
-Lyla.
-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 people.
-Liz.
-The New York Philharmonic.
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.
Lyla....
When are you gonna let yourself
be happy again?
I am happy.
I'm talking about
when everyone else goes home.
Look....
I know. Okay? I know.
Just think about it.
I mean, you're a music teacher
who doesn't play music anymore.
Call me crazy.
Okay, Crazy.
-I'll see you at home, okay?
-All 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 Little Jesus.
But, you know, he wasn't no little 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 real piece of work,
that's what he is.
His real name's Maxwell Wallace.
He took me in.
He said that I was an investment.
He gave me Roxy here.
He bought it in the old days.
Well, he really didn't buy it.
Guess you'd kind of say he found it.
All right, he stole it.
Wizard?
He gave me his place at the Square.
My parents? They ain't gave me nothing.
We all gonna be big stars someday.
MAN: What's the password?
-Open the damn door already.
You're getting on my nerves with that.
Okay, follow 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.
[BOY YELLS]
Watch out.
Yeah, I've been living here for a while.
Come on, man.
Hey, check it out.
-How much you make?
BOY 1: Ten dollars.
ARTHUR: You lying. Let me see.
BOY 1: I am not lying.
ARTHUR: What did I tell you about that?
-Boo!
[BABBLING]
BOY 2: Hey, it's Arthur.
ARTHUR: I'll be laughing at your funeral.
BOY 1: I'm gonna go play basketball.
ARTHUR: All clear.
[SINGING] My life, the sky
Like a feather I'll fly
ARTHUR: Man, you should've knocked him
in his head, son.
[PLAYING IMPACT REPERTORY THEATRE'S
"WIZARD'S THEATER SONG"]
BOY 3:
Shoot it, shoot it, shoot it!
Pizza!
Pizza, pizza, pizza.
GIRL 1:
Don't make me come up there.
BOY 4: Yo, you better hurry
before Wizard shows.
He'll be pissed
if he's seen you bought a pie.
I ain't take no family money.
Citizen bought it.
Hola, music lovers.
Wow, while the cat's away....
Oh.
Who likes pizza?
Who did this?
Arthur?
-What is he?
-He's a damn fool.
He's a damn fool.
-He's gonna get it good.
-Shh.
What are you, Arthur?
I'm a real piece of work, Wizard.
You're on thin ice.
I didn't take no family money.
He bought it.
What?
You look crazy.
I am crazy.
[SCREAMS]
See?
Come here.
Now!
Come on.
-What's your name?
-Evan, sir.
What are you doing here?
I followed the music.
Where did you pick this one up,
Arthur, Bellevue?
You never played a note in your life.
Do you know what music is?
It's God's little reminder there's
something else besides us in this universe.
Harmonic connection between
all living beings everywhere, even the stars.
Is this a school?
Yeah, the school of
Screw You and Take All Your Damn Money.
-Yeah.
-Yeah, we're top of the class.
Not!
It's a business.
-Pockets.
GIRL 2: Okay, let's go.
-Let's go, let's go.
WALLACE: Pockets.
BOY 1:
Oh, man. Get up.
[CHATTERING]
WALLACE:
Peanut, well done.
I got eyes in the back of my head.
Good job. Gracias, amigo.
Chain is only as strong...
...as its weakest link.
Come on, Arthur.
That's chump change.
You got Washington Square.
That was my spot for 10 years.
Go ahead, before I change my mind.
You kids are gonna put me
in the poorhouse.
All right, little mice,
scurry back to your holes. Go, go.
Harmonic dreams, sweet children.
[PLAYING VAN MORRISON'S
"MOONDANCE" ON HARMONICA]
[PLAYING MARK MANCINA'S
"BARI IMPROV"]
ARTHUR:
Roxanne. Man, I'm gonna kill him.
WALLACE:
You know what's out there?
A series of higher tones.
It's arranged by nature.
It's governed by the laws of physics
of the whole universe.
It's an overtone, it's an energy,
it's a wavelength.
And if you're not riding it, good Lordy,
you'll never hear it.
Where do you think it comes from?
What I hear.
I think it comes from all around you, really.
I mean, it's--
Comes through us, some of us.
It's invisible, but-- But you feel it.
So only some of us can hear it?
Only some of us are listening.
Do you think my parents are listening?
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 family.
[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 all Irish people this loud?
-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, Marshall, 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 tell me
you're in a band?
I'm sure there's a lot of things
our Louis hasn't told you, darling.
-Like who did you write the song for?
-I told you this is a mistake.
That's it, go on. Walk out on us again.
-Eh, Lou?
LOUIS: Say what you gotta say, Marshall.
-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.
Feel what? Come on. Hit me.
I'm suffocating here.
The things I left behind
You all right, man?
You all right, man?
Welcome to the Connelly clan.
[MARSHALL LAUGHS]
Jennifer.
You know, it was good
having the old Louis back in there...
...even if it was only for a second.
Louie...
...aren't you supposed to be in the car
with the girl...
...as she drives off into the sunset?
You'll get your suit dirty
sitting there, man.
[MARK MANCINA'S
"5-NOTE TRANSITION" PLAYING]
[PHONE RINGING]
[ANSWERING MACHINE BEEPS]
WOMAN [OVER 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 will is in the top drawer
of the desk in my study.
Dad, stop, come on.
THOMAS:
Lyla, please.
There's more.
All I ever wanted was for you
to have all that promise, all that life.
But you were so young.
We had so much work to do.
-You weren't ready.
-That's plenty, Dad. Really.
I mean, a baby.
That baby, he could have hurt you.
[MARK MANCINA'S
"HOSPITAL PT. 2" PLAYING]
He could've hurt you, and I--
I wasn't gonna let that happen, Lyla.
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 life. More than yourself.
You feel it?
Then show me.
Play it for your parents.
You're flying, kid.
[CROWD CLAPPING]
WALLACE:
Yeah!
You know what I'm thinking?
You're supposed to say,
"What are you thinking, Wizard?"
"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 half your tips.
We're like 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 little more pop.
What do you wanna be in the world?
In the whole world, what do you wanna be?
Close your eyes and think about that.
Found.
Doesn't have enough yin.
-Little more yang, you know?
-Yeah.
Yeah, let's....
[TRUCK HORN HONKING]
Talk about wishful 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, "Please welcome Beach."
No, no.
August Rush. August Rush.
Doesn't that warm you up a little 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 chills. The hair
on the back of my neck's standing up.
-Really?
-Yeah, look at that.
Quick, check it out. Yeah.
-I'm flying! I'm flying!
-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 always felt that he was alive.
I'd see kids that would be his age
and I'd imagine what he'd look like.
-Big blue eyes like his dad and--
-Oh, my God, Lyla.
Lizzy, I used to lie in bed at night
and I swear I could hear him.
-I swear I could hear him.
-Lyla, calm down.
Calm down? How can I be calm?
How can I be calm?
I've been calm for over 10 years
and look 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.
-Wallace--
-You heard him in the park!
You're a pain in the ass.
-Two-fifty if he can play for two hours.
-No, five or he walks.
-Five hundred? I'll give him 250--
-Five hundred or he walks, all right?
JACK:
He walks?
WALLACE:
We have lightning in a bottle, Jack.
No, there's no parents. I'm his guardian.
No, I'm his representation,
that's why I'm making the deal.
WOMAN:
May I help you?
-I'm trying to find my son.
WOMAN: Hold on a second.
Name?
GIRL 1:
Mommy.
[MARK MANCINA'S
"PLAYGROUND" PLAYING]
Mommy.
I don't know.
GIRL 2: Mom.
GIRL 3: Mommy.
Mommy, look at me.
I'm sorry, ma'am, we're closing.
Please, I just-- I wanna know his name.
To even consider re-establishing contact
with a child, there is a detailed process.
I don't care about your process! Okay?
WOMAN: Ma'am, we're closed.
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 tell you
about talking to strangers?
-Yeah, what's your name?
-My name is Mr. Jeffries, and yours?
Arthur. We ain't strangers now.
Look, Mr. Wallace,
I'm here making my normal rounds.
I'm trying to find these kids.
This girl, her name is Geralda.
She should be about 14 now.
Don't know her, Mr. Jeffries.
Okay, well, maybe you can help me
with this young man.
Little boy that came up missing recently
and his name is Evan Taylor.
He's about 12.
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 like that--
-Oh, I know exactly what it's like.
You don't follow up.
And you throw him from place to place.
Eventually, you end up in a place
where they kick the crap out of you.
Go to bed at night
and he tries to close his eyes, ears.
Shut out the world.
What happens to that kid?
What do you think he hears?
What do you think he hears?
-Nothing.
-Nothing. Nothing at all.
Are you all right?
-Yeah, I'm cool.
-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 final?
Okay, well, here's my final offer:
we're history!
-Deal's off.
-But I wanna play.
You play when I say play.
You breathe when I say breathe.
-You got that, boy?
-But I have to play.
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 could 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, split up. You know the drill.
-We gotta help 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 let the cops catch you.
If they do,
you don't tell them your real name...
...because they'll send you right back
where you came from, you got that?
I don't wanna lose you...
...but if we get separated,
we meet at the arch.
Do not tell 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 looks, you know.
I'm not crazy.
Nobody thinks you're crazy.
What's your name?
Lyla Novacek.
Well, it's like
the woman explained to you.
-You fill out a couple forms--
-Six months, they said.
I don't have six months for forms.
Then I can't help you, then.
Explain something to me now. Why now?
Why not before? Why is it so important
that you want him now?
I've always wanted him.
I've waited 11 years, two months,
and 15 days...
...to find out that he's alive.
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 girl
that lives across the street.
Lyla Novacek.
I've been standing outside here waiting.
I wrote her a song.
WOMAN: Oh, the musician.
She keeps me up half the night.
Well, 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 realize that he's probably
already been placed with a family, correct?
Do you have children, Mr. Jeffries?
Yeah, I did.
Then you know.
What's his birthday?
December 17th, 1995.
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 slept under my bed?
Do you live here?
Me and my grandma do,
till our boat comes in.
Do you like music?
More than food.
Do you know your notes?
I've never seen them like that before.
See here:
"Every Good Boy Does Fine"
on the lines.
And "F, A, C, E" in between.
And "Great Big Dogs Fight Animals."
And "All Cars Eat Gas." Get it?
You're like an angel.
Okay. I gotta go.
Gotta go to school.
Can I borrow this?
Later.
[THUDS]
[PLAYING MARK MANCINA'S
"BASKETBALL"]
Holy....
Reverend J.!
[ORGAN SOUNDS]
You're not gonna believe this,
Reverend J. Come quick.
-Whoa. Slow down, Hope.
-You've gotta see what's happened.
[PLAYING MARK MANCINA'S
"3 NOTE THEME"]
Remember in Music Appreciation
we had a class on Mozart?
Yes.
Remember you said
he was like a musical pod?
-Prodigy.
-Exactly.
Well, I have one of those,
and he's living under my bed.
So I showed him the scales
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'll take it.
WOMAN:
How long do you think you'll 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 Connelly.
And?
I played here with me band
a couple of years ago.
Well, about 10 years ago.
Hey, hey, listen, Frank.
I'm gonna play you one song, all right?
Just one song.
And if you don't like 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 "Well-Tempered Clavier"....
Dean, I thought he was an angel.
There's no record of
an August Rush anywhere.
MAN: It's about foundation,
starting with a very simple, orderly 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:
Lyla, just relax.
LYLA: This piece.
LIZZY: You're pushing yourself too hard.
I don't know if I can do this.
LIZZY:
You're playing with the Philharmonic.
That's great.
Okay, let's keep going.
MAN: Start with a C-major chord,
then a modulation to G.
Once we get to G,
we go back to C, very simple.
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 allegro staccato strings.
[KNOCKING]
Ah. Mr. Rush.
-I'm sorry.
-Why are you apologizing, August?
Sometimes I don't listen well...
...and I don't do the homework
like I'm supposed to.
Well, I'm sure you'll do better
in the future.
The New York Philharmonic Orchestra
is having a concert.
In the history of this school we have never
performed the work of a first-year student...
...and certainly no one of your age.
But now, we've asked them
if they could perform your rhapsody.
Would you like that?
Well, good. Good.
How many people will hear it?
Well, it would be performed in Central Park,
on the Great Lawn.
A hundred?
Much more. Thousands.
Okay. Because I need to play it
to a lot of people. Lots and lots.
[PEOPLE CHUCKLING]
We'll see what we can do to help.
DEAN: August, three artists will be
performing, and you will be featured last.
[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 walking down the street.
[MARK MANCINA'S
"JUILLIARD MONTAGE" PLAYING]
It's like someone's calling out to me.
Writing it all down
is like I'm calling 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
"RHAPSODY REHEARSAL"]
Bravo, August!
Good one!
August, boy, you're a hard guy to find.
Been looking everywhere for you.
Excuse me.
You're interrupting a rehearsal here.
WALLACE: Yeah, rehearsal, right.
MAN: And you are...?
Come here to me, son.
Come here.
What'd they do to you?
Nothing.
These people can steal your soul.
Sir, whomever you are,
you don't have the right.
I'm his father, all right?
I have every right.
I'll take you home now. Come on.
But I have a concert. I like it here.
-He's a remarkable 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?
Fill his head with classical theory
and rules?
You can't learn music from books.
It's out there.
You teach him? Ha!
He teaches you.
You learn from him.
We are.
I assure you, Mr. Rush, every day.
You should be with family. Come on.
Mr. Rush, please.
Do you have any idea of the importance
of the concert tomorrow night, for August?
August. Wait, listen.
You gotta tell me right now,
is this man really your father?
You can tell me the truth.
WALLACE:
I know your real 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 yourself, Aug.
Wizard's not so bad.
You saw the kid, right?
He's a freak of nature. Yeah.
Here's the deal. 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 feeling well.
He said you the only one
who gonna make him feel better.
Competition. All right, I'll be back.
You do what you do.
Yo, yo.
I'm his representation.
That's why I'm making the deal.
Come on. No, there's no parents.
Great sounds, kid.
Gibson J-200?
It's beautiful.
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 long you been playing?
Six months.
Six months?
How'd you learn how to play like that
in six months?
Juilliard.
Juilliard?
Yes, sir.
I have my own concert tonight.
Do you reckon I should believe you?
Yeah. But I can't go.
Why's that?
It's kind of a long story.
Well, if I went to Juilliard
and I had a concert tonight...
...I wouldn't miss it for the world.
Yeah.
But what if something bad
would 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 place you can escape to
and just, psh, let it go.
I learned that the hard way.
And anyway, look at me.
Nothing bad's gonna happen.
You gotta have a little faith.
I'm Louis.
Ev-- August.
August Rush.
August Rush.
-Cool name.
WALLACE: August!
Come on!
I gotta go, August.
Bye.
Yeah.
Bye.
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.
Well, if his father loves him like he should...
...then he'll do what's best for his son.
You believe 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
Scholarship Celebration.
And now it is with enormous pleasure...
...that I welcome back to the concert stage
one of Juilliard's own, Lyla 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 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 leave me, man.
Yes, I can.
Because you have to
find your parents, right?
Yeah. My concert's starting.
Well, all my money's on the fact
your folks won't be able to find you.
You know why?
Because they can't hear you.
They're probably 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
I would have found you
[HORN HONKS]
WALLACE:
August!
[PLAYING DAVE METZGER'S
"CELLO CONCERTO IN E MINOR"]
WALLACE:
August!
DEAN:
Thank you, ladies and gentlemen.
Music has always fascinated us
in the way that it communicates.
Without words, without pictures.
And that leads us
to our final performance.
NICK:
How much longer to the airport?
MARSHALL:
Man, it jams up the traffic.
Bring you back to the old days,
eh, Louis?
[MARK MANCINA'S
"ARPEGGIO THEME" PLAYING]
"August Rush."
Evan Taylor.
Unfortunately, our last performer
seems to have....
He's here. He's here. He's here.
Oh. Excellent.
Perhaps there's no one else
who can better personify...
...the mystery that is music...
...than our final composer.
[ORCHESTRA PLAYING
MARK MANCINA'S "RHAPSODY"]
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.
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
Someday
We'll be together
We'll be together
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]