Nature Unleashed: Volcano (2005) Script

Bella, bella!

Si, Mama?


Hey, hey, hey.

It's OK.

I saw her again.

I saw the girl.

It's just a dream.


I want to go home.

I have a really bad feeling about this.

I want us to go home right now.

Don't be silly.

Don't be silly.

I don't care about this assignment.

It doesn't matter.

I don't want to go up there.

Dee, this is a big opportunity for us.

We can't just walk away.

Tell you what, when we're done here, we'll take a vacation, OK?

We'll take a little trip, we'll go to Italy, we'll visit the little townwhere you came from, OK?

All right.

You've promised me that before.

You don't realize how important this is to me, for me to have you see where I was born, for us to be there together.

Promise me that we'll do it this time.


Say it.

Good Morning.

Oh, sorry.

Time to go boss, OK?

Five minutes.

Russell, say it. I promise.

There it is!

It's beautiful!



OK, Pedro, hook me up.

OK, boss.

There you go.

Show time. Be careful!


Let's get yours, Se ora.


You're set.


Be careful, boss.


Oh my god!

Get him up!

Take the camera!


Pedro, I need more slack.

Grab me!

Get him up!

Pull him up!

Pull him up!

Are you OK?

Are you all right?

Are you kidding?

That was some of the best footage I ever got!


Get him to drop me in the clearing!

OK, boss. Down, down, down.


Don't scare me like that again.

Are you going out there?

Oh, come on, Dee!

This is too good.

We're talking the cover of "National Geographic," "Time" magazine.

Five minutes.

That's it, I promise.

What are you doing?

Where you go, I go.


'Till death do us part.




But stay close.




Pedro, get some footage of the volcano, but keep your distance.

OK, boss. Ready?


OK, let's go.

Just remember, you promised to be careful.

You get it?

Don't get too close.


Five minutes, right?


Something's pissed our girl off.

This isn't a good idea, Russell.

Call the chopper.

Two minutes.

We're out of here.

I promise.

Look out!

Do you know how much I love you?

Tell me later.

Let's go.

Hey, Pedro!

Get the chopper out of here.

This thing's heating up.

We'll meet you back at the jeep.

OK, boss.


Let's go!

Let's go!



Come on!





Let's go.

Oh my god.

Get that off of him!

Here, take my hand!

OK, you'll be all right.

We need help!

Help, please!


Dee, give me your hand.

Take the baby.

Here, gotcha.

It's OK, I gotcha, Dee.

It's OK. It's OK.

I'm OK. It's OK.

Hang on. Look at me.

Hang on.

I'm not going to let you go.

Come on.

Dee. Dee.

Don't look down. Dee.

Dee! Look at me!

Look at me!

I've got you.

I've got you!

Russell, I'm so looking forward to hearing yourvoice and seeing you smile.

I can't wait for you to get back home.

The nights are so lonely without you.

I miss your body next to mine.

Russell, I made it, your favorite.

Thank you, Mary, but I can take care of myself.


This place is a pigsty here.


I said this place looks likethe place where animals live.

Dee wouldn't like this, Russell.

Dee's not here anymore, Mary.

She'll always be here.

Now listen to me.

You know, now is not the time, Mary.

No, now is the right time.

You've got to carry on, Russell.

If not for you, for her.

Get out of this place you are in.

Go see the light.

Be happy with her memories.

Remember her stories.

Russell, she told good stories.

Yeah, she did tell good stories.


I'm sorry.

You don't read road signs in America?



The American doesn't know how to drive.

Goodbye, American.



Angela, Angela, Angela, Angela, Angela, Angela, Angela, Angela, Angela,Angela, Angela, Angela, Angela.


Angela, Angela, Angela,Angela, Angela, Angela.



"Se or, please, you takethe key, and make the siesta."

When I was a littlegirl, we had this big cypress tree in our garden.

My mother would read to me, andI would just sit, and stare up at its tall branches, and watchthe leaves dancing in the sky.

And then when I was five--

I was four-- my father helpedme carve my name in the tree.

And then I spent the rest of my childhood waiting for my prince to comeput his name next to mine.

I never imagined that I'd find him in America.

I want to take you there to that tree, and I want you to carve your name next to mine, my sweet prince.

She is nice camera.


You are Se or Woods, no?


If you need film for yourcamera, my shop, she is there.

How did you know my name?

It is my business to know everyone who comes to Sant'Andrea.

I am Antonio Genolatti.

If you need anything, anythingat all, then you come to me.

I need some information.

In Sant'Andrea, we say, me for you.

OK. Me for you.


My wife, her family is from here.

The family name is Silvano.

Silvano? Silvano.

Let me think.

Do you know where they live?




Carlo, that is the dirty one.

He says he used to workin a mine with a Silvano.




Yes, I remember Silvanos.

But they go to America a long time ago.

You a friend of theirs?


Do you remember where they lived?

Yeah, s , I know.

Now take road above town.

There is a path uphill.

You see a big tree.

Make the right.

There she is, very close.


Parle inglese?

My wife, mi-- mi moglie, she used to live here.

Hey, it's OK.

I'm not going to hurt you.

Oh, it's you again?

Are you mad?

You Americans.

You just think you can goanywhere with no respect for anyone, right?

I didn't mean to scare her.

This is a misunderstanding.


S .

You better go now, unless you want somebody to get really upset with you.

I'm sorry.

Se or Woods, come stai?

We must stop meeting like this.

You need anything?

Film processing?


Actually, yeah.

I process myself.

You want rush or no rush?

Well, how long is it going to take?

One hour, maybe, maybe two.

Better make it the rush job.

So how was your visit so far?

Did you find the house?


Yeah, Antonio, the girl wholives there, do you know her?

You met Angela.

She is pazzo, molto pazzo.


Where's the elementary school?


This is Sant'Andrea, not New York.

We go to school from baby to teenager.

My teacher, she had the best--

Antonio, the school.

Ah, s , the school.

You take a right, and thena left, and she is here.


Grazie, grazie, Antonio.

Oh dear.

You again.

What are you doing here?

Yeah, listen.

About that, I can explain.

Explain what?

My wife.

She went to school here.

She grew up in the house on the hill where the little girl lives.

Oh, I see.

Oh my god.

So you're here to see where she grew up?


And I was hoping that the school might have records, maybe pictures of her, something like a year book.

No, no, I'm sorry, becauseuntil three years ago, the church ran the school.

So all the records are at the monastery.

But I'm sure that if you go there and ask for Father Dominic,he will show you something.

Thank you.

Hey, wait a minute.

What's your name?

Oh, Russell.


Nice to meet you.

And where's your wife?

Is she with you?



She recently passed away.

I'm sorry.

I'm sorry.

Father Dominic?

Father Dominic?

Father Dominic.

Isn't it beautiful?

Yes, very.

I am Father Dominic.

Russell Woods.

Have you come to pray?

No, Father.

Actually, I was told youmight be able to help me.


How so?

My wife grew up in Sant'Andrea, and I was informed that the monasterykept the old school records.

This is true.

What is her name?

Donatella Silvano.

Ah, yes, I remember her.

Beautiful smile.


Sometimes too smart.

They went to America.

Her father was very ambitious.

He wanted the world for her.

Is she here?


Unfortunately, she died a few months ago.

I am sorry for your loss.

Please, wait here.

I may have something for you.

Here it is.

I just found the file with her photo.

She's there, right in the middleof the picture with her class.

Beautiful smile, eh?

You know, my son, we cannotalways understand why our father calls his children back to him, but if we open our hearts to the Lord, we will always find solace.

What's on your mind, my son?

It's difficult. Lately, I seemto feel her everywhere I go.

Her spirit is with you.

Sometimes it's so real.

Earlier today, I was at herold house, and I swear to you, she was there, right in front of me.

I advise you to stay awayfrom that place, my son.

No, it's OK.

The old drunk guy who lives there, he seems pretty harmless.

No, not Carlo.

The girl.

The girl.


She is disturbed.

Be careful, Se or Woods.

She's just a kid.

The Lord works in mysterious ways.

The devil more so.

It's time for mass.

Se or Woods!

I have your film.

She is ready.

Yeah, thank-- er, grazie.

I hope you're not bored in our village.

There are many things to do in Sant'Andrea.

The amphitheater, she's an ancient wonder, over 2,000 years old.

And of course, there is the nickel mine, a cave, a tunnel to explore.


What tunnel?

You know, there is a legend that says a secret tunnel runsunderneath the entire town into the mountain.

But of course, no one hasever seen this tunnel, so--

That's why they call it a secret tunnel.





Do you mind if I join you?


I saw Angela today at the mine.

It's understandable.

She goes there often.

Her father was a miner, and hedied when the tunnel collapsed.

What happened to her?

She was with her mother.

They were struck by lightning.

Her mother died instantly.

Angela was taken to the hospital.

Her heart stopped.

The child was dead for almost 20 minutes.

And then suddenly, she came back to life.

But she slept in a coma for two days.

And when she woke up, she couldn't speak.

She acted strangely.

So people began to think that she was crazy.

But she's not?


She's sweet, innocent.

Just misunderstood.





How did you do this?

How do you know my wife?

What are you trying to tell me?

I told you to stay away from here.


Se ore Woods, you are meddling in a world you do not understand.

Angela is clouded by darkness.

It would be foolish for youto remain in Sant'Andrea.

Things might happen.

Things we cannot control.

Father, this girl is tryingto communicate something to me.

I know it.


What's this?

This is where she buries dead animals.

She will never communicatewith you because you are alive.

The devil makes her talk only to the dead.


Sylvia, can I talk to you?



I need you to help me toget into Angela's house.

Why? What's going on?

Ever since I've been in this village, I've been seeing my wife.

On the streets, in my dreams.

I'm hearing her voice.

You know, today I went to Angela's house, and there's a painting of her on the wall.

Oh dear.

Russell, calm down.

Listen to me.

A broken heart cansometimes make us believe things that aren't real.

Do you think I'm imagining this?

You said so yourself.

You're seeing her face, hearing her voice.

I'm not making this up. I saw it.

I touched it.

OK, look, you said Angelacommunicates through drawings.

Yeah, that's true.

And Father Dominic saysthat she can talk to the dead.

And so?

So I think my wife is trying to tell me something through Angela.

Just one minute.

It's OK.

Come inside.

I told him about your wife,and he agreed to let you in.

Where is it? Where's the picture?

Russell, what's going on?

It was here.

It was right here.

You've got to believe me.

I don't see anything.

Well, then they came and they washed it away.

I mean, look, it's wet. Come on.

Come on, feel it.

OK, stop it.

I can't hear anymore of this.

It was here.

Dee is here.


Did Angela draw like thisbefore I came to Sant'Andrea?

I don't know.

Come on, Sylvia, think.

You're her teacher.

You're the only one who pays attention to her.

When did she start to drawthese pictures like this?

I don't know.

I've never seen them before.

Everywhere I see her,she's drawing these pictures, these circles.

In the piazza, in the mines.

You know, she's obsessed with them.

They have something to do withwhat Dee's trying to tell me.

She'sjust a confused girl.

That's it.

She's not.

She's not somemisunderstood child, Sylvia.

I'm not crazy.

These drawings have some meaning.

We're going to get Angela.

We're going to bring her here.



Even if you're right, you can't keep chasing that girl all over town!

Hey! Hey!


Dov Angela?

Dov Angela?

She went to her mom, to the graveyard!

She was here.

We must have just missed her.



My god.

What is it?

The date is the same.

S ?

This is the day my wife died.

Angela and her mother were struck by lightning the same day that Dee died.

S .

You said Angela diedand then came back, right?


What if in the time thatshe was gone, her soul somehow connected with Dee's?

Why did she come back?


Nice and easy.

Don't scare her.

Oh my god.

She can't swim!




She's burning up.

Why's she so hot?

I don't know.

Get us back to shore.

Her skin is on fire!

One, two, three, four, five.

Angela, coraggio.

One, two-- come on,breath-- three, four, five.

There she is.

I got her. I got her.

There she is.

Let's go to see Dr.Bartoli at the monastery.

It's closer.

Put her on the bed there.

There's no pulse.

No heartbeat.

I'm so sorry.


A miracle!

Resuscitate her!


Do it.



Come on.

Again, again.

She has a pulse.

But why would she try to kill herself?

She wasn't.

She was trying to warn us.

Of what?

She is stable, and we are doing all we can to bring the fever down.

She'll be OK.


Grazie, dottore.

Prego, prego.

You stay with Angela.

I got to go.


To find some answers.


What are you trying to tell me, Dee?


All these circles.

Half-- half moon-- half.

Half, half, full.

The Earth.

Waxing, waning, it's the moon.

She's drawing the moon.



You there?

Se or Woods, you make Ishould jump out of my skin!

It's an emergency.

What we're looking for is anyunusual activity with the moon.

La Luna.

She is our emergency.


Click on this one.

No, not that up there.


Get up.


She's all yours.


Come on, come on, come on.


She's for you.

It's your office, huh?


Russell, you've got to come quickly.

It's Angela! OK, I'm on my way.

OK, you know what I'm looking for, right?

If you find anything, I'mgoing to be at the monastery.

Va bene.

Father Dominic,what are you doing to her?


Leave her alone!

You don't understand!


It is you who don't understand, Se or.

It is the sign of the devil.

Leave God's house.


Se or Woods!

La Luna.

It is like this, how you say,once in a millennium incident.

The moon, she is getting closer to the Earth than she has ever been before.

What is he talking about?

It's a unique lunar cycle.

In 500 years, the moon hasn'tbeen this close to the Earth as it will be at the end of this cycle.

And what does this mean?

The gravitational pullcreates tidal waves, floods.

This is saying that in a few hours time, the moon is going to break through its regular orbital plane.

The effect on the planet could be disastrous.

But we're nowhere near the sea.

S , and soon it will be day.

Just because you can't see the moon doesn't mean it's not up there.

Russell, what is going to happen?

What are you doing?

Angela's paintings.

We're waiting.

For what?


What are you doing?

It's the mountain.

It's a volcano.

It's impossible!

Don't you see?

Everything Angela's been trying to tell us is connected to this.

There was a sea of molten lavacapped under that mountaintop, and it's getting ready to blow.

That is no volcano.

I have been up to the top of her.

She is beautiful, peaceful,like a sleeping giant.

And what happens when a sleeping child wakes?

We've got to evacuate the village.

Father, the mountain is a volcano.

I told you to stay away from this place!

Father, we need to talk.

I will not speak with the devil's helpers.



There is a painting on your chapel wall showing the mountaintop exploding, fire raining down on the valley.

It's some kind of prophecy.

Your mountain is about to erupt.

The child has made you delusional, Se or.

Father, please.

Your people, they listen to you.

We have to get them tosafety, and we need your help.

You don't know our people.

You don't know our land.

There is no volcano.

You speak lies like the child.

You want more proof?

I'll get it to you.

Antonio, my flashlight.

In the case.


We need batteries!

S .

And a bag.


S ?

Have you got some tape, or string, something?


She is top of the range, like new.

OK, come on, come on, come on.




Let's go.

Antonio, come on!

Are you sure about this?

Angela led me down here before.

There's got to be a reason.

Hey, cover your mouth.

It's-- it's nothing.

I don't know, it's gotta be something.

This is not good.

I think we should go now.

Yeah, yeah, just one second.

There's your evidence, Father Dominic.

Now, now, we should go.

To the bus!



Come on, get up!

Everybody, please remain calm.

The worst is over.

No, no!

Father, themountain, it's going to erupt.

You have to get these people out of here.

Tell, them, tell them, tell them!

You must listen to me!

When did you listen to me?

There is your volcano.


You know, I could really use your help here because they think I'm crazy.

And they think you're crazy,too, and I know you're not.

I know-- I know you have something to tell me, and I need to know what it is.

Do you understand me?

I need to know.

You understand?

Give me your--

Oh my god.

You're burning up.


Ask her, what do we need to do?

It's no use, Russell.


No, I know you know.

Angela, it comes from underground.

Antonio, underground, underground.

Is that it?

That's it.

That's it.

You see, it's not coming from the mountain.

It's coming from underground.

It's coming from underneath us.

That's it.

That's it.

We have to run.

Run! Run!


Oh my god.


Get away from the windows!

Russell, the school bus is on fire!

The children, they're trapped!

Take care of Angela!




Get back!

Get back!

Sylvia, get the kids in the back.

We can't get out from the front.

There's too much fire.

Come on!

Come on!

OK, good.

Sylvia! Bring the kids!

Come on!

Come on!


OK, come on, come on. Don't be afraid.

That a boy.

Come on, jump down.

There you go.

Come here.

Here you go.

Sylvia, tell them in the back.

Tell all the people in back,come up the hill to safety, OK?

Where's Angela?

I don't know.

We got to find her.

Come on, come on.


The lava is headed this way!

We've got to get these people out of here!

These people have sought sanctuary.


Let us pray.

Padre nostro who art inheaven, hallowed be thy name.



Sylvia, tell the people to come.


Maybe there's a way out.


Get in.

There's a light.

Look over there.

It might be an opening.

Come on, come on, come on.

Push, push!

Hey, hey, get up.



Help Sylvia.

S , s .

I'm going to get Angela.

Se or Woods!

Come, let's clear the entrance.

Hurry up!

Come on, hurry up!




Come, Angela.


Take my hand.

Se or Woods!





Ciao, Angela.

She'll always be with you, your Donatella.