Nature Unleashed: Volcano (2005) - full transcript
A volcanologist attempts to convince an Italian town that a nearby volcano is soon to blow, whilst trying to make sense of his tragic past, and how it might be linked to the coming disaster.
Bella, bella!
Si, Mama?
No!
Hey, hey, hey.
It's OK.
I saw her again.
I saw the girl.
It's just a dream.
No.
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.
OK.
Say it.
Good Morning.
Oh, sorry.
Time to go boss, OK?
Five minutes.
- Russell, say it.
- I promise.
There it is!
It's beautiful!
God.
Magnificent!
OK, Pedro, hook me up.
OK, boss.
There you go.
- Show time.
- Be careful!
Always.
Let's get yours, Se ora.
OK.
You're set.
Thanks.
Be careful, boss.
Russell!
Oh my god!
Get him up!
Take the camera!
Yeah.
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!
Pedro!
Get him to drop me
in the clearing!
- OK, boss.
- Down, 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.
Remember?
'Till death do us part.
Remember?
OK.
OK.
But stay close.
Uh-huh?
OK.
Always.
Pedro, get some
footage of the volcano,
but keep your distance.
- OK, boss.
- Ready?
Yeah.
OK, let's go.
Just remember, you
promised to be careful.
You get it?
Don't get too close.
Whoa.
Five minutes, right?
More!
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.
Go!
Let's go!
Let's go!
Go!
Drive.
Come on!
Push!
Oh!
Drive!
Go!
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!
Russell!
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.
Mhm.
This place is a pigsty here.
What?
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.
Sorry.
I'm sorry.
You don't read road
signs in America?
Sorry.
Bambini.
The American doesn't
know how to drive.
Goodbye, American.
Ciao!
Ciao.
Angela,
Angela, Angela,
Angela, Angela,
Angela, Angela, Angela, Angela, Angela, Angela, Angela, Angela.
Angela!
Angela, Angela, Angela, Angela, Angela, Angela.
Hello?
Hello?
"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.
Thanks.
You are Se or Woods, no?
Yeah.
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.
Good.
My wife, her family
is from here.
The family name is Silvano.
- Silvano?
- Silvano.
Let me think.
Do you know where they live?
Giuseppe!
Silvano?
Silvano?
Carlo, that is the dirty one.
He says he used to workin a mine with a Silvano.
Mama.
Si?
Silvano?
Yes, I remember Silvanos.
But they go to America
a long time ago.
You a friend of theirs?
Yes.
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.
Hi.
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.
Americano?
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?
Yeah.
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.
Yeah, Antonio, the girl wholives there, do you know her?
You met Angela.
She is pazzo, molto pazzo.
Crazy.
Where's the elementary school?
Ele-what?
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.
OK.
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?
Yes.
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.
Sylvia.
Nice to meet you.
And where's your wife?
Is she with you?
No.
No.
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.
Oh.
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.
Smart.
Sometimes too smart.
They went to America.
Her father was very ambitious.
He wanted the world for her.
Is she here?
No.
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.
Angela?
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.
Tunnel?
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.
Angela?
Angela?
Angela?
Angela?
Do you mind if I join you?
Prego.
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?
No.
She's sweet, innocent.
Just misunderstood.
Dee!
Dee!
Dee!
Angela?
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.
Fermo!
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.
Come.
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.
Vieni.
Sylvia, can I talk to you?
Russell.
Hey.
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.
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.
Russell.
Russell!
Even if you're right,
you can't keep chasing
that girl all over town!
Hey!
Hey!
Hey!
Dov Angela?
Dov Angela?
She went to her
mom, to the graveyard!
She was here.
We must have just missed her.
Angela!
Angela!
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?
Mhm.
What if in the time thatshe was gone, her soul
somehow connected with Dee's?
Why did she come back?
Russell.
Nice and easy.
Don't scare her.
Oh my god.
She can't swim!
Hurry!
Angela!
Sylvia!
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.
Impossible!
A miracle!
Resuscitate her!
Presto!
Do it.
Start.
Again.
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.
Famiglio.
Grazie, dottore.
Prego, prego.
You stay with Angela.
I got to go.
Where?
To find some answers.
What?
What are you trying
to tell me, Dee?
Circles.
All these circles.
Half-- half moon-- half.
Half, half, full.
The Earth.
Waxing, waning, it's the moon.
She's drawing the moon.
Antonio!
Antonio!
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.
Here.
Click on this one.
No, not that up there.
Here?
Get up.
Oh.
She's all yours.
OK.
Come on, come on, come on.
Pronto!
She's for you.
It's your office, huh?
Hello?
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?
Father!
Leave her alone!
You don't understand!
No.
It is you who don't
understand, Se or.
It is the sign of the devil.
Leave God's house.
Go.
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?
That.
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.
Leave.
Now!
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.
OK.
We need batteries!
S.
And a bag.
Antonio.
S?
Have you got some tape,
or string, something?
Ah!
She is top of the
range, like new.
OK, come on, come on, come on.
OK.
Hey!
OK.
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!
Yes!
Yes!
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.
Hi.
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.
Antonio!
Ask her, what do we need to do?
It's no use, Russell.
No.
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!
Run!
Oh my god.
Famiglia!
Get away from the windows!
Russell, the school
bus is on fire!
The children, they're trapped!
Take care of Angela!
Sorry.
Angela!
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!
Hurry!
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.
Father!
The lava is headed this way!
We've got to get these
people out of here!
These people have
sought sanctuary.
Preghiamo.
Let us pray.
Padre nostro who art inheaven, hallowed be thy name.
No.
Antonio.
Sylvia, tell the people to come.
Hurry!
Maybe there's a way out.
OK.
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.
Antonio!
Antonio!
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!
Angela.
Angela.
Come.
Come, Angela.
Come.
Take my hand.
Se or Woods!
Andiamo!
Angela.
Bastard.
Sylvia.
Ciao, Angela.
She'll always be with
you, your Donatella.
Si, Mama?
No!
Hey, hey, hey.
It's OK.
I saw her again.
I saw the girl.
It's just a dream.
No.
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.
OK.
Say it.
Good Morning.
Oh, sorry.
Time to go boss, OK?
Five minutes.
- Russell, say it.
- I promise.
There it is!
It's beautiful!
God.
Magnificent!
OK, Pedro, hook me up.
OK, boss.
There you go.
- Show time.
- Be careful!
Always.
Let's get yours, Se ora.
OK.
You're set.
Thanks.
Be careful, boss.
Russell!
Oh my god!
Get him up!
Take the camera!
Yeah.
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!
Pedro!
Get him to drop me
in the clearing!
- OK, boss.
- Down, 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.
Remember?
'Till death do us part.
Remember?
OK.
OK.
But stay close.
Uh-huh?
OK.
Always.
Pedro, get some
footage of the volcano,
but keep your distance.
- OK, boss.
- Ready?
Yeah.
OK, let's go.
Just remember, you
promised to be careful.
You get it?
Don't get too close.
Whoa.
Five minutes, right?
More!
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.
Go!
Let's go!
Let's go!
Go!
Drive.
Come on!
Push!
Oh!
Drive!
Go!
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!
Russell!
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.
Mhm.
This place is a pigsty here.
What?
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.
Sorry.
I'm sorry.
You don't read road
signs in America?
Sorry.
Bambini.
The American doesn't
know how to drive.
Goodbye, American.
Ciao!
Ciao.
Angela,
Angela, Angela,
Angela, Angela,
Angela, Angela, Angela, Angela, Angela, Angela, Angela, Angela.
Angela!
Angela, Angela, Angela, Angela, Angela, Angela.
Hello?
Hello?
"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.
Thanks.
You are Se or Woods, no?
Yeah.
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.
Good.
My wife, her family
is from here.
The family name is Silvano.
- Silvano?
- Silvano.
Let me think.
Do you know where they live?
Giuseppe!
Silvano?
Silvano?
Carlo, that is the dirty one.
He says he used to workin a mine with a Silvano.
Mama.
Si?
Silvano?
Yes, I remember Silvanos.
But they go to America
a long time ago.
You a friend of theirs?
Yes.
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.
Hi.
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.
Americano?
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?
Yeah.
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.
Yeah, Antonio, the girl wholives there, do you know her?
You met Angela.
She is pazzo, molto pazzo.
Crazy.
Where's the elementary school?
Ele-what?
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.
OK.
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?
Yes.
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.
Sylvia.
Nice to meet you.
And where's your wife?
Is she with you?
No.
No.
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.
Oh.
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.
Smart.
Sometimes too smart.
They went to America.
Her father was very ambitious.
He wanted the world for her.
Is she here?
No.
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.
Angela?
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.
Tunnel?
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.
Angela?
Angela?
Angela?
Angela?
Do you mind if I join you?
Prego.
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?
No.
She's sweet, innocent.
Just misunderstood.
Dee!
Dee!
Dee!
Angela?
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.
Fermo!
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.
Come.
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.
Vieni.
Sylvia, can I talk to you?
Russell.
Hey.
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.
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.
Russell.
Russell!
Even if you're right,
you can't keep chasing
that girl all over town!
Hey!
Hey!
Hey!
Dov Angela?
Dov Angela?
She went to her
mom, to the graveyard!
She was here.
We must have just missed her.
Angela!
Angela!
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?
Mhm.
What if in the time thatshe was gone, her soul
somehow connected with Dee's?
Why did she come back?
Russell.
Nice and easy.
Don't scare her.
Oh my god.
She can't swim!
Hurry!
Angela!
Sylvia!
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.
Impossible!
A miracle!
Resuscitate her!
Presto!
Do it.
Start.
Again.
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.
Famiglio.
Grazie, dottore.
Prego, prego.
You stay with Angela.
I got to go.
Where?
To find some answers.
What?
What are you trying
to tell me, Dee?
Circles.
All these circles.
Half-- half moon-- half.
Half, half, full.
The Earth.
Waxing, waning, it's the moon.
She's drawing the moon.
Antonio!
Antonio!
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.
Here.
Click on this one.
No, not that up there.
Here?
Get up.
Oh.
She's all yours.
OK.
Come on, come on, come on.
Pronto!
She's for you.
It's your office, huh?
Hello?
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?
Father!
Leave her alone!
You don't understand!
No.
It is you who don't
understand, Se or.
It is the sign of the devil.
Leave God's house.
Go.
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?
That.
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.
Leave.
Now!
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.
OK.
We need batteries!
S.
And a bag.
Antonio.
S?
Have you got some tape,
or string, something?
Ah!
She is top of the
range, like new.
OK, come on, come on, come on.
OK.
Hey!
OK.
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!
Yes!
Yes!
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.
Hi.
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.
Antonio!
Ask her, what do we need to do?
It's no use, Russell.
No.
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!
Run!
Oh my god.
Famiglia!
Get away from the windows!
Russell, the school
bus is on fire!
The children, they're trapped!
Take care of Angela!
Sorry.
Angela!
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!
Hurry!
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.
Father!
The lava is headed this way!
We've got to get these
people out of here!
These people have
sought sanctuary.
Preghiamo.
Let us pray.
Padre nostro who art inheaven, hallowed be thy name.
No.
Antonio.
Sylvia, tell the people to come.
Hurry!
Maybe there's a way out.
OK.
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.
Antonio!
Antonio!
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!
Angela.
Angela.
Come.
Come, Angela.
Come.
Take my hand.
Se or Woods!
Andiamo!
Angela.
Bastard.
Sylvia.
Ciao, Angela.
She'll always be with
you, your Donatella.