"SILBO GOMERO: Gomera's Whistling Language" Master Scene Script

Best viewed in MSIE browser

1990 © J.Brent

Master Scene Script

"SILBO GOMERO: Gomera's Whistling Language"
copyright 1990 J. Brent

(The names of the episodes are for bookkeeping purposes only and are not intended to be used in the actual film)

------------------------------------------------------------
Part 1
------------------------------------------------------------

*'Opening'

BLACK SCREEN

The screen is black just long enough to build some suspense. A whistle is heard and simultaneously the contours and nuances of the whistle are seen displayed passing across the black screen in a new form of musical notation (called GF-representation™). A second whistle is heard (at a slightly lower volume to give the effect of distance) and is also seen passing by on screen in GF-representation™. A short conversation (five lines long - called "Conversation 1" - see Scene 85) takes place. Each of the five phrases are displayed in GF-representation™ (there is no explanation of the whistles' meaning), and as the last line of the conversation passes off the black screen.

'Title'

EXTERIOR - LOS ORGANOS - DAY

FADE IN:

Los Organos is a rock formation on the north of the island of Gomera where the basalt cliffs resemble the pipes of a church organ. It can only be reached by boat.

MAIN TITLE OVER:

Superimposed over the shot of Los Organos is the title:

(production company) Presents:

TITLE DISSOLVE:

Next the title:
"SILBO GOMERO: Gomera's Whistling Language"
fades in and out.

		NARRATOR
	(once the 2nd title has faded)
Whistling has always been used as a form of communication.

(SFX: wind, waves, seabirds)

FADE OUT:

*'Hey!'

EXTERIOR - TYPICAL NEIGHBORHOOD - DAY

Fade in as narrator speaks. YOUNG MAN 1 is standing on the corner. We can tell that he is waiting for someone, because he quickly looks at his watch. He is not impatient, but we sense that the person he is waiting for is late. YOUNG MAN 2 appears from a side street about 50 meters behind Young Man 1. We see Young Man 2's arrival but Young Man 1, who is still waiting, does not.

		YOUNG MAN 2
	(puts his fingers in his mouth and whistles)
"WEE-UU-WEET"

The Young Man 1 smiles, turns in the other's direction, and waves. The Young Man 2 also smiles and waves. They begin walking towards each other.

(At the bottom of the screen, as with all the following scenes which incorporate whistling [connotated by an asterisk*], both the GF-representation "squiggle" of the whistle and the English translation of its approximate meaning appear as *SUBTITLES)

(*SUBTITLE: "Hey!")

(SFX: rustling of leaves, distant traffic)

FADE OUT:

*'I'm home'

EXTERIOR - FRONT GARDEN OF A TYPICAL HOME - DAY

It's a warm sunny day and the WIFE is working in the GARDEN. Her HUSBAND approaches the HOUSE, obviously just coming home from work, she doesn't notice him.

		HUSBAND
	(whistling to her)
(*SUBTITLE: "Yoo-hoo")

		WIFE
	(looking up from her garden)
Oh, hi honey. Have a nice day?

(SFX: birds, small breeze, lawnmower in the distance)

FADE OUT:

*'Narrow Escape'

EXTERIOR - CITY STREET CORNER - DAY

A speeding CAR coming around the corner almost hits a CYCLIST. The Cyclist shakes his fist in the air.

		WITNESS
	(whistling to BUDDY)
(*SUBTITLE: "Wow!")
	(speaking to buddy)
Did you see that?

(SFX: city background noises, speeding car's engine, screech of tires at near miss)

FADE OUT:

*'Hot Potato'

EXTERIOR - AROUND THE CAMPFIRE - DUSK

A few PEOPLE sitting around the CAMPFIRE at dinnertime. PERSON 1 throws a POTATO wrapped in aluminum foil (straight out of the fire) to PERSON 2. Person 2, who catches the POTATO, begins whistling as he throws it from one hand to another. The other people start laughing.

(*SUBTITLE: "Ouch! Damn! Ouch! Aiee!")

(SFX: crickets, crackle of the fire)

FADE OUT:

*'Whistle While You Work'

ANIMATION (STOCK FOOTAGE)

From "Snow White and the Seven Dwarfs". The use of this particular scene would have to be negotiated through Disney.

(*SUBTITLE: "Be happy.")

DISSOLVE:

*'Wolf Whistle/Construction Workers 1'

EXTERIOR - CONSTRUCTION SITE - DAY

CONSTRUCTION WORKERS are situated in different levels of a BUILDING IN PROGRESS. MATERIALS are being lowered on a CRANE.

		FOREMAN
	(screaming)
A little lower. Just a bit more...

At that moment, a very pretty GIRL in a revealing LOW-CUT SUMMER DRESS and wearing TENNIS SHOES walks past the construction site.

		ONE OF THE WORKERS
	(whistling directly at the Girl, from one of the upper levels)
"WEEET-WOOO"

The Girl turns, and gives a look that could kill.

		GIRL
You guys never learn, do you?

The Construction Workers all break out laughing.

		FOREMAN
	(yelling)
All right, knock it off you guys!

(*SUBTITLE: "expletive deleted")

(SFX: industrial sounds, sound of the crane moving)

CUT TO:

*'Here, Rover'

EXTERIOR - AN OPEN FIELD - DAY

		NARRATOR
	(in a tone of disbelief, obviously referring to the above scene)
Animals!

A WOMAN playing fetch with her DOG. The Woman whistles for her Dog, the Dog comes to its master, and they walk off camera together.

		NARRATOR
	(as Woman and Dog are walking off)
The shepherds of Scotland have turned sheepdog training into an art, by using whistles and other signals.

(*SUBTITLE: "Come here, come on!")

(SFX: wind, birds, rustling of grass, occasional dog's bark)

CUT:

*'Scottish Shepherds'

STOCK FOOTAGE

(The BBC has a program called "One Man and His Dog" which consists of competitions involving shepherds and their dogs. Prizes are awarded according to how quickly the dogs can round up and corral the sheep, and how well the dogs respond to the master's whistles, etc.)

[I have already been in contact with this program's producer, Mr Ian Smith, and have received permission to use a short clip (which emphasizes the whistling aspect of this ancient craft) for use with this film on the Gomeran whistling language. Please see Jeremy Cantwell's letter of Feb 7, 1989 and the BBC LIBRARY SALES contract which I received from Mr Cantwell in Supplementary Materials.]

(*SUBTITLES: [as appropriate] "come, down, fetch, go bye, heel, stand, stay, steady, walk on up, way to me, O.K., that will do.")

CUT:

*'Horse Feathers'

STOCK FOOTAGE

This is a scene from Reel I of the Marx Bros. movie "Horse Feathers". CHICO and HARPO are in a speakeasy, and after Chico orders his drink, the BARMAN asks, "And what does he want?" At that point Harpo goes into a dance and begins whistling. Chico says, "He wantsa a scotcha." After having reviewed almost every Marx Bros. movie ever made, I feel this is the funniest scene which Harpo whistles in and also the most appropriate for use with this film on the Gomeran whistling language. However, there might be another of Harpo's whistle scenes which is your favorite.

The use of this clip will have to be negotiated.

(*SUBTITLE: "I want a scotch")

CUT:

12	(DELETED)

------------------------------------------------------------
Part 2
------------------------------------------------------------

'North Africa'

MAP OF NORTH AFRICA

MAP OF NORTH AFRICA shows the extent of the Hamites' population distribution before the Romans' campaigns, i.e. from the Nile valley right across to Morocco.

		NARRATOR
Before the intrusion of the Roman Empire, northern Africa was inhabited from the Suez to the Atlantic by a race known as the Hamites. This ethnic branch includes the ancient Egyptians and the present-day Berbers...

DISSOLVE:

'Pyramids and Mummies'

STOCK PHOTO OF PYRAMIDS/PHOTOS OR FOOTAGE OF TENERIFE MUSEUM

		NARRATOR
	(continuing)
...The ancient Gomerans, like their relatives, the ancient Egyptians,...

Quick shot of the PYRAMIDS.

		NARRATOR
...practised mummification...

A shot of MUMMY or MUMMIES (these are to be found in the Achaelogical Museum in Santa Cruz de Tenerife, complete with teeth and hair).

		NARRATOR
...and are thought to have come from the region we now know as Morroco.

DISSOLVE:

'Stone Game'

EXTERIOR - BARREN GROUND, STREWN WITH STONES - DAY

A title appears:

Northwest Africa
Before the Fall of the Roman Empire

(CASTING: The Berbers of the High Atlas in Morocco are probably the closest living relatives to the original Gomerans. They were fairly short with the men under 164 cm. and the women below 153 cm. They also had lighter complexions than the Romans or Spanish, and often blonde hair and blue eyes. Schwidetsky calls them Cromagnoids.)

As the title fades we see two BOYS aged 18 or so, on a flat piece of barren ground strewn with STONES the size of goose eggs. These Boys have "Hamitic" features, and are throwing stones at each other. The Boys are surrounded by twenty-odd VILLAGERS (all of them virtually naked) who are obviously enjoying the sport of the stone throwing game, alternately cheering good throws or catches and "booing" bad throws or catches.

This is a choreographed scene requiring great dexterity of the actors: The STONES being thrown are picked from piles of ROCKS lying on the ground. The game consists of both Boys throwing the ROCKS at each other at the same time. The main object of the game is to hit and hurt your opponent. However, both of the Boys are experts at dodging the fast flying ROCKS, and quite often one or the other catches a ROCK in mid-flight to nimbly throw it straight back at his opponent. Each of the Boys will take a few well-placed hits, so that the excitement of the Villagers is fueled by the presence of blood. This difficult to choreograph rock-throwing (and catching) game episode is an important theme that we will see again in the following "Insurrection" scene, as well as in the invasion and conquest scenes.

The "Stone Game" is broken up by the arrival of ROMAN SOLDIERS.

(the Roman's COSTUMES are from the very last period of the Roman Empire, i.e. just prior to 477 A.D.)

The Soldiers round up the Villagers and bring them to the "Village Square".

(SFX: excited crowd's cheers and "boos", thuds of rocks hitting the ground, thuds of rocks hitting flesh)

DISSOLVE:

'Insurrection'

EXTERIOR - THE VILLAGE SQUARE - DAY

In the center, of the Village Square a ROMAN PRIEST has set up a little OPEN-FACED TENT, and on a PEDESTAL behind him is a BUST of Julius Caesar (or one of the Caesars). ROMAN GUARDS stand at the sides with an air of aggressive pomp and importance.

		PRIEST
	(giving a command, as he gestures)
Kneel!

The Roman Guards all kneel, but the Villagers (mostly confused at this point) do not.

		PRIEST
	(repeating his command)
All Kneel to the great god Caesar!

Some of the more fearful Villagers kneel, but the majority remain standing. The kneeling Guards then stand up, and go into the crowd to attempt to force the Villagers to kneel.

The camera PICKS OUT one of the larger men, a CHIEF by his stoic countenance.

		CHIEF
	(yelling)
Your gods are lies!

This is shortly taken up by the whole crowd as a chant.

		CROWD
	(louder, and louder)
Your gods are lies!, Your gods are lies!, Your gods are lies!, YOUR GODS ARE LIES!!

As the chanting gets louder and louder, the crowd becomes more and more hysterical, and they begin throwing ROCKS, lots of ROCKS, and these ROCKS are thrown with deadly intent, well-placed from years of the Stone Game's training.

It's all the Roman Soldiers can do just to protect themselves with their SHIELDS against this unexpected onslaught from the angry Villagers. Seeing the Roman Guards in disarray and some fleeing, the LARGEST OF THE VILLAGERS takes this opportunity to hurl a huge STONE at the unprotected Priest.

The Priest reels at the blow, and falls against the PEDESTAL which in turn knocks the BUST of Caesar off the PEDESTAL and the BUST smashes the Priest's head wide open.

When the Guards realize that their Priest has just been killed, they run away. The Villagers continue to hurl STONES at the retreating Romans.

(SFX: uncomfortable wind, thuds of stones landing, rattle of armor, goat/'wild' pig sounds in the distance)

FADE OUT:

'Capture and March'

EXTERIOR - THE VILLAGE SQUARE - DAY

A day or two later. A good number of ROMAN SOLDIERS arrive at the village and begin brutally rounding up the Villagers.

		NARRATOR
	(as the soldiers are arriving)
It wasn't long before the Romans sent in reinforcements to stop the rebellion.

The Villagers are tied to one another and are pushed and shoved along past the place where the "Stone Games" were held. A few scraggly GOATS and 'WILD' PIGS (the small slender Mediterranean type) are herded along by some Soldiers.

(SFX: uncomfortable wind; and during the march, the sound of shuffling feet, moans and groans, weeping, goat/'wild' pig sounds)

CUT TO:

'Mutilation #1'

EXTERIOR - THE SEASHORE - DAY

WOMEN screaming loudly. Inside a CORRAL the village Women are screaming and crying in grief and horror; their faces pressed against the POSTS are streams of tear-streaked dust.

Suddenly, a man's VOICE is heard to scream the scream of utter agony and then a splash is heard. Some of the Women turn away at the sound of the scream, the rest of the Women raise a hysterical crescendo of moaning and crying and rattling the CORRAL trying vainly to escape.

The camera PANS to a second CORRAL half-full of very FRIGHTENED LOOKING MEN. Two Roman Soldiers grab a CAPTIVE from this CORRAL and abusively push and shove him towards another set of Soldiers. The Captive is resisting but since his hands and feet are tied he can't do much. The Soldiers (after a certain amount of beating) throw him to his knees. The first TWO SOLDIERS pry the Captive's mouth open (the TOP SOLDIER pulls back with his fingers in the nostrils, the BOTTOM SOLDIER keeps the mouth open with a LEATHER STRAP) a THIRD SOLDIER pulls out the tongue with a pair of jagged edged PINCERS and a FOURTH SOLDIER hacks off the end of the tongue with a large KNIFE. The TONGUE squirts blood, the Captive screams and his screams are partially stifled by a FIFTH SOLDIER who throws a GALLON OF SEAWATER in the Captive's mouth. This brings on another crescendo of screaming and wailing from the Women and Children's CORRAL.

The mutilated Captive is then thrown (grunting) into a third CORRAL.

(SFX: strong wind, seabirds occasionally, waves, the splash of a gallon of seawater after each mutilation much screaming by the women and crying panicky babies and children rattling of the corral occasional goat/'wild' pig sounds)

DISSOLVE:

*'Mutilation #2'

EXTERIOR - THE 3rd CORRAL AT THE SEASHORE - DAY

In this corral a number of VILLAGE MEN AND BOYS are sitting on the ground, their mouths caked with dust and blood. Some are groaning, some are weeping, and some are unconscious. An OLD MAN is coughing like the death rattle. The camera PANS the group, and finally comes to rest on one ADOLESCENT BOY. Even though the Adolescent Boy's chin is caked with blood and filth and his eyes are filled with tears he bears a look of stubborn determination. The expression in the Boy's eyes say "I'll show those bastards!". Then the Adolescent Boy puckers his lips and even though he's in pain, he brings out a feeble whistle.

This whistle provides the bridge into the next scene as the SOUNDS of the whistling wind and waves CROSS-FADE in.

(SFX: strong wind, seabirds occasionally, waves, the splash of water after each mutilation, much screaming by the women, and crying panicky babies and children, the sound of the old man coughing his guts out, occasional goat/'wild' pig sounds)

FADE TO BLACK:

'Deportation #1'

EXTERIOR - HIGH SEAS - NIGHT

It's very windy and there are heavy waves crashing. As the SOUND of the (whistling) wind and the restless angry sea FADES IN, so do little pin-pricks of light that we soon identify as the stars. At this point the camera is aimed up into the sky.

As the camera PANS down towards the horizon we see the low full moon - large and menacing. We also see two small and fragile looking Roman BOATS almost being rocked to pieces in the vast expanse of ferocious whitecaps.

(SFX: Violent wind, the churning sea)

CUT:

'Deportation #2'

INTERIOR - INSIDE ONE OF THE ROMAN BOATS - NIGHT

The scene is one of stench and abject human misery. As THE FULL MOON SHINES THROUGH PLANKS of the rocking BOAT, we see snatches of the tortured faces of the unfortunate VOYAGERS:

- A MOTHER soothing her 3 year old CHILD

- Living PEOPLE and ANIMALS literally heaped upon one another

- Water dripping through the PLANKS

- The OLD MAN coughing with the pallor of death on his face

- The squealing of frightened ANIMALS every time a big wave
hits

- The moaning of those who hurt so bad they are past despair
and don't even care if they live or die

(SFX: creaking planks, occasional goat/'wild' pig sounds, men moaning, women and children weeping from time to time, the old man coughing his guts out and occasionally spitting in a sickeningly weak and tired manner, with a background of the violent wind and the churning sea)

DISSOLVE:

'Deportation #3'

EXTERIOR - OFF THE COAST - DAY

We are on one of the Roman BOATS anchored just off the coast of a deserted island (Gomera) near a cove with a small beach. The Romans throw PEOPLE, and ANIMALS off the BOAT. The survivors (the Animals and the virtually naked People) swim towards the shore line. The WOMEN must swim with their panicky CHILDREN and several People thrash about giving the impression that they'll drown before they make it to the beach. Those in trouble are of course helped by the others. (One of the most remarkable things about the ancient Canary Islanders was their concern for their fellow man and their willingness to die for one another). At the back of the BOAT, the Romans are throwing the dead overboard. We see them throw the lifeless corpse of the OLD MAN, who was coughing, to the SHARKS.

(SFX: Waves, gentle wind, splashes of people, animals and corpses being thrown overboard cries of help from the drowning; various unintelligible exclamations from various swimmers)

DISSOLVE:

'Deportation #4'

EXTERIOR - OFF THE COAST - LATE AFTERNOON

We are on the BOAT offshore looking towards the same cove as in the previous scene. We are further away than when the captives were thrown from the boats but still close enough to see the abandoned People on the beach. They have lit a FIRE and we are slowly traveling away from the island.

(SFX: wind and water, distant bleeting of goats, etc)

DISSOLVE:

'Sunset, a Millenium Passes'

EXTERIOR - OFF THE COAST - JUST AFTER SUNSET

The sky is dynamic orange. We are on the boat offshore looking towards the same cove as in the previous scene. We are much further away now and all that is visible on the beach is the glow of the fire that the abandoned villagers have lit.

The scene FADES TO BLACK, suggesting nightfall. As night falls and we drift away the tiny point of light on the beach suggests a glimmer of hope in the wilderness of the great Atlantic Ocean.

		NARRATOR
	(As the screen becomes completely dark)
And so the exiles without tongues, and their descendants, alone for a millenium on Gomera developed their native whistling idiom and brought it to the level of a true living language.

FADE TO BLACK:

'The French 1403'

EXTERIOR - OFF THE COAST - NIGHT

The screen is still black. The following title appears:

1403
The French

After this title fades, the screen brightens only slightly. It is nighttime. We can see that we are on a BOAT off the coast, and that we are looking towards a cove that we recognize as the same one that the Romans deposited the original inhabitants on a thousand years earlier. There are fires burning on the beach, and 15 or 20 completely naked NATIVES are fishing.

A small BOAT is being rowed from the ship to the shore with several INVADERS who look like pirates (because, as history has noted, the conquerors were treacherous scum who abused, brutalized, double-crossed, tortured, massacred, and sold into slavery people much more civilized than their barbaric selves. Unscrupulous marauders, they used the thin veil of spreading Christianity to justify their murderous exploits, wholesale pillage, and wanton destruction of entire civilizations, i.e. pirates - but with one cosmetic difference: they had government authorization and church sanction).

The trusting Natives welcome the European Invaders with characteristic friendliness, and from our vantage point we see the Natives offer the Invaders GIFTS and some FOOD to eat.

Once the Invaders have accepted their GIFTS and eaten their fill, they rise, unsheath their SWORDS, draw their ARROWS, and attempt to encircle the Natives. Since it is dark, most of the Gomerans manage to escape.

After a small fight and some struggling the Invaders finally capture and bind four Gomeran Natives for later sale as slaves, a MAN and THREE WOMEN.

The scene fades out as the 4 captive Natives are brutally pushed and shoved into the small ROWBOAT.

(SFX: wind, waves, distant cries from the beach when the fighting begins)

FADE TO BLACK:

CUT:

'The French #2'

EXTERIOR - OFF THE COAST - DAWN

Pale rosy dawn (not too bright). The same cove as in the previous scene and the same vantage point. In order to stock up on water, the Invaders row the SMALL BOAT out, and land. However, the naked Natives have assembled in force and the landing party is forced to retreat back into the boat by a shower of STONES and HORN-TIPPED STAFFS. The Invaders get back in their boats and begin rowing like crazy to avoid the deadly STONES and SPEARS.

FADE OUT:

'Native Customs'

EXTERIOR - A GOMERAN MEETING PLACE - DAY

There are no houses, and no signs of agriculture, but close by are many caves which show signs of habitation. Many naked ISLANDERS are singing and dancing in the meeting place.

Two parallel lines are formed, the DANCERS facing one another take each others hands and walk and/or leap backwards and forwards in a simple rhythmic manner. The rhythm is kept by clapping hands and stamping feet.

Different MEN and different WOMEN (who are not dancing, but are more like spectators/rhythm section) affectionately embrace from time to time. There are no signs of jealousy from anyone, only the impression that changing partners is natural and normal.

During the primitive dancing and the slow prehistoric plaintive chanting in the meeting placve, a "regiment" of SEAMEN come upon the scene. They are warmly welcomed by the Islanders and are invited (by gestures) to join in the festivities.

The Islanders noticing the lustful eyes of the young Seamen, graciously offer them several of their Women in a gesture of pure, naive hospitality. The camera follows as many of the European Seamen depart in the direction of the caves accompanied by the nude, giggling Females.

		NARRATOR
	(as the camera PANS back to the festivities)
The first visitors to La Gomera found a naked people, who spent most of their time singing and dancing. Work or cultivation of the soil was unheard of since the land provided all their needs. Polygamy was their natural state, and it was a breach of hospitality not to offer one's wife to a visitor. Because of this custom, they made their sister's sons their heirs.

(SFX: plaintive singing, rhythmic clapping of hands)

FADE OUT:

'Argodei'

EXTERIOR - FORTALEZA DE CHIPUDE - DAY

[The rock now known as the Fortaleza of Chipude was called Argodei by the ancients. (Argodei meant fortress or fortified place in the Gomerans' ancient tongue). The following scene actually took place in 1384, but it could have happened anytime in the early days of the Invasions.]

An expedition of a dozen or so European SLAVERS (dressed like filthy pirates/Spanish soldiers) is marching through the highlands of Gomera. We know that they are Slavers because of the equipment they are carrying: IRON MANACLES, COILS OF ROPE, WHIPS (also SWORDS, CROSSBOWS AND ARROWS).

After a short while, the Slavers are ambushed by a group of NATIVES, who force the slavers to retreat to the high fortaleza which only has one entry at the side. There are already other Natives assembled at the fortaleza, including the Gomeran KING, AMALUIGE (recognizable as such because he is a little taller, a little older, and is the only one wearing anything resembling clothing - a ceremonial goatskin cloak).

The Slavers take up positions and begin firing ARROWS at the Natives who are attacking with great ROCKS from above and all sides. The Slavers are amazed as the Natives catch the ARROWS being fired upon them in mid-flight! (This is due to the intensive training every Gomeran boy received from an early age with the Stone Game - they were not only masters at avoiding thrown missiles of all sorts, i.e. clay balls, stones, and javelins, they were also masters at catching these projectiles and using them against their enemies.)

The Natives have got the advantage, and are on the high ground surrounding the Slavers. The Slavers are cornered, and are receiving lots of injuries.

Finally, the Slavers, who have no hope of escaping with their lives, are forced to surrender. They lay down their arms, and on their knees they pitifully beg for mercy and forgiveness from their captors.

After confiscating the Slavers' weapons and chains, etc, the great KING AMALUIGE allows the seemingly penitent Slavers to go free.

		NARRATOR
	(as the slave-catching party slink away)
The natives forgave the incursions of the foreigners, treated their aggressions with mercy, and demonstrated a much more developed social conscience than that of the invaders or the subsequent colonists.

(SFX: the trudge of the slavers' feet along the loose volcanic gravel path; wind through brush; whizz of arrows; thud of rocks; exclamations of pain during the battle; clinking of IRON during the march, the retreat and also when dropped on the ground before retreat)

FADE OUT:

'Slave Raid after Slave Raid'

EXTERIOR - A BEACH - DAY

At least fifty mistreated, filthy, naked ISLANDERS bound in CHAINS and ROPE are standing on the shore. They are guarded by a dozen armed SLAVE-CATCHERS. We see that a slave-catching CARAVEL (30 meters long) is anchored about a hundred meters off-shore, and also that a small ROWBOAT, from the CARAVEL, is coming towards us and will soon land on the beach.

		NARRATOR
The French, the Portuguese, and the Spanish all fought fiercely for possession of Gomera. And the losers were always the Gomerans caught in the middle of hostilities. Even though many had converted to Christianity, great numbers were sold as slaves to finance their malicious, despotic rulers' wars and insatiable greed.

As the Narrator speaks, the ROWBOAT lands and a dozen of the miserable looking Slaves are brutally pushed and shoved into the ROWBOAT.

(SFX: wind, waves, sound of OARS rowing, occasional moans from the slaves, abusive exclamations from the slavers as they board the captives, the rattle of IRON CHAINS)

FADE OUT:

'Peraza the Elder 1446 #1'

EXTERIOR - SAN SEBASTIAN DE LA GOMERA - DAY

PERAZA THE ELDER (a Spanish lord dressed in 15th century finery), is standing on a flat piece of land not far from the port, reviewing an official looking piece of PARCHMENT. He has a smug self-satisfied look on his face.

An UNDERLING is standing by, as Peraza the Elder points to a plot of land in front of them and indicates, by gesturing, the approximate size (10.8 m X 10.2 m: see 'Ground Plan of the Torre del Conde' in Supplementary Materials) of the square tower he intends to have built there. The Underling nods his approval.

		NARRATOR
	(begins speaking at about the same time PERAZA THE ELDER gestures the size of the building)
The title of the island of Gomera was granted to Peraza the Elder, in 1446. He immediately began work on the fortified 'Torre del Conde' (the Count's Tower), which is still standing in San Sebastián, the capital and main port of Gomera ...

(SFX: pleasant breeze, waves lapping a hundred meters away)

CUT:

'Peraza the Elder 1446 #2'

EXTERIOR - SAN SEBASTIAN DE LA GOMERA - DAY

The same setting as in the previous scene. A couple of days later. SLAVES have been brought in to lay the foundation. Peraza the Elder and his underling are supervising the operation. Several foot SOLDIERS are keeping order, i.e. kicking and abusing various Slaves who, in their eyes, are working too slowly. This abuse gets a wink of approval from Peraza, and the Underling looks on in glee.

		NARRATOR
	(the narrator's dialog is uninterrupted by the change in scenes)
....his reign, which lasted eight years, was marked by the typical disregard for humanity and abuse that has characterized conquerors since the dawn of history.

While the group of Soldiers are occupied brutalizing a "lazy" Slave, two of the other Gomeran Slaves try to take advantage of the Soldiers' inattentiveness to make a break for it. The Underling points in the TWO ESCAPEES' direction.

The faster of the two runners (Escapee 1) gets an ARROW, fired from one of the Soldier's CROSSBOWS, in the back. The shock of seeing his companion's death slows Escapee 2 just enough that two of the foot Soldiers running after him can tackle him.

After a severe beating by the Soldiers, Escapee 2 has his throat slit in front of his fellow Slaves to set an example. Just before the Soldiers slit his throat, Escapee 2 has the wild-eyed look of terror that only one who knows he is going to die can have.

After the execution, the camera PANS back to Peraza the Elder. The look on Peraza's evil face ssures us that "Justice Has Been Served".

(SFX: sounds of digging, the clonk of STONES being put in place, the sounds of the beatings, the twang of the crossbow, the whizz of the arrow, the screams of the beaten, the death gurgle of the slave whose throat gets slit)

HOLD AND FADE:

'Bishop Frias 1477'

INTERIOR - THE COURT AT SEVILLE - DAY

The following title appears:

The Sevillian Court 1477

As the title fades, we see we are in the throne room of the Spanish court."Los Reyes Católicos" (FERDINAND and ISABELLA) are seated on their THRONES next to each other. Besides the ROYAL COUNSEL (four or five noblemen seated in a JURY BOX), there are only two other people in the chamber: the royal SCRIBE (who is seated to one side), and BISHOP FRIAS (wearing his miter), who is standing in front of the King and Queen, reading from a PARCHMENT SCROLL.

		BISHOP FRIAS
	(in the midst of stating his plaint, as the title fades)
... that Peraza the Younger, Count of Gomera, has captured hundreds of Christians from the island of La Gomera, keeping them in chains as if they were heathens, and sold them as slaves here on the mainland. Count Peraza's betrayal of his subjects, in total disregard of your royal authority, is an offense against God and a discredit to our sacred faith. By the laws of the Holy Roman Church, Christians cannot be captured and sold into slavery. These Gomerans have been baptized and observe the liturgy like all faithful Christians. Therefore, I beg of your majesties to command that these good Christians be granted their freedom, be restored to their rightful homes, and that those who have purchased these enslaved Christians, in good faith, be reimbursed the full amount...

		NARRATOR
	(as the bishop's voice fades out the narrator's voice superimposes)
In Ferdinand and Isabella's day, as throughout history, slave-trading was considered a legitimate source of revenue, and slaves were a 'natural resource' to be exploited. The intervention of Bishop Juan de Frias in behalf of the Gomeran Christians in 1477 was only the beginning of a long, and not completely successful, battle to secure the tyrannized Gomerans' liberty and safe conduct back to their homes and families.

As the Narrator continues speaking, we see the Bishop finish presenting his case, and when he has finished, he quickly and respectfully kneels to the King and Queen. We see the King and Queen exchange glances of compassion, and then the King looks to the Counsel who also nod their approval. By the King's gestures, we understand that the Bishop's request will be granted.

CUT TO:

'General Rejón #1'

INTERIOR / - PERAZA THE YOUNGER'S STUDY - STORMY DAY

PERAZA THE YOUNGER (aged early to mid-twenties, not handsome by any means, his overall personality is arrogant, disagreeable, and smarmy) is looking over some MAPS on his TABLE. There is a terrible storm outside, we can hear the (SFX) wind howling, the rain pouring, slamming doors and shutters, etc.

A title appears:

San Sebastián
Capital of La Gomera

After the title fades, there is a (SFX) knock on the door.

		SENTRY
	(urgently calling, from outside the door)
Count Peraza, Count Peraza, sir!

		PERAZA THE YOUNGER
	(disagreeably)
What is it?

The soaking sentry opens the door. As the door opens, a strong gust of wind blows the MAPS off Peraza's TABLE, adding to Peraza's ill mood.

		SENTRY
	(breathlessly)
A party is landing at the beach, sir!

		PERAZA THE YOUNGER
Assemble the men!

		SENTRY
Yes, sir.

With some difficulty the Sentry closes the wind-blown door, Peraza hastily prepares himself, takes his SWORD and exits through the door.

(SFX: howling wind, pouring rain, slamming doors and shutters, rustle of trees' branches heaved to and fro by hurricane force winds)

CUT:

'General Rejón #2'

EXTERIOR - A BEACH - STORMY DAY

Peraza the Younger and about 20 of his armed men arrive at the beach just as the landing party pull their ROWBOAT to shore. GENERAL REJON (at least fifteen years older than Peraza) descends from the rowboat. Eight of the General's SOLDIERS, the General REJON'S WIFE and TWO OF HIS SONS (both in their early teens) are behind the General.

The rain has let up a little, but the wind is so strong that everyone has to literally scream to be heard.

		PERAZA THE YOUNGER
	(screaming)
Why have you landed here without license?

		REJON
	(screaming)
We are on our way to La Palma. This storm has blown us off course. We ask only that you give us safe port until the storm has calmed. We are on official business from King Ferdinand and Queen Isabella. Here!

Rejón hands Peraza a PARCHMENT SCROLL.

		PERAZA THE YOUNGER
	(mumbling to himself)
Don Ferdinand and Doña Isabella, by the grace of God, King and Queen of Spain, proclaimed in the reknowned and noble city of Seville, in the year of the birth of our Lord Jesus Christ one thousand four hundred and eighty one, thanks and greetings. Be it known that our esteemed General Don Juan Rejón ...

Peraza's eyes narrow, and a look of hate and vile distaste comes across his face.

		PERAZA THE YOUNGER
	(screaming)
I know you! General Juan Rejón!
	(as Peraza continues screaming he becomes absolutely enraged, he goes red in the face and the veins in his neck pop out)
You're the one that imprisoned my father, and sent him to the mainland in chains!!

The General opens his mouth as if to defend himself but does not get the chance.

		PERAZA THE YOUNGER
	(pointing with the scroll, he shouts to his men)
Sieze them!

General Rejón and his men are seasoned soldiers and have no intention of being captured by Peraza's motley band. With the howling wind and crashing sea as the dramatic background, the battle begins.

Even though Rejón's men are outnumbered 2 to 1 they are not easily subdued. several fighting men on both sides are wounded or dead, and in the heat of the skirmish, General Rejón is stabbed with a hand DAGGER by one of Peraza's men.

MCU on General Rejón, his blood soaking into the wet sand and his Wife crying over the corpse.

		NARRATOR
For General Rejón's death on Gomera, Peraza the Younger was arrested and brought to court in Seville.

(SFX: roaring sea, howling winds, sounds of clinking SWORDS during battle, cries of the wounded)

FADE OUT:

'King Ferdinand and Beatriz de Bobadilla'

EXTERIOR - PALACE COURTYARD - NIGHT

The moon is almost full. Our vantage point is two or three stories up, and we are looking down into the empty palace courtyard at the royal residence in Seville.

A title appears:

Seville 1481

As the title fades, an amorous couple strolls into the courtyard. Almost instantly we recognize the man as KING FERDINAND (from scene 32). His companion is BEATRIZ DE BOBADILLA, a very beautiful, young (circa 20 year old) Spanish noblewoman. They are walking arm in arm in and out of the shadows of the trees, whispering to each other. Every so often Beatriz gives a little giggle of youthful flirtatiousness.

Then Ferdinand takes her and they engage in a long passionate kiss. While they are kissing, the camera ZOOMS back, the embracing couple goes out of focus, and into focus comes the shoulder and profile of QUEEN ISABELLA, who has been watching this little tryst taking place all the while from a balcony two or three stories above the courtyard.

We can see that she is livid with rage, and itching for revenge. Suddenly, a SERVANT comes onto the balcony.

		SERVANT
You majesty, the Count of Gomera has arrived.

		ISABELLA
Excellent, have the prisoner sent to the council chamber at once!

(SFX: wind rustling in the trees, whispers, little giggles, feet strolling on fallen leaves)

DISSOLVE:

'Peraza the Younger's Punishment'

INTERIOR - THE COURT AT SEVILLE - NIGHT

We are in the throne room of the Spanish court (the same room as in scene 32). Isabella is seated on her throne. King Ferdinand and the counsel members are conspicuously absent. Besides the Queen there are several GUARDS, a PADRE, and Peraza the Younger. Count Peraza (still in MANACLES, looking dirty and tired from his captivity and long voyage) is standing before the Queen. As the scene fades in, so does Isabella's voice.

		ISABELLA
... and in addition to the above penalties and conditions imposed on you for the death of our esteemed General at your hands, you are commanded to take Doña Beatriz de Bobadilla as your lawful wedded wife, and to reside with her on the island of Gomera until death do you part.

Peraza looks a little astonished but is relieved that the punishment is not stronger.

		ISABELLA
	(she claps her hands three times)
Guards, unchain the Count and bring in Doña Beatriz!

One Guard unlocks Peraza's CHAINS, and from a door to the side, a pair of Guards bring in the girl, whom we recognize as the same one that was in the courtyard with King Ferdinand only moments before.

Beatriz has a look in her eye of haughty indignation. As a noblewoman she is not well-disposed towards being touched by lowlifes like the Guards who have brought her to the counsel chamber.

		ISABELLA
	(to the guards)
Release her!

As Beatriz is released, she brushes herself off, as if to rid herself of the Guards' 'filthy hands'. Peraza is still standing before the throne, looking a little dazed and unsure of how to act.

		ISABELLA
	(to Beatriz, in a tone of authority)
Come here.

Beatriz walks across the room with an air of haughty superiority. She stops in front of Isabella and comes to stand next to Peraza.

		ISABELLA
	(cattily)
Beatriz, dear, I'd like to introduce you to your future husband - Hernan Peraza, the Count of La Gomera.

Now that Beatriz is closer, Peraza looks pleasantly surprised to see how incredibly beautiful his future wife is. In contrast, Beatriz sizes up Peraza and gets a look on her face of incredible disgust.

		BEATRIZ
	(protesting)
You can't..!

		ISABELLA
	(cutting Beatriz off)
Quiet!

Peraza, in a stilted gesture of chivalry, drops to one knee and attempts to kiss Beatriz's hand, which she quickly pulls away. Queen Isabella then stands up from her throne.

		ISABELLA
	(commanding)
All rise!

Peraza jerks to attention, the "Padre" also stands up, holding his BIBLE.

		ISABELLA
	(gently)
Padre, please.

Isabella gestures to the "Padre" to come before the couple.

		PADRE
	(with bible open)
... By the power vested in me I now declare you man and wife.

		ISABELLA
	(gloating)
You may kiss the bride.

Peraza clumsily puckers his lips and approaches Beatriz, who SPITS in his face. Peraza's eyes narrow menacingly (as in Scene 34 where General Rejón dies).

		ISABELLA
	(at once)
Guards! Put them on the boat. And make sure they arrive safely to Gomera.

The Guards escort the newlyweds out of the council chamber. Beatriz will not allow them to touch her, she is "too noble", and Peraza has been a prisoner for so long he's like putty.

		NARRATOR
	(as Peraza and Beatriz are being escorted out)
At that time the island of Gomera was the most remote outpost in the Spanish realm, and now the beautiful Beatriz de Bobadilla was far, far away from Ferdinand's roving eye.

CUT:

'The Gomeran Princess Iballa #1'

EXTERIOR - IBALLA'S CAVE - DAY

LONG SHOT. We are looking at the entrance to a cave in the side of a hill.

A title appears:

Gomera

As the title fades, the camera ZOOMS in a bit, and we make out the entrance to the cave. Not far from the entrance is a GROOM (a young Spanish boy) sitting in the shade of a tree, minding Peraza's HORSE.

		NARRATOR
	(as the camera zooms in)
Count Peraza's marriage to the tempermental Beatriz was not exactly 'made in heaven', and eventually he found companionship in the form of the beautiful Gomeran Princess named Iballa.
	(pronounced: ee-BYE-a)

CUT:

'The Gomeran Princess Iballa #2'

INTERIOR - IBALLA'S CAVE - DAY

The interior of the cave is furnished in a very simple manner. There is only a BED, and a short TABLE, but there are many CLOAKS, and SKINS, etc (i.e. articles of clothing that a stone age woman would wear) on the walls and laying around.

Peraza is standing inside the cave and is buttoning up his shirt, his miltary JACKET lying nearby. PRINCESS IBALLA is still lying in her bed, looking up at the Count with the starry eyes of a young girl in love for the first time.

After the Count finishes buttoning up his shirt, and putting on his jacket, he pulls a BEADED NECKLACE (from mainland Spain) from one of the pockets, and bending over the bed he gives this to the young Princess. As he gives her the necklace, she gives him a desperately passionate kiss, which he returns.

The Count then strokes Iballa's cheek with the back of his fingers and walks off screen (out of the cave).

CUT:

'The Gomeran Princess Iballa #3'

EXTERIOR - IBALLA'S CAVE - DAY

We are looking at the entrance to Iballa's cave on the side of the hill. MEDIUM LONG SHOT. As Peraza mounts his Horse, Princess Iballa looks out from the entrance of her cave, waving as Peraza (on horseback) and the Groom (on foot) walk off screen.

Moments after the riders have disappeared, two natives (an old man - HUPALUPA, who is the Chief of the tribe, and a woman, who is IBALLA'S MOTHER) walk on screen directly towards Princess Iballa at the entrance of her cave.

With this motion the camera ZOOMS in a bit to get a better look at what's happening at the entrance to the cave. The Chief simply stands with his arms crossed in a stubborn and disapproving manner, while the Mother begins pointing in the direction of the departed riders, and gesturing wildly. One of the gestures she uses is "crossed wrists" symbolizing slavery, and the other is the "noose around the neck" symbolizing Peraza's brutal killings of those who refuse to cooperate, other gestures include throwing her hands up in the air in despair, etc. and finally ending with the Mother violently shaking the poor young Princess.

Since our vantage point is still quite far away we can't hear a word that's being said, but we should get the message all the same.

As Iballa is being shaken by her Mother, the side of the hill goes out of focus, and into focus comes the person of the WARRIOR HAUTACUPERCHE - a sturdily built tree trunk of a man, who is squatting and holding his wooden SPEAR (5 feet long, and inch and 3/4 in diameter, and pointed at the tip) on the other side of the narrow valley (Gomera's terrain consists of many of these narrow valleys called "barrancos"). We now realize that we have been watching from Hautacuperche's vantage point all along (i.e. in this scene, as in scene 37).

(SFX: sound of a distant horse's hooves loping off, a woman's unintelligible admonitions in the distance, some wind and other bush rustles, Canary birds singing)

DISSOLVE:

'La Baja del Secreto #1'

EXTERIOR - A SMALL REEF OR ROCK JUST OFF SHORE - DAY

CHIEF HUPALUPA, the WARRIOR HAUTACUPERCHE (both of whom we recognize from Scene 39 above), and HUPALUPA'S SON (thin and slightly effeminate) are holding a secret council on this secluded rock. All three are squatting, holding their SPEARS. The THREE are in the process of discussing Peraza the Younger's crimes against the people of Gomera.

		CHIEF
	(resolutely)
Count Peraza must be stopped.

		WARRIOR
	(stone-faced)
He must be stopped. He's massacred whole villages, our friends and our families. Our finest warriors have lost their lives in battle against this tyrant.

		SON
	(worried)
If he's allowed to continue, our people will vanish from the face of the Earth.

		CHIEF
	(resentful)
We are forced to accept their religion or be tortured
	(now sadly, slightly bowing his head)
or killed.

(Ferdinand and Isabella established the Spanish Inquisition in 1478, i.e. ten years previous)

		WARRIOR
	(strongly)
And we have believed their lies. They tell us if we have 'faith' we will be free, but still we are captured, bound in chains a sold like animals in faraway lands.

		SON
	(nervously)
The Count is a madman, he will kill anyone who tries to stop him.

		WARRIOR
	(scornfully)
We have to live by so-called 'laws' which only benefit the invaders, is there no justice for our good homes and families?

		CHIEF
	(slowly with resolve)
They do not live by our laws, so we must live by our own. Peraza has destroyed our homes, murdered and enslaved our people,
	(more emotionally)
and he has taken the Princess Iballa as his mistress!

		WARRIOR
	(forcefully)
Peraza must be STOPPED!

		SON
	(intellectually)
But how?

		CHIEF
	(as a judge pronouncing a heavy sentence)
The Count must die.

		WARRIOR
	(solemnly and resolutely)
The Count must die.

The Son takes just a little too long to repeat this phrase. The Chief and the Warrior both look at him in silence. Finally, the Son catches on.

		SON
	(somewhat hastily, and not very resolutely)
Yes, uh, yes, the Count must die.

		CHIEF
It is agreed then. The bowl has been broken.

At this they rise, and the three cross spears to seal the pact between them. The Chief raises a ceremonial bowl above his head and dashes it to pieces on the rock below.

They then descend from the rock into the sea.

(SFX: waves, some wind)

DISSOLVE:

'La Baja del Secreto #2'

EXTERIOR - ON LAND - DAY

Chief Hupalupa, the Warrior Hautacuperche and Hupalupa's Son are walking single file along a small path. They are returning home after having made the pact to assasinate Count Peraza. They are walking solemnly, each absorbed in their thoughts.

		SON
	(suddenly, to the other two)
Listen, we could never hide the Count's death. We should take our grievances before the courts of law, and bring him to justice that way.

At this all three stop walking.

		WARRIOR
	(scornfully)
Ha! Justice! And what about our people that Peraza sold as slaves and who the great King
	(he spits on the ground in disgust)
promised could return home as free men, where are they now?

		SON
But what will happen if the Count discovers our plans?

		CHIEF
	(with a flash of recognition that his son has no back-bone, and is a possible traitor)
He will only find out if YOU betray us!

At this, the Chief buries his SPEAR his Son's chest. As his Son lays writhing in the throes of death, the stone-faced Warrior crushes Hupalupa's Son's head with a large ROCK. The Chief retracts his SPEAR, and the two sadly begin to cover the corpse with STONES (This was a common form of burial. The pyramid shaped heap of stones covering the dead is called "tumulus" by achaeologists). The two continue laying STONES on the body.

(SFX: clunk of rocks being laid upon one another)

FADE OUT:

CUT:

'Peraza's Death 1488 #1'

EXTERIOR - IBALLA'S CAVE - NOON

(Setting: The same as for scenes 37 and 39). LONG SHOT. We are looking at the entrance to Iballa's cave on the side of the hill. Not far from the entrance is the Groom (the same Spanish boy) sitting in the shade of the tree minding Peraza's Horse.

A title is superimposed over the scene:

1488

(SFX: Canary birds singing in the background)

CUT:

*'Peraza's Death 1488 #2'

INTERIOR - IBALLA'S CAVE - NOON

Count Peraza and the beautiful Iballa are in her BED together. They are in a romantic embrace. Suddenly, we here whistling in the distance. The Princess Iballa sits bolt upright in BED, obviously shocked and listening intently to the whistles. Peraza, being unaware of the whistles (or unaware that they have any meaning), continues trying to be romantic.

		IBALLA
	(nude, jumping out of bed)
No! No! They're coming! They know you are here!
	(handing him some of her clothes - a ROUGH BLUE CLOTH SKIRT, and a BLACK HOODED CLOAK)
Quickly! Put on these clothes!

		PERAZA
	(surprised)
What are you talking about?

		IBALLA
	(urgently)
There is no time. I hear them whistling! They are coming to kill you! Quickly! QUICKLY! Put on these clothes! Run! They're after you!

Finally realizing that his life is in danger, Peraza jumps out of BED (nude), hurriedly puts on the WOMEN'S CLOTHES, and runs out the entrance of the cave (off screen).

(*SUBTITLES: "Peraza is in Iballa's cave! OK men, go to Iballa's cave! The tyrant must die! Quickly! We'll kill him there! We'll have our revenge!")

CUT:

*'Peraza's Death 1488 #3'

EXTERIOR - IBALLA'S CAVE - NOON

(Setting: The same as for scene 42). MEDIUM LONG SHOT. We are looking at the entrance to Iballa's cave on the side of the hill. Not far from the cave's entrance is the Groom sitting in the shade of the tree minding Peraza's Horse.

Suddenly, Peraza (dressed in WOMEN'S CLOTHING) bursts out of the cave's entrance. Iballa's Mother (we recognize her from scene 39) is standing on the other side of the cave's entrance from the Groom. There are various KINSMEN posted at different places around the cave. The Warrior Hautacuperche is above the cave's entrance.

		IBALLA'S MOTHER
	(shouting, and pointing towards Peraza)
There he goes! That's him! Don't let him get away!

This shouting alerts the Groom. He quickly stands up and sees that his master, Peraza, is being chased by the Warrior Hautacuperche and several other Kinsmen.

CUTAWAY to a HEAD-ON SHOT of Peraza being chased by the Warrior Hautacuperche. Peraza is sweating and frightened. The Warrior Hautacuperche is behind, hot on Peraza's heels with his SPEAR raised for attack.

CUTBACK to Groom. The Groom, deserting his master, jumps on Peraza's Horse and takes off at full gallop. The camera follows the rider and Horse for a moment.

CUTBACK to Peraza. The Warrior Hautacuperche thrusts his SPEAR into Peraza's back. Peraza falls, mortally wounded. Some other Kinsmen give Peraza's corpse a few vengeful SPEAR stabs for good measure. One of the Kinsmen begins whistling to spread the news that the Count is dead.

CUTBACK to the Groom on horseback. A party of three or four Kinsmen ambush the Groom: One of the Kinsmen jumps down from a high rock onto the Groom, they roll to the ground together. The other Kinsmen running up, stab the Groom to death. The Horse escapes. A TAIL-AWAY SHOT follows the riderless running Horse. The whistling continues.

(*SUBTITLES: "The tyrant is dead! Dead? Who killed him? The great warrior Hautacuperche killed him! Bravo! We will kill them all, and be free again! Go to the port! We will kill them all! Men, to San Sebastian!")

DISSOLVE:

'Torre del Conde Besieged #1'

EXTERIOR - TOP OF TORRE DEL CONDE - DAY

The camera is MASKED to simulate looking through a telescope. MLS. We see the riderless Horse galloping HEAD-ON towards us, the (masked) camera then PANS slightly up the hill, and into view comes a band of spear-wielding Gomerans led by the Warrior Hautacuperche.

CUT:

'Torre del Conde Besieged #2'

EXTERIOR - TOP OF TORRE DEL CONDE - DAY

A LOOKOUT lowers his TELESCOPE, and turns to a SENTRY.

		LOOKOUT
	(urgently)
Something's happened to the Count! That's his horse! The natives are armed and coming towards town! Tell Doña Beatriz! Sound the alarm!

CUT:

'Torre del Conde Besieged #3'

EXTERIOR - TORRE DEL CONDE - DAY

Beatriz de Bobadilla is dragging her FOUR YEAR OLD DAUGHTER, and carrying her BABY BOY as fast as her legs can carry her. Both children are crying and frightened. She is followed by the Spanish TOWNSPEOPLE and Spanish SOLDIERS. The Torre del Conde is in view, and the townspeople and Soldiers are about twenty feet from the entrance to the tower.

CUTAWAY to a MCU HEAD-ON shot of the Gomerans advancing. We can see their anger and determination, and they are almost to the Tower.

CUTBACK to Beatriz, the Townspeople and Soldiers. They are only a few feet from the Tower's entrance.

CUTBACK to the Gomerans advancing. CU. WAIST-SHOT. HEAD-ON. Hautacuperche is in the middle of the screen, we see a few of the SPEAR-carrying Gomerans behind him. They are advancing more quickly now.

CUTBACK to the entrance of the Tower. The last of the Soldiers is closing the door. The Gomerans are throwing their SPEARS against the door as the Soldiers are frantically trying to get it closed. Some of the SPEARS stud the door.

(SFX: All the church bells in town are ringing, battle cries, spears hitting door)

CUT:

'Hautacuperche's Death #1'

EXTERIOR - TORRE DEL CONDE - DAY

Our vantage point is from the top of the Tower. We are looking down on the angry Gomerans. They are throwing SPEARS at us, and lobbing ROCKS in our direction.

CUTAWAY to the Gomerans' POV. On the top of the Tower we see archers with CROSSBOWS pop up, take shots in our direction and then duck down again. Hautacuperche is leading the Gomerans in the efforts to break into the Tower.

The ARROWS are having no effect on deterring the rebellious Gomerans: The Gomerans are so agile that the ARROWS are caught in mid-flight or dexterously deflected. The head Warrior Hautacuperche is especially good at avoiding catching and deflecting the Spanish Soldiers' ARROWS. The Spanish are also throwing STONES at the Gomerans.

CUTBACK to Spanish POV. More of Hautacuperche deflecting and catching ARROWS.

(SFX: the sounds of battle: whizz of arrows, battle cries, clunk of stones, screams of pain, etc)

CUT:

'Hautacuperche's Death #2'

INTERIOR - TORRE DEL CONDE - DAY

Two Spanish soldiers (DOCAMPO and LA PEÑA) are discussing Hautacuperche.

		LA PEÑA
	(stumped)
We can't kill their leader. He's faster than our arrows!

		DOCAMPO
	(quietly)
I've got an idea. I'll go downstairs, and you...

(SFX: sound of the battle continuing outside)

CUT:

*'Hautacuperche's Death #3'

EXTERIOR - TORRE DEL CONDE - DAY

The Gomerans POV. The battle is still raging.

CUTAWAY to an ECU of an ARROW SLIT (see Supplementary Materials) in the side of the Tower. Through the ARROW SLIT we see an eyeball and the glint of an ARROWHEAD.

CUTBACK to the exterior of the Tower. Gomerans' POV. The entire Tower is in view. We can see Hautacuperche motioning his men to the TERRACE ENTRANCE. Suddenly, La Peña pops up from behind the rampart and aims his CROSSBOW directly at Hautacuperche.

CUTAWAY to CU of La Peña taking aim.

CUTBACK to Hautacuperche as he prepares himself to catch or deflect La Peña's shot.

CUTBACK to ARROW SLIT. ECU. Now the arrowhead is protruding slightly from the ARROW SLIT.

CUTBACK to the exterior of the Tower. La Peña sees that his feint has lasted long enough to distract Hautacuperche, and he does not shoot but ducks back down again.

CUTBACK to the ARROW SLIT. We see the ARROWHEAD protruding a good three inches out of the ARROW SLIT. At this we hear the (SFX) twang of an arrow.

CUTBACK to Hautacuperche. He gives one loud scream of pain. The ARROW is sticking out of his side and he FALLS OFF the TERRACE onto the ground.

Suddenly, it's silent. The Gomerans realize that Hautacuperche, their best warrior and leader is dead. A look of confusion comes over the Gomerans. It is silent for a moment.

		LOOKOUT
	(breaking the silence)
Look!

Camera PANS to the top of the Tower where the Lookout is pointing towards the sea.

		LOOKOUT
Those are Vera's Ships!

CUTAWAY to three Spanish WAR-SHIPS rounding the cliffside below "Gallows Ridge".

CUTBACK to the Tower. The soldiers begin moving towards the seaward side of the Tower ramparts to get a better view. Mumbles of relief from the Spanish. The camera ZOOMS back to take in the whole scene: The Gomerans now point towards the sea, too. Then the Gomerans begin running panicked towards the hills. Some of them begin whistling loudly. The camera follows the fleeing Gomerans.

(*SUBTITLES: "Our warrior Hautacuperche is dead! The warships are coming! Run! Go to the Fortaleza!")

FADE:

'Vera at the Torre del Conde'

EXTERIOR - ENTRANCE TO THE TORRE DEL CONDE - DAY

VERA (a real Spanish Conquistador) and Beatriz de Bobadilla are standing at the entrance to the Tower. Beatriz is holding her Baby Boy, and her Daughter is clutching her dress. She is only barely controlling herself, and is just about to break into hysterics.

		BEATRIZ
	(trembling and weak from the shock of the siege)
Governor Vera, thank God you've come!

		VERA
I've brought six ships with four hundred men to stop this rebellion.

		BEATRIZ
	(beginning to lose it)
It's a nightmare. They're horrible! I hate them! I hate them all! They're worse than rats!
	(now becoming completely hysterical)
I want them all killed! Every one of them!
	(her voice lower, more deadly -- quivering with insane rage)
And I want them to suffer before they die! SUFFER! And then when they've all been exterminated we can have PEACE on this island!

As Beatriz is going through her hysterics, a sickening sadistic smile slowly comes across Vera's face. There's nothing he'd like better than to watch these vermin tortured and squirming in agony before they finally die. We can see the cogs in his evil mind turning, devising horrible ways to teach these rebellious subjects obedience once and for all.

		VERA
	(consoling)
I'll take care of all that, don't worry.
	(cold and calculating)
But we shouldn't kill all of them. As slaves some should fetch a good price, don't you agree?

		BEATRIZ
	(screaming)
I don't care what you do with them! Just get every last one off MY island!

At this Beatriz's Daughter begins screaming/crying too.

DISSOLVE:

'Call to Peraza's Funeral #1'

EXTERIOR - FORTALEZA DE CHIPUDE - DAY

(The same setting as for scene 28 'Argodei') The Gomerans have barricaded themselves up on the Fortaleza. Since there is only one entrance, the Spanish cannot dislodge them. Vera is at the entrance to the Fortaleza, with some of his SOLDIERS.

		VERA
	(reading from a SCROLL)
You are commanded to attend the funeral of the late Count of Gomera, the esteemed Hernan Peraza, to pay your respects to the memory of your valiant leader. All who do not attend the Count's last rites, will be considered accomplices in his assassination plot and will be sentenced to death.

Chief Hupalupa answers from the protection of the Fortaleza.

		HUPALUPA
	(mistrusting)
We don't believe you. You will capture us, and make us slaves if we come down!

		VERA
	(smoothly)
We won't hurt you. If you are innocent you have nothing to fear. We only want to see the Count receive a Christian burial surrounded by his loyal subjects.

		HUPALUPA
You are lying. We have no reason to trust you or to believe you.

		VERA
	(interrupting, angrily)
If you are not guilty of collaboration with the rebels, then PROVE it by attending the funeral. But I warn you, if you stay up here you will surely all be killed!

At that, Vera and his soldiers leave.

CUT:

'Call to Peraza's Funeral #2'

EXTERIOR - FORTALEZA DE CHIPUDE - DAY

Hupalupa is surrounded by his TRIBESPEOPLE. They are muttering.

		TRIBESWOMAN 1
I didn't have any thing to do with Peraza's death, why should they want to hurt me?

		TRIBESMAN 1
We can't stay up here forever, we'll starve to death.

		TRIBESWOMAN 2
You heard what he said didn't you? We have nothing to fear if we're innocent.

		TRIBESMAN 2
I'm not going down. They're not to be trusted.

		TRIBESWOMAN 3
Well, I AM going down. We just go to the funeral and then it'll be over with. Who's coming with me?

At this point, most of the Tribespeople and children stand up and begin to leave. Hupalupa sadly watches them go, realizing that he has lost the respect of his people. Ten or 20 of the Warriors whom we recognize as the fighting men from scenes 45 thru 50 remain. They are resolved to making their stand, and living by their warrior's code of honor.

DISSOLVE:

'Vera's Atrocities #1'

INTERIOR - CHURCH - DAY

The inside of the church is jam packed with Gomerans. Vera walks to the PULPIT.

		VERA
	(loudly)
And now you will pay for your betrayal of your master!

A general panic breaks out inside the church. Women start crying, Children are screaming, the Men are protesting. The Crowd tries vainly to escape. But there is no way out, and there are 200 armed Soldiers surrounding the church.

CUT:

'Vera's Atrocities #2'

EXTERIOR - LLANO DE LA HORCA (GALLOWS RIDGE) - DAY

This is a ridge to the NE of San Sebastian overlooking the town. The following scene could be straight out of a Passolini film. Vera is supervising the operations. All the MALES OVER 15 YEARS OF AGE are being TORTURED AND KILLED by the SOLDIERS in the following ways:

- hanging (props: GALLOWS)

- dragging (teathered and pulled about behind a horse)

- drawn and quartered (limbs pulled apart by horses)

  - impalement (STAKES are fixed in the ground,
    the pointed end is greased, and the victim's
  own weight on the STAKE causes it to penetrate
  the body)

- tied up with WEIGHTS around their necks and
thrown off the cliff into the ocean

- their hands and/or feet cut off and left to
bleed to death

Estimated number of deaths: hundreds and hundreds.

(At least) two hundred Women and Children, in CHAINS, are loaded onto BOATS for sale as slaves on the mainland.

NARRATOR

(with serious conviction and appropriate sadness)

The Gomerans fought bravely against their cruel overseers, and although their cause was just, they were quite simply outnumbered. Even to the very last, they were still willing to trust their treacherous conquerors' false promises and double-crossing lies. Beatriz de Bobadilla and Pedro de Vera's ideal means of insuring peace was to try to depopulate the island, and decimate the natives like vermin.

They almost succeeded. For the sake of the Gomerans themselves, and for the sake of their phenomenal whistling language we can be thankful that they didn't.

(SFX: screams of agony, moans of the dying)

DISSOLVE:

'Bishop Serna confronts Vera'

INTERIOR - GOVERNOR VERA'S OFFICE (GRAN CANARIA) - DAY

A title appears:

Governor Vera's Office
(Gran Canaria)

After the title fades we see Governor Vera sitting behind his DESK (dressed in the same UNIFORM as in scenes 51, 52, 54, and 55). BISHOP SERNA (dressed in a simple black ROBE, and wearing a RED SKULL CAP) is standing opposite.

The two men are arguing, Bishop Serna is animated and restless. Vera is impatient and annoyed. There are gestures and finger-pointing to relay the message that these men are in strong disagreement. At the moment we can't hear what they're saying to each other because the Narrator is speaking.

		NARRATOR
At Vera's hands, many innocent people suffered for the deeds of only a few. The new bishop, Miguel de la Serna, was outraged at Vera's actions on Gomera.

Once the Narrator has finished, Bishop Serna's voice fades in.

		SERNA
	(emotionally)
... penalty of excommunication! They are Christians and cannot be sold into slavery!

		VERA
	(implying that Serna is talking nonsense)
They aren't Christians! They're nothing but traitorous heathens who assassinated their master. The punishment fits the crime.

		SERNA
	(preachy)
You will be judged harshly in the Afterlife unless you make amends for your sins now.

		VERA
	(snorting, then pointing forcefully)
YOU shouldn't meddle in affairs that don't concern you!

		SERNA
	(with superficial calm)
If you won't remedy the situation yourself, I'm sure Ferdinand and Isabella will.

		VERA
	(slowly and deliberately)
Bishop, I've had enough of your making all these accusations against me.
	(standing up and exploding)
If you don't shut up, I'll have that skull cap you're wearing replaced by a crown of fire! Understand?!

Bishop Serna's jaw drops, then he regains his composure, and without saying a word he goes straight to the door. Just before walking out the door, he turns and gives Vera a look of "We'll see about that!"

DISSOLVE:

'Bishop Serna at Seville'

INTERIOR - THE COURT AT SEVILLE - DAY

(The same setting as scene 32 'Bishop Frias 1477')

The following title appears:

The Sevillian Court 1489

As the title fades, we see we are in the throne room of the Spanish court. FERDINAND and ISABELLA are seated on their THRONES next to each other. Besides the ROYAL COUNSEL (four or five noblemen seated in a "JURY BOX"), there are only two other people in the chamber: the royal SCRIBE (who is seated to one side), and Bishop Serna (dressed as in scene 56).

Bishop Serna is stating his case (he is animated, emotional, and NOT reading from a scroll). We cannot hear what he is saying because the Narrator is speaking. This scene only lasts to the end of the Narrator's speech.

		NARRATOR
The Canarian Bishops were constantly petitioning the Court for the release of the wrongly enslaved Gomeran Christians. Bishop Serna himself spent three long years on the mainland locating the Gomerans, and waging legal battles to see them returned to their home island. The tyrant Beatriz de Bobadilla and Vera, Governor of Gran Canaria, were heavily fined for their misdeeds. Still, in spite of the Crown's numerous decrees, the slave-trade continued.

Just as the Narrator finishes, Bishop Serna puts his hand on his RED SKULL CAP to mime Vera's "crown of fire" quote.

CUT:

'Vera in Chains'

INTERIOR - GOVERNOR VERA'S OFFICE (GRAN CANARIA) - DAY

Vera is sitting behind his DESK looking at some MAPS. Suddenly, the door bursts open and in walks CAPTAIN MALDONALDO with a half dozen armed SOLDIERS.

		MALDONALDO
	(pointing at Vera)
Seize him!

		VERA
Guards! Guards!

		MALDONALDO
	(as soldiers approach Vera)
They can't help you. You are under arrest. You are summoned to appear before Ferdinand and Isabella in Seville.

Vera pulls a DAGGER from his jacket, and begins to put up a fight. He is clearly out numbered, and once he has been relieved of his weapon, the Soldiers beat him just enough to insure that he remains submissive. When he has stopped resisting, they strip him of his military jacket, put MANACLES and FOOT CHAINS on him and push him out the door.

FADE:

'1492 Columbus arrives on Gomera #1'

EXTERIOR - TOP OF TORRE DEL CONDE - DAY

We are looking at the seaward rampart at the top of the Tower. Beatriz de Bobadilla and a LOOKOUT are looking towards the sea. Beatriz is pointing at something on the ocean horizon. The lookout raises a TELESCOPE to his eye.

A title appears:

Gomera
Mid-August 1492

After the title fades, the Lookout gives Beatriz the TELESCOPE so she can have a look for herself. She raises it to her eye.

CUTAWAY to camera MASKED to simulate looking through a telescope. We can see two SHIPS on the horizon: A large one (the SANTA MARIA), and a smaller one (the NIÑA).

CUTBACK to Beatriz and the Lookout. Beatriz lowers the TELESCOPE from her eye.

		BEATRIZ
	(to the Lookout)
I suppose it must be Admiral Columbus, but where is the third ship?

(SFX: Canary birds singing)

DISSOLVE:

'1492 Columbus arrives on Gomera #2'

EXTERIOR - THE PORT AT SAN SEBASTIAN - MINUTES BEFORE SUNDOWN

The clouds are lined with dynamic orange. The Santa Maria has docked, the GANGPLANK is down and ADMIRAL CHRISTOPHER COLUMBUS (followed by his FIRST OFFICERS) is descending the GANGPLANK. Beatriz de Bobadilla (now aged in her early thirties, and in her most REGAL ATTIRE), with a party of local NOBLES and TOWNSPEOPLE, is there to greet Columbus and crew.

		BEATRIZ
	(as Columbus sets foot on Terra Firma)
Welcome to La Gomera, Admiral Columbus.

Beatriz outstretches her hand, and Columbus (the epitome of chivalry) drops to one knee and kisses it.

		COLUMBUS
	(to Beatriz, once he has risen)
Who would have thought that such beauty exists at the very ends of the Earth?

(At that time, the Canary Islands were quite literally the limit of the known world.)

		BEATRIZ
	(charmed, but in control)
Yes, Admiral. La Gomera is surprisingly beautiful, but as I understand it you have other theories about the 'ends of the Earth'.
	(pausing significantly, but not giving Columbus a chance to reply)
I'm sure we'll find time to talk a bit more about that while you're here.

		COLUMBUS
	(gallantly)
Nothing would please me more, Doña Beatriz.

		BEATRIZ
	(generously, with a hint of seductiveness)
In the meantime, please feel free to treat this island and all that's on it as your own.

(SFX: waves and wind)

FADE OUT:

'Christopher Columbus and Beatriz de Bobadilla'

EXTERIOR - THE BEACH - NIGHT

FADE IN:

The camera is looking towards the sea. Admiral Columbus and Beatriz de Bobadilla are strolling together on the shoreline, chatting. In the background we see MOUNT TEIDE (the VOLCANIC PEAK of Tenerife, and the highest point in Spain) smoking and intermittently sending a COLUMN OF FLAME heavenwards.

		COLUMBUS
	(his voice fading in)
...so it'll take about a fortnight to repair the Pinta, and then we'll sail west.

		BEATRIZ
But no one has ever returned from the west. Aren't you a little afraid?

		COLUMBUS
	(factually)
I've seen ancient accounts of settlements on the other side of the ocean. And I'm not the only one who thinks the Earth might be round, many modern scholars have put forth some very convincing arguments.

		BEATRIZ
	(concerned)
But don't you have a sweetheart somewhere who will die of heartbreak if, -- if you never, uh, -- ?

		COLUMBUS
	(finishing the sentence for her)
Come back? I've gone too far with this to give up now. And, no, I don't have a sweetheart. I guess I'm just...

At this point MOUNT TEIDE spews forth a tower of flame, and a (SFX) distant rumble is heard.

		COLUMBUS
	(amazed)
Did you see that? Incredible!

		BEATRIZ
	(fearfully)
Yes, and I wish it would stop. It scares me.

		COLUMBUS
	(cheery)
On the way from Gran Canaria, the mountain was also spitting fire. I think it's amazing, but the men are superstitious. They read all kinds of evil meaning into natural phenomena.

		BEATRIZ
	(grim)
We've had enough trouble on this island without volcanos to make things worse.

		COLUMBUS
	(sober)
Oh, you mean the rebellions.

		BEATRIZ
	(exasperated)
That's not the half of it. First, they rebelled in 1484. We had to call for help and then deport hundreds of them just to keep the island safe for the colonists. Naturally, many were sold as slaves. But what a story that turned out to be!

		COLUMBUS
	(trying to find a common ground)
I know. I've had problems with my own slaves. Sometimes no amount of punishment will teach them obedience.

		BEATRIZ
	(more exasperated)
It's not only that! These Bishops keep bringing petty plaints against us. Here we are trying to clear the way so that the immigrants from the Peninsula can live in peace, and these troublesome 'Padres' keep bringing the rebels back to stir things up again. You wonder whose side they're on.

		COLUMBUS
	(off-hand)
But are the natives Christians?

		BEATRIZ
	(scornfully)
Christians? They're more like cockroaches. No matter how many you step on, there are still thousands more to plague you.
	(more complaining)
And after this last revolution, I was forced to pay a huge fine because of the bishop's meddling. I had hoped that this nonsense would stop when the first bishop died.

		COLUMBUS
	(letting her know that she's not the only one in the world with problems)
Being a ruler is never easy, even on a small island like this.

		BEATRIZ
	(serious now, and somewhat resentful)
It was never my ambition to become the ruler of this frontier outpost. I didn't concern myself with any of those duties before my husband's death.

		COLUMBUS
	(bowing his head as if paying his respects)
Oh, yes, your late husband.

		BEATRIZ
	(bitter)
Don't mourn for him Admiral! He was vicious and cruel.
	(venom dripping)
I never loved him. No one could have ever loved such a horrible beast.

		COLUMBUS
	(somewhat shocked, but still compassionate)
Please forgive me, but if you never loved him what brought you to La Gomera?

The VOLCANO regurgitates a bit more FIRE to punctuate the dialogue. They stop walking. Both react to this new mini-eruption in different ways. Beatriz looks exasperatedly at the volcano. Columbus, an observer of natural phenomena, gets "scientifically distracted" for a moment. This gives Beatriz time to decide how she'd like to phrase her next utterance. Columbus coming back to reality remembers that he's in the middle of a conversation and turns back to pay attention to what she's about to say.

		BEATRIZ
	(hypothetically)
If the ruler of the richest and most powerful nation on Earth asked a favor of you, could you refuse?

		COLUMBUS
	(he draws out the word "Well" to give himself time to think)
Well, I suppose not. But I don't really understand what you mean.

		BEATRIZ
	(wishing she hadn't said anything)
Perhaps it's better you don't.

		COLUMBUS
	(groping)
I, uh...

		BEATRIZ
	(not giving him time to say something stupid)
You see, I've been exiled here.
	(she looks him straight in the eye)
Forbidden ever to return to the mainland, my family and friends.

		COLUMBUS
	(compassionately; trying to find a common ground)
I know how it feels to be far away from home.

		BEATRIZ
	(resentfully)
Yes, but you could always return if you wanted!
	(now slightly betraying her mental instability)
I sometimes have these dreams that I'm back at the court in Seville...

Beatriz puts up her arms like she is dancing with an imaginary partner, pirouetting in the sand.

CUTAWAY to a DREAM SEQUENCE: The picture is misty or fuzzy around the edges (MUSIC: 15th century chamber piece). Beatriz is at an elegant ball at the palace, she is a young girl again (the same age as in Scene 35) and "Ever So Gay", flirtily refusing all her gallant SUITORS who beg her to dance. All eyes are on Beatriz as she sachets through the ballroom. KING FERDINAND bows to ask her to dance. As she prepares to take the King's hand, (MUSIC: sting) we cut to an ECU of QUEEN ISABELLA's jealous vengeful bitchy face.

CUTBACK to Columbus and Beatriz on the beach.

		BEATRIZ
	(now deflated)
...only to wake up and find myself back in my dreary room.
	(more and more desperate as she continues)
I just can't stand the thought of living here for the rest of my life and that my grave should be made in this wilderness.
	(eyes pleading for human warmth)
It's so lonely here!

Beatriz throws herself into the Admiral's arms, sobbing.

(SFX: waves, the occasional cricket, and a low distant roar each time the volcano Teide spurts flame)

FADE OUT:

'Columbus Leaves Gomera Sept 6, 1492'

EXTERIOR - THE DECK OF THE NIÑA - EARLY MORNING

Columbus and Beatriz are saying their goodbyes on the deck. Behind them are the RATLINES, RIGGINGS, etc of the CARAVEL.

A title appears:

September 6, 1492

It's a very calm morning and Beatriz is wearing a SCARF on her head. She reaches into her (breast) pocket, and pulls something out.

		BEATRIZ
	(with difficulty)
I wanted you to have this.

INSERT: Beatriz's hand. She is holding a CRUCIFIX.

CUTBACK to Beatriz and Columbus on deck. Columbus solemnly accepts the gift from her. He looks at the crucifix intently for a moment. Before Columbus has a chance to thank her, Beatriz pulls her SCARF around her face so that we (and Columbus) can't see what emotion she's feeling.

She turns and quickly walks away from Columbus, it's assumed she is crying (but she probably isn't). Columbus watches somewhat sadly as she exits.

(SFX: no wind, Canary birds, a little water lapping)

DISSOLVE:

'The Niña, the Pinta and the Santa Maria'

EXTERIOR - OCEAN - DAY

We see the three SHIPS on the ocean. The sea is very calm and the SAILS are SAGGING.

NARRATOR

As every schoolchild knows, Columbus went on to discover the Americas, and prove that the Earth is round. If Columbus hadn't discovered the lands to the west, someone else would have eventually. And once the lid to this Pandora's box had been opened, there was no containing the unspeakable evils that were unleashed on the unfortunate natives of the New World. The atrocities that the Gomerans had to suffer in 1488 were only a grisly prelude to the bloodbath called the "Conquest of the Americas".

Now, -- five centuries distant, we can't be held responsible for our forefathers' sins -- God forbid we should be guilty of perpetuating them.

A short MOMENT OF SILENCE is in order. As we're watching the three SHIPS becalmed just off-shore, we hear (SFX) a gust of wind come up. The SAILS billow and the SHIPS begin to move westward.

FADE OUT to BLACK:

'Barrancos'

EXTERIOR - VARIOUS BARRANCOS - VARIOUS TIMES OF DAY

FADE IN:

ON-LOCATION. Here we show a breathtaking series of scenic shots of various barrancos (narrow valleys with steep sides) which typify the Gomeran landscape. Examples may be found in Kristine Edle Olsen's picturebook "La Gomera" (see Supplementary Materials).

The region around Chipude is where, traditionally, the best whistlers are said to live (pages 72/73). Other suggestions for the "typical Gomeran barranco" include:

- Looking down from Jerduñe pages 24/25

- Barranco Juan de Vera, above Playa de Cabrito
pages 28/29

- View from Lo del Gato page 35

- Looking North to Imalda on the left and
Benchijigua on the right pages 50/51

- Barranco de La Rajita page 63

- Valle Gran Rey from Arure page 69

- The road from Las Rosas to Agulo page 111

These panoramas dissolve from one to the next as the Narrator speaks.

Each scenic panorama should be well established visually before the Narrator begins speaking.

		NARRATOR
	(during Barranco Panorama 1)
..The volcanic island of Gomera is typified by narrow valleys with steep walls called 'barrancos'...
	(during Barranco Panorama 2)
...From one side of a valley to the other may only be a few hundred meters, as the crow flies...
	(during Barranco Panorama 3)
... But it could take an hour to walk all the way down and all the way back up again, just to chat with your neighbor...
	(during Barranco Panorama 4)
...Since whistling carries better than shouting, the silbo gomero is perfectly suited to this rugged terrain...
	(during Barranco Panorama 5)
...The deep barrancos act as acoustic tunnels. Whistled messages have been heard as far as 8 km (5 miles) off...
	(during Barranco Panorama 6)
...Whistlers relaying from ridgetop to ridgetop can transmit a message from one end of the island to the other in a matter of minutes...
	(during Barranco Panorama 7)
...The Gomerans managed to keep this unique form of communication secret for almost two more centuries...

(SFX: Canary birds, wind, brush rustling, an occasional whistle)

DISSOLVE:

*'Tax Collector #1'

EXTERIOR - PEASANT'S HOUSE ON THE SIDE OF A HILL - DAY

A 17th century Spanish nobleman (TAX COLLECTOR) dismounts his HORSE in front of a PEASANT'S HOUSE. The Tax Collector has a BOOK with him. The PEASANT is already standing at the doorway, the Tax Collector points to his book. The Peasant shrugs his shoulders and offers to let the Tax Collector have a look around. The Tax Collector does a SLOW BURN knowing he won't find anything, hops on his Horse and rides off screen.

		NARRATOR
	(during the above scene)
...Whenever the tax collectors came to Gomera, they would go back empty-handed. All their movements were already known all over the island from the moment they set foot on land.

After the Narrator has finished, and the Tax Collector has ridden off, the Peasant puts his fingers in his mouth and begins whistling.

		PEASANT
	(whistling)
(*SUBTITLE: Juan, hide your goats in the cave up the hill! The tax collector is coming to your house next.)

We can't see JUAN but we hear him whistling (at a lower volume).

		JUAN
	(whistling in the distance)
(*SUBTITLE: Thanks a lot.)

DISSOLVE:

'Tax Collector #2'

INTERIOR - THE TAX COLLECTOR'S HOUSE - DAY

Here we see the Tax Collector taking whistling lessons from a young SHEPHERD BOY. The Shepherd Boy is showing the Tax Collector how to hold his fingers. We can't hear the whistling lesson because the Narrator is speaking.

		NARRATOR
One tax collector secretly learned the whistling language and the next time he went visiting...

DISSOLVE:

*'Tax Collector #3'

EXTERIOR - THE SIDE OF A HILL - DAY

We see the Tax Collector riding his Horse down a path. Suddenly we hear a meaningful whistle.

		WHISTLER
	(whistling off-screen)
(*SUBTITLE: "Pedro, the tax collector is coming your way! Hide your animals up in the caves!")

The Tax Collector opens his BOOK and makes a note.

DISSOLVE:

'Tax Collector #4'

EXTERIOR - THE PEASANT'S HOUSE ON THE SIDE OF THE HILL - DAY

The setting is the same as scene 65. The Peasant is standing at his door talking to the Tax Collector who is pointing in his BOOK.

		PEASANT
	(lying through his teeth)
I only have these two goats, and this one is sick. How can you ask taxes from a man who has nothing?

		TAX COLLECTOR
	(slyly)
Then you don't mind if I take a look in those caves up the hill, do you?

		PEASANT
	(shocked, stammering)
I -- I, uh...

FADE OUT:

*'Psalms 1862 #1'

INTERIOR - THE CHURCH - DAY

This is the same church that Vera trapped the Gomerans in just before the 1488 massacre (scene 54). From now on all Gomerans have darker complexions. As opposed to the Gomerans in the pre-conquest scenes where Hamitic features, blonde hair and blue eyes predominate, we now see that brown hair, brown eyes and skin are quite common due to intermarriage with the Spanish conquerors.

It's Sunday morning, and the church is 3/4 full of MEN and WOMEN sitting in the PEWS reading their PRAYER BOOKS and moving rhythmically as one. The scene begins SILENT.

As the SOUND FADES IN we hear that they are not singing, and they are not speaking, in fact, they are WHISTLING THE PSALMS in unison!

(*SUBTITLES: Oh, Lord my God, in thee do I take refuge; save me from all my pursuers, and deliver me, lest like a lion they rend me, dragging me away with none to rescue...)
[Psalm 7]

The volume of the whistling goes down a bit as the Narrator's voice superimposes.

		NARRATOR
The silbo gomero is a true, living language. So versatile, in fact, that the Psalms were regularly whistled in the pews. This practice continued until 1862, when the Padres decided to put a stop to that practice by severely punishing those who whistled during services.

At this an angry young firebrand PRIEST bursts into view, runs to the PULPIT, and begins ranting and raving:

		PRIEST
	(holier than thou)
Stop whistling this minute! How dare you defile the Lord's house with blasphemies! If you continue whistling you will be excommunicated, every one of you! And your punishment in the Afterlife will be everlasting pain and suffering for the sacrilege of your disrespect for the holy scriptures!
	(gesturing)
Get out! Get out all of you! And may you not set foot inside again until you have mended your sinful ways! Woe to the wicked!

The Gomerans begin leaving, muttering to themselves about this nutcase preacher.

DISSOLVE:

*'Psalms 1862 #2'

EXTERIOR - THE CHURCH - MIDNIGHT (CHRISTMAS MASS)

A crowd of PEOPLE holding candles have assembled at the church's entrance to celebrate midnight Christmas mass. To their surprise, it's been barricaded shut with BOARDS, and there are armed GUARDS standing in front of the door.

		NARRATOR
At Christmas of that year, San Sebastián's town fathers even went so far as to close the church for Christmas mass.

Since it's dark we don't actually see the candle bearing Gomerans whistling, but as the Narrator finishes speaking we can hear some people outside the church whistling loudly, and also far away whistles asking information, giving replies, etc.

(*SUBTITLES: "They've closed the church! Why did they do that? Is that new preacher crazy? Stay home, there's no midnight mass! What a sad Christmas! Where could we hold mass ourselves? Go back home!")

FADE OUT:

'Quedenfeldt 1887'

PHOTOCOPY FROM QUEDENFELDT'S ARTICLE

A title appears, then fades:

BERLIN 1887

(the above letters are printed in Old German Gothic Type)

The PHOTOCOPY should be TINTED slightly YELLOW to reinforce the impression that we are looking at an old document.

The camera SCANS the PHOTOCOPY'S musical examples (see Supplementary Materials: pg 739 from "Pfeifsprache auf der Insel Gomera" <Zeitschrift fur Ethnologie> XIX) while the Narrator speaks.

		NARRATOR
It wasn't until the late 19th century that Gomera's whistling language began to merit scientific attention. A Dr. Quedenfeldt
	(pronounced: KED-en-felt)
tried to notate the silbo gomero in conventional western music notation.

A violinist (with no knowledge of silbo gomero) plays (off-screen) some or all of Quedenfeldt's examples. The Narrator announces the English translation(s) of the notation just before the violinist plays the word or phrase we are currently looking at.

		NARRATOR
	(before example 1)
"Today"
	(before example 2)
"Sunday"
	(before example 3)
"Are you going to mass today?"
	(before example 4)
"Have you eaten?"
	(before example 5)
"Bring me the horse"
	(before example 6)
"My name is Juan."

[If, for brevity's sake, it's decided to have the violinist play only ONE of Quedenfeldt's examples - It MUST be ex. 3: "Tu va a misa hoy?" (Are you going to mass today?). This is not only because it is a favorite example of Dr. Classe (see Bibliography), but primarily because this phrase provides a link to the previous scene (scene 70 - where the church is closed at midnight mass) in the same manner that Psalm 7 (which is whistled in scene 69) ".. save me from all my pursuers, .. lest like a lion they rend me.." refers back to the Peasant's plight at the hands of the crafty Tax Collector in scene 68.]

		NARRATOR
	(once the violinst has finished playing through the last of the above examples)
Although it was not his intention, Dr. Quedenfeldt's experiment proved conclusively that common music notation is not, and will never be, capable of capturing the nuances of a phenomenon as elusive as the Gomeran whistling language.

DISSOLVE:

*'Verneau #1 1891'

EXTERIOR - NARROW MOUNTAIN TRAIL - DAY

DR. VERNEAU and his Gomeran GUIDE are walking up a narrow mountain trail, the Guide is leading. Verneau is several steps behind the Guide and the camera is following Verneau. While the Narrator speaks we can only see their backs.

		NARRATOR
At about the same time, a physician from Paris -- Dr. Verneau
	(pronounced: ver-no)
was also doing studies on Gomera.

		VERNEAU
	(a bit out of breath)
Stop for just a second.

At this they both stop, so that we can see their faces.

		VERNEAU
Another thing: Please don't mention that I'm a medical doctor. I'm here to do research. I can't spend all day treating people who are ill, besides the medicines I would prescribe aren't available here anyway. Promise?

		GUIDE
Yes, yes, of course I won't say a thing.

They begin ascending the path again. We soon hear a whistle in the distance (the whistler is unseen), and this distant whistle is answered by the Guide as he is walking. We hear more distant whistles and there are more replies from the Guide. Suddenly the Guide turns back to Verneau, gives Verneau a guilty look, and blushes.

(There are no SUBTITLES in this scene)

		VERNEAU
	(noticing the Guide has blushed)
This whistling language of yours is fascinating. What are you talking about?

		GUIDE
	(stammering)
Well, actually, uh, we were talking about you, sir. Um, they wanted to know your name, where you come from, why you're here and
	(swallowing hard, and looking guiltier than ever)
your profession.

Verneau heaves a deep sigh.

		GUIDE
	(breaking even more bad news)
They told me that they are going to bring all the sick people down to the village for you to treat, and I was trying to tell them not to.

The look on Verneau's face tells us that he has resigned himself to treating patients for the rest of the day.

DISSOLVE:

'Verneau #2'

EXTERIOR - MIDDLE OF A VILLAGE - DAY

Dr. Verneau and his Guide are surrounded by the curious wide-eyed VILLAGERS. Among the various peasant extras we have the following SICK PEOPLE:

- An OLD MAN ON A CRUTCH

- An OLD WOMAN ON A COT sitting half up

- A LITTLE GIRL with a skinned knee

- A teenage BOY WITH HIS ARM IN A SLING

- An 8 or 9 year old CHILD WITH A RAG ROUND THE HEAD

- A young WOMAN WITH HER BABY

The Villagers and Sick People pepper Verneau with questions. Verneau doesn't have time to get a word in edgewise but looks benevolently at the crowd, and is genuinely compassionate.

		WOMAN WITH HER BABY
Tell us about Paris!

		LITTLE GIRL
	(tugging at Verneau's coat)
Is Paris really the biggest city in the world?

		OLD WOMAN ON A COT
'Verneau' is a beautiful name, what does it mean?

		BOY WITH HIS ARM IN A SLING
What's France like?

		OLD MAN ON A CRUTCH
How long will you stay?

The Villagers continue asking him questions and tugging at his coat-tails, as the Narrator's voice superimposes.

		NARRATOR
The people were already well informed about the Doctor - They even knew that he came from Paris, France. A place which many of them had never even heard of before except through his guide's whistles!

DISSOLVE:

*'Verneau #3'

EXTERIOR - THE SIDE OF A HILL - DAY

Verneau and his Guide are alone and have stopped somewhere along the way to rest.

		VERNEAU
Of all the amazing things I've seen and experienced here on the Canary Islands, your whistling language is one of the most incredible! Please, show me how you whistle.

		GUIDE
It's easy there are lots of different ways.

There are no SUBTITLES in this scene because, in fact, the Guide is not communicating. He is only showing technique. Therefore the Guide assumes one finger position, then gives a short blast; goes to the next finger position, gives another short meaningless blast and etc, until he has gone through all 16 different techniques.

Two Hand Techniques

Technique 1 "INDEX V"
The two index fingers of each hand are brought into contact at the tip to from a "V" and put into the mouth. The fingers immobilise the tongue.

Technique 2 "FOUR V"
The same as technique 1, except that four fingers are placed in the mouth (the index and middle fingers of each hand). This is J.Brent's favorite method.

Technique 3 "MIDDLE V"
Same as technique 1, except that the two middle fingers are used.

Technique 4 "PINKY V"
Same as technique 1, except that the two little fingers are used.

One Hand Techniques
(the other hand may be used as a "horn")

Technique 5 "OK V"
Same as technique 1, except the thumb and index finger of the same hand are brought into contact at the tips to form the "V". This hand position resembles the American hand signal for "OK".

Technique 6 "CURVED INDEX UP"
The index finger is bent (by the thumb) and put into the mouth. The other fingers are above the index.

Technique 7 "CURVED INDEX DOWN"
Same as technique 6, except the other fingers are below the index.

Techinque 8 "CURVED MIDDLE"
The middle finger is bent (by the thumb) and put into the mouth. The little finger is highest, the index finger is below the middle finger.

Technique 9 "CURVED PINKY UP"
Similar to the above techniques. The little finger is not bent by the thumb before it is put into the mouth. All the other fingers and thumb are above the little finger.

Technique 10 "CURVED PINKY DOWN"
Similar to the above techniques. The little finger is bent by the thumb. The other fingers are below the little finger.

One Finger Techniques
(the other hand may be used as a "horn")

Technique 11 "INDEX UP"
The index finger is introduced into the mouth. The rest of the fingers and thumb are above the palm. The lips are kept tense and in contact with the front teeth. With the finger they form a small opening to the side of the mouth.

Technique 12 "INDEX DOWN"
Same as technique 11, except that the other fingers and thumb are below the palm.

Technique 13 "MIDDLE DOWN"
Same as technique 12, except that the middle finger is used.

Technique 14 "MIDDLE ACROSS"
The middle finger rests on both lips almost completely covering the mouth.

Technique 15 "THUMB DOWN"
Same as technique 11, except that the thumb is used.

Fingerless Technique
(one or both hands may act as a "horn")

Technique 16 "TONGUE WHISTLE"
The upper part of the tongue forms a groove longways and touches the back of the lower teeth making a small opening in the middle. The lips are fairly spread and are kept more or less immobile against the teeth.

		NARRATOR
Dr. Verneau misunderstood his guide's little lesson, taking it to mean that the varying combinations of fingers in the mouth are an essential feature of the Gomeran whistling language. This false impression has unfortunately been reproduced in all but the most scientific works on the subject.

CUT TO:

*'Spanish Civil War 1936-1939'

EXTERIOR - NATIONALIST POST - DAY

A title appears:

Spanish Civil War
The Madrid Front

As the title fades, we see that we are looking into the entrance of an open BIVOUAC TENT. Seated inside is a nationalist OFFICER, stationed outside the Tent are two or more SOLDIERS. The Officer is looking at some MAPS on his TABLE. In the background we hear (SFX) the sounds of a ground war: the occasional explosion, and the rat-a-tat of not so distant guns.

		NARRATOR
When the communists severed telephone communications, Gomeran whistlers were brought in as observers. The whistled messages were passed on by relays.

A whistle is heard in the distance.

(*SUBTITLE: "The communists have biouacked in sector 7B")

One of the Soldiers (GOMERAN SOLDIER) turns inwards and faces the Officer.

		GOMERAN SOLDIER
Sir, the enemy has bivouacked in sector 7B.

		OFFICER
	(consulting his map)
Tell them to move the Fifth Battalion into the sector to destroy the communists' position. Have Units 36 and 39 back them up as reinforcements.

		GOMERAN SOLDIER
	(saluting)
Yes, sir.

The Gomeran Soldier moves back to his initial position, puts his fingers in his mouth and begins whistling.

(*SUBTITLES: "Move the 5th battalion to sector 7B to destroy the enemy's position. Units 39 and 39 advance as backup.")

This is whistled twice. We then hear the same message being RELAYED by an UNSEEN DISTANT WHISTLER. The subtitles remain on the screen. The Narrator begins talking again about halfway through the distant whistler's 2nd relayed message.

		NARRATOR
The Gomerans helped to win one battle against the communists, but their usefulness was short-lived. Once both camps began using Gomeran whistlers, it was impossible to maintain any degree of secrecy.

FADE:

'A Life is Saved #1'

INTERIOR - A COUNTRY DOCTOR'S OFFICE - DAY

A title appears:

La Gomera
Vallehermoso 1970

As the title fades, we see a DOCTOR is sitting alone at his DESK in his office. Suddenly his ASSISTANT opens the DOOR and rushes in.

		ASSISTANT
	(urgently)
Doctor! They're whistling for you! Someone over in Taguluche has had a heart attack and they need to know what to do!

The Doctor drops what he's doing and runs out the DOOR.

CUT:

'A Life is Saved #2'

EXTERIOR - OUTSIDE THE DOCTOR'S PRACTICE - DAY

The Doctor puts his fingers in his mouth and begins whistling.

(*SUBTITLES:

"This is Dr. Gonzalez in Vallehermosos. Here's what you have to do: First, lay the patient flat on his back on the floor.

[DISTANT WHISTLE: OK, we've done that.]

Now, put your hand underneath his neck and tip the head back. Check to see if anything is obstructing the airway. Pinch his nose and quickly blow into the lungs three times. Is he breathing?

[DISTANT WHISTLE: No, not really.]

Is there a pulse?

[DISTANT WHISTLE: It's hard to tell! What do we do now?]

Measure up two fingers from the end of the breast bone and put the heel of your hand just above the 2 fingers. Make sure you're directly above the patient, when you push, bend from your hips, not from the knees. Push straight down rhythmically 15 times. After 15 thrusts, blow up the lungs again. Is there a pulse now?

[DISTANT WHISTLE: I think so.]

Is he breathing?

[DISTANT WHISTLE: He seems to be coming around.]")

		NARRATOR
	(superimposed over the whistles as the *SUBTITLES roll by)
This is not the first time the whistling language had been used to save a life, and it certainly won't be the last time either. The silbo gomero is an incredibly potent tool with great promise for the future service of mankind.

FADE:

'The Present'

EXTERIOR - SAN SEBASTIAN FROM THE SEA (ON-LOCATION) - DAY

NARRATOR

The tiny island of Gomera is, scenically, one of the most beautiful and exotic tropical islands in the world. Its breathtaking vistas, deep barrancos, perfect climate, and exceptionally friendly people make this the place for folks who really want to "get away from it all".

This unspoiled paradise in the Atlantic has a surface area of less than 400 square meters (150 square miles) and the population is only about 18,000 inhabitants.

There are several excellent beaches around the island for those who crave the sun, but Gomera's real charm lies in its interior where one can find an incredible variety of panoramas at every turn of the trail. Plant life is also diverse, and many indigenous species can be found nowhere else in the world...

DISSOLVE:

'Rain Forest'

EXTERIOR - MONTAGE OF RAIN FOREST SHOTS (ON-LOCATION) - DAY

		NARRATOR
	(uniterrupted by the change in scenes)
...10% of the island is covered by virgin rain forest which has been declared a National Park called "Garajonay"
	(pronounced: ga-ra-hon-EYE)
after the highest peak on the island which rises to almost 1500 meters (5000 feet).

DISSOLVE:

'The Legend of Garajonay #1'

EXTERIOR - THE BEACH - DAY

The Garajonay Legend scenes are treated as DREAMS. i.e. the picture is misty or fuzzy, also slight slow motion phtography should be used to emphasize the dreaminess. Most of this legend takes place in the rain forest, which is almost always covered in mist. As the Garajonay Legend progresses, the mist becomes thicker and thicker until the final scene the dying lovers are blanketed in a thick fog.

		NARRATOR
The peak of Garajonay takes its name from a Gomeran girl GARA and a boy from the neighboring island of Tenerife, JONAY. The origin of their romantic legend is lost in the prehistoric mists of time.

Young GARA (nude, Hamitic features) is sitting near the beach on some rocks, she sees something in the water and stands up. Out in the ocean there is a boy (JONAY) floating on two INFLATED GOAT SKINS. Jonay (in loinskin, darker than Gara) arrives at the shore, climbs up the rocks, and makes his way to Gara. She is enchanted by this handsome apparition from the sea, he in turn is amazed at this beautiful girl he has encountered on this strange foreign island. Love at first sight!

(SFX: wind and waves)

DISSOLVE:

'The Legend of Garajonay #2'

EXTERIOR - PAPA'S CAVE IN THE RAIN FOREST (MISTY) - DAY

Gara and Jonay are standing holding hands in front of the cave obviously "so much in love". From the interior of the Cave PAPA sticks out his head. Papa looks disagreeable, he gives one look at Jonay and motions for him to "shove off". Gara begins crying. Papa grabs his SPEAR, Jonay grabs Gara by the hand and they begin running.

MUSIC punctuates the action.

(SFX: Canary birds singing)

DISSOLVE:

'The Legend of Garajonay #3'

EXTERIOR - THE RAIN FOREST (MISTIER) - DAY

This is a CHASE scene. We CUT BACK AND FORTH between Jonay and Gara fleeing through the rain forest, and Papa who has now been joined by half a dozen SPEAR-wielding TRIBESMEN chasing the young lovers.

MUSIC punctuates the action.

(SFX: Canary birds singing)

DISSOLVE:

'The Legend of Garajonay #4'

EXTERIOR - CLEARING IN THE FOREST (BILLOWING FOG) - DAY

The lovers stop running. Gara (the girl) picks up a STICK (8 inches long) and begins whittling the end to a point with a STONE. Jonay stands PANTING and watching, wondering what she's doing. Gara finishes whittling the other end to a point and places one of the ends of the POINTED STICK at her heart. Jonay understands now. We hear the (SFX) of Papa and the approaching Tribesmen running through the underbrush.

INSERT: Gara and Jonay's mid-torsos face-to-face with one end of the pointed stick aimed at each of their hearts.

HEAD-ON shot of Papa and the Tribesmen entering the clearing. We hear (SFX) the death cries of the young lovers, as we see the stunned faces of Papa and the Tribesmen witnessing the young lovers' double suicide.

CUT to a shot of Gara and Jonay, on the ground, arms around each other, locked in their love-death embrace. There is an appropriate amount of blood. A puff of thick, thick fog covers their corpses.

MUSIC punctuates the action.

(SFX: Canary birds singing)

FADE OUT:

------------------------------------------------------------------
Part 3
------------------------------------------------------------------

*'Whistling Conversation 1'

EXTERIOR - NARROW BARRANCO TRAIL - DAY

We are following GOMERAN MAN #1 who is walking carrying his STAFF (known locally as an "astia" - 6 ft. long by 1.75 in. diameter) at the HEAD OF A NARROW VALLEY (barranco). ON THE OTHER SIDE of this Narrow Valley, GOMERAN MAN #2 is seen who also has a STAFF and is also walking. Gomeran Man #2 is only about 50 yards away, ie. close enough to recognize, but too far away to shout to.

		GOMERAN MAN #1
	(whistling to Gomeran Man #2)
(*SUBTITLE: "Hello.")

		GOMERAN MAN #2
	(whistling to Gomeran Man #1)
(*SUBTITLE: "Hello. Where are you going?")

		GOMERAN MAN #1
	(whistling to Gomeran Man #2)
(*SUBTITLE: "I'm going to town.")

		GOMERAN MAN #2
	(whistling to Gomeran Man #1)
(*SUBTITLE: "Me too. I'll see you there.")

		GOMERAN MAN #1
	(whistling to Gomeran Man #2)
(*SUBTITLE: "OK.")

Gomeran Man #2's whistles are heard at a lower volume.

(The above are the same whistles the same whistles that are heard in Scene 1.)

CUT:

*'Analysis of Whistling Conversation 1'

BLACK SCREEN

This scene is identical to Scene 1 (*'Opening'), except that now the ENGLISH SUBTITLES appear at the bottom of the screen.

Gomeran Man #1's first whistle is heard and simultaneously the contours and nuances of the whistle are seen displayed passing across the black screen in the new form of musical notation called GF-representation™. The English subtitle appears at the bottom of the screen.

(*SUBTITLE: "Hello.")

Gomeran Man #2's first whistle is heard and simultaneously the contours and nuances of the whistle are seen displayed passing across the black screen in the new form of musical notation called GF-representation™. The English subtitle appears at the bottom of the screen.

(*SUBTITLE: "Hello. Where are you going?")

Gomeran Man #1's 2nd whistle is heard and simultaneously the contours and nuances of the whistle are seen displayed passing across the black screen in the new form of musical notation called GF-representation™. The English subtitle appears at the bottom of the screen.

(*SUBTITLE: "I'm going to town.")

Gomeran Man #2's 2nd whistle is heard and simultaneously the contours and nuances of the whistle are seen displayed passing across the black screen in the new form of musical notation called GF-representation™. The English subtitle appears at the bottom of the screen.

(*SUBTITLE: "Me too. I'll see you there.")

Gomeran Man #1's 3rd whistle is heard and simultaneously the contours and nuances of the whistle are seen displayed passing across the black screen in the new form of musical notation called GF-representation™. The English subtitle appears at the bottom of the screen.

(*SUBTITLE: "OK.")

The above whistled conversation takes place at normal speed, exactly as whistled in the previous scene (Scene 84, in the barranco), each line passes off the screen as quickly as it is heard/seen.

		NARRATOR
	(After the last "squiggle" has passed off the screen)
Let's have a little closer look.

(*SUBTITLE: "Hello.")

THIS TIME, however, the GF-representation™ "squiggle" DOES NOT PASS OFF THE SCREEN, instead it HOLDS on the screen for a few seconds after the whistle is heard.

After 3 secs. the GF-representation™ "squiggle" fades, and the screen becomes black again. The English subtitle, however, remains at the bottom.

Gomeran Man #1's first whistle is repeated, i.e. it is heard again and simultaneously the contours and nuances of the whistle are seen displayed passing across the black screen in the new form of musical notation called GF-representation™.

		NARRATOR
	(as the second GF-representation "squiggle" HOLDS on the screen)
Go on, try it for yourself!

The audience is given enough time to repeat the whistle for "Hello!". (In a crowded theater full of teenagers you'd better protect your eardrums!)

After the audience has been given enough time to repeat the whistle for "Hello!" the GF-representation™ "squiggle" FADES, leaving a BLACK SCREEN.

*'Wilderness Rescue #1'

EXTERIOR - NARROW BARRANCO TRAIL - DAY

FADE IN:

The same setting as for Scene 84. The audience's whistles have died down by now, and as the scene fades in we see the same two Gomeran Men as in Scene 84, in roughly the same positions. They continue walking.

NARRATOR

With only 2 vowels and 4 consonants, the silbo gomero whistling language is communication stripped to the bare bones. Similar to a sine wave, the whistle doesn't need higher harmonics to get its message across. And what's more, its pitches fall into the optimum range of human hearing!

Whistling will always travel better AND further than shouting not only because the human voice falls below the frequencies that the ear perceives best but also because over a distance the upper transients of the spoken word are lost.

That's why when someone is shouting to you from far away, you can tell that they're shouting but you can never make out what they're trying to say. In contrast, if weather conditions are good, a strong whistler can be understood several miles off.

As the Narrator finishes his speech, we see Gomeran Man #1 perk up his ears, he gets an urgent and serious look on his face. He hears someone whistling for help.

		HIKER
	(unseen, whistling in the distance)
(*SUBTITLE: "Help me!")

		GOMERAN MAN #1
	(whistling to Gomeran Man #2)
(*SUBTITLE: "Juan, what's the matter?")

		GOMERAN MAN #2
	(whistling to Gomeran Man #1)
(*SUBTITLE: "Listen! Somebody needs help!")

		HIKER
	(unseen, whistling in the distance)
(*SUBTITLE: "Help me!")

		GOMERAN MAN #1
	(whistling to Gomeran Man #2)
(*SUBTITLE: "You're right.")
	(now whistling to the unseen Hiker)
(*SUBTITLE: "Where are you?")

		HIKER
	(whistling in response)
(*SUBTITLE: "I'm down here.")

		GOMERAN MAN #2
	(whistling to Hiker)
(*SUBTITLE: "Are you hurt?")

		HIKER
	(whistling in response)
(*SUBTITLE: "I think my leg is broken.")

		GOMERAN MAN #2
	(whistling to Gomeran Man #1)
(*SUBTITLE: "I can see him! Let's go!")

		GOMERAN MAN #1
	(whistling to Hiker)
(*SUBTITLE: "Hang on, we're coming!")

At this the two Gomeran Men begin bounding down the steep sides of the barranco at breakneck speed by use of their STAFFS. The Gomerans can cover incredible distances in no time at all by leaping with their sturdy STAFFS. This amazing skill is very typically Gomeran: They aim their STAFF at a certain point, then once the point of the STAFF has hit they ground they use the STAFF as the CENTER OF EQUILIBRIUM and slide down it sort of like a fireman slides down the firepole. It's a bit difficult to describe, you have to see it to believe it. (Don't try this one at home, kids.)

The camera (not the cameraman) follows the Gomeran Men LEAPING, and BOUNDING down the hill.

DISSOLVE:

'Wilderness Rescue #2'

EXTERIOR - THE BOTTOM OF A RAVINE - DAY

The two Gomeran Men (from the Scenes 84 & 86) have reached the hapless HIKER, and are inspecting the damage to his leg. The two Gomeran Men help the Hiker to get up. The Hiker puts one arm around each of the Gomeran Men's shoulders and the threesome begin the trek down the hill with the Hiker hobbling on one foot in the middle.

		NARRATOR
For rescue and emergency situations the whistling language has proved indispensable to the Gomerans. A few useful, easy-to-remember whistled phrases taught in classes around the world could make this planet a better place to live AND save lives!

CUT:

*'Hey, Taxi/*Stop Thief'

EXTERIOR - THE BIG CITY (NEW YORK?) - DAY

(SFX: High background noise level - car engines, occasional car horns, a jackhammer, sounds of a crane moving, radios blaring with different songs in different styles, people talking, etc, etc)

The general atmosphere is BUSY. Cars are double-parked, the crowds on the side-walk are at about 70% capacity.

A couple (MISTER and MIZ) are standing between some double-parked cars. MISTER is trying vainly to hail a TAXI. His shouts are only barely heard over the din.

		MISTER
	(ineffectually waving and shouting)
Taxi, uh, Taxiii!

He continues shouting and doing his little waves as Taxi after Taxi with a green light on passes them by. The look on MISTER's face is one of down-beaten resignation, he knows they'll never get a Taxi at this rate.

MIZ touches him on the arm as if to say, "Here, let me try" and then using whistling technique #5 "OK V" (Scene 74) she puts the index finger and thumb of her right hand into her mouth.

		MIZ
	(whistling)
(*SUBTITLE: "Hey, Taxi!")

Immediately, a Taxi screeches to a halt in front of the couple.

		TAXI DRIVER
	(smiling, friendly)
You whistled "Taxi", ma'am?

		MIZ
	(to the Taxi Driver)
Please.

MISTER opens the back door of the Taxi for MIZ.

		MIZ
	(to MISTER as she is getting in the Taxi)
Welcome to the future!

MISTER climbs in the cab, shuts the door, and the Taxi takes off.

		TAXI DRIVER
	(overheard as the cab drives away)
Where to?

The camera doesn't stick with the Taxi long, but soon PANS to the sidewalk crowd. JOE BUSINESS (carrying a BRIEFCASE) is walking HEAD-ON into the camera, no doubt mulling over the details of some great deal he's about to close. He is oblivious to the noise, and the crowd around him. We see some motion BEHIND Joe Business and we get a glimpse of a young, desperate looking THIEF (junkie/crack-head type) moving quickly up the sidewalk, eyes shiftily scanning for cops.

INSERT: Thief's hands grabbing Joe Business' BRIEFCASE.

TAIL-AWAY Shot of the Thief running off with Joe Business' BRIEFCASE. The Thief is holding the BRIEFCASE to his chest with his arms crossed around it.

		JOE BUSINESS
	(chasing the Thief and whistling, using the same one-hand method as above)
(*SUBTITLES: "Stop Thief! Stop Thief!")

Joe Business continues whistling "Stop, Thief!" as he continues chasing the Thief.

HEAD-ON Shot of the Thief running towards the camera. Joe Business is still chasing the Thief and still whistling. The Thief looks worried.

Here we alternate between Joe's POV and a HEAD-ON Shot of the chase.

Two LARGE MEN in civilian clothes tackle the Thief. Joe Business arrives breathlessly on the scene.

		ONE OF THE LARGE MEN
We heard you whistling "Stop, Thief!" This is your briefcase, isn't it?

		NARRATOR
	(as a pair of UNIFORMED POLICEMEN arrive)
Pure fantasy? It doesn't have to be. The future may hold all sorts of beneficial uses for the whistling language.

CUT:

*'Flashback to Scene 10 (Scottish Shepherds)

*FLASHBACK TO SCENE 10 (SCOTTISH SHEPHERDS)

The original soundtrack is only barely audible under the Narrator's voice-over.

NARRATOR

We've already seen how the Scottish Shepherds can control their dogs "long-range" by whistling a few simple signals.

Well, it's no secret that dogs have been controlled for ages by whistled commands. However, what has always been lacking is a truly universal system of dog training via the use of whistles.

The silbo gomero whistling language is an excellent, ready-made candidate for just such a standardized system.

CUT:

*'Training Motion Picture Animals'

EXTERIOR - A MOVIE LOT - DAY

This is a simulation of an ANIMAL TRAINER making a CHIMP go through various tricks via the use of whistles. The TRAINER appears to be making the CHIMP do his tricks by use of whistled commands, but, in fact, the CHIMP is responding to an off-screen trainer's normal commands and signals, and the whistles we hear are "voice"-over.

Once the Narrator begins speaking, the "voice"-over whistles are heard at a slightly lower volume.

(*SUBTITLES: [as appropriate])

		NARRATOR
	(after the CHIMP has done three or four tricks)
The main advantage of whistled (or spoken) commands over visual cues is that no eye-contact with the animal is necessary. And, the advantage of whistled commands over spoken ones is the whistle's unique ability to cut through background noise, not to mention that whistling can be understood over 10 times as far away as shouting! A better mousetrap? Any tool this powerful deserves to be used!!

CUT:

*'Communicating with Dolphins #1'

INTERIOR - DOLPHIN TANK UNDERWATER - DAY

Some DOLPHINS are swimming around in their tank, as we watch them we hear them whistling (A Phonograph Record entitled "Whale and Porpoise Voices" recorded in 1962 by Schevill and Watkins at the Woods Hole, MA Oceanographic Institution may be the ideal SOUNDTRACK for this section of the film).

NARRATOR

Captain Jacques Cousteau asserts that in his "mind there is no doubt that dolphins and whales communicate. Dolphins utter sets of squeaking sounds which serve as sonar" under low visibility conditions, and "they also communicate with one another using whistles."

In the early 1960's it was suggested (by Lilly and Busnel) that it might be possible to teach them a human whistling language. Studies conducted by the US Navy in the same decade proved that these intelligent sea mammals could retain, reproduce, and react to whistles produced experimentally under laboratory conditions. This fascinating experiment was, unfortunately, cut short in 1967 by the untimely death of the Navy's chief researcher, Dr. Batteau.

Later, in the mid 70's, Captain Cousteau hypothesized that teaching a whistling language to Dolphins could be "the beginning of a communication between" them and man. By 1989, however, this statement was tempered by the realization that "the entire concept of language as we know it may be so foreign in marine mammals that we cannot comprehend it, nor can dolphins comprehend ours".

Cousteau wondered "if humans were to know dolphin language whether something would be lost to us", and if we would then "lose our respect and appreciation for these magnificent creatures."

CUT:

*'Communicating with Dolphins #2'

EXTERIOR - DELFINARIO/CASA DE CAMPO/MADRID - DAY

The Delfinario in the Casa de Campo Park in Madrid is a tourist oriented aquatic section where sea mammals perform tricks to amuse the paying spectators. Dan Cartwright, a friend of mine (he'll remember me from the Hotel Principe Pio in July of 1987), is the head trainer there.

If it is decided to film this scene in California, please contact Mr Sonny Allen c/o Marine World, #1 Marine World Parkway, Vallejo, CA. Mr Allen is the head trainer at Marine World and an old friend of Dan Cartwright's.

This scene is similar to scene 90 (Chimpanzee Tricks) in that Dolphins are doing tricks according to the usual instructions of a TRAINER, but whistles are "voiced"-over to simulate that the Dolphins are responding to whistled commands.

Appropriate *SUBTITLES appear at the bottom of the screen.

		NARRATOR
	(after the Dolphin[s] have performed three or four tricks)
Besides teaching these intelligent animals amusement park tricks for tourists, couldn't we also use the whistling language to train them as undersea farmers to help feed the world's ever-growing human population??

FADE:

*'Whistle Control of Electronic Devices #1'

INTERIOR - HARPO YUPPO'S BEDROOM - THE CRACK OF DAWN

It's dark. HARPO YUPPO and HARPO'S WIFE are in BED sleeping. They are both making a lot of noise, Harpo Yuppo is snoring like a bear, and Harpo's Wife is making wheezy sounds which are ALMOST LIKE A WHISTLE. On the NIGHTSTAND there is a CLOCK/RADIO, and we can clearly see that the TIME is 6:29.

		NARRATOR
Deciphering the complex harmonic spectra of the human voice is a tough job for even today's most powerful computers. In contrast, the pitch contours of a simple harmonic-free whistle are much, much easier (and therefore much, much CHEAPER) to recognize and analyze. Why use a super-computer for common everyday commands? If you want something done just whistle!

As soon as the Narrator finishes speaking the CLOCK/RADIO goes off, and begins blaring (MUSIC) - some loud Heavy Metal Trash. Harpo Yuppo wakes with a start, and Harpo's Wife rolls over putting the PILLOW over her ear.

As the MUSIC continues to blare, Harpo Yuppo gives a whistle. He uses technique 16 - "Tongue Whistle" (Scene 74).

		HARPO YUPPO
	(whistling)
(*SUBTITLE: "Hey, Bedroom Light - On.")

The BEDROOM LIGHT turns on. The MUSIC continues.

Harpo's Wife groans, rolls to the other side, and pulls the covers over her head. Harpo Yuppo gets out of bed.

		HARPO YUPPO
	(whistling)
(*SUBTITLE: "Hey, Clock Radio - Off.")

The MUSIC Shuts Off and Harpo Yuppo leaves the bedroom. As he does Harpo's Wife pokes her sleepy head out from under the covers, her eyes hurting from the light and WHISTLES.

		HARPO'S WIFE
	(whistling [tongue whistle])
(*SUBTITLE: "Hey, Bedroom Light - Off.")

The scene goes dark, we hear the (SFX) clatter of Harpo Yuppo running into something in the other room.

		HARPO YUPPO
	(off-screen, whistling)
(*SUBTITLE: "Hey, WC Light - On.")

A LIGHT comes on OFF-SCREEN. We see the reflection of this bathroom light through the open bedroom door. We hear the (SFX) of running water and Harpo Yuppo gargling.

CUT:

*'Whistle Control of Electronic Devices #2'

INTERIOR - HARPO YUPPO'S KITCHEN - EARLY MORNING

		HARPO YUPPO
	(whistling)
(*SUBTITLE: "Hey, Kitchen Radio - On.")

The KITCHEN RADIO turns on, it's the weather report.

		HARPO YUPPO
	(whistling)
(*SUBTITLE: "Hey, Coffee Maker - On.")

The COFFEE MAKER begins percolating.

Harpo Yuppo begins rummaging through the FRIDGE while WHISTLING A LITTLE TUNE TO HIMSELF. The RADIO continues its bla-bla and the COFFEE MAKER continues gurgling.

CUT:

*'Whistle Control of Electronic Devices #3'

INTERIOR - HARPO YUPPO'S GARAGE - MORNING

Harpo Yuppo is in his CAR, inside the garage. He is just about to drive to work. The (MUSIC) CAR RADIO is chugging out some disco pap.

At the same time as he starts his CAR, he whistles using technique 5 "OK V" (the same as used in Scene 88 - *'Hey, Taxi!').

		HARPO YUPPO
	(whistling)
(*SUBTITLE: "Hey, Garage Door - Open.")

The GARAGE DOOR opens, and he drives out. As soon as he gets a little way down the driveway. He whistles again using the same "OK V" technique. HE DOES NOT STOP DRIVING to whistle.

		HARPO YUPPO
	(whistling)
(*SUBTITLE: "Hey, Garage Door - Close.")

The GARAGE DOOR begins closing, Harpo Yuppo drives off.

CUT:

*'Whistle Control of Electronic Devices #4'

INTERIOR - HARPO YUPPO'S OFFICE - DAY

Harpo Yuppo enters his office, BRIEFCASE in hand. We hear (MUSIC) elevator music in the background.

		HARPO YUPPO
	(whistling)
(*SUBTITLE: "Hey, Office Light - On.")

The OFFICE LIGHT comes on. Harpo Yuppo goes to his desk.

		HARPO YUPPO
	(whistling)
(*SUBTITLE: "Hey, Computer - Activate.")

His COMPUTER screen comes to life.

		HARPO YUPPO
	(whistling)
(*SUBTITLE: "Hey, Computer - Today's Schedule.")

The COMPUTER (SFX) whirrs a bit, then begins speaking in a grating synthetic monotonic robot voice.

		COMPUTER
	(robot-talking)
GOOD MORNING MR YUPPO. AT NINE FIFTEEN SEE DIRECTOR. AT TEN FIFTEEN COFFEE BREAK. AT ELEVEN A.M. SUBMIT FIGURES. AT TWELVE FIFTEEN...

CUT:

*'Whistle Control of Electronic Devices #5'

INTERIOR - HARPO YUPPO'S LIVING ROOM - EARLY EVENING

HARPO YUPPO JUNIOR (10 years old - the spitting image of his father) is in the living room. He is playing with a remote control TOY CAR. The TOY CAR is responding to his whistled commands (in reality the TOY CAR is being controlled off-screen by a radio-control box). HARPO JUNIOR continues playing with his whistle-controlled TOY CAR THROUGHOUT THE ENTIRE SCENE.

		HARPO JUNIOR
	(whistling)
(*SUBTITLES: [as appropriate] "Hey, Car - Forward." "Hey, Car - Right." "Hey, Car - Left." "Hey, Car - Come Here." "Hey, Car - Faster." "Hey, Car - Stop." etc.)

After we've watched the boy run the TOY CAR through three of four tricks, Harpo Yuppo Senior walks through the front door. He is coming home from work. As Harpo Senior opens the door it (SFX) CREAKS noticeably.

		HARPO YUPPO
	(to his son)
Hi, junior.

Harpo Junior looks up, acknowledges his father's presence and then continues playing with his whistle-controlled TOY CAR.

		HARPO JUNIOR
	(to his dad)
Oh, hi dad.

Harpo Senior goes to his favorite ARMCHAIR, sits down and picks up the TV GUIDE.

		HARPO YUPPO
	(whistling)
(*SUBTITLE: "Hey, TV - On.")

The TELEVISION comes on. On the TV screen we see a FAT LADY with BLONDE BRAIDS and wearing a VIKING HELMET WITH HORNS singing opera (MUSIC) with that horrible kind of voice they use. Harpo Junior continues playing with his whistle-controlled TOY CAR, oblivious to what his father is doing.

		HARPO YUPPO
	(whistling)
(*SUBTITLE: "Hey, TV - Go To Channel 13.")

The TELEVISION changes channels, now we see a dopey looking GUY IN A COWBOY HAT playing PEDAL STEEL GUITAR with a corny country and western (MUSIC) band. Harpo Junior continues playing with his whistle-controlled TOY CAR, oblivious to what his father is doing.

		HARPO YUPPO
	(whistling)
(*SUBTITLE: "Hey, TV - Go To Channel 7.")

On the TV, we again see the scene from the Marx Bros. movie "Horse Feathers" (Scene 11). We hear the barman ask, "And what does he want?" Harpo Marx goes into his dance and begins whistling. Yuppo's Kid continues playing with his whistle-controlled TOY CAR, oblivious to what his father is doing. Yuppo Senior relaxes and begins watching the film.

		NARRATOR
	(shortly after Harpo Marx begins whistling on the TV)
All music operates on a system of fixed-pitch relationships. Since the silbo gomero whistling language works by recognition of sliding pitch contours, your whistle-activated electronic devices will never be accidentally set off by a tune being played on the radio or by any other unintentional sound sources.

CUT:

*'Construction Workers 2'

EXTERIOR - CONSTRUCTION SITE - DAY

This scene is almost identical to Scene 8. The same actors and actress are used, and the setting and situation are the same.

CONSTRUCTION WORKERS are situated in different levels of a BUILDING IN PROGRESS. MATERIALS are being lowered on a CRANE (SFX: the CRANE moving).

A very pretty GIRL in a revealing LOW-CUT SUMMER DRESS and wearing TENNIS SHOES is walking past the construction site. The FOREMAN and the Workers are oblivious to her.

The Girl looks down, noticing that her TENNIS SHOE has come untied.

INSERT: The Girl's untied TENNIS SHOE.

The Girl bends over and begins tying her shoe.

		FOREMAN
	(whistling directions to the CRANE OPERATOR)
(*SUBTITLE: "A little lower. Just a bit more. OK. That's perfect.")

The CRANE comes to a stop.

The Girl quickly stands up, covering her low neckline with one of her hands. She assumes that the Foreman's whistle was a reference to her inadvertent display of cleavage and gives the Foreman a look that could kill.

		GIRL
	(indignant)
You guys never learn, do you?

		FOREMAN
	(realizing that the Girl is talking to him)
Huh? What are you talking about?

		GIRL
	(hands on her hips)
Whistling like that! You think I didn't understand what you said?

		FOREMAN
	(astonished at her reaction)
Excuse me, ma'am, but I was whistling directions to my Crane Operator.
	(now slightly annoyed, trying to get rid of her)
Now, if you don't mind we've got work to do here.

The Girl doesn't know whether or not to believe the Foreman's story, but decides that she's wasting her time with these stupid men anyway, and turns to leave.

		ONE OF THE WORKERS
	(whistling from one of the upper levels, once the Girl has turned her back and is walking away)
(*SUBTITLE: "WEEET-WOOO")

The Girl turns back around, puts her fingers in her mouth and begins whistling in the direction of the Construction Workers.

		GIRL
	(whistling)
(*SUBTITLE: expletive deleted)

The Girl stomps off visibly agitated, but triumphant.

CU on ONE OF THE WORKERS face. He looks shocked and sheepish.

		WORKER'S BUDDY
	(elbow in the ribs)
Whoa, man! She sure lit into you! Shee-it!

The Construction Workers all break out laughing.

		FOREMAN
	(yelling)
All right, knock it off you guys!

DISSOLVE:

'Wrap Up'

EXTERIOR - LOS ORGANOS - DAY

This scene is identical to Scene 2 (Title Scene). We are looking at the Los Organos rock formation which is on the north side of the island of Gomera. The basalt cliffs resemble the pipes of a church organ.

NARRATOR

The island of Gomera, Columbus' last port of call before the discovery of the New World in 1492, is unlike anywhere else in the world.

Still unspoiled even in this modern age, it never ceases to enchant those lucky enough to delight in its charms. Its phenomenal whistled speech, which is "spoken" and understood in the same way as any true living language, is only one of this island's many natural wonders.

What's been presented here is only the tip of the iceberg - The potential of the silbo gomero whistling language is as unlimited as human imagination itself!

(SFX: wind, waves, seabirds)

FADE TO BLACK:

*'"Hello"/"Goodbye"'

100

BLACK SCREEN

		NARRATOR
Do you still remember the whistle for "Hello!"?

The whistle for "Hello!" is heard and simultaneously the computer graphics (GF-representation™) for the whistle are seen on the screen. The English *SUBTITLE (*"Hello!") appears at the bottom of the screen.

The audience is given a chance to repeat the whistle for "Hello!".

Once the audience has been given enough time to repeat the whistle, the graphics fade.

		NARRATOR
Go on, try it again!

The whistle for "Hello!" is heard a second time, and the graphics for the whistle are also seen again.

The audience is given a second chance to repeat the whistle for "Hello!".

Once the audience has been given enough time to repeat the second whistle for "Hello!", the graphics fade.

		NARRATOR
Now, let's try the whistle for "Goodbye!"

The whistle for "Goodbye!" is heard and simultaneously the computer graphics (GF-representation™) for the whistle are seen on the screen. The English *SUBTITLE (*"Goodbye!") appears at the bottom of the screen.

The audience is given a chance to repeat the whistle for "Goodbye!".

Once the audience has been given enough time to repeat the whistle, the graphics fade.

The whistle for "Goodbye!" is then heard once again, and the graphics for the whistle are also seen again.

The graphics fade after the appropriate time.

FADE TO BLACK:

'CREDITS'

101

EXTERIOR - GOMERA FROM LOS GIGANTES, TENERIFE - SUNSET

FADE IN:

As the CREDITS roll by, we watch the SUN slowly SET in the west BEHIND the island of La Gomera. This shot is best taken (depending on the time of year) from the region of the Los Gigantes cliffs in the south of Tenerife. If the weather conditions are right, and the clouds are nice, this can be an incredibly impressive shot.

(SFX: waves, seabirds)

-THE END-

(CREDITS:)

PRODUCED BY
...

DIRECTED BY
...

FILMSCRIPT BY
JEFF BRENT

NARRATED BY

(etc)

If you've found the information above to be useful,
Please drop a tip in the Tip Jar by clicking on the "Tip Jar" box below!
Thanks!

back to Filmscript Home

Visit Jeff-Brent.com

If you've found your way to this page from a Search Engine link,
please click here to enter Silbo-Gomero.com home.
(This link will take you to the entire web site.)