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

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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)

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Part 1
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*'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)

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Part 2
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'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