1990 © J.Brent

Film Treatment

"SILBO GOMERO: Gomera's Whistling Language"

This film is divided into three distinct sections. The first section shows examples of everyday whistles that we all know and use regularly. The second section covers the history of the island of Gomera, where whistling developed into a true living language, and also deals with the island's present situation. The third, and final, section provides practical suggestions for ways to use the whistling language, in the future, with animals and computers.

Below we look at each section in turn:

Part 1 is an introductory sequence demonstarting that whistling is a common and ancient means of simple communication. This is established by a series of scenes containing skits in which different "garden-variety" whistles are presented in situational settings. This initial sequence of episodes also contains stock footage in which whistling plays a communicative role.

The film opens with a short whistled conversation. This is intended as a "teaser". The whistlers are not seen, and only the computer graphics (GF-representation™ - The New Music Notationt™) of the whistles' contours appear on the screen. No explanation of the whistles' meaning is given.

The titles then appear over a backdrop of a unique rock formation on the island of Gomera, called Los Organos, that looks like the pipes of an giant church organ.

After the titles, we find ourselves in a typical suburban scene. Here a young man whistles, "wee-u-weet" to get somebody's attention.

Another "down home" example follows with a husband whistling "yoo-hoo" to his wife as he gets back from work.

Next is an everyday city scene where a careless driver barely misses a cyclist. An onlooker whistles "wow" after seeing the close call.

We then turn to a campfire scene, which provides some slapstick comedy as a camper whistles while tossing a hot potato about.

No film devoted to whistling would be complete without a few bars of Disney's "Whistle While You Work", and this serves as an intro to a classic (and all too common) use of whistling: a gang of construction workers ogling a sweet young girl walking by.

From these kind of animals we pass on to man's best friend, with a quick scene of a man and his dog together in the wild. Rover knows "his master's whistle". This, in turn, acts as a prelude to a sequence illustrating a much more precise way of controlling sheepdogs as practiced in the highlands of Scotland: The shepherds there have turned whistling into a high art, and can make their dogs do incredible manoeuvers by using various whistled signals. The Producer of the BBC TV program devoted to filming the Scottish sheepdog competitions has already given me permission to use a short clip of theirs in this film about the Gomeran whistling language.

A Harpo Marx whistling scene wraps up the first part in order to crystallize the impression that whistling is not only fun and easy, but that we can actually use it to communicate too!

Part 2, the longest section, covers the (often bloody) chronological history of the whistling language of La Gomera, which is inseparable from the history of the island itself. This is a series of episodes based on historical research done on and about the island of Gomera:

We begin just before the fall of the Roman Empire. A map of North Africa shows the region inhabited by the Hamites at that time. Hamites are the relatives of the Ancient Egyptians. This connection is reinforced by a shot of the pyramids, and a reference to the Gomerans' practice of mummification including a shot of some mummies in the archaelogical museum on Tenerife. [jump to this scene in the master script]

A title tells us that we are in North Africa before the fall of the Roman Empire. The scene we now see is one of a "game" which was also training for primitive warfare. Surrounded by two dozen spectators, two boys are throwing rocks at each other. Without moving their feet, the boys dodge the flying projectiles with their bodies. Not only are they experts at avoiding the fast flying rocks, they are also experts at catching the rocks in mid-air, and then throwing them straight back at their opponent. This is an important theme which recurs throughout the conquest. [jump to this scene in the master script]

This stone throwing game is interrupted by the arrival of a group of Roman soldiers, who "herd" the villagers to the main square. In the midst of the square a Priest has a sort of shrine set up. The Priest commands the villagers to pay their respects to the the Romans' gods. The villagers refuse, and begin shouting blasphemies. As the crowd gets more and more rebellious the stones begin to fly and the Priest is killed. [jump to this scene in the master script]

Later, troops are sent out to quell the insurrection. The villagers, with their animals, are marched to the beach. At the seashore, we have a powerful scene where the Romans cut out the village men's tongues. [jump to this scene in the master script]

The Hamite villagers are then transported by boat to what was (at that time) a deserted island. During the boat ride we see the inhuman conditions that these unfortunate people are being subjected to. In the following scene, animals and people are thrown off the boats and must swim to shore. The deportees light a fire, and the sun goes down. [jump to this scene in the master script]

A thousand years go by. And in that thousand years, the men without tongues and their descendants develop Gomera's Whistling Language.

In 1403 Gadifer La Salle and his invaders come to Gomera in search of slaves and water. After being treated with kindness, they attempt to capture their hosts. They catch a few but the rest get away. When the French try to land the next morning they are beaten back by the stone and spear-throwing natives. [jump to this scene in the master script]

Even though the Europeans treat the natives treacherously, the islanders are always ready to believe the invaders' smooth lies and forgive the conquerors' trespasses. On Gomera the invaders find a people who don't wear clothing. And since the land provides all their needs, they spend most of their time singing and dancing. We see the naked villagers doing a slow simple dance and singing a slow plaintive chant. Polygamy is their natural state, and it is a breach of hospitality not to offer one's wife to a visitor. This is illustrated by the villagers graciously letting their females go off with some of the European seamen. This idyllic vision of paradise on Earth doesn't last for long however. [jump to this scene in the master script]

A group of slavers go inland. Through native cunning and the Gomerans' familiarity with the terrain, they lure the slave-catching party to a fortified place with only one entrance. There is a battle, but the natives have the high ground. Finally, when the slavers see that they have no hope of escaping alive, they beg for mercy. And the Gomeran King lets them go!!! [jump to this scene in the master script]

This is not the last time the slavers conduct their raids on Gomera. In fact, it seems that the raiders are constantly capturing the unfortunate islanders. The French, Portuguese, and the Spanish all waged wars on La Gomera, and the natives were always the losers.

In 1446, possession of La Gomera passes to a Spanish nobleman named Peraza the elder. We see him lay out the foundations for the Torre del Conde (which is still standing today), and we also see a deadly example of his cruel and tyrannical ways when a pair of slaves try to escape during the construction of the tower. [jump to this scene in the master script]

If there is a word to describe all the rulers that the Gomerans had to endure in the fifteenth century, it would be "Tyrant" with a capital "T". From the first to the last, they all used the same methods to insure obedience: terror, torture, executions, etc. And, when they needed a little money: "a slave-catching they would merrily go". Even though the Pope passed a decree in the mid-fifteenth century stating that Christians could not be sold into slavery, slave catching was practiced with alarming regularity.

Peraza the Younger was made from the same mold as his grandfather, Peraza the Elder. In 1477 Bishop Frias (pronounced: "free-us"), incensed by Peraza the Younger's total disregard for anything but his own personal gain and his unscrupulous sale of large numbers of Gomerans as slaves, goes to Ferdinand and Isabella's court in Seville to make a formal complaint. He demands the release, freedom, and safe return home of the Gomeran Christians. [jump to this scene in the master script]

The King and Queen then issue a decree declaring the Gomerans to be free and commanding that they be returned to their homes and also that Peraza the Younger must reimburse the slaves' owners. (How to raise money to pay back the Christian slaves' buyers? Simple: capture and sell more slaves).

In 1481, Ferdinand and Isabella send a certain General Rejón (pronounced: "ray-hone") to the Canaries to help with the conquest of La Palma. There is a storm which blows the General off-course, and he is forced to land on Gomera. Unfortunately, the General is an old enemy of Peraza the Younger's father, Diego de Herrera. (The long story of why these two men are enemies has no relevance to the history of Gomera, so it's only touched on.) Peraza the Younger orders the General's capture, and in the ensuing scuffle, the General is mortally wounded. [jump to this scene in the master script]

For the death of the General on royal business, Peraza the Younger is brought in chains to Ferdinand and Isabella's court at Seville. There, among his other penalties, Peraza is commanded to marry the beautiful Beatriz de Bobadilla (whom King Ferdinand has been taking much too much interest in as of late). Now, Queen Isabella can sleep easier knowing that her youthful rival has been exiled to (what was then) the most remote outpost in the Spanish realm. [jump to this scene in the master script]

Back on Gomera, the tyrant Peraza the Younger finds his enforced marriage to Beatriz de Bobadilla less than desirable and consequently looks elsewhere for romance. The beautiful Gomeran Princess Iballa (pronounced: "ee-bye-yah") becomes his mistress, and Peraza the Younger has secret trysts with her at her cave. [jump to this scene in the master script]

Peraza's actions are, however, not so secret as he would like. Iballa's mother, the village chief, and her kin do not only disapprove of Iballa's conduct on moral grounds - Peraza (and his family) have been brutalizing their people, selling them into slavery, torturing and killing them for too, too long.

The chief, the chief's son, and the warrior Hautacuperche (one of Iballa's kin) hold a secret council on a secluded rock just off-shore. After stating Peraza's crimes and offenses against their people, the three solemnly resolve to assassinate Peraza. [jump to this scene in the master script]

When the three arrive on land, the chief's son suggests that killing Peraza is not the best solution to the problem, and asserts that bringing Peraza before the Spanish tribunal would be a better means of achieving satisfaction. When the chief hears that, he sees that his son is not only a coward but a possible traitor as well, and kills him on the spot! The chief and the warrior Hautacuperche make the chief's son's grave on the place where he was murdered. [jump to this scene in the master script]

A title tells us that it's 1488. We're looking at the entrance to Iballa's cave, and the groom is tending Peraza's horse not far from the entrance. We cut to the interior, and see the Count and the Princess in bed together. Suddenly, we hear whistles. The Princess sits up in bed, listening intently. She then translates the whistles' meaning to her lover: Her kinfolk know that Count Peraza is in her cave and they're coming to kill him! She tells him to dress up in her clothing, and make a run for it. [jump to this scene in the master script]

As Count Peraza darts out the entrance to the cave, dressed in Iballa's clothes, the Princess' mother recognizes him and points him out to the warriors who are after him. The Count is running towards the groom and his horse to make his getaway, but as soon as the groom hears the commotion and sees the danger, the groom jumps on the Count's horse in order to save his own skin. The warrior Hautacuperche, one of Iballa's cousins, kills the tyrant Peraza with his spear. The groom on horseback is ambushed by several kinsmen, and the riderless horse gallops home. We hear whistles resonating up and down the valleys announcing Peraza's death.

When the riderless horse arrives in town, Beatriz de Bobadilla (Count Peraza's wife) knows that something is wrong. She gathers her servants, soldiers, her 4 year old daughter, her baby boy, and they all run to the Torre del Conde. And just in the nick of time. As they get inside, the rebellious Gomerans have come down from the hills in full fury. No sooner do they reach the door, than the Gomerans are attacking from all sides. The soldiers are firing arrows at the Gomerans, but the Gomerans are so nimble that they catch them in mid-air. The warrior Hautacuperche is directing the operations. [jump to this scene in the master script]

But even though Hautacuperche seems invincible, he is finally caught in a cross-fire of arrows, and dies at the foot of the tower. At the loss of their great warrior and leader, the attacking Gomerans lose morale. To make matters worse, Spanish warships can be seen on the horizon. At this turn of events, the Gomerans take to the fortified places in the hills. [jump to this scene in the master script]

Pedro de Vera, Governor of Gran Canaria, arrives with three warships, three smaller boats, and four hundred men to put down the Gomeran rebellion. He is met at the Torre del Conde by Beatriz de Bobadilla who hysterically declares that she wants all the rebels tortured and killed. Governor Vera suggests that they kill most of them but (profitably) sell the rest as slaves. This appeals to Beatriz's 15th century sense of justice. [jump to this scene in the master script]

The Gomerans have taken refuge in the hills, and since there seems to be no way to dislodge them, Vera comes up with a plan: They tell the Gomerans that they have to attend the funeral service for the late Count Peraza, and if they refuse, they will be considered as rebels and sentenced to death.

After assuring the Gomerans that they mean no harm to those innocent of the assassination of the Count, all the islanders with a clear conscience go down to the church. [jump to this scene in the master script]

It's a trap! The innocent Gomerans who have come down from the hills are taken to a spot which is still known as "Gallows Ridge". There all the males over fifteen years of age are tortured and then killed in horrible cruel ways. The women and children are packed into boats for sale on the mainland as slaves. [jump to this scene in the master script]

The new Bishop, after hearing about Vera's atrocities, goes to Gran Canaria and confronts Governor Vera face-to-face. The Bishop, after stating his charges against Vera, demands that the Governor make amends. Governor Vera tells the Bishop to keep his big nose out of things that don't concern him. The Bishop then threatens to take his plaint to the King and Queen. At this point Vera (brutal and violent person that he was) warns the Bishop, in no uncertain terms, to shut up or else he'll wind up like those Gomerans did. With this insult to his holy authority, the Bishop leaves in a huff. He may have lost the battle but he still hasn't lost the war!

The Bishop goes to Seville and brings his case before King Ferdinand and Queen Isabella. In fact, the Bishops were constantly petitioning the Crown for release of Christians who were illegally captured and sold into slavery, and the King and Queen were constantly issuing decrees forbidding their sale or demanding their release. This may have slowed down the black market in Gomeran slaves but it did not stop it by any means. [jump to this scene in the master script]

One consequence of the Bishop's visit to the Sevillian court is that Vera is stripped of his Governorship of Gran Canaria, and is sent to the mainland as a prisoner.

A title tells us that we are back on Gomera and the year is 1492. From the top of the Torre del Conde we see Admiral Christopher Columbus' ships nearing. Led by Beatriz de Bobadilla, a party of nobles and other townspeople assemble at the port of San Sebastián de la Gomera. Admiral Columbus is warmly received by Doña Beatriz, and hints of their legendary romance are dropped. [jump to this scene in the master script]

Later, during an intimate moonlight stroll along the beach, Columbus and Beatriz talk about the Pinta (which is being repaired on Gran Canaria); the dangers of sailing west; the volcano on Tenerife which is spewing flames and smoke in the background; the rebellions on the island; slaves; the Bishops' lawsuits; the late tyrant Peraza the Younger (Beatriz's deceased husband) and how she hated him; how King Ferdinand seduced Beatriz; her exile to Gomera; her homesickness for Seville; and her loneliness on the island. Beatriz finally collapses into the Admiral's arms, sobbing. [jump to this scene in the master script]

On Sept 6, 1492 Beatriz bids farewell to Columbus on the deck of the Niña with ratlines and rigging in the background. She gives him a gift, then turns away so that we can't see her face and leaves quickly before she has a chance to betray her emotions.

This dissolves into a view of Columbus' three ships sitting becalmed off-shore while the Narrator wraps up the historical events of the fifteenth century. As the Narrator finishes, the wind begins to blow, filling the billowing sails, and Columbus and crew start their journey westward. [jump to this scene in the master script]

We let Admiral Columbus go and discover the New World. The next scene is a montage of the awe-inspiring scenery that Gomera is so famous for. There are several breathtaking panoramas of the Gomeran cliffs and valleys. The Narrator explains why the silbo gomero whistling language is so ideally suited to Gomera's rugged terrain; adds that whistles are heard up to five miles away; and that by chaining messages, news can go from one end of the island to the other in just a matter of minutes. [jump to this scene in the master script]

For almost two more centuries the Gomerans managed to keep their whistling language secret from the Spanish government and the tax collectors. We have a scene where the cunning peasants outwit the local "medianero" (tax collector) by using whistling. The "medianero" goes and takes whistling lessons on the sly, though. And once he's learned the secrets of the silbogomero, he knows where the people have hidden all their livestock because he's overheard their instructions whistled across the valleys! [jump to this scene in the master script]

Next we now find ourselves in church, and the Gomerans are WHISTLING the Psalms! This proves how flexible the whistling language really is. The Narrator tells us that this practice of whistling in church lasted until 1862, when the priests decided to forbid it. The culmination to this scene is the midnight mass of Christmas 1862: The locals are refused entry to the church which has been barricaded up by the town fathers. This causes the candle carrying Gomerans to whistle loud protests outside the closed church doors. [jump to this scene in the master script]

In 1887, the German scientist Quedenfeldt published a paper in Berlin on the subject of the Gomeran whistling language. Here we have a look at the section of this century-old document where Quedenfeldt tried to transcribe a few simple phrases of the silbogomero into common music notation. The Narrator says the English translation of the musical phrase that the camera is focused on, and then a violin plays the example as it is written. The Narrator wraps this scene up by mentioning that this well-meant experiment's failure was due to the fact that the whistling language has very little in common with western music. [jump to this scene in the master script]

In 1891, a French physician, Dr. Verneau, published an article summing up his five years of scientific investigations in the Canarian Archipelago which also included first-hand experiences with the Gomeran whistling language. This was followed up in 1923, by a paper which dealt exclusively with the whistling phenomenon. Here is Verneau's story:

While on the island of Gomera, the physician specifically asks his guide, since he is on a research expedition, NOT to tell anyone that he is a medical doctor. Because not only does he not have time to spend all day in consultations, the medicines he would prescribe aren't available in that part of the world anyway. The guide swears that he'll keep the Doctor's profession secret.

A whistling conversation between Verneau's guide and some locals takes place. At the end of the whistled conversation, the guide begins looking very sheepish. Verneau, fascinated by this whistled conversation, asks the guide what they were talking about. The guide guiltily admits that the conversation was about the physician himself, and worse the guide confesses that he let the cat out of the bag. Now everyone for miles around knows that a great medical doctor from Paris is coming, and they are hurrying down to the village to meet him to receive treatment!

When the French physician arrives in the village he finds that his guide had indeed boasted to the whole countryside about the famous Dr. Verneau, and now the village square is full of people with all manner of illnesses seeking treatment.

Later, when Verneau has a little time to himself with his guide, the doctor asks him for a whistling demonstration. The guide shows the Frenchman several different finger techniques, but in the end the physician goes away more confused than enlightened. [jump to this scene in the master script]

Next is a scene from the Spanish Civil War (1936-1939). On the Madrid Front the communists have severed telephone communications. Gomeran whistlers are brought in by the nationalists as observers. By a series of relay stations, the whistlers communicate orders which result in the destruction of the enemy position. This advantage is short-lived, however. And as soon as both sides are using Gomeran whistlers, it's impossible to keep the messages secret. [jump to this scene in the master script]

An example of the whistling language's life-saving potential is illustrated by a recent case where a doctor in Vallehermoso, via numerous whistle relays, is informed of an illness in the village of Tagaluche which is at least an hour away by car. Because of the time saved by the doctor's whistled instructions, a severly ill person's life is saved. [jump to this scene in the master script]

This brings us to the present. As we are watching an aerial shot of the island, the narrator sums up the vital statistics of this tropical island paradise. Having already seen earlier a montage of barrancos, and plenty of seashore, we next have a montage of scenes from Gomera's unique virgin rain forest which is now a National Park filled with scenic wonders.

The National Park is called Garajonay (the same name as Gomera's highest peak) and there is an ancient legend as to how the peak got its name. This is treated like a misty memory: A young boy named Jonay floats, from Tenerife, on inflated goat-skins. Upon arriving on Gomera, he meets a beautiful native girl named Gara. It's love at first sight, and they decide they'd like to be wed.

Gara takes her new paramour to meet her family, who are unfortunately dead set against their marriage. In fact, the tribes-people want to kill the boy from Tenerife! Jonay and Gara flee to the highest spot on the island, with Gara's relatives and tribes-people hot on their heels.

On the peak, the lovers place a laurel stick sharpened at both ends at their hearts and are pierced in a final love-death embrace just as their pursuers arrive on the scene. [jump to this scene in the master script]

The third, and final, section deals with possible uses for communication via whistling in the 21st century (eg. use in emergency and/or rescue situations, animal training, and remote control of electronic devices).

We find ourselves back in the present, two Gomeran men on opposite sides of a narrow barranco strike up a very short (5 line) whistling conversation. The astute observer will notice that this is the same conversation as in the Opening Scene. The gist of the conversation is that both men are on their way to town and they'll see each other there. [jump to this scene in the master script]

After the above whistling conversation finishes, an exact repeat of the Opening Scene (with one small difference) takes place: The 5 lines of the previous scene are heard once again. As each line is heard, the computer graphic representation of each whistle is displayed passing across the screen. The only difference between this scene and the Opening Scene is that now the English subtitles appear underneath the graphics (there were no subtitles to complement the computer "squiggles" in the initial "teaser").

After the computer graphics of the last whistled phrase have passed off the screen, the Narrator says, "Let's have a closer look." The first whistle ("Hello!") is heard and displayed on the screen, the graphics hold for a second or two, and then fade. The whistle for "Hello!" is repeated (heard again) and the computer graphics are seen again. The computer graphics hold on screen and the audience is encouraged to mimic the whistle using the graphics as a visual hook, i.e. people remember what they see - not what they hear. [jump to this scene in the master script]

Once the whistling has died down we find ourselves once again back in the wilderness with the two Gomeran men who were whistling to each other in the scene before last. The Narrator gives an explanation of why whistling carries further and better than shouting, and touches on the consonant/vowel oppositions.

After the Narrator finishes, a whistle for "Help!" is heard. The two Gomeran men react to this distress call, and ask the injured person where he is. Once they've located the person in trouble, they take off down the hill at break-neck speed by means of a dangerous skill which only the Gomerans are masters of: They literally vault down the side of the hill with the aid of their sturdy staffs! This useful athletic practice of barrelling down the hills with the help of an "astia" (the local word for this kind of staff) is not for the faint-hearted, and is a great source of pride among the locals. It has to be seen to be believed!

The Gomeran men arrive very quickly at the bottom of the ravine, and after examining the hapless hiker's broken leg, they help him up. The hiker puts an arm around each of the Gomeran men's shoulders and the three go hobbling down the hill (presumably to the nearest hospital). The Narrator emphasizes how extremely useful the whistling language has been to the Gomerans, and suggests that, in the future, a few easy-to-remember whistled phrases taught in First-Aid classes could help to save lives all over the world! [jump to this scene in the master script]

Suddenly, we find ourselves in the heart of the big city. We see a couple trying to hail a taxi cab. Taxi after taxi ignores the man's calls. The woman takes over, she gives the loud whistle for "Taxi!", and lo and behold one screeches to a stop!

On the same city street, we witness a theft. A businessman has his briefcase stolen by a desperate young drug-addict. The businessman chases him down the street whistling "Stop, Thief". A couple of good citizens hear and understand the businessman's distress whistles, and tackle the thief. The businessman gets his precious briefcase back, and the Narrator asserts that the future holds all sorts of beneficial uses for the whistling language.

Next we see a flashback of the Scottish Shepherds footage (from part 1). While we are watching this short snippet, the Narrator suggests that the silbo gomero whistling language is an ideal, ready-made candidate for a truly universal system of animal training using whistled commands.

This moves us into the training of other types of animals. A trainer runs a chimpanzee through a series of tricks using only whistled signals, and the Narrator explains the advantages of whistled commands over visual cues and spoken commands.

We now see some dolphins swimming around in their tank at Sea World (or some place like that). In the background, the dolphins' underwater whistles are heard. The Narrator explains that the dolphins communicate with these whistles, and adds that Jacques Cousteau (quotes used by permission of The Cousteau Society - see supplementary materials.) suggested that teaching a whistling language to dolphins could be the beginning of communication between us and these incredibly intelligent sea mammals.

This cuts to a dolphin trainer running a dolphin (or dolphins) through a series of tricks using only whistled signals. The Narrator says, "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?"

The next sequence is a look into the "whistle-activated environment" of the future. We follow a typical man through his little daily routine. First we are watching him and his wife sleep. The Narrator explains that a computer can recognize the contours of a simple whistle a lot more easily than it can analyze the complex characteristics of the spoken word. With all this noise about "talking computers" nowadays, it's important to remember that there are cheaper and more efficient ways to tell electronic devices to perform simple tasks!

Our typical man's alarm clock goes off - he shuts if off with a whistle. Then he tells a light to turn on - with a whistle. He goes into the kitchen, he turns on the radio and the coffee maker - with whistles. As he leaves for work in the morning, he opens and closes his garage door - with whistles. At work, he asks his computer questions - with whistles. Back at home in the evening his son is playing with a toy car - one that is remote controlled by whistles. Dad comes home from work and turns on the TV - with a whistle. Then he changes the channels - with whistles. The Narrator explains that the silbo gomero and music work on totally different systems, so you don't have to worry about somebody's ghetto blaster suddenly making your whistle-activated toys and other electronic devices go crazy.

Do you still remember the scene in Part 1 where a construction worker Wolf Whistles at a sweet young Girl passing by? This is the same scene replayed but with a twist: The same Girl passes by the same workers, but this time our Foreman is whistling directions to the crane operator instead of shouting them. The Girl thinks this whistle is aimed at her, and gets offended. After the Foreman explains that he was whistling instructions to his workers, the Girl (not knowing whether to believe him or not) begins walking off. As she turns around, a worker (in fact, the same worker that Wolf Whistled at her in the scene in the film's introduction) Wolf Whistles at the Girl. She wheels around and cusses him out in the silbo gomero whistling language (expletive deleted)! Turnabout is fair play!

Over a backdrop of the unique Los Organos rock formation (the basalt cliffs that resemble the pipes of a giant church organ which we saw in the Title Scene) the Narrator wraps up the film bringing us full circle. He mentions that Gomera was Columbus' last port of call before the discovery of the New World in 1492, and that the whistling language is only one of this beautiful island's many natural wonders. He caps it off by saying, "The future potential of the silbo gomero whistling language is as unlimited as human imagination itself!"

Finally, we have a mini-lesson (audience interaction encouraged) which reviews the whistle for "Hello" (introduced earlier in the film), and teaches the whistle for "Goodbye". Then, the Credits roll over a shot (taken from the south of Tenerife) of the sun setting behind the island of Gomera.



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