SCENE--About a year later--Columbus's flagship on the last day of his second voyage. The section of the vessel shown reveals the main deck amidships, the mainmast, the mainsail with its Maltese Cross, the two higher decks of the poop, the lateen sail on the mizzenmast, etc. Wooden stairs on the starboard, near the bulwark, are the means of getting from one deck to another.

SCENE--Some months later. The courtyard of a Dominican monastery in Cuba. A crude little home-made fountain is in center. This is the only adornment of the quadrangle of bald, sun-baked earth, enclosed on the left and in the rear by a high white wall, on the right by the monastery building itself. The entrance to this is an arched doorway surmounted by a crucifix of carved wood.

SCENE--The same clearing in the woods some hours later. There is no intervening fringe of trees in this scene, the open space is in full view. The Spring is at center. The wall of forest forms a semicircular background. As the curtain rises, there is a pitch-blackness and silence except for the murmur of the Spring.

SCENE--About midnight--in the forest. Gigantic tree-trunks, entwined with vines in flower, are in the foreground. Festoons of Spanish moss hang clear to the ground from the branches. Through the network one sees a circular clearing, grass-grown, flooded with moonlight. There is the soft murmur of a spring which bubbles from the ground in the center of this open space.

SCENE--The same. High noon of the following day--glaring sunlight on the beach, an atmosphere of oppressive heat and languor. The earth seems dead, preserved in some colorless, molten fluid. The forest is a matted green wall. The sound of the sea has the quality of immense exhaustion.

SCENE--Four months later--a strip of beach on the Florida coast--a bright, moonlight night. The forest runs diagonally from right, front, to left, rear--a wall of black shadow. The sand gleams a pallid white in the moonlight. The rhythmic ebb and flow of waves is heard--their voice on a windless night of calm.

SCENE--Same as Scene Three--Courtyard of the Governor's House--a stifling twilight. The sky is darkening with clouds.

Beatriz' voice--from the left--calls down as at the end of preceding scene.

SCENE--Nano's dungeon--a circular cavern, hollowed out by Nature and cut out by man in the solid rock under the Government house. The enclosed space is narrow but lofty, cylindrical in form. A cut-in flight of steps leads from the floor in rear to a trapdoor above. The high wall glistens with moisture. A small bench is at right. A lantern stands on one of the lower steps.

SCENE--Three months later--Menendez' official study in the palace--a large, high-ceilinged, bare room with a heavy table at center. The color scheme is dark and gloomy, the atmosphere that of a rigid, narrow ecclesiasticism. In one corner is an altar with high candles burning before it. Heavy hangings shut out the light from the lofty, arched windows.

SCENE--Twenty years or so later--the courtyard of the Governor's palace, Porto Rico. Flowers, shrubs, a coco-palm, orange and banana trees. A large, handsome fountain closely resembling that of Scene One, is at center. Two marble benches are at front and rear of fountain. A narrow paved walk encircles the fountain basin, with other walks leading from it to the different entrances.