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buy things. As Kane returns to middle ground with Thatcher, we see the result of his mother's long-ago choice; Kane utterly hates him. The way the camera is positioned, we are looking over Bernstein's shoulder and almost watching the event from his perspective, so it is only appropriate Kane get the final word in his brief fight with Thatcher. "What would you like to have been?" asks Thatcher, to which Kane replies, "Everything you hate."

While Kane writes his declaration of principles, Jed Leeland and Bernstein either move or the camera moves them so that they visually "support" Kane. They are on either side of him so as to frame him or situated to his side as he is in shadow, providing the necessary contrast to draw the eye onto Kane.

In the scene at Susan's house in which Jim Gettys reveals Kane and Susan's secret affair to Emily, Kane's first wife, the rule of three is used in almost every cut, flexing as the emotions of the characters to suit the decision being addressed. The first instances of the three rule in this sequence relate to Emily judging the situation and coming to a conclusion. At first, Emily is framed in the background between Kane and Gettys, who are both in shadow and trading insults; this is her witnessing their attitudes toward each other. Then, Kane and Susan are in right frame and Emily is in the left politely questioning Susan; this is her judging Kane's mistress. Then, Kane and Gettys are both in shadow in the background making their cases as Emily regards them in the foreground; as Gettys steps into the light of the middle ground, it signifies that Emily has made her decision, choosing to believe Gettys. Then it is Kane's turn to decide; a hint of his profile is in right frame, but he isn't included in the triangle, so it is assumed that we are now seeing things from his perspective. In front of him are his options: Susan is closest in right frame, Gettys second closest in left frame, and Emily is the farthest in near center. Kane's decision is a complex one; it is ultimately himself that he chooses, but the options presented to him by Susan and Gettys are featured in it. Emily's step towards the door shrouds her in shadow, and it is then that it is clear that she has been completely left out of his plan. Susan is closest, so she will be most included in his plan; he decides to stay with her. Gettys is second closest; Kane has decided to play his little political game, but on his own terms. When we cut to the next frame, with Susan at left, Kane off center and close to her, and Gettys far right frame, this notion is confirmed. It must be noted that in all of these frames, Kane is kept at center and appears more looming and powerful than any other character. In the last triangle instance of this sequence, Kane is removed from his center spot, flung into the far right as Gettys observes from left frame his wife leaving him in center frame. This shows Kane's vulnerability, the losses he incurs out of his stubbornness.

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