On the right wall is a painting of George Washington in a gilt frame, flanked by smaller portraits of Alexander Hamilton and John Marshall. At rear, center, is an open fireplace. At left of fireplace, a bookcase filled with law books. Above the fireplace, in a plain frame, is a large portrait of Ezra Mannon himself, painted ten years previously. One is at once struck by the startling likeness between him and Adam Brant. He is a tall man in his early forties, with a spare, wiry frame, seated stiffly in an armchair, his hands on the arms, wearing his black judge’s robe. His face is handsome in a stern, aloof fashion. It is cold and emotionless and has the same strange semblance of a life-like mask that we have already seen in the faces of his wife and daughter and Brant.

On the left are two windows. Between them a desk. A large table with an armchair on either side, right and left, stands at left center, front. At right center is another chair. There are hooked rugs on the floor.

Outside the sun is beginning to set and its glow fills the room with a golden mist. As the action progresses this becomes brighter, then turns to crimson, which darkens to somberness at the end.

Lavinia is discovered standing by the table. She is fighting to control herself, but her face is torn by a look of stricken anguish. She turns slowly to her father’s portrait and for a moment stares at it fixedly. Then she goes to it and puts her hand over one of his hands with a loving, protecting gesture.

LAVINIA — Poor Father! (She hears a noise in the hall and moves hastily away. The door from the hall is opened and Christine enters. She is uneasy underneath, but affects a scornful indignation. )

CHRISTINE — Really, this unconfirmed report must have turned your head — otherwise I’d find it difficult to understand your sending Annie to disturb me when you knew I was resting.

LAVINIA — I told you I had to talk to you.

CHRISTINE —(looking around the room with aversion ) But why in this musty room, of all places?

LAVINIA —(indicating the portrait — quietly ) Because it’s Father’s room.

CHRISTINE —(starts, looks at the portrait and quickly drops her eyes. Lavinia goes to the door and closes it. Christine says with forced scorn ) More mystery?

LAVINIA — You better sit down. (Christine sits in the chair at rear center. Lavinia goes back to her father’s chair at left of table. )

CHRISTINE — Well — if you’re quite ready, perhaps you will explain.

LAVINIA — I suppose Annie told you I’d been to visit Hazel and Peter while you were away.

CHRISTINE — Yes. I thought it peculiar. You never visit anyone overnight. Why did you suddenly take that notion?

LAVINIA — I didn’t.

CHRISTINE — You didn’t visit them?

LAVINIA — No.

CHRISTINE — Then where did you go?

LAVINIA —(accusingly ) To New York! (Christine starts. Lavinia hurries on a bit incoherently. ) I’ve suspected something — lately — the excuse you’ve made for all your trips there the past year, that Grandfather was sick —(as Christine is about to protest indignantly ) Oh! I know he has been — and you’ve stayed at his house — but I’ve suspected lately that wasn’t the real reason — and now I can prove it isn’t! Because I waited outside Grandfather’s house and followed you. I saw you meet Brant!

CHRISTINE —(alarmed but concealing it — coolly ) Well, what if you did? I told you myself I ran into him by accident —

LAVINIA — You went to his room!

CHRISTINE —(shaken ) He asked me to meet a friend of his — a lady. It was her house we went to.

LAVINIA — I asked the woman in the basement. He had hired the room under another name, but she recognized his description. And yours too.