_]
NORA: Tired of living out my ideals?
GIBSON: No; I just mean tired of working. Wouldn't you rather stop and
come here and live in this quiet house?
NORA [_incredulously_]: I?
GIBSON: Couldn't there even be a chance of it, Nora? That you'd marry
me?
NORA [_amazed and indignant_]: A chance that I would--
GIBSON: Well, then, wouldn't you even be willing to leave it to the
meeting to-morrow?
[_Already in motion she gives him a look of terror and intense
negation._]
NORA: Oh! [_She runs from the gateway._]
ACT III
_The scene is the same as the first, the factory office--with a
difference. It is now littered and disorderly. Files have been
taken from the cases and left heaped upon the large table and
upon chairs. Piles of mail are on the desk and upon the table.
The safe is open, showing papers in disorder and hanging from
the compartments. Hanging upon the walls, variously, are suits
of old overalls and men's coats and, hats. The chairs stand
irregularly about the large table; a couple of old soft hats
are on the water filter. The former posters have been replaced
by two new ones. One shows a brawny workman with whiskers,
paper cap, and large sledge hammer leaning upon an upright
piano. Rubrics: "The Freedom and Fraternity Cooeperative
Upright." "The Piano You Ought to Support." The other poster
shows a workman with a banner upon which is printed: "No
Capital! The Freedom and Fraternity Cooeperative Upright The
Only Piano Produced by Toilers Not Ground by Capital.
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