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 The former posters have been replaced by two new ones.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 Coöperative 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 Coöperative Upright The Only Piano Produced by Toilers Not Ground by Capital. Buy One to Help the Cause!"
NORA is busily engaged at GIBSON'S desk. Her hat and jacket hang on the wall.
CARTER enters, smoking a pipe; he wears overalls and jumper. He carries a heavy roll of typewritten sheets. Tosses this upon the table, glances at NORA, who does not notice him, divests himself of overalls and jumper, and puts on the black frock coat which he wore in Act II. He looks at his watch and at the clock on the wall.