'

ADOLCS
HOUSE,
DRAMATISTS PLAY SERVICE, INC.
PART2
BY LUCAS HNATH
ESTABLISHED BY MEMBERS OF THE
DRAMATISTS GUILD
OF THE AUTHORS LEAGUE OF AMERICA
for the
HANDLING OF THE ACTING RIGHTS OF MEMBERS' PlAYS
and
THE ENCOURAGEMENT OF THE AMERICAN THEATRE
*

DRAMATISTS
*
PLAY SERVICE
INC.

440 Park Avenue South, New York, NY 10016

www.dramatists.com
 A DOLLS HOUSE, PART 2 A DOLL'S HOUSE, PART 2 was originally produced on Broadway
Copyright© 2017, Lucas Hnath at the John Golden Theatre by Scott Rudin, Eli Bush, Joey Parnes,
All Rights Reserved Sue Wagner and John Johnson, opening on April 27, 2017. It
was directed by Sam Gold, the set designer was Miriam Buether,
CAUTION: Professionals and amateurs are hereby warned that performance of A
DOLLS HOUSE, PART 2 is subject to payment of a royalty. It is fully protected under the
the costume designer was David Zinn, the lighting designer was
copyright laws of the United States of America, and of all countries covered by the Inter- Jennifer Tipton, the sound designer was Leon Rothenberg, and
national Copyright Union (including the Dominion of Canada and the rest of the British the dramaturg was Sarah Lunnie. The cast was as follows:
Commonwealth), and of all countries covered by the Pan-American Copyright Conven-
tion, the Universal Copyright Convention, the Berne Convention, and of all countries
with which the United States has reciprocal copyright relations. Ail rights, including NORA ........................................................................... Laurie Metcalf
without limitation professional! amateur stage rights, motion picture, recitation, lecturing,
public reading, radio broadcasting, television, video or sound recording, all other forms
TORVALD ..................................................................... Chris Cooper
of mechanical, electronic and digital reproduction, transmission and distribution, such ANNE MARIE ........................................................ Jayne Houdyshell
as CD, DVD, the Internet, private and file-sharing networks, information storage and EMMY ...................................................................... Condola Rashad
retrieval systems, photocopying, and the rights of translation into foreign languages are
strictly reserved. Particular emphasis is placed upon the matter of readings, permission
for which must be secured from the Author's agent in writing.

The English language stock and amateur stage performance rights in the United States,
A DOL:LS HOUSE, PART 2 was commissioned and first produced
its territories, possessions and Canada for A DOLLS HOUSE, PART 2 are controlled by South Coast Repertory, opening on April14, 2017. It was directed
exclusively by Dramatists Play Service, Inc., 440 Park Avenue South, New York, NY by Shelley Butler, the scenic designers were Takeshi Kata and Se
10016. No professional or nonprofessional performance of the Play may be given with-
out obtaining in advance the written permission of Dramatists Play Service, Inc., and Hyun Oh, the costume designer was Sara Ryung Clement, the
paying the requisite fee. lighting designer was Tom Ontiveros, and the sound designer was
Cricket S. Myers. The cast was as follows:
Inquiries concerning all other rights should be addressed to WME Entertainment, LLC,
11 Madison Avenue, 18th floor, New York, NY 10010. Attn: Derek Zasky.
NORA .................................................................... Shannon Cochran
SPECIAL NOTE
Anyone receiving permission to produce A DOLLS HOUSE, PART 2 is required to give TORVALD ................................................................... Bill Geisslinger
credit to the Author as sole and exclusive Author of the Play on the title page of all pro- ANNE MARIE .............................................................. Lynn Milgrim
grams distributed in connection with performances of the Play and in all instances in EMMY ............................................................................ Virginia Vale
which the title of the Play appears, including printed or digital materials for advertising,
publicizing or otherwise exploiting the Play and/ or a production thereof. Please see your
production license for font size and typeface requirements.

Be advised that there may be additional credits required in all programs and promo-
tional material. Such language will be listed under the "Additional Billing" section of
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ing is included in the requisite places, per the terms of the license.

SPECIAL NOTE ON SONGS AND RECORDINGS

Dramatists Play Service, Inc. neither holds the rights to nor grants permission to use any
songs or recordings mentioned in the Play. Permission for performances of copyrighted
songs, arrangements or recordings mentioned in this Play is not included in our license
agreement. The permission of the copyright owner(s) must be obtained for any such use.
For any songs and/ or recordings mentioned in the Play, other songs, arrangements, or
recordings may be substituted provided permission from the copyright owner(s) of such
songs, arrangements or recordings is obtained; or songs, arrangements or recordings in
the public domain may be substituted.

2 3
 THE AUTHOR WOULD LIKE TO THANK CHARACTERS

Kimberly Colbourn, Kelly Miller, Marc Masterson and South Coast NORA
Rep.
TORVALD
Kate Mulgrew, Tom Nelis, Tina Chilip, Mike Crane, Polly Lee, Peggy
Scott. ANNE MARIE
Sarah Lunnie. EMMY
David Adjmi.
Emily Morse, John Steber.
WHERE
Tessa Auberjonois, Carmela Corbett, Steven Culp, Tracey A. Leigh,
Lynne Milgrim. Norway. Inside the Helmer house.
Mia Barron, Rob Nagle.
Laura Linney, John Benjamin Hickey, Lois Smith, Grace Gummer,
Daniel Sullivan, Lynne Meadow. WHEN
Elizabeth Marvel, Bill Camp.
15 years since Nora left Torvald.
Shelley Butler, Shannon Cochran, Bill Geisslinger, Virginia Vale.
Sam Gold, Osheen Jones.
Laurie Metcalf, Chris Cooper, Jayne Houdyshell, Condola Rashad. THE SPACE
Miriam Buether, Peter Nigrini, Jennifer Tipton, David Zinn. The play takes place in a room. It's quite spare. Some chairs,
Julie White, Stephen McKinley Henderson, Erin Wilhelmi. maybe a table, not much else. It ought to feel a touch like a forum.
Val Day, Derek Zasky. I wouldn't be sad at all if the play were played in the round.
Scott Rudin, Eli Bush, Joey Parnes, Sue Wagner, John Johnson.
And it's crucial there be a door. A very prominent door to the
Mona Pirnot. outside.

COSTUMES

Period, more or less.

 SCRIPT GRAMMAR

In general, the whole play wants to move very swiftly, without breath,
except where the play tells you take a breath or pause or silence. A DOLL'S HOUSE,
A space between lines indicates a very brief pause or breath. Example: PART2
NORA.
And so I say, well just end it. NORA
End marriage.
(The room is empty.)
And it will end. I know it.
(And silent.)
(Silent and empty for a while.)
An ellipsis in place of a character line represents a fuller beat. It's a
(Until ... )
moment of thinking or rethinking or sussing or a look, a sidelong
(There's a knock at the door.)
glance, etc.
(Then silence.)
(No one comes to answer it.)
Enjambments are not meant to suggest a pause or break.
(Another knock-knock.)
(Nothing.)
Dashes within lines generally bring together fragments as if they are
(And another knock at the door.)
all part of one continuous sentence. They're not meant to pause the
(From offstage we hear a voice call out-)
line. Rather, move through those dashes without air.
ANNE MARIE.
Dashes at the ends of lines indicate an unfinished thought, either because
Hold on! I'm coming!
a character halts herself or because another character interrupts.
(And then silence, until ... )
Some lines end without punctuation. This is intentional and meant (An older woman, Anne Marie, enters the room, slowly-
to indicate that there wants to be an almost seamless flow from one she's got a little hobble.)
character's line to the next character's line. (She makes it to the door.)
(Unlocks it.)
Slashes indicate the point at which the following character's line (Opens it.)
cuts in. (In the doorway: Nora.)
(Long Pause.)
(Then ... )
Oh Nora!

NORA.
Hello Anne Marie.

6 7
 ANNE MARIE.
ANNE MARIE. That's good.
Nora I can't believe it's you! Mine, I don't know, it's the stomach that feels like it's gone all wrong,
but you look good and if your insides are all in order then I'll take
NORA. your word for it-
.. .It's good to see you.
I just-I just can't believe it's really you
ANNE MARIE.
NORA.
It's really you. Nora Nora Nora-
well
It's been so long
ANNE MARIE.
NORA. I didn't know-no idea-if you'd ever come back around.
it has. That first month, and those first six months-the first year or two or
three even-there was the thought that maybe you'd show up, come
ANNE MARIE . back around, but then the more time that passed-you didn't even
. . .You got a little fatter. write, no letters, nothing-
You got older and you got a little-
IS years, 15 years, could've thought you'd gone off and died-
NORA. I, for the record, never thought you were dead-a lot of people thought
well you hit a certain age- you were dead, other people, not Torvald and the kids of course,
but a lot of people think you're dead.
ANNE MARIE.
Don't I know it. NORA.
Come in come here give me a hug it's so good to see you. ... okay.
How are you. Come in there's some chairs you can take a chair and
sit in it ANNE MARIE.
And I look at your clothes and it looks like you're definitely not
NORA. destitute
don't worry about me, I'm fine
NORA.
ANNE MARIE. nope, not at all
I'm going to sit I'm going to sit my knees aren't good.
However I look on the outside- ANNE MARIE.
inside it's all a lot worse. And how are your insides-? it looks like the opposite of destitute

NORA. NORA.
They're good, Anne Marie. I've done very well.

8 9
ANNE MARIE.
That's just so nice. I'm happy to hear that, I never wanted bad things ANNE MARIE.
to happen to you ... gone
(Nora takes in her surroundings, moving her eyes around a
room she hasn't seen in 15 years.) NORA.
and my piano
NORA.
The house is-
ANNE MARIE.
that's gone too.
ANNE MARIE.
yes-?
NORA.
And there-a picture, a portrait-
NORA.
there was a picture of my mother
it's so ...
ANNE MARIE.
ANNE MARIE.
I mean of course anything that was yours
different?
got thrown out
after you left.
NORA.
from what I remembered
NORA .
.. . Right.
ANNE MARIE.
same house So, how much time do we have-?

NORA. ANNE MARIE.

less stuff until-?

ANNE MARIE. NORA.

you forget things he gets back

NORA. ANNE MARIE.

there was a cuckoo clock used to be there, is that-? a few hours

ANNE MARIE. NORA.

gone you're sure

NORA. ANNE MARIE.

the cabinet with the trinkets he's at work

10 11
NORA.
he still works. ANNE MARIE.
I don't know, I'm not so-well, that's aside from the point.
ANNE MARIE.
But what I was thinking is that maybe it wouldn't be a bad idea
But I had been thinking-I don't know how you feel about this-I
to see Torvald while you're here, just to say hi,
know you're just briefly in town-I know }:9U said in your let~
just to, I don't know, see each other.
that you were just going to be very briefly in town and so I shouldn't
Given how much time has passed,
tell the kids I that you're here-
given how things ended,
given that you're just passing through,
NORA.
no pressure, real easy, I just think
you didn't tell them did you-?
it could be helpful,
it could repair something
ANNE MARIE.
no, I didn't
NORA.
is something broken
NORA.
oh good, you scared me there-
ANNE MARIE.
wouldn't say that, but-
ANNE MARIE.
not that that would be such a bad idea-
NORA.
you said "repair:'
NORA.
they're grown up, they're grown ups, they have their lives, their Is Torvald broken, still, is he still broken over me? I mean, I'm sure
lives are without me, there's no point- he-

ANNE MARIE. ANNE MARIE.

no, I understand no

NORA. NORA.
good good.
That's good.
ANNE MARIE. So then-
but I mean if you wanted to see them, I'm sure they would really He's well
like to see you, I think-
ANNE MARIE.
NORA. he's not broken, I didn't mean to make it sound-
no, I don't agree-who am I to them? I'm nobody, they were so
young, I'm not a person to them, I don't mean anything-

12 13
NORA. only to have to kill it.
yes, but-
I sort of wanted to say but didn't say but wanted to say that-
I think he's at a point where the dog will probably outlive him.
ANNE MARIE.
I think that's pretty optimistic to think that he'll be around to put
he's great, he's good-
the dog down.
NORA.
NORA.
He never remarried

ANNE MARIE.
ANNE MARIE.
no
But what about you, tell me about you,
what's happened to you?
NORA.
no, I didn't think so.
NORA.
I'll tell you what: I'm not the same person
ANNE MARIE.
who left through that door.
I'm a very different person
NORA.
ANNE MARIE.
yes, I'd imagine-
ANNE MARIE.
NORA.
-but I do think he should get a dog.
you really want to know?
I think if he had a dog heo be happier,
not that he's not happy, I don't mean that but
ANNE MARIE.
he just likes dogs so much.
Yes I do, I know nothing!
I see him-he'll see a dog
and he'll get so happy,
NORA.
and likes to pet the dogs
Guess.
and he lets them lick his face
and he holds them close.
ANNE MARIE.
I told him to get a dog and he said no and I said why, Cuess?
and he said that dogs die.
Dogs die. They get sick, their bodies break, they hurt, and NORA.
when that happens he'd have to put the thing out of its misery: You want to know what I've been up to,
cut its throat or break its neck or pelt its head with a rock, hut I want to know what you thought I was doing-
and he doesn't want to come to love something what did you imagine-?

14 15
 ANNE MARIE.
ANNE MARIE. Okay well I thought maybe you might have had a difficult time,
oh Nora I don't know- being a woman and being the way women are sometimes-
often treated
NORA. these days
you must've imagined something-how could you not-
you're saying you never thought about it? NORA.
you'd think it would be hard
ANNE MARIE.
No ANNE MARIE.
that you struggled
NORA.
you've wondered, you've thought- NORA.
and what would you think if I didn't struggle
ANNE MARIE.
of course I- ANNE MARIE.
ra think you were very lucky
NORA.
what? NORA.
lucky
ANNE MARIE.
You've done very well ANNE MARIE.
fortunate?
NORA.
you know that now but-? NORA.
Not clever, not resourceful, not-?
ANNE MARIE.
yes? ANNE MARIE.
no of course I-
NORA.
You thought I had a very easy time? NORA.
but first youo think I was lucky.
ANNE MARIE.
Interesting.
No.
ANNE MARIE.
NORA.
I didn't mean it as an insult
Goon ...

16 17
NORA. ANNE MARIE.
no I know, I'm just interested in these kinds of things, I think it's to ...
be expected that a person would think that after I left
this house NORA.
and my husband Go ahead.
and my children
that m have a very difficult time ANNE MARIE.
You've made money
ANNE MARIE.
the world is a hard place NORA.
right
NORA.
so we're trained to think. ANNE MARIE.
I mean I think there's something in our time and place and culture a lot
that teaches us to expect and even want
for women who leave their families NORA.
to be punished yes.

ANNE MARIE. ANNE MARIE.

oh now I didn't say- ...
NORA. NORA.
come on-keep guessing- ...
this is fun.
ANNE MARIE.
ANNE MARIE. Are you an actress?

NORA. (Scoff)
NORA. No!
Come on-
ANNE MARIE.
ANNE MARIE. A dancer-?
feel like I'm being set up
NORA.
NORA. nope
I've done well.
So, knowing that I've done really well ANNE MARIE.
what do you think I did that did so well? something
18 19
having to do ANNE MARIE.
with You're a writer
clothes?
NORA.
NORA. you're surprised
I find it so interesting the kinds of things you're guessing
ANNE MARIE.
ANNE MARIE. you've made money writing?
alright then are you a lawyer-?
NORA.
NORA. A lot.
no
ANNE MARIE.
ANNE MARIE. So you're a popular writer
a banker
NORA.
NORA. women's writing is very popular, there's a big interest in-
no now make some serious guesses.
ANNE MARIE.
ANNE MARIE. what do you write?
... Do you make ... things-?
NORA.
NORA. Books about women
eh sort of, yes and no
ANNE MARIE.
ANNE MARIE. okay-?
I don't know, I don't-
NORA.
NORA. and the things women do and want and don't want and don't do.
you give up And the way the world is towards women
and the ways in which the world is wrong.
ANNE MARIE.
I give up. ANNE MARIE.
Have I heard of these books?
NORA.
I write books. NORA.
One of them is really controversial

20 21
ANNE MARIE. ANNE MARIE.
I think I'd remember ifl saw a book you'd- well now Nora-

NORA. NORA.
I don't write under the name "Nora;' also I think that women who are not happy in their marriages
I have a pseudonym should refuse to honor the contract
and leave.
ANNE MARIE.
oh that's clever. ANNE MARIE.
That's a terrible thing to tell people.
NORA.
At first I wasn't sure what to write NORA.
so I wrote the first thing that came to mind Is it, though?
which was a story about a woman, Think about it.
who lived in a house like this house Marriage is cruel,
and had a husband like Torvald, and it destroys women's lives
and lived in a marriage which-by all appearances
was a good marriage, ANNE MARIE.
but for the woman, for my heroine- oh I don't know-
she felt suffocated, she felt like she had no options,
that her life was as his little wife and-that this was set in stone and NORA.
there'd never be the possibility of anything else ever. really
And so she left her husband
and she started a life of her- ANNE MARIE.
maybe in some cases-
ANNE MARIE.
so you basically wrote your own story NORA.
more than some
NORA.
with some differences ANNE MARIE.
marriage makes a lot of people very happy, very-
ANNE MARIE.
oh sure, but- NORA.
that's debatable. I'd argue that most people would be happier, more
NORA. fulfilled without it
yes, it's mostly about me and
about how I no longer see a reason for marriage ANNE MARIE.
you can't say that
22 23
 Because people change, over time
NORA. people change into different people,
and you can't say that they wouldn't be. so how can you say that "I want
to be with this person''
ANNE MARIE. when "this person" is not
If marriage were so bad do you really think people would still be- going to be "this person"
after all this time of people living on this earth- 3 or 5 or 10 years from now,
would people still be getting married? but there you are committed,
forever
NORA. till death
We do a lot of things that aren't good for us- stuck,
this we do because our parents tell us stuck either with a person you don't want to be with
from an early age-our parents, or with a person pretending to be a person they no longer are.
our churches, I mean, I'd even go so far as to say that marriage
our leaders- makes a person change for the worse.
everyone
Because, before marriage, before marriage
tells us that we need it, so we believe it,
you're wooing the other person,
and the idea gets etched inside our skulls
wooing-what does that mean-that means always putting your best,
but you only think you need it because it's all you've ever
your kindest, your most attractive side forward,
been told.
and you woo and you woo until
They tell us: "It's an expression of love, you can convince the other person
the ultimate expression oflove, to commit to marriage.
the one that we're all working towards"
And then what happens?
-but how does that make any sense-?
What happens when there's
to say "I love you, therefore
no more reason to woo-?
you should tie yourself to me,
to put your best side forward?
and you can never leave me,
Marriage tells us that you're committed,
you can never love anyone else,
you're bound
you're off limits, I own you:'
to this other person
I own you.
regardless of how you're treated.
That's what marriage says-to me that sounds more cruel than kind-
Think about it:
also, also- Don't you think that that encourages
When people marry, couples to treat each other
they say, "I choose you, however they want-? to be as awful as you want-
and I choose you forever;' it doesn't matter,
but who is this "you" that they're choosing? because you're in it until death.

24 25
 This happens. that we put ourselves through
All the time. this completely unnecessary
And people are miserable. process of self-torture.
Yes, yes, we want to be intimate with another person, 20, 30 years from now,
to know another person, people will have many spouses in a life,
to love that person deeply, even many spouses at once.
and to be naked with that person- There won't be lines drawn between couples,
but why do we need a marriage for that? and there won't be jealousy because there won't be anything to be
jealous of
And why does it need to be with just one person
and for the rest of your life? ANNE MARIE.
Seems so sad. but Nora-
And we know it's sad-we know it-
NORA.
we know it and we feel it
you disagree
and we go and we reach
outside that contract of marriage,
ANNE MARIE.
all the time it happens,
all of this is just so-
men and women-
we fail to be faithful because deep down we ache for more,
NORA.
because this ache is in the core of who we are-
it seems extreme
but we stomp it out,
and we beat ourselves up
ANNE MARIE.
for failing to be something we never were to begin with.
and against the nature-
And so I say, well just end it.
End marriage. NORA.
nature-what is nature-?
And it will end. I know it.
In the future,
ANNE MARIE.
20, 30 years from now,
that maybe there's a reason why things are the way they are,
marriage will be a thing of the past,
why men are the way they are
and those in the future
and women are the way they are?
will look back on us,
It's been like this for all of human history-don't you think
and they'll be in shock,
there's probably a really good reason why it's this way?
in total-just awe-
And you go and you fight it and that's going to make people very
at how stupid we are,
uncomfortable-
how backwards our thinking,
how sad it is

26 27
 NORA. And after he'd done his digging,
I know. That's why at the end of the book she dies. I got a little letter from him,
and it said all the things youo think he'd say:
ANNE MARIE. "I know who you really are I don't like you I'm really mad"
Who-? and so on and so on
until
NORA. he revealed a secret that not even I knew.
the woman, in the book, my heroine who
says all the things I just said to you-had to kill her off- He wrote:
Oh the book would have never been published "I know that your real name is
if she didn't die of consumption at the end of it. Nora Helmer:'
I wish I didn't have to do that,
but I figured it's more important ANNE MARIE.
that people hear her ideas than not at all,
and so-but in my mind it's not so much a
literal death as it is a symbolic one- NORA.
you know, she sheds her old life and enters into a new one.
And it's not like I'm saying anything that ANNE MARIE.
anyone doesn't already somewhere in their minds ... Yes?
already sort of think-certainly if they're being
completely honest with themselves. NORA.
... which brings me to the reason I'm here. 'That doesn't seem strange?
You see,
some women who read the book were so moved by it ANNE MARIE.
that they even went so far as to actually leave their marriages. 'That he found out your name?
But it so happens that one of these women
was the wife of a particular judge NORA.
who presides in the particular city where I live. But my name isn't Nora Helmer. Not Helmer. Not anymore.

He was mad and he wanted to find a way to ruin me, Anne Marie, Torvald never filed the divorce.
so he set out to find out who I really was- 15 years ago, he was supposed to,
who I was behind the name I publicly use. but he didn't
Turns out it isn't that difficult, all you have to do is and now,
threaten to take a publisher to court, I find out that Torvald and I
so what-? who cares-? right-? are still husband and wife.
so he's got my real name: what do I have to hide.
And he went and did some digging around. ANNE MARIE.
I'm sure that's not true, someone's confused-

28 29
 we haven't been "man and wife" for the past 15 years-
NORA. The clerk files the divorce-it's done. Crisis averted.
I didn't believe it at first either,
It's so easy for him to do it-easier for him than me-
so I got someone I knew-a lawyer-to look into it, and
the way they have the laws the man can get a divorce for no reason
it turns out that yes, Torvald never filed for the divorce,
at all
and that, yes, he and I are still married.
but a woman has to prove the man did something horrible to her-
Did you know-? threatened her life, committed incest, gave her syphilis.
Hopefully he'll just file the divorce and we can get it done before
ANNE MARIE. the judge tries to follow through on those threats
no, no of course not.
ANNE MARIE.
NORA. and my role in all of this?
This judge-he says that unless I publicly retract everything I've
said in my books, NORA.
write a letter and have it published in all of the newspapers, Based on even the little you said earlier,
apologize for what I wrote it sounds like he's still upset about what happened between us,
apologize for encouraging women to leave bad marriages, and I might need your help.
and say that what I said was wrong and dangerous- (Anne Marie has a handkerchief out, wiping her eyes.)
that unless I do that, ANNE MARIE.
he will expose me: Oh well shit. Shit Nora shit.
expose my real name,
expose me as a married woman NORA.
who claims to be unmarried- Are you crying?
I've signed contracts, done business, had lovers-all sorts of things
that a married woman isn't allowed to do, that are illegal, that amount ANNE MARIE.
to fraud-This judge could make a lot of trouble for me. l think you've gone and misinterpreted what I said-
was it what I said about the dogs?-
ANNE MARIE. and now you have this picture in your head of him being spiteful
So that's why you're here and sad and broken and obsessed and-
! just wanted-oh fuck it all-I just thought it would be nice
NORA. if after all these years, you two could
I do plan on seeing Torvald, sit together
tomorrow I will see him, and have a nice talk
and I will ask him for the divorce- and have things be normal
to simply send a letter to local clerk, and nice
just clear up any confusion, and maybe even, who knows-but you read too much into the things
and let everyone know that l say.
 NORA.
NORA.
Anne Marie. You didn't do anything wrong.
I might need a little more help, TORVALD.
we're allies, I'm interrupting something aren't I.
we go way back,
you're like a mother to me, ANNE MARIE.
you were practically my mother, Why aren't you at work.
you raised me
TORVALD.
ANNE MARIE. I forgot something ...
yes and I also raised your children. I left papers. I left-there's a big bound stack, like about this big
that-I thought I brought it to the office-do you know what I'm
NORA. talking about? I could've sworn I took it to the office, but I don't
And I'm like a daughter to you, know-! feel like I'm .. .it doesn't matter.
yes?
Isn't that true? ANNE MARIE.
Before Torvald, there was you and there was me and that was it.

ANNE MARIE. NORA.

I don't like being in the middle of things-allies?-that sounds like war.
I like everybody just fine-
TORVALD.
NORA. Who's your friend?
yes, yes, but
I am in a precarious position right now- ANNE MARIE.

ANNE MARIE.
so am I, Nora, so am- TORVALD.
Are you going to introduce me to your friend?
NORA.
yes, but ifyou- ANNE MARIE .
(The door opens.) ... no?
(It's Torvald.)
NORA.
ANNE MARIE.
 TORVALD. ANNE MARIE.
oh lie might be in there for a while.
(He stares at her for a bit.) I'm pissed.
... are you ... ?
I'm pissed off at you.
you aren't-
I don't like how you've sprung this on me.

NORA.
NORA.
yes.
I have to deal with this now.
You should go.
TORVALD.
You are. (Anne Marie exits to the side.)
(Nora rearranges the furniture.)
NORA. (Two chairs, face to face.)
lam. (After some time ... )
(Torvald reenters.)
(Silence, then ... )
TORVALD.
I have to go to the bathroom. TORVALD
(Torvald leaves the stage.)
(Nora and Anne Marie, alone.) (A period of silence.)
(Followed by... )
ANNE MARIE.
I really thought he'd be out until late.
NORA.
I didn't know.
Are you going to say anything.
I thought-he never comes home during the day, I
-you should go, I think you should go, you should-
TORVALD .
. . . No. I don't think so.
NORA.
Not yet.
No. You.
You should go. (And back to silence.)
When he comes back, ... it's not not wanting to,
he and I will talk,
and when we talk, it's just that
we'll talk alone. I don't know what to say, really.
This isn't how I wanted it,
but this is how it is, NORA.
and I'll just deal with it. ·I hat's okay.
 is also shaky.
TORVALD.
I did not expect this, I ... NORA.
(Torvald sits, facing away from Nora.) If you want
(Nora sits too.) I can leave
(Nora looks over at Torvald.)
(Torvald just stares out, straight ahead.) -come back later. Alright I'll leave.
(Nora goes back to looking out, waiting.) I'm leaving.
(And so it goes on, more nothing.)
NORA. TORVALD.
I'm fine just sitting here Tell me why you're here
with you
for as long as you want. NORA.
maybe now's not a good time.
(Nora looks at him again, this time she holds her gaze.)
TORVALD. TORVALD.
I've No, just do it.
thought a lot
NORA.
about what this would feel like. Are you going to look at me?

NORA. TORVALD.
What. I doubt it.
Not yet.
TORVALD. Just talk.
This.
ra wondered NORA.
Alright.
what it would feel like if I ran into you on the street ...
llere's what it is, Torvald:
NORA. When I left you,
and how do you feel, Torvald? I 5 years ago,
-you remember that night-
TORVALD. 1 told you,
.. .I feel shaky. you're free. You have no obligation to me.
My hand is shaking. I gave you my ring,
and you gave me yours-
My leg

37
We agreed-we made an agreement- do what you need to do
that the marriage was done, lo make the divorce "official:'
and you would divorce me,
and that would be that. 'I'()RVALD.
15 years passed. And why do I need to do that.

I've been under the impression all this time that we were divorced N<)RA.
until a few weeks ago I would do it myself
when I found out hut I know you know that
that you never filed it. you and I
11 man and a woman
TORVALD. In the eyes of the law
do not have equal rights to a divorce.
So I do need your help here, I can't do it by myself.
NORA.
Is that true-did you never divorce me? TORYALD.

TORVALD.
NORA.
You know it's not right
NORA. lo hold me to something
... Why? that I don't want
lo he held to.
TORVALD.
Did I want you to leave? TORVALD.

NORA.
... no. NORA.
An.· you really
TORVALD. ,,Iter all this time
I didn't want to divorce you. K( 1ing to stand in the way of me getting a divorce?
You wanted that.
T<lH.VALD.
NORA.
Okay.
Well- NORA.
II costs you nothing to do it.
can we agree now that you'll

38 39
TORVALD.
You're assuming that it costs me nothing TORVALD.
you're that unpopular
NORA.
what does it cost you-? NORA.
I his doesn't just apply to me, Torvald.
TORVALD. 'I his affects you, if you ever wanted to get married again,
maybe not as much as however much that dress cost you haven't you ever wanted that-?

NORA. TORVALD.
what-? Torvald- 110

TORVALD. Nt>RA.
not even the possibility

NORA. TORVALD.
Okay, then let me tell you what it costs me. 110 Nora, I haven't-you sorta killed that for me.
Because you won't file for the divorce,
because you're holding me in this marriage that's not a marriage, NORA.
you have made me a criminal- Well just so you know
there have been other men-after you, several.
TORVALD. I've had lovers.
a criminal I've had a life.
I did what I did thinking that you were no longer my husband,
NORA. '' nd now, because you failed to take the action you said you'd take-
yes
'I'< >RVALD.
TORVALD. I'm not sure that I -
How.
N<>RA.
NORA. I'm now in danger of having that life taken away from me.
I've behaved as an unmarried woman,
I have conducted business that married women are T<>RVALD.
not allowed to conduct without the consent of their husbands,
signed contracts that are now void,
I could be prosecuted and put in prison NORA.
and believe me there are people who would have me prosecuted,
who would have me dragged through the mud

40 41
,
TORVALD. my ability to give you money and find your friends a job or a place
You left. to live-never considering the possibility that maybe I didn't have
You left me. time to help everyone you thought needed help, or-
lllld you could tell that the favors you were asking me made me
You walked out this door
and you left me 11111..:omfortable, but you pushed and you pushed and you'd say
and you left the kids things to make me feel like I was being a wimp or weak
and when I think back on what happened rvery time you talked down I to me-
I think to myself that I have one
big NORA.
regret: you were the one who talked down to me
I wish I left you.
'I'ORVALD.
NORA. rvery time you flirted with other men-

NORA.
I never-
TORVALD.
I should have left you
'I'ORVALD.
long before you left me I should have-I think back
yes, and every time you made fun of me in front of other men,
to all these moments where I should have left you-there are so
many- t•vcry time you rolled your eyes at me or-

NORA. Nl>RA.
are there- you did that to me too, all the time you-

TORVALD. TORVALD.
1111d when you told me that I was kind but being kind
-every time you chastised me for being too serious or being too
wasn't enough to make you want to be with me
worried about small things, never taking seriously the things that I
cared about and the moment when you told me that your own needs were
rnore important than taking care of your kids, your own kids who
-and every time you asked me for money-and every time you needed you, who missed you, who wanted you
asked me for money by first telling me how much you love me as if and then the moment you told me you didn't love me anymore-
by telling me that you love me would make me give you the money- that moment that was maybe
that's really manipulative by the way ,, minute before you walked out of here-but I wish-
-every time you'd ask me to do a favor for a friend of yours-you 1 wish I didn't take it like I took it.
had all of these friends, and always it became my responsibility to
fix their problems as if the only value I had in your life was either NORA.

42 43
TORVALD. N< lRA.
1h11t's different from talking down to me.

NORA. TORVALD.
Alright Torvald-1 see that you see me as some kind of monster, I low.
but you're not totally clean here either.
l'.xplain the difference.
You've changed what really happened, in your mind.
You make yourself into the victim, the blameless, the right,
N()RA.
the better one of the two.
t\ Iso.
That's you. That's how you are-you have to be right and superior.
This thing you do-this thing that men do of t\ Iso.
standing in front of women lll•rc's another thing that bothers me:
and looking down at them, telling them how the world works,
educating them, us, me y, 111 don't get angry.
about how things should be
as if you were some kind of expert. T<>RVALD.
I lf (ourse I do.
TORVALD.
And what would happen if we-men-if we didn't-! wonder NllRA.
sometimes about this-yeah, I won't disagree-it happens-we do Mt~yhc once you've ever gotten-
this, okay,
but I wonder if women don't ask that men behave the way we behave, Tt>RVALD.
in some ways tl~ht now. I feel angry.

NORA. NllRA.
really Ht~o:ht
now.
Vou feel angry
TORVALD.
if we didn't project some kind of confidence-an assuredness in II lRVALD.
what we know or think we know-would women even be attracted d.11nn right 1-
to men-?
NllRA.
NORA. I ,1, ,n't believe that you are angry, that you're in it, that you're inside
confidence is different from- ••I that feeling of feeling angry right-no, I think you're just outside
••I 11, looking at it like it's some interesting thing.
TORVALD. Yo11 don't act.
to stand up straight and lead-

44 45
as though that drowns out anything I have to say
about why I did what I did and whether what I did was right. TORVALD.
Alright that's what I have to say-
Do I wish I'd done it differently?: oh who knows. ( Calls out.) Anne Marie!
Would I not do what I did?: absolutely not.
No regrets, Torvald. NORA.

TORVALD.
TORVALD.
Anne Marie stop pretending that you're not listening and come in
NORA. here.
I'm not playing around.
(Anne Marie enters, carrying something.)
It's out of kindness that I'm asking you to file for the divorce and not
I'm late.
me. It's easier for a man, the courts don't care about the reason,
I have to leave now.
but for a woman to do it, the law asks me to prove that I deserve the
divorce, and in order to deserve the divorce I have to make you look Show her out when she's ready to leave?
really bad-I have to ruin you-your reputation-in public record-
ANNE MARIE.
! have to-I have to-Do you want that?
I found your papers.
Torvald? (Hands them to him.)
TORVALD. TORVALD.
Do it.
Do it. ANNE MARIE.
I'm not giving you a divorce because you don't descrvt.• for this to be
easy.
TORVALD.
If you're going to ruin me, I want you to do it.
You and I will need to have a talk when I get back, okay?
I want you to decide to do it.
I want you to do it so you have to think about what you're doing.
ANNE MARIE. (Nods.)
You say you'll ruin me,
you already did that, (Torvald exits.)
except it happened while you were far far away.
This time if you're going to do it,
you're going to have to be part of it.

NORA.

50 51
 ANNE MARIE you ran off-
for staying with him through a very difficult time-taking care of
(Anne Marie and Nora.) the kids-raising the kids-and looking after him-oh he was mess!
You have no idea, you can't even begin to imagine.
NORA. The silence.
Alright Anne Marie, this is the point where I need your help. The not-eating.
Torvald won't give me the divorce himself, so now The very dark thoughts he'd think.
I have limited options for how to get it. The shame-
Option #l is the option where I make up a story that says that And how this must've looked to him-the thoughts he must've
Torvald did something awful to me, threatened my life or thought when he saw us together, conspiring behind his-
something and you corroborate that story. Option 1 would work,
but I would never do option 1, because option 1 is wrong and weak NORA.
and it's just ugly and wrong and- we weren't
Option #2, I give in to the judge's demand, I retract all my writings,
everything I've ever publicly said about-everything-no, I'd rather ANNE MARIE.
die before taking it all back-Option 2 is also not an option. I want you to go.
Just go.
So what I need is an option 3. Leave.
There's the door,
ANNE MARIE. I know you know how to use it.

NORA. (About to say something.)

NORA.
Do you know of an option 3?
ANNE MARIE.
ANNE MARIE.
I'm still really pissed at you.
I think you should go. NORA.
He's gone, it's not appropriate for you to be hcrl'.
You've put me in a bad spot, you've put me in 11. ••
ANNE MARIE.
Torvald is all I have in this world, my only family.
He takes care of me.
He supports me. NORA.
Do you know why? No, I'm not leaving.
He doesn't have to do it, the children arc grow11 up. I'm staying.
but he does it because he's grateful to ffil' (til' sill kill!4 llllllllld .tfler

52 53
Get a room ready for me he has claim to all of it-
all the money that I've earned for myself
ANNE MARIE.
you're being selfish ANNE MARIE.
he wouldn't
NORA.
it's my legal right I if I'm- NORA.
what
ANNE MARIE.
No. No, I you're- ANNE MARIE.
take your money
NORA.
married to Torvald, I'm married to Torvald-I'm married to Torvald NORA.
then this is my house just like it's his house, I deserve to be here, maybe, maybe not, I don't know.
and this is where I'll stay until were no longer married. He was always very weird about money,
very controlling, very-
ANNE MARIE.
Just take option 2 ANNE MARIE.
you can trust him
NORA.
NORA.
never
but I don't want to have to trust him-that's my point-
ANNE MARIE. ! can't be tied to him.
so what-the judge wants you to write a letter taking back some I can't be always looking over my shoulder, worrying about-
things you said that you probably shouldn't have said in the first That's what I left.
place-so what-it makes you feel bad, I just get over it That's what I ended by walking out this door

ANNE MARIE.
NORA.
it's not about feelings- and what about me-?

ANNE MARIE. NORA.

you don't have to run with every feeling you have, you don't have to what about you-?
indulge-because some feelings make trouble-and here I am forget
how I feel-I have feelings too, but also my livelihood is at stake ANNE MARIE.
you're saying-what, that I don't matter-?
NORA.
so is mine-on paper we're married, NORA.
and that means as my husband no, I'm-of course you-

54 55
 You have zero gratitude.
ANNE MARIE.
I raised your kids.
he'll kick me out
You should be coming in here-first words out of your mouth should
have been:
NORA.
Thank you Anne Marie.
no he won't
Thank you for abandoning your own life, your own child
ANNE MARIE. and raising mine, so that I could go off to do my little thing.
here I am, the one total innocent in all of this
NORA.
I didn't ask you to do that.
NORA.
I didn't make you stay.
is that so
I left.
ANNE MARIE. You decided to stay.
I'm thankful that you stayed,
I think-
but that was not your responsibility
NORA.
what makes you innocent-? ANNE MARIE.
but-
ANNE MARIE.
NORA.
aren't I-?
-was your choice, not-
NORA.
you're saying you have nothing to do with this problem? ANNE MARIE.
how could I leave
ANNE MARIE.
You're saying I- NORA.
just like I did
NORA.
you're not doing anything to help fix the problem. ANNE MARIE.
I'm not as cold as you.
ANNE MARIE.
After all the problems I've already fixed for you NORA.
I have to fix this too? You had even less reason to stay.
It should have been easier for you than me.
Is that what you're really saying?
Fuck you, Nora. ANNE MARIE.
It was my job, Nora, and ifl didn't do what I did, three very young
Fuck you. children-were going to be left alone-

56 57

illloiti---lllilillli------.. .-~--~-------
 Do you think I wanted to leave my home and become a nanny?
NORA. My options were-what-working in a factory and wearing my
They had Torvald. body down to the point of uselessness at an early age,
or I could go out and be a prostitute
ANNE MARIE.
A father NORA.
but no mother? Yes. No, I-You're right.

NORA. ANNE MARIE.

Is that not enough? I would have never, ever left my child ifl didn't absolutely have to-
Men leave their families-happens all the time-a mother but no
father- NORA.
now, but if a woman-if a woman does it-she's a monster, and the But I did.
children are ruined- And you may not believe me but
I had to leave ...
ANNE MARIE.
far as I'm concerned, either way it's bad . .. and leaving my children was the hardest part-
it's the part of what I did that I hate the most,
that hurts, that still hurts-
NORA.
don't you think there wasn't a moment
also
also-and I'm just gonna put this out there-you do realize that that I didn't think of sending them a little letter,
you kind of did the same thing I did- a little note saying "hello, mommy is thinking of you,
mommy loves you, mommy misses you very very much;'
ANNE MARIE. or on a birthday or Christmas sending a gift-
How did I-? I did-I bought them gifts, Anne Marie,
for the first couple of years-
NORA. I had a little pile of gifts for them sitting the corner of my room,
You had your own child, but you left her I'd buy these gifts and I'd be just about to send them-
to raise another mother's child. and then I wouldn't because I knew
You chose to love someone's child who wasn't your own. that sending them would make me feel very good,
And that's okay. but for them it could be-
But don't tell me we're different. because I thought about them thinking about me,
We're the same. thinking that they must wonder about me,
and thinking that I wanted to answer all of their questions-
ANNE MARIE.
Better for there to be nothing,
No. We're not.
for there to be silence,
I didn't have a father with money like you had a father with money,
than this thing that's somewhere halfway in between because
I didn't have the same options you had.

58 59

---~ ·-·-~-·-·
 that-that Anne Marie-would be cruel. and when you walk, you limp.
and you say you have problems with your stomach?
A wound has to be allowed to heal,
And in exchange, Torvald gives you a little room in the back?
no matter how much you have the desire,
the urge to touch it, to- I can give you a better life,
and I promise you, it's not conditional.
It's not good for the ... the healing. You help me or not,
Do you understand? that's up to you.
Do you.
ANNE MARIE.
ANNE MARIE.

NORA.
NORA. Can I do that for you?
What I did wasn't easy. Will you let me do that?
It was hard.
It took discipline. ANNE MARIE.
And I had to think past the feelings
and about what's best for everyone involved.
NORA.
And yes, yes-! because of what you did,
because of what you gave up,
my children felt loved.
ANNE MARIE.
And I am grateful. ... No. I don't want your money.
You say I'm not, but I am. It's too late in life to up and ...
And I'm so sorry if
I did not make you feel that. NORA.
(A moment of silence.)
Anne Marie, I have money,
ANNE MARIE.
and I can give you a kind of freedom.
Option 3.
I can buy you your own house.
I can give you a lump sum of money so that-provided you invest
NORA.
it wisely-you'll never need to work again. You're on some kind
What?
of-I'm sure-tiny allowance, trickling out just enough money to
get you to the end of the month.
ANNE MARIE.
Isn't that true. Option 3. You said you were looking for a third option for handling
And I look at you, and you look so tired and worn, the problem with Torvald?

60 61

-
 I know a third option. you know I raised her to be very resourceful,
Would you like to know what it is. just like I raised you, and I think maybe-
maybe she would have a good idea for what could be done.
NORA.
Uh, yes. NORA.
I think that could be very confusing, the way things are-there's a
ANNE MARIE. balance that we have that I wouldn't want to upset
It means you have to do the thing I think you're most scared to do,
but if you want what you want- ANNE MARIE.
but she's an adult,
NORA. there's no damage you can do,
what is it. not now. She has a life-
a life outside of you,
ANNE MARIE. and she's happy with that life,
Meet your daughter. I think you aggrandize yourself.

NORA . NORA.
... no

ANNE MARIE. ANNE MARIE.

wait- Hey. I have nothing to gain from you meeting with her or not.
You ask me what will get you what you're looking for.
NORA. This is what will do it.
it's not a good idea- It's the only option.

ANNE MARIE.
hear me out. EMMY

NORA. (Enter Emmy.)

I'm like a stranger to her-
EMMY.
ANNE MARIE. Hello.
Listen: you were not able to convince Torvald to agree to the divorce.
I'mEmmy.
And I would never be able to convince him either.
Our words mean nothing to him- I'm your daughter.

But Emmy-she can be very persuasive,

NORA.
-I think you'll be impressed- Yes, I know.

62 63

-------=· ····~-----·····~·--···
EMMY. I don't know, harmful,
It's very nice to meet you. I don't want to do any harm.
(Emmy thinks about this for a moment, like she's adding
NORA.
You too.

EM MY.
I EMMY.
something up in her mind, and then ... )

No I don't think us doing this-meeting-I don't think it does any

harm

NORA.
NORA. okay, well-good-I hope-
I hope you're alright with this
EMMY.
EMMY. and just so you know, I feel no animosity towards you.
with this?
NORA.
NORA. Oh that's-that's nice to hear
Meeting me, I hope it isn't strange
or upsetting- EMMY.
this is exciting!-meeting you is
EMMY.
no, not at all NORA.
yes
NORA.
good. EMMY.
I was worried it would be. I don't remember you at all

EMMY. NORA.
Why? I didn't think that you would. I
1

You were very little, very- 11!111111

NORA.
Well I've never been part of your life EMMY.
for the longest time I thought you were dead .J
EMMY.
this counts as being part of my life-? NORA.
well you're not the first person to tell me that
NORA.
no but a little step towards-seems potentially,
lillllil

64 65
EMMY.
l And I looked through the records,
everyone thought you died, and there was no death certificate,
everyone in town, everyone who- and then I knew, that
you weren't dead,
NORA. you just left.
I didn't ,,,li''
Bob and Iver told me that someday maybe you'd come back ,,

and that I should be ready for it, that you would come
EMMY. and that you would take us with you,
except obviously and that you would be a lot more fun to live with than Torvald
Torvald, Anne Marie, who- 11

:11:1

my brothers-but I did for a long time- he's not bad-but fun isn't the word I'd use to describe-
1

1,1

NORA. NORA.
so when did you-? ,II
yes- 1

':11111!1,

EMMY. EMMY.
when I was 7 or 8- I mean I think it's kind of adorable-his sort of-I don't know what
to call it
NORA.
I see NORA. II,
gloom-?
EMMY. II''
1

my brothers told me. EMMY. '1111 1;111

They remembered things that I didn't or couldn't, no-that's not quite ... I'
and they told me about how you left.
I didn't believe them at first-sounded Bob remembered you best
like the kind of thing you say to
avoid telling a kid the harder truth, NORA.
but Iver said that if I didn't believe them, oh Bob.
that I could go down to the clerk's office
where they keep all the records-birth records, death records- EMMY.
and he said that if I looked for your death certificate Bob missed you the most.
Bob could draw.
there wouldn't be one
I asked Bob if he would draw a picture of you-He wouldn't.
-and I went to school with a boy whose Iver said that it was probably because if he did,
father worked in the clerk's office, Bob would start crying
and this boy liked me, so I acted like I liked him back, and Bob never liked to be seen crying 111:1:
and got him to let me into the office one night because he thought crying made his face look fat.

66 67

Ill! I
NORA. EMMY.
Yes, yes-?

I do remember that about Bob NORA.

about him-not the fat face thing-but the crying-he doesn't still
I had you very fast.
do that-? You came right out of me-like you were racing to get out into the
world-like you couldn't wait-The boys-they were very slow. I
EMMY. was in labor for-oh god, it was terrible-
he does but you were very easy.

NORA. So. You can put that into your

poor Bob book of memories.

EMMY. EMMY.
!11'111

Iver on the other hand- And tell me something about you.

NORA. NORA.
the opposite of Bob Uh like what?

EM MY. EMMY. 1

in every way. Oh I don't know- ' 11111!

Are you happy?

NORA. 'I

Yes. NORA. ,,.I

Yes.
EMMY.
Now tell me something you remember about me Very. .lUI

EMMY.
NORA.
What makes you happy?
you
NORA. 1
1:1~1 1
EMMY.
My work makes me happy.
yes!
I like my house, I have a nice little house, .1,,
it's by a lake,
NORA.

~1
uhhhhh, what should I-well here's something: it's quiet.
When you were born

68 69
EMMY.
That sounds nice ... NORA.
. .. that's good to hear, it's-I'm happy that-
NORA.
And are you happy, Emmy? EMMY.
people say I'm an old soul.
EMMY.
lam. NORA.
yes, yes-! you seem very
NORA. grown up. Very adult. Very
What makes you happy. impressive.

EMMY. EMMY. (Smiling to herself)

All sorts of things: Thank you.
I have enough money. And you, you've done well because of it too, haven't you
I have enough food.
Physically I'm NORA.
fine-there aren't problems what do you mean-?
with my health.
EMMY.
NORA. Anne Marie told me that you have your own money,
That's good. and that you write books.

EMMY. NORA.
I actually think in a lot of ways I do
things turned out better because you weren't around.
EMMY.
NORA. I find that very interesting.

NORA.
EMMY. I'll send you one.
I think I'm better at life because of it.
I had a lot more responsibility, EMMY.
I had to deal with some difficult truths about life I don't really read books
at an earlier age than you usually have to deal with those types of things.
I feel bad for the kids who growing up had the usual life. NORA. 'I~
I feel special. no?
'''--1
70 71
 !jllllll1

I,IJi'~,l
:~

tell him it will be alright, Ill!

EM MY. that there's no point in wrecking everything he's built,
tell him to do it for you
Never could get interested in-I get bored easily-it's ...
1
1

1 '!

NORA. EMMY.
... And so, Emmy- but it's not for me

NORA.
Iif
EMMY. '1',1
yes-? of course it's for you-
I'JJ11i
the whole family 1~1,
NORA. and you and Bob and Iver and-
did Anne Marie also tell you why I'm here? the kind of-I don't know-disgrace II. I Iii
that could come as a result of-
-it would make the family look very bad-and
'IJ!
EMMY.
All I know is- I don't know if Anne Marie told you, but there's this judge who's IIIII
that you and Torvald were supposed to be divorced threatening to-
but you found out you're not, i'l,l'i!
and you're trying to get Torvald to file the divorce EMMY.
but he won't do it yes, I know
ill:, I''
NORA. NORA.

~~
that's pretty much it. right. so.

EMMY. EMMY.
I'm guessing what you want from me is for me to go to him I
and convince him to do the thing that he's refusing to do
NORA.
NORA. I understand if maybe you have concerns.
yes, yes, that's-I was just thinking that Let me try to address some of-maybe you're not sure
if you were to go to him, how to approach this matter with Torvald,
tell him that this is what's right for him- I understand that, yes, that could be awkward: what do you say?
You go to him out of the blue:
EMMY. I think you should give Nora the divorce she's asking for-
uh-huh he'll think you talked with me and that I put you up to it

NORA. EMMY.
for everyone, but aren't you-?

72 73

-~- .. ~
 EMMY.
NORA. Did he propose a reconciliation?
what-
NORA.
EMMY.
putting me up to it.
EMMY.
NORA.
So say instead-you don't tell him we met,
and say instead that you heard from NORA.
Anne Marie about my problem-well, you did- ... um-
that's true-Anne Marie told you what she told you,
and say you got to thinking about the situation EMMY.
and my dilemma and what this could mean to Torvald, No, see, I think you're very wrong,
and how it could look really bad, and that you've made a lot of assumptions
get him in a bad spot with his reputation- and that you don't know what you're doing,
and explain to him how you think it's best you think you do, but you-and it's not your fault,
to just let me go but I need to correct you-
and let it all go
and file the divorce. NORA.
correct me-?
If you can show him how he's making this worse for himself,
if you leave me out of it, EMMY.
because I don't think Torvald will do what Torvald does Torvald did something really stupid.
for my sake, that his interests are-
I know that he's still, technically speaking, married to you.
EMMY. And I'm not saying that none of this is his fault.
are what? What do you think his interests-? There's fault on his part, for sure.
But basically, what happened,
NORA. when you left, people noticed,
and of course they noticed,
Honestly?
and people would ask, "Where's Nora?"
Isn't it apparent? And Torvald, I'm sure you could guess,
I think he doesn't want to let me go, he was pretty upset about it, felt pretty private about it,
that there's some part of him that is hoping didn't want to talk about it-it was embarrassing-people ask him
that maybe I'd come back to him, that there would be uh where you are and heCl have to say you left him-it would be awkward,
reconciliation. both for him and for the person asking,
so at first when people asked, he'd say that you had gone away,

74 75

-- ·-··--
 !II~.
T
they brought food, tllil
left town, visiting family, II
something like that. they really rallied around him
and us-the whole family.
He really didn't say much about it, he didn't want to lie,
but then when about two or so months had gone by, And there's also some government support for the families,
I
and you were still gone-I mean I don't know exactly how it happened, there's that-some money you get-of course there was no death
obviously I was so little, I wasn't aware of what was happening-but certificate ever filed,
someone made the assumption that you weren't well, but these things happen, mistakes, oversights- il'li
that you had gotten sick, just because of the way people found out,
this gradual sort of realization that that's what was-and because I' I
and Torvald didn't say no,
so that's the story that went around- Torvald is well-respected, well-liked, and because he runs the bank-

It~
1''1111

that you were gone and you were sick You see?
and recovering at a sanitarium.
And then another month or two passes, It's a problem. You being here, doing what you're doing.
and someone somewhere says something or makes the assumption Do you-?
that it's worse than that, Iil I
and that you hadn't recovered NORA.
and you were No, I don't-
no longer alive.
EMMY.
ltli
And that's what people assumed,
and Torvald-now he's so far in It's fraud, technically, it is-it's fraud, and Torvald could be tried- 1.1

and to explain the truth-! know it's a weak thing he did he could lose everything-just like you, and that's why I

but he had his job at the bank and was he can't give you your divorce 1'111

a very respected member of the community,

very well-liked, trusted, NORA.
to have to explain such an embarrassing set of 1!:'
truths and misunderstandings and so on-
so he said nothing.
And by saying nothing
he was sort of saying something
EMMY.
but ...
there is another option:
l
:ll1
I

which is that you

had died. NORA.
And once people came to think that, '
I i

that's when-well you know what happens when that happens-

there's an outpouring of affection and support, EMMY. 1!11

You die.
people visited, '
I

II
76 77 lllill:/li

111111
II
NORA. NORA.
What? It is.

EMMY. EMMY.
Let me ask you: Thank you.
who have you seen while you've been in town? So will you do it then?
me, Anne Marie, Torvald ...
anyone else? NORA.

NORA.
... no. EMMY.
Will you-what reason would you have for not doing it.
EMMY. I can't think of one, can you?
Good.
NORA.
Remember how I said there's no death certificate?
You'd be committing forgery
What if there was one. What if-using what connections I have-
that piece of paper were to just show up in the files of the local
EMMY.
clerk's office? yes
You see?
NORA.
If you're dead, there is no marriage.
of public records

NORA. EMMY.
Does Torvald know about this idea?
sure, but-

EM MY. NORA.
No. the kind of trouble, you'd-
This is my idea.
I came up with it myself. EMMY.
no one will find out
NORA.
NORA.
I do have some experience with this kind of thing, and you'd be
EMMY.
surprised by how these kinds of things can just sorta come to light
It's clever, isn't it.
at the worst possible-

78 79
EMMY. NORA.
but ifTorvald's lie is exposed-

NORA. EMMY.
How is this right! And if you cause a scandal he won't be able to marry me.
How is it right that Torvald lies And there goes my future.
and I'm the one paying for it- Gone.
that you're paying for it-
that -and I'm expected to be the one to lose everything because- NORA.

EMMY.
It's just that I'm engaged. EMMY. l'11

You don't like that, do you

NORA .
... ah. NORA.
what
EMMY.
To a man. EMMY. ""11!1·.1

that I'm getting married. I,!

NORA.
I see. You think no one should get married II

NORA. I
EMMY.
no, I-
Named Jorgen. I

"II
EMMY. i
NORA.
Anne Marie told me . il I
... Jorgen.
She told me, "Don't bring up Jorgen:'
EMMY. But it seemed weird not to tell you,
because we're in love.
He's a banker
I know you probably don't believe in "being in love:'
NORA.
of course he is NORA.
But I do. I do believe in-
II
I

EMMY. I have nothing against love, Emmy, but

love
he works with Torvald.
love is different from marriage.

80 81
 ,.
Marriage is this binding contract, I want to be possessed.
and love is-love has to be the opposite of a contract- I want to be somebody's something-
love needs to be free, ! can see you cringe when I say what I'm saying.
and it is free But that's about you, and it's not about me,
until the moment you marry, and I'm telling you what I want,
and then something changes and you may want something different for yourself,
and you're no longer as free as you once were- but don't make my wants about your wants
because you go from being two separate people
to something more like one person, NORA.
and you get swallowed up-and because of the way the world is but-
it's you that's going to get swallowed up into him.
And anything you want EMMY.
for yourself will have to be part of what he wants, you're telling me I don't want what I want?
and he's going to expect this from you
NORA.
EM MY. Emmy, I'm telling you that I once wanted what you wanted
Jorgen is very kind, very- only to find out that when I got what I wanted
that it was definitely not what I wanted.
NORA.
so was Torvald-has nothing to do with EMMY.
kindness-it has to do with ... But you don't know that it will be the same with me.
what people do and have always done and I'm not you.
don't even bother to question-
How much do you even know about marriage-? NORA.
I have a feeling you're a lot like me
EMMY.
EMMY.
nothing
no
NORA.
NORA.
exactly
the kinds of things you're saying
are the kinds of thing I said
EMMY.
because you left, I know nothing about
what a marriage is and what it looks like. EMMY. I
,I
You don't even know me. 1111

But I do know what the absence of it looks like, You came back here for the first time in 15 years
and what I want is the opposite of that. and you didn't want to see me-the only reason you're even talking
I want to be held. to me is because you want something from me

82 83
 ~
i I

1,1'
NORA. ':'
NORA. ', ,,

no, no 1

JI
,,li
EMMY. EM MY.
that's not why you wanted to see me? You've never given me anything.
This is the only thing I'm asking for
NORA.
NORA.
you'd be putting yourself at terrible risk
EMMY.
EMMY.
and what about you-?
NORA. you talk to me about the trouble I could get into by forging a
Yes, yes I did come here to ask you for some help death certificate-I'd imagine the trouble you're facing is worse.
Aren't you scared?
EMMY.
NORA.
see-?
What scares me more is the thought of you doing everything that I did
that I wish I didn't do-
NORA.
but you think I didn't want to see you-? That's worse because it means that everything I've done since walking
out that door, means nothing
EMMY.
you don't ask me any questions EMMY.
everything you've done, which is-what?
NORA.
because I don't know where to begin! NORA.
the books, the books I've written-everything that I-
EM MY.
How do you think it makes me feel EMMY.
to know that the only reason my mother these books that tell women to leave their marriages
wants to see me is to get me to fix a problem for her.
NORA.
NORA. if they're feeling stuck and-

EMMY.
EMMY. and they do-?

84 85
 where we're all just nomads ...
NORA. Is that really what you want?
some are moved to-
NORA.
EMMY.
and how is that good?
How many women have left their husbands because of you? EMMY.
How many women have left their children? You let me do this for you-Nora Helmer will officially be dead.
How many women have left their husbands and children, and gotten You leave here,
themselves into the same kind of trouble you're in right now-? It's- you move somewhere quiet-you stay quiet for a couple of years-
it's like you've saved everyone from a drowning boat, but you've left this trouble with the judge-it will eventually pass,
them with no way to get back to shore. and then you'll be free-
free of Nora Helmer. That's what you always wanted, from the very
beginning, isn't it-?
NORA.
when you walked out that door,
you wanted to find out who you really were.
You've found that person. You don't need Nora Helmer anymore.
EM MY.
I actually think it's good to be stuck in a marriage. She's dead.
It's the fact that we're bound together, that it's difficult to leave, And now you really get to be reborn as this new person you've created.
that actually makes people stick around and try- And me and Torvald and my brothers can go on living lives without
I think-because if things keep on going the way you say they should, you.
Ill"
then-what will that look like-? (An unusually long period of silence.)
a future where everyone is leaving each other- NORA.
that in a lifetime one person will have tried to be with-what, four,
five, six people-but always just skating through their lives, never
able to settle or slow or experience EMMY.
anything that takes any real difficult time-
never finding a home,
never finding a place to rest, NORA.
a person to rest with,
never finding a person who knows you
and that sounds-and what do I know- EMMY.
but that sounds so sad
and so lonely
NORA.
and so
so deeply unsatisfying
this future
86 87
 !jl'
I!
EM MY.
EMMY.
Nora ... ? Iii I
!
they can put you in prison-
,'I
NORA.
This isn't right- NORA.
11'1)

this scheming, it doesn't matter-because I'm already

,,
this lying-this is what I left behind- in a prison if I'm having to rely on Torvald to give me a divorce, 1

1
II'
11

if I'm having to hide behind some pseudonym, !I::

1'1

ifl'm-ifwe're beholden to all of these

EMMY.
bad rules is what they are-
there are so many bad rules in this world, Emmy-
NORA.
I'm not going to follow these bad rules, 111111

this is my chance to change the rules II

(Nora begins to leave.)
because 20, 30 years from now
EM MY. the world isn't going to be the kind of place I say it's going to be
where are you going? unless I'm the one to make it that way-
(Anne Marie enters with Torvald.)
NORA.
You think I've never given you anything, but (Torvald is bleedingfrom the head.)
you don't know what I've given you- ANNE MARIE.
because what I'm trying to do for you- Torvald's been attacked-!
the kind of world I'm trying make for you-
it hasn't happened yet. EMMY.
What-?
But it won't happen this way-not ifi let you or Torvald
fix this problem for me
ANNE MARIE.
just found him like this walking through the streets like this, like a
EMMY. crazy person-

EMMY.
NORA.
no, I have to do this myself-
j I'll go get some bandages
'~ '
If that judge wants to me to publish a letter, (Emmy exits.)
then I'll do it and I'll tell everyone ANNE MARIE.
"Yes, yes, I'm a criminal, blood coming out of his head, people on the street staring at him-
and I am not sorry;' (To Torvald.) everyone's going to think you've gone out of your mind-
I'll go and face the people who are telling me what I can and can't (To Nora.) this is all your fault-none of this would have happened
do and show them that there's nothing they can do-
88 89
 Ii i
II
if you didn't come here-I should have never answered your letter, 1
11111

I should have never said it was alright for you to come here- TORVALD.
',(
I didn't mean that in a-I meant-just she told me that that's what
(Em my reenters with supplies.) you do now,
TORVALD. il
so I was curious,
Anne Marie ,llli

why don't you-I don't know-take a walk.

and I walked into a bookstore. l(''
I asked the man in the bookstore
IIIi
what's the book that the women are reading,
ANNE MARIE.
ra like to read that book,
and he said, well you must be thinking of this book,
(Anne Marie exits.) and he handed me a book,
(For a moment, Emmy dresses Torvald's wounds.) and it didn't have your name on it,
(Then ... ) but I figured it was a uh-
TORVALD.
Emmy, you too. NORA.
pseudonym
(Emmy exits.)
(To Nora.) We should talk- TORVALD.
Right. Yes.
NORA & TORVALD And so I bought the book,
and I took it with me to the fjord,
(Torvald produces a book.) and I sat on the rock,
and I read the book,
NORA. the whole thing,
from beginning to end.
And the book was about you,
TORVALD.
and the book was about me,
and it was about all the things that happened between us.
NORA. It was hard for me to read it.
I see.
NORA.
TORVALD. It was hard for me to live it.
Anne Marie told me that you-you write these little books-
TORVALD .
NORA. . . .I'm sitting there reading
little-

90 91
 11

111

and thinking every so often, This is why I lived in terror. !I!!!

1

oh I remember that or I forgot that or- Not because he was violent-he wasn't- ,!

not because he ever threatened my life-he never did- ';:Ill,''

And some things made me really mad and- unless you count living with someone who can't see you
l:,l,l
as life-threatening-which in a way it is:'
NORA. 1111;,

like what? 'I'

NORA.

TORVALD.
I come off pretty badly in the book. I come off as a real- TORVALD.
I'm going to read some parts out loud That hurts.

NORA. NORA.
just say what you- Because ... ?
,,,1

TORVALD. TORVALD.
"He looked at me with a look of condescension" I'm not like that-not now
(Turns a page.) NORA.
-you say things like that often-"He sneered;' it's not about how you are now. It's about how-
"He pontificated"...
but this is the one. TORVALD.
This one is the one that really- I think about dying.
(Turns to a page.) I uh think about how when I die
which will be someday sooner than later-
"I lived in terror of my husband.
He didn't so much look at me, as much as he looked through me. and I think what it is I'm leaving behind-what mark I've made-
and I think about how this is it.
I didn't exist.
Yes, he doted on me, (To the book.)
but he only doted because the act of doting made him feel good. This is the story that's told about me and that's it,
But you could have substituted in for me and I don't want that to be it,
any woman. It didn't matter. and so-
Once I asked him what he liked about me.
He told me he liked everything. NORA.
I pressed for more.
He said I was pretty.
He said I was his. TORVALD.
He said I was perfect. I went to the clerk's office this morning

92 93

Wzv *"'"-"""-~ ..
 1111:

'I
:II'

NORA.
TORVALD.
you did
No, I grabbed the pen from his hand,
and in grabbing the pen, I knocked him to the ground, II'
TORVALD. I I'l
II
told the clerk, and this clerk, he's not a small man-
''I'm here to file a divorce-" he's younger than me, stronger than me-
11:1,.1'1

and he grabs me, he holds me down,

NORA. and I-I'm just fighting back,
II:
oh Torvald- trying to break free of him.
II
I
TORVALD. And this fight-it's now-it's bigger than itself,
let me finish-he didn't understand because- and I'm fighting for my life-
and he pushes me, and I fall ...
NORA. my head hits the ground, where there's a bit of stone.
he thought I was dead. It cut into my head, I could hear the skull crack- :111

TORVALD. and he's now horrified, he backs away, I think he's even crying,
Oh, you know about the- he says, "Torvald Helmer, what have you turned into,
what are you?"
NORA. And I said to him, said to the clerk,
yes- "You will give me my divorce;'
and he nodded his head,
TORVALD. because he understood,
he thought I was crazy, that this was about more than it was about.
he said, "Torvald, you think you've seen a ghost"
I said no, I said, I've been lying, He could have had me locked up,
there's a pile oflies, I've been lying, but he understood, and-
and that's done, I won't lie, (Torvald takes out a paper.)
I'll face the consequences. This is it.
I even said, "If you don't believe me find the death certificate;' I did this for you.
and he said if there's no death certificate then I made everything right
he should go ahead and make one. by ruining myself,
And here he is taking out the papers to write up a death certificate, by exposing a pile of lies that I've been hiding for 15 years,
and it was as if he was about to end your life in front my eyes- and I'll probably lose my job
and lose my friends
NORA. and lose my savings,
and did he? but I did it

94 95

:b.,,, ~~-"'-·~· c
 ~I
1

1l ![
I(

so hopefully I won't be remembered NORA.

!Ill
the way you remember me
when I'm gone.
TORVALD.
1!1
You can even go I CAN'T WIN WITH YOU!
and write a new book
where I'm a better man.
I CAN'T FUCKING WIN WITH YOU 1~ 1
II. II
(Nora looks at it.) NORA.
II

Here. Take it. THERE'S NOTHING TO WIN!

(Nora does not take it.) STOP TRYING TO "WIN"!

You won't take it. TORVALD.

I'M JUST TRYING TO BE A GOOD GUY HERE
NORA.
Thank you.
NORA.
Thank you, Torvald. YOU GO AND YOU MAKE EVERYTHING ABOUT YOU-
I appreciate that you did this ... YOU EVEN MADE MY BOOK ABOUT YOU
but ...
TORVALD.
I don't need this anymore I'M IN THERE AREN'T I?

TORVALD. NORA.
what IT'S MY BOOK, MY FEELINGS, MY THOUGHTS,
MY EXPERIENCE, MY LIFE-
NORA.
the divorce, I don't need it. TORVALD.
But I really do appreciate that you- I GAVE YOU WHAT YOU WANTED!

TORVALD. NORA.
I CAN'T WIN WITH YOU! ONLY BECAUSE YOU WANTED TO LOOK GOOD

NORA. TORVALD.
YOU WERE IN TROUBLE!

TORVALD. NORA.
BECAUSE OF YOU-BECAUSE OF YOUR LIES, I YOUR
COWARDLY-

96 97

II,
 Iii[

' l,lill

NORA. 1\!
TORVALD.
YOU WERE IN TROUBLE AND I SAVED I YOU AND-

TORVALD.
NORA.
I DON'T NEED A FUCKING SAVIOR- II
NORA.
TORVALD.
'II
YOU HAVE NO IDEA WHAT THIS COST ME- i

TORVALD.
NORA.
YOU HAVE NO IDEA WHAT THIS COST ME!

NORA.
TORVALD.
NOW I'M RUINED BECAUSE I TRIED TO DO THE RIGHT I
THING-
TORVALD.
NORA.
I BET YOU WANTED TO BE RUINED
NORA.
TORVALD.
THAT'S INSANE!
TORVALD.
NORA.
YOU LOVE IT WHEN PEOPLE FEEL BAD FOR YOU-
NORA.
TORVALD.
I AWFUCKYOU- (And then ... )
TORVALD.
NORA. . . .I don't know what to do around you,
HAVE TO TAKE CARE OF YOU, NURSE YOU BACK TO I don't know how to behave ...
HEALTH-THAT'S YOUR WHOLE LIFE-EVERYONE GIVING
UP EVERYTHING FOR TORVALD-SAME THING AS ALWAYS- NORA.
YOU HAVEN'T CHANGED A BIT.
(A long silence.)
TORVALD.
TORVALD.

98 99
 r
TORVALD. 111

NORA. Does it have to be so hard, really?

(And then ... )

TORVALD. NORA.
What happened-you used to be so-you were a different person
and I find it incredibly disturbing that when I look at you I can't
even see inside there to see TORVALD.
the person that I used to know.
(Silence, and then ... ) NORA.
I think I miss you, Nora.

NORA. TORVALD.

TORVALD. NORA.
You think I don't see you,
that I don't know who you are,
but I don't know-I think maybe the same way TORVALD.
I made assumptions about you, ... you said there have been others since me.
you made assumptions about me.
And maybe I would like what you really are, NORA.
and maybe I didn't like the things you thought I liked, There were.
and kind of found some of them pretty annoying.
I don't know. TORVALD.
Who were they?
It's just so hard
NORA.
NORA. All sorts of people.
what's so-? Some were important,
some weren't.
TORVALD. Some stand out in my mind,
all of this. and some sort of just fade
Being with people.
TORVALD.
NORA.
Yes.
100 101
 'lr
I,'
1

1 i

After her husband died,

NORA.
There was a painter, she'd come over for dinner and we'd play cards.

and there was another banker, NORA.

there was an architect. Who was it-? Sofia?
And there was also the man who built the houses the architect
TORVALD.
designed. Yes-
There was ... there was a man, a very young man.
I thought it would be interesting, NORA.
to have a relationship with a very young man her-?

TORVALD. TORVALD.
was it-? what
(Nora laughs.)
NORA.
what
no.
NORA.
TORVALD.
I just can't picture it.
I'm trying.
I just-can't picture it.
NORA.
TORVALD.
Kids liked her,
TORVALD.
she liked the kids,
There was a woman-
but I just couldn't because-
because I was afraid.
NORA.
there was?
NORA.
TORVALD.
Don't be so surprised.
TORVALD.
NORA.
NORA.
TORVALD.
She was a widow-used to live three houses down.

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~~~-~~nn~ "'
..
TORVALD. 15 years ago,
You say you've become so honest. the first thing I did
So be honest with me: -because I had nothing: no home, no family, no money-
was I went and lived in a boarding house.
I'm talking about two people,
And because I had no real skills other than I could sew things-
spending time together, ! did that-and made money sewing
figuring out and bit by bit saved up what I could-
how to be around each other.
Because what I really wanted to do was,
Is that a true marriage? for the first time in my life,
Before you walked out that door, I remember, that's what you said
be by myself.
you wanted.
So when I saved enough money,
So? Have you ever experienced that with anyone?
I left the boarding house,
Be honest with me. and went and lived up north.
I found what was basically an abandoned shack.
NORA. And even though I was living by myself-
for everything I did-
every decision I made,
TORVALD. from what I ate to when I went to bed-
I could hear a voice in the back of my head
that either sounded like you or my father or the pastor or
NORA. or any number of other people I knew-
No. IQ always in my head somehow manage to
check with that person
TORVALD. to see what he thought,
I haven't either, even though that person wasn't a person but
and I don't want to die my thinking of that person.
having never had that experience.
And so, as long as that continued,
NORA. radecided that I'd live in silence,

i
Then go have it. not speaking and
I want you to have that. avoiding the speaking of others-
and I'd live like this until
TORVALD. I couldn't remember what other people sounded like-
But what about you? until I no longer heard a voice in my head
other than my voice
NORA. or what I was certain had to be my voice .
. . .when I left here, Torvald

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-~

That was almost two years, I'm ready to do this again-walk out that door
and away from this house,
two years of silence.
off into the-
And once I could hear my voice, and I know that I'm going to have to fight a lot of people
I could think of things that I wanted all over again
that had nothing to do with what anyone else wanted. and harder than I did before,
It's really hard to hear your own voice, and I might lose everything I have,
and every lie you tell but I've done that before
makes your voice harder to hear, and I can do it again.
and a lot of what we do is lying. (A beat.)
Especially when what we want so badly (And then Nora gets up.)
from other people (Nora and Torvald walk to the door together.)
is for them to love us. (Nora begins to exit then turns around in the doorway.)
So I find that I'm best-that I'm my best self if I'm by myself. The world didn't change as much as I thought it would,
but I know that someday everything will be different,
TORYALD.
and everyone will be free-freer than they are now.

TORVALD.
NORA.
I can't imagine that.
... but it's nice to sit with you.
NORA.
TORVALD.
yeah ... well
Yes.
It is. I just hope I live to see it.
(Torvald gently squeezes Nora's hand.) (Nora walks out the door.)
(And holds it there for a bit.) (Torvald watches.)
" (And then ... ) (Door shuts, lights out together.)
NORA.
Alright. End of Play
I'm ready.

TORVALD.
For what.

NORA.
I'm ready to go.

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