Torvald protests that they are the men who have loved her the most. Shaking her head, Nora corrects him, telling him that he has never loved her for herself but has only thought it pleasant to be in love with her. She explains to him that, just as her father did, Torvald has treated her as a doll to be played with, arranging everything to suit himself and forcing her to live only to entertain him. As a result, she has not made anything of her life and has never been truly happy.
Torvald agrees with this analysis, though he qualifies it as exaggerated and strained. He pledges that, from now on, he will stop playing with her and start educating her. Nora refuses the offer, observing that he is not the man to educate her. Only a few minutes before, he had told her that she was unfit to raise her own children. This is why, she concludes, she is going to leave him.
Torvald is shocked and jumps out of his chair, calling her mad and trying to prevent her from leaving. He accuses her of neglecting her “most sacred duties” as wife and mother, refusing to acknowledge Nora’s opinion that her duty to herself as a reasonable human being is at least as sacred. He appeals to her sense of religion and then morality, both of which Nora agnostically rejects by explaining that she has never had a chance to examine and embrace these things on her own and, as a result, she does not know if she agrees with these principles. He finally argues that he must conclude that she does not love him. Apologetic, she agrees. He lost her love earlier tonight (if not before), and she cannot stay in the house.
She says that there must be perfect freedom on both sides
Nora explains that her love was lost because the miracle did not happen: he did not refuse Krogstad’s conditions and offer to take up the problem for himself. Instead, he berated her. Torvald replies that, though he would gladly work day and night for her, he would never assent to jeopardizing his honor for a loved one. Nora simply replies that many wives have done just that. Torvald dismisses her words as those of a heedless child. Admitting the possibility that he might be right, Nora changes tack. She describes his selfish perspective and her own horror at having realized that she had lived with and borne children with a stranger for eight years. Torvald sadly acknowledges the gulf between them but asks if there is still a way to fill it. Nora reiterates that they both will be better off apart. She somewhat formally releases him from all obligations to her. They return their wedding rings to each other, and she leaves her keys.
She agrees with him about her inability at present; she must first educate herself before she can educate the children
Nora adds that a future relationship of some sort would only be possible 
if “the miracle of miracles” were to happen-if they both change is such a way that they could have a real marriage. She leaves. Sinking down into a chair with his hand in his face, Torvald moans her name. He then looks up and observes how empty the room has become without her. The play ends with the hope of the “miracle of miracles” crossing Torvald’s mind and with the sound of the street door slamming.
This act elaborates on the deciding point of Nora’s life. The test of whether the “miracle” happen or not is a test that will decide whether Torvald really is the husband he has claimed to be, whether the marriage really is salvageable in a way that will raise Nora out of the disrespect of being a doll. Nora has awoken to the reality that she is living a doll’s life and needs to move on with her own life, with or without Torvald. Her new life has already begun, and we have little hope that Torvald will rise to the challenge anytime soon. We do not yet know, though, if Nora will choose to live or to commit suicide upon Torvald’s likely failure in the test. One of the key reasons that the act works so successfully is that audiences feel the suspense about what will happen once Torvald reads the letter.