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6 This eBook was produced by Charles Aldarondo and the Online Distributed
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Edited by E. Haldeman Julius
The Pot Boiler
A Comedy in Four Acts
Upton Sinclair
CHARACTERS IN THE "REAL-PLAY"
Will ............................. The author
Peggy ................Joint author and critic
Bill ..................... Their son (aged 8)
Dad ............................ Will's father
Schmidt......................... The grocer
The Policeman.
The Landlady.
CHARACTERS IN THE "PLAY-PLAY"
Jack ........................ The adventurer
Bob ............................. His cousin
Dad .............................. His father
Jessie.............................. His sister
Gladys .......................... His fiancee
Belle ............................. A waitress
Dolly ............................. Her sister
Bill .........................A street gamin
Schmidt ................ A restaurant keeper
The Policeman.
The Landlady.
A snow shoveller.
A butler.
Note: The characters of Dad, Bill, Schmidt, the Landlady and the
Policeman are the same in the Real and the Play-play. The character
of Jack is played by Will, and that of Belle by Peggy.
THE POT BOILER
ACT I.
SCENE.--_A transparent curtain of net extends across the stage from
right to left, about six feet back of the foot-lights. Throughout
the text, what goes on in front of this curtain is referred to as
the Real-play; what goes on behind the curtain is the Play-play.
Upon the sides of the curtain, Right and Left, is painted a
representation of an attic room in a tenement house. The curtain
becomes thin, practically nothing at center, so the audience sees
the main action of the Play-play clearly. At Right in the Real-play
is a window opening on a fire-escape, and in front of the window a
cot where the child sleeps. At Left in the Real-play is a window, an
entrance door, a flat-topped desk and two chairs. This setting of
the Real-play remains unchanged throughout the four acts._
_The scenes of the Play-play change with each act. For Act I the set
is a drawing-room in a wealthy old New York home, entrances
Right-center and Left. Both front and rear scenes are lighted by
many small lights, which can be turned off a few at a time, so that
one scene or the other fades slowly. When the Real-play is in full
light, the Play-play is dark and invisible. When the front scene is
entirely dark, we see the Play-play, slightly veiled at the sides.
In case of some rude interruption, the dream is gone in a flash, and
the reality of the garret surrounds us. The text calls for numerous
quick changes of three of the characters from the Real-play to the
Play-play and back. Dialogue and business have been provided at
these places to permit the changes._
AT RISE.--_The Real-play, showing_ PEGGY _putting_ BILL _to bed; she
is young and pretty, he is a bright but frail child._
_Bill._ Say, Peggy!
_Peggy._ Well, Bill?
_Bill._ Can you guess.
_Peggy._ How many guesses?
_Bill._ Three.
_Peggy._ All right. I guess my little son doesn't want to go to bed!
_Bill._ Say! You guessed it!
_Peggy._ Oh, mother's great at guessing!
_Bill._ But honest, it's still light.
_Peggy._ I know--but that's because it's summertime. Don't you
remember the little song? (sings)
In winter I get up at night
And dress by yellow candle-light;
In summer, quite the other way,
I have to go to bed by day!
_Bill._ Say, Peggy--when's Will coming in?
_Peggy._ I don't know, dear. Your father's working.
_Bill._ Ain't he goin' to have any dinner?
_Peggy._ I don't know--he didn't tell me.
_Bill._ Is he writin'?
_Peggy._ Yes--or else thinking about things to write.
_Bill._ Say! He's great on writin', ain't he?
_Peggy._ You bet!
_Bill._ Do you think it's good stuff?
_Peggy._ Indeed I do, Bill!
_Bill._ You don't often tell him so.
_Peggy._ Don't I?
_Bill._ No--generally you rip him up the back.
PEGGY (laughs). Well, mother has to keep him trying, you know.
_Bill._ Say, Peggy, do you suppose I'll be an author when I grow up?
_Peggy._ Can't tell, dear--it depends.
_Bill._ Maybe I'll have to get some payin' job, hey?
_Peggy._ Where did you pick up that idea?
_Bill._ Ain't you talkin' about it all the time to him?
_Peggy._ Am I? Well, I declare! Now, come, Mr. Bill--it's after
bed-time.
_Bill._ Can't I wait till Will comes?
_Peggy._ No, dear.
_Bill._ Well, will you tell him to wake me up?
_Peggy._ No, dear. I'll tell him _not_ to.
_Bill._ But Peggy, will you have him kiss me in my sleep?
_Peggy._ Yes, I'll do that. Now, there you are. A big fat kiss for
mother! Now, to sleep!
_Bill._ Say, Peggy!
_Peggy._ What?
_Bill._ The people next door ain't runnin' the gramophone tonight!
_Peggy._ No, dear. Now go to sleep.
_Bill._ And the people in hack ain't singin' any coon-songs!
_Peggy._ Now go to sleep for mother. Don't speak any more.
_Bill._ Say, Peggy!
_Peggy._ Well?
_Bill._ I won't. Good night.
_Peggy._ Good-night!
(She goes Left humming to herself; sits at table, and prepares to
work.)
_Will (Enters Left softly; a young poet, delicate and sensitive. He
watches_ PEGGY, _then closes door, tiptoes up and leans over her
shoulder)._ Well?
_Peggy (starts)._ Oh, Will, how you frightened me! Where in the
world have you been?
_Will._ Oh, it's a long tale.
_Peggy._ Have you had dinner?
_Will._ No, I don't want to eat.
_Peggy._ What's the matter? A new idea?
_Will._ I'll tell you, Peggy. Wait a bit.
_Peggy (as he takes mail from pocket)._ Some mail?
_Will._ Yes--all rejection slips. Nothing but rejection slips!
_(throws pile of returned manuscripts on the table)._ How I wish
some magazine would get a new kind of rejection slip! _(Sits
dejectedly.)_
_Peggy._ Did you get any money for the rent?
_Will._ Not yet, Peggy _(suddenly)._ The truth is, I didn't try.
Peggy, I've got to write that play!
_Peggy (Horrified)._ Will!
_Will._ I tell you I've got to! That's what I've been doing--sitting
in Union Square, working it over--ever since lunch time! It's a
perfectly stunning idea.
_Peggy._ Oh, Will, I know all that--but how can you write plays when
we must have money? Money right away! Money to pay the landlady!
Money to pay the grocer!
_Will._ But Peggy--
_Peggy._ Will, you've got to do something that will sell right off
the bat--payment on acceptance! Short stories! Sketches!
_Will (wildly)._ But don't you see that so long as I do short
stories and sketches I'm a slave? I earn just enough to keep us
going week by week. Pot-boiling--pot-boiling--year after year! And
youth is going--life is going! Peggy, I've got to make a bold
stroke, do something big and get out of this!
_Peggy._ But Will, it's madness! A play's the hardest thing of all
to sell. There's not one chance in a thousand--a hundred thousand!
_Will._ But Peggy--
_Peggy._ Listen to me. You go off in the park and dream of
plays--but I have to stay at home and face the landlady and the
grocer. I tell you I can't stand it! Honest to God, I'll have to go
back to the stage and keep this family going.
_Will (in distress)._ Peggy!
_Peggy._ I know! But I'm at the end of my rope. The landlady was
here--the grocer has shut down on us. We can't get any more bread,
any more meat--all our credit's gone!
_Will._ Gee! It's tough!
_Peggy._ I've held out eight years, and we never dreamed it would
last that long. You said one year--three years--then surely Dad
would relent and take us back, or give us some money. But Dad
doesn't relent--Dad's going to die and leave his money to a Home for
Cats! I tell you, dear, I've got to go back to the stage and earn a
living.
_Will (radiantly)._ You might play the heroine of my play.
_Peggy._ Yes--a star the first night! Isn't that like a husband and
a poet! I assure you, Will, it'll be an agency for me, and a part
with three lines, at thirty a week--
_Will (sits staring before him, with repressed intensity)._ Listen!
I've tried--honest, I've tried, but I can't get away from that play.
You know how often I've said that I wanted to find a story like our
own--so that I could use our local color, pour our emotions into it,
our laughter and our tears. And, Peggy, this is the story! Our _own_
story! It has pathos and charm--it will hold the crowd--
_Peggy_. Dear Will, _what_ do you know about the crowd? Pathos and
charm! Do you suppose the mob that comes swarming into Broadway at
eight o'clock every evening is on the hunt for pathos and charm?
They want to see women with the latest Paris fashions on them--or
with nothing on them at all! They want to see men in evening dress,
drinking high-balls, lighting expensive cigars, departing from
palatial homes to the chugging sound of automobiles.
_Will_. But Peggy, this play will have two dress-suit acts. I can
show the world I used to live in--I can use Dad's own house for a
scene. And I can finish it in four days!
_Peggy_. Yes--if you sit up all night and work! Don't you know that
when you work all night your stomach stops working all day? Haven't
you sworn to me on the Bible you'd never work at night again?
_Will (seizes her in his arms)_. Peggy! I've got to do this play!
I've started it.
_Peggy_. What?
_Will_. What do you think I've been doing all afternoon? _(Pulls out
a huge wad of loose papers from rear pocket.)_ Look at that! _(Drags
her to the table._) Now sit down here and listen--I'll tell you
about it. I'm going to tell my own story--a rich young fellow who has
a quarrel with his father and goes out into the world to make his
own way. I'm going to call him Jack, but he's really myself. Imagine
me as I was at twenty-one-when I was happy, care-free, full of fun.
_Peggy._ Oh, Will, I can't imagine you! I can't bring myself to
believe that you were ever rich and free!
_Will._ But I was, Peggy! And this will bring it all back to you.
When you read this manuscript you'll see me when I didn't know what
trouble meant-I'd never had to make an effort in my life, I couldn't
imagine what it would be to fail. Oh, what a wonderful time it was,
Peggy! It's been wonderful just to recall it here. I've pictured my
twenty-first birthday--I had a dinner party in the big drawing-
room of Dad's home! (_As Will goes on the Real-play fades, and the
Play-play comes slowly into sight._) There's Jessie, my sister, and
there's my cousin, Bob. He's a college professor who went out into
the world as a hobo in order to see life for himself. You see it's
all my story--my _own_ story! Only my name's to be Jack, you know!
Here's the manuscript! Read it!
(_Full light on the Play-play. The Real-play figures are in
darkness, visible only in silhouette. Will exchanges places with a
substitute concealed on upstage side of the desk, and then slips
below the level of the desk and exit Left, to make quick change for
entrance into Play-play in the role of Jack._)
_Jessie._ But Bob--
_Bob._ Well, Jessie?
_Jessie._ You're so hard on people, Bob!
_Bob._ Not at all! It's life that's hard, and you don't know it.
Neither does Jack!
_Jessie._ Why do you want him to know it?
_Bob._ I want him to do his share to change it--instead of idling
his life away.
_Jessie._ He's going to college, isn't he?
_Bob (laughs)._ A lot of good that's doing!
_Jessie._ Don't you believe in going to college?
_Bob._ Not the way Jack's doing it. It's all play to him, and I want
him to work. Just as I was trying to tell him a while ago--
_Jessie._ You're always nagging at him, Bob.
_Bob._ I want to teach him something. Something about the reality of
life.
_Jack (enters Play-play left in evening dress)._ Good heavens! You
two still arguing?
_Bob._ Yes, Jack--still arguing!
_Jack._ Can't you cut it out for one evening? I'm not in your class
in college.
_Bob._ If you were, Jack, you'd learn something real about the world
you live in.
_Jack._ Oh, cut it out, Bob! You give me a pain! Just because you
once put on hobo clothes and went out and knocked about with bums
for a year, you think you've a call to go around making yourself a
bore to every one you know!
_Bob._ Well, Jack, some things I saw made an impression on me and I
can't forget them. When I hear my glib young cousin who sits and
surveys life from the shelter of his father's income--when I hear
him making utterly silly assertions----
_Jack (angrily)._ What, for example?
_Bob._ The one you were making today--that if a man fails, it must
be his own fault.
_Jack._ I say there's a place in life for every man that's good for
anything.
_Bob._ I say that with things as they are at present, most men fail
of necessity.
_Jack._ They'd succeed if they only had nerve to try. There's plenty
of good jobs lying idle.
_Bob._ Oh, Jack, what rot!
_Jack._ By thunder, I'd like to show you!
_Bob._ We'd like to do all sorts of bold things--if only it weren't
too much trouble.
_Jack._ What should I do to prove it?
_Bob._ You couldn't prove it, Jack--it isn't true.
_Jack._ Suppose I wanted to _try_ to prove it? What should I do?
_Bob._ You're wasting my time, boy.
_Jack (to Jessie)._ You see! He won't even answer me!
_Jessie._ Answer him, Bob.
_Bob._ Just what do you want to prove, Jack?
_Jack._ That a man can get a job if he really wants it.
_Bob._ Well, suppose you get a job!
_Jessie._ That's too easy! Jack has a dozen jobs waiting for him
when he gets through college.
_Bob._ I don't mean for him to go on his father's name. Here--I'll
propose a test for you. Upstairs in my trunk is an old suit that I
wore when I went out and lived as a hobo. Put it on. Put on the torn
overcoat and the ragged hat. I was going to say empty your
pockets--but you needn't do that--there's nothing in the pockets. Go
out of here tonight, and make this bargain--that for six months you
won't tell a soul who you are, that you won't communicate with one
of your friends, nor use any of their influence. For six months
you'll shift for yourself and take what comes to you. And then you
can come back, and we'll see how far you've risen in the world. Also
we'll see whether you haven't changed some of your ideas! _(A
pause.)_
_Jack (in a low voice)._--That would satisfy you, would it?
_Bob._ Yes, that would satisfy me.
_Jack._ All right! By thunder--I'll go you! _(Starts away.)_
To-night!
_Jessie (horrified)._ Jack! You're out of your senses.
_Jack._ I'm not. I mean it. I'm tired of his jawing at me!
_Jessie (rushes to him)._ I won't hear of it!
_Jack._ I'm going to show him.
_Jessie (turns to Bob)._ I won't have my brother leave me!
_Bob._ Don't worry, Jessie. Your brother won't really go!
_Jack._ Yes, I will!
_Jessie (wildly)._ But Jack! It's time for your birthday-dinner!
_Bob._ We'll save the dinner and eat it cold. He'll be back in a day
or two.
_Jack._ You may spare your taunts, Bob.
_Jessie (catching him by the arm)._--I'll send for Dad! You shan't
go!
_Jack (aside to Jessie)._ Listen, Jessie. There's another reason.
I've _got_ to go. I've got into another row at college.
_Jessie._ Jack! What have you done?
_Jack._ Oh, it's a long story--the point is, Dad has heard of it
to-day, and he'll be wild. He said the last time that if I got into
any more trouble, he'd turn me out.
_Jessie._ But, Jack! He won't really do it!
_Jack._ Yes, he meant it! And I don't want to give him a chance to
order me out--I want to go before he gets here----_(He starts off
Left.)_ I'll go and put on those hobo clothes.
_Jessie._ Jack! I beg you----_(Jack exit.)_
_Jessie (turns upon Bob)._ Bob, I think it's wicked of you!
_Bob._ Why, Jessie?
_Jessie._ To nag at Jack all the time! You've driven him crazy!
_Bob._ Never mind--he'll soon get sane. You never knew him to stick
at anything very long.
_Jessie._ Oh! Oh! I think you're horrid! And right before our
party--what will we tell the guests?
_Bob._ Tell them the truth; they'll think it's romantic--like a
story in a play. Why, Jessie----
_(During this dialogue Jack has slipped back into the coat of Will
and sits at the desk, Left_ 1. _The sound of a sharp whistle heard
in the Real-play, Left_ 1. Instantly the Play-play vanishes. Full
light on the Real-play.)_
_Will (looking up in bewilderment and disgust)._ My God! What's
that?
_Peggy._ Something at the dumb-waiter, dear.
_Will._ Oh, Lord!
_Peggy (rises)._ Wait, dear. _(Hurries out of door Left, calls at
shaft.)_ Well?
_Voice below._ Garbage!
_Will (tears hair)._ Garbage.
_Peggy (cheerfully)._ All right! _(Returns and gets can, exit
Left.)_
_Will._ Garbage! Garbage! Garbage!
_Peggy._ A little higher, please--there, that'll do! All right!
_(Enters.)_
_Will._ Can you explain to me one mystery of this universe?
_Peggy._ What, dear?
_Will._ Why does the garbage-man always call when I'm inspired?
_Peggy._ Dear Will--probably the garbage-man is wondering why you
are always inspired when he calls.
_Will (moans)._ Well, shall I go on?
_Peggy._ You must wait, dear. He'll be returning the can in a few
minutes.
_Will._ A few minutes! Oh, the agonies of being an author!
_(Eagerly.)_ Well, what do you think of my play?
_Peggy._ Why, Will, I'm sorry to disappoint you. It's very
interesting--but it isn't a practical play. It would never go on
Broadway.
_Will (in dismay)._ Not go on Broadway!
_Peggy._ No, dear. It's too talky--too much sociology. You can't get
a Broadway audience to listen to long arguments.
_Will._ Isn't it what they all need? Those wage-slaves up in the
galleries----
_Peggy._ I know, dear--but they've no idea they are wage-slaves, and
they won't pay their money to hear you call them names. And down in
the three-dollar seats are people who've made their pile, and don't
want any questions asked about the way they made it. Cut out the
sociology, Will!
_Will._ But can't one discuss modern problems in a modern play?
_Peggy._ Yes, dear, but you've got to go at it differently. You've
got to get what the crowd calls the _punch._ Look at their faces,
Will--see how tired they are! You've got to find something that
comes home to them! Not arguments, not abstractions--but a clash of
human wills! Something fundamental, that every man in the crowd can
understand! Your idea's a good one, I think--having a rich boy go
out to try his luck in the under-world. There's a chance in it for
adventure, for fun, for suspense. You ought to know about that,
since you did it yourself. But you've got to start him off
differently----(_The whistle blows._)
_Will_. Oh, hell!
_Peggy_. Wait, dear. (_Exit Left, calls down shaft._) Lower, please.
No--I said _lower_. There--not too low! (_Enters with can._) All
right! Now, our troubles are over. Listen, dear. If you really want
to write, you've got to think about your audience, and what they
like. Just see, to begin with, you've left out the most important
thing in any play--whether it's a high-brow tragedy or Third Avenue
melodrama.
_Will_. What's that?
_Peggy_. The love interest.
_Will_. That's to come in the second act.
_Peggy_. Why the _second_ act?
_Will_. That's where Jack meets the heroine. I can't have two
love-stories!
_Peggy_. My dear boy, you can have a dozen, if you've wit enough to
get them in.
_Will_. With only one hero?
_Peggy_. Good Lord, Will! Didn't you ever love any woman but me?
_Will (disconcerted)_. But, Peggy----
_Peggy_. Didn't you?
_Will_. Why--you know----
_Peggy_. Of course I know! You were engaged to an heiress when you
ran away and married an actress. Why don't you put the heiress into
this play?
_Will_. Gladys?
_Peggy_. Gladys was her name, I believe. How did she act when you
told her that you loved me best? A cold, proud beauty, ready to die
before she'd let you know she cared! And isn't that exactly what
your audience is looking for? Exactly their idea of a princess of
plutocracy! And still you waste your time with a sister! Who the
deuce cares anything about a sister?
_Will_. Look here, Peggy. You'd better write this play!
_Peggy_. I've been thinking about it, ever since you first told me
the idea. Draw up your chair, and let me show you what I mean. (_The
Play-play begins to appear_.) There's Bob and Jessie, the same as
before; but also there's Gladys. I want a quite different atmosphere
from what you had. It's afternoon, and Gladys is serving tea, and
she handles the situation in tea-party fashion. Give me some paper
and let me sketch the dialogue. (_She begins to write rapidly. Full
light on the Play-play. Will makes secret exit_.)
_Gladys_. I'm waiting with a good deal of interest.
_Bob_. For what?
_Gladys_. I'm wondering how long it will be before it occurs to Jack
to ask what _I_ think of this plan of his.
_Jessie_. I hope you'll make him give it up, Gladys!
_Gladys_. Your suggestion is out of date, dear. The modern young man
doesn't give up his ideas at the request of his fiancee.
_Jessie_. Tell him what you think, at least!
_Gladys_. You don't take sugar, Bob? Don't you see that he hasn't
been interested in what I think? He has acquired some new interests.
He's going to learn about the _reality_ of life!
_Jack (enters, in afternoon coat)_. Gladys, that's not fair!
_Gladys_. Will you have tea, Jack?
_Jack_. You know I'm up against it.
_Gladys_. One lump or two, Jack?
_Jack_. I got into a scrape at college--
_Gladys_. Too strong for you, Jack? No, don't make these pretences
with me. You can get rid of me without going hoboing.
_Jessie_. How can you talk so?
_Gladys_. Such an ingenious compliment! In order to avoid having to
see or hear from his fiancee for six months, he is willing to go and
stay among the dirtiest and most disgusting people!
_Jack_. You are angry with me!
_Bob_. You ought to realize, Gladys--this will be the making of
Jack.
_Gladys_. Suppose it will be the making of something I don't want?
Suppose I'd prefer him as he is?
_Bob_. You don't care for him to know about life?
_Gladys_. I don't care for him to know about low life. I don't see
at all why he can't be content with the life of ladies and
gentlemen.
_Jack_. I thought you'd be proud to have me interested in deeper
things.
_Gladys_. Jack, you are young and care-free. It made me happy just
to see you--you were the very spirit of youth! But now you will grow
serious, you will be pale, and have a frown upon your forehead. You
will be eternally preaching, like Bob, here--and you will bore me to
death!
_Jack_. You are making fun of me!
_Gladys_. I am perfectly serious, I assure you. My romance is dead!
_Jack_. You don't mean--
_Gladys_. I mean Jack, that I have lost you!
_Jack (tries to catch her hand)_. You shan't say such a thing!
_Gladys_. Jack, such violent motions are dangerous at tea-parties.
You might ruin my costume!
_Jack_. If you feel like that, I won't go at all!
_Bob_. Oho! Already!
_Gladys_. Go on with your adventure, Jack. And don't try to make a
tragedy out of our parting--you know how I hate scenes. It would be
impossible for me to love a serious man--the mere thought of it
terrifies me! Go on! Go on--I absolutely insist!
_Jack (desperately)_. All right then! If that's the way you take it,
I'll go! (_rushes off Left._)
_Jessie_. Gladys, I think it's horrid of you to behave like that!
_Gladys_. Not at all, Jessie!
_Jessie_. Do you seriously intend to send him away?
_Gladys_. _Send_ him, Jessie? How do you mean? You can't send these
modern young men anywheres. They come and go to suit themselves.
They think they love a woman, and they plead for her love; but then
they begin to change their minds--they get bored with her, and think
they're bored with all life. So they go off and try something new
and romantic--something less tedious than a woman's affections. The
reality of life!
_Jessie_. I know Jack loves you!
_Gladys_. Indeed, Jessie? Too bad that Jack doesn't know it--
(_sound of gramophone in Real-play Left 1, playing a popular song.
The Play-play fades rapidly_.)
_Will_. Oh, God!
_Peggy_. Botheration!
_Will_. The fiends! (_leaps up and begins to pace the floor_.) Isn't
that enough to drive a man to distraction? To be trying to work,
trying to create something--
_Peggy_. Wait, dear. (_Goes and closes door._) Now forget about it.
_Will._ Yes, it's easy to say forget! But pretty soon the devils in
the rear will begin with their coon-songs--
_Peggy._ Well then, we'll close the window, too.
_Will._ Yes, on a hot night!
_Peggy._ What do you think of my love-interest?
_Will._ I think it's rotten.
_Peggy._ Will!
_Will._ Absolutely rotten! The idea of having her turn Jack down--at
the very beginning of the play!
_Peggy._ But that's exactly what happened! Didn't Gladys turn _you_
down? And besides, she can take him up again, if you like.
_Will._ How's she going to see him when he goes out on the street?
_Peggy._ Can't she run into him somewhere by accident?
_Will._ By accident--in a city of six million people!
_Peggy._ Well then, why not have her go where he goes? Let Bob
follow Jack, or let them hire a detective.
_Will._ Melodrama! Ten-twenty-thirty! I don't like Gladys as a
character any more than I did as a person. She's shallow and
cheap--a regular worldling! I won't have any such creature in my
play!
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