Ta b ł e o f C o n t e n t s

ACT ONE
SCEN
Prologue
#2 Jet SDnğ
#2A jet Song Chase (Orchestra) .12
SCE
Something’s Coming
Something’s Corning Chase (Orchestra)

The Dnnce Af 'rhe Gym - Blues (Orchestra)....................................2ï

SCE 21
#4A Promenade (Orc/iesfrn).....................................23
Mainbo (Orchestra).....................................23
#4C C/ia-Clin
#4D Meeting Scene (Orchestra)....................................24
#4E Ju

SCE
#6 (Maria, Tony).................................30
#7 7i (Atiitn, Rosnlin, Slinrk Girls).......42
America To Dru gstore
SCENE
Cool
#gA Cool Chase
#gB Under Dialogue And
C/range Of Scetie (Orcl estrn) . ...... ...... .
SCENES
tlnder Dinlogue
One Hand, One (Tony, Mnrin)...................................66
Henrf
(jets, Sharks, Anita, Totiy,
Tonight Maria, Rio ßernnrdo)...............68
SCEN
ACTTWO
SCENE O
#12 i Feel Pretty (Marin, Consuela,

duller Dtrilobite
# 13A Ballet Sequence (Tom i , Mn
#13B Tratisitioti To Scliei zo (OYcliestra)
#1JC Scllei zo (O ie n
iI 13D Somewhere rl
ProcessiDR And Nighttiinre (Totiy, Turin, Conipoiiy)
. . .89
SCEN£ TPV
(Jets
SCEN
A Boy Life Tluit Anil
I Have A Love {Maria, Atiita).........................105
#15A Cluinge Of Scene (Orchestra)
09
#16 Taunting Scetie (Orchestra)
SCE

(Murin, Totiy)
THE JETS:
RIFF, the leader THE SHARKS:
TONY, his friend BERNARDO, the leader
ACTION MARIA, his sister
A-RAB ANITA, his girl
BABY JOHN CHINO, his friend
SNOWBOY PEPE
BIG DEAL INDIO
DIESEL GEE LUIS
—TAR ANXIOUS
MOUTHPIECE NIBBLES
TIGER JUANO
TORO
THEIR GIRLS: MOOSE
GRAZIELLA
VELMA THEIR GIRLS:
MINNIE ROSALIA
CLARICE CONSUELO
PAULINE TERESITA
ANYBODYS FRANCISCA
ESTELLA
MARGARITA

THE ADULTS:
DOC
SCHRANK
KRUPKE
GLAD HAND

— iii —
S o ngs b C haracter
y
ANITA America................................................................................42
Tonight...................................................................................68
A Bog Life That And I Home A Love......................105

BERNARDO Tonight...................................................................................68
# 10
COMPANY Procession And Nightmare.......................................89
#I5E
CONSUELA I feel Pretty.....................................................................78

ENSEMBLE Tonight...................................................................................68
#10
FRANCISCA I feel Pretfi...........................................................................78
#12
GIRL
#3D Somewhere...........................................................................89
JETS
Jet Song......................................................................................8
#8 Cool................................................................................51
#J0 tonight...................................................................................68
#)4 See, Officer Krupke......................................................9S
MARIA
#6 Balcony Scene................................................................30
#9 One Head, One Heart..............................................66
A Tonight...................................................................................68
#10
I Feel Pretfi...........................................................................78
#12 Ballet Sequence........................................................................88
#13A
Procession And Nightmare...........................................89
#l3E
A Boy Like ThaI AnJ I Hfire A L0G0........................105
F-inale...............................................................................................119
#17
RIFF #2
#8
#J0

Jef
Song
.
Cool
51
Tonig
ht
68
lïlSALl/\

.s‹›
ACT ONE
SCENE ONE

(The neighborhood. A sit ggestion of city streets ated alleJmnJs;

o trorknfile brick troll.

The opeiiin g i musical: lial f-Glanced, half-mixed twit/i occasional p/irises of

dialogue. It is priinaril J a coridensnfioit of the growing rivnlo beQueen two
feeitnge gongs, ltte JETS nnd ltte SHARES, eocJt o/mItic/t has its ou›n pridefiil
uniform. The boys — side-bu rued, Joitg-Jtnired — are vital, restless, sardonic;
the SHARKS nre Ptierfo Ricans, the SETS aii anthology of wlint is culled
“Aniericnil.”

The action fiegins with the SETS in possession of the urea: owning, enjoying,
loving their “home.” T/teir lender is RifF-: glowing, driving, intelligent,
sligltfiy u›liackj. His fietifenonf is DIESEL: hig, slow, steaélJ, nice. 77te
youngest member of the gang is BAB ¥ JOHN: axed at everiJthing, including
that lie is a JET, trtJing to nct the hig man. His huddy is A-RAB, nn [Link]
little ferret alto enjoys meiytliing and understands the seriousness of nothing.
The most nggressire is ACTION: a catlike ball of fiiriJ. We will get to know
these boJs heffer Inter, us iuell as BfG DEAL — n bespectacled self-styled
[Link] f.

The arse interruption of die JETS sutltiy mood is the sharply punctuated
entrance of 8ERNARDO, the Gentler of the SHARKS: handsome, protiJ, Quid,
a chip oti lits sardonic shoulder. TJie JETS, by far in I/ie majority, pick him off.
HE returns iuifJi ofJier SHARKS: fJiey, too, are flicked off. 8tif the ninnericnl
supremacy, die strength of die JETS is gruditally being threa tened. TJte begin-
nings of ianrfare are mih tit arse: n boy being frippeJ up or being snitdboggeJ
triiJi n flour suck or even being spit on. All with overly elaborate apologies.

ri›i*ny, A-GB comes ncross the stiddenly deserted nren, pretending to be an

airylniie. There is two southd us lie zooms aloii g in fniicied right. Then over the
Fruit drops BEPNARDO. Amother SHARK, nnotlier ate d mother appear,
blocking A-TAB’S panicky efforts aI escape. THEY close iit, grab him,
pummel as n SHOCK on top of the mall is stationed us look-out. -inallJ,
B ERNAR DO betaâs over A-EAB andf mules n gesfiire {piercing his ear); the
whistles; |E TS tear on, SHARKS tear on, oitd a free-for-ml breaks
out. sirr goes nt oitce to A-RA8 like o protective fnflter. It is stopped by a
PO£1CE PVH ISTLE louder and Jotider and the orrionJ of n big, goon-like cop
— KR LfPEE — fltid o plninclofJiesinnn: SCHRANK. SCHRANE is strong, nl!
uajs iit conmwind; lie lens a cltarming, piensnitf iiinitiier ulrich lie often einplojs
to cover mis venoni and his fear)
Pnge 2 W E s ’r S i o e S T 0 RY

K RUPK E
Knock it off! Settle down.

S CH RANK
All right: Kill each other! ... But not on my beat.

RIFF

(Such innocence)
Why if it isn’t Lt. Schrank!

SEVERAL JETS

(D‹n1cin¿ class innii›1ei’s)

Top of the day, Officer Krupke.

S CHR AN K
Boy, what you Puerto Ricans have done to this neighborhood.
Which one of 'em clobbered ya, A-rab?
{A-RA8 loolcs to RIFF unite tubes over ioitli grenf lielpfiil seriousness)

RIFF
As a matter of factuality, sir, we suspicion the job was done by a cop.

BI G DEAL
Two cops.

A-RAB
Oh, at
least!
KRU PKE

Impossible!
S CHR AN
K
Didn't nobody tell you there's a difference between bein’ a stool pigeon and coop-
eratin’ with the law?

You told us the difference, sir. And we all chipped in for a prize for the first guy
who can figure it out.
 E 5 T S I D E S T 0 ft Y

A CTI O N

(Indicating SCHFANK)
Maybe buddy boy should get the prize.

SCHR AN K
Don’t buddy boy me, Action! I got a hot surprise for you: you hoodlums don't
own the streets. There’s been too much raiding between you and the PRs. All
right, Bernardo, get your trash outa here.

Please.

BER N ARD O
Let’s go, Sharks.
(THE Y
EXIT)

sHnANK
If I don’t put down the roughhouse, I get put down — on a traffic corner. Your
friend don’t like traffic corners. So you buddy boys are gonna play ball with me. I
gotta put up with them and so do you. You’re gonna make nice with them PRs
from now on. Because otherwise, I’m gonna beat the crap outa every one of ya and
then run ya in. Say goodbye to the nice boys, Krupke.

Goodbye, boys.
(-ollows SCHING out)

S N OWB OY

Goodbye, boys.

A-RAB
They make a very nice couple.

ACTION
(bitterly)
“You hoodlums don’t own the streets.”
Go in the park!
play
G BI D EAL
Pugh 4

A CTI ON
Keep off the grass!

BAB Y JOHN
Get outa the house!

ACT IO N
Keep off the block!

A-RAB
Get outa here!

ACT I ON
Keep off the world! A gang that don’t own a street is nutlain’!

niFr
W E DO OW N IT! Jets — square off! Acemen:
(DIESEL, ACTION and 8lG DEAL fixe up at atten tion)
Rocketmen:
{Tlii ee others line uy)
Rank-and-file:
(SheeyisJily, A-RR0 triitlges iitfo yositioti, BABY JOHN beli it id litter)

B ABY JOHN

(Shocked, to A-TAB)
Gee, your ear’s got blood on it!

A-RAB

(Proudly)
I’m a casual, Baby Jolt.

B ABY JOHN

{[Link] ing the ear)

Those PRs! They branded you!

B I G DEAL
That makes you a Puerto Rican tomato. Cha claa cha, señorita!
 E S T S I D E S T O ft Y
Page S

RIFF
Cut the frabbajabba. Which one of the Sharks did it?

A-RAB
Bernardo. ’Cause I hear him say: thees ees for stink-bombin’ my old man’s store.
(Makes tJie same gesture BERNARDO made when lte pierced his ear)

BABY JOHN
Ouch!

ACTION
You shoulda done worse. Them PRs’re the reason my old man’s gone bust.

RI FF
Who says?

ACTION
My old man says.

B ABY JOHN
My old man says his old man woulda gone bust anyway.

ACTI ON
Your old man says what?

BABY JOHN
My old man says them Puerto Ricans is ruinin’ free enriaprise.

ACTION
And what’re we doin’ about it?
(Pushing through the gang comes n srmmny teenage girl, dressed irt
an out I that is n pofJtefic nffempf to iinifnfe that of the JETS.
Perhaps we have glimpsed Jier in the fracas before the police came in.
Her name:)

AN YBO DYS
Gassin’, crabbin’ —

A CTI O N
You still around?
Image 6 W E S ’P S I D L S T O n Y

ANYBODY S
Lissen, I was a smash in that fight. Oh, Riff, Riff, I was murder!

RI FF
Come on, Aiaybodys —

ANYB ODYS
Riff, how about me gettin’ in the gang now?

A-RAB
How about the gang gettin’ in — alilili, who’d wanta!

ANYB ODYS
You cheap beast!
(Lunges for A-RAB but RIFF- pulls her oJ aitd dashes her out)

RI FF
The road, little lady, the road.
{In a moment of bravndo, just before site goes, ANV8ODVS shits
but cntitioxsly)
Round out!
(Tftis is RiFf’S beckoning of ltte gniig, owl THEY siirrooitd him)
We fought hard for this territory and it’s ours. But with those cops servin’ as cover,
the PRs can move in right under our noses and take it away. UNLESS we speed
fast and clean 'em up in one all-out fight!

A CTI ON

A rumble!
{A jabbing gesture)
Chung! Chung!

RIFF
Cool, Action boy. The Sharks want a place, too, and they are tough. They might
ask for bottles or knives or zip guns.

BABY JOHN
Zip guns... Gee!
 W E 5 T S i o z S T o n y

I’m not finalizing and saying they will: I’m only saying they might and we gotta
be prepared. Now what’s your mood?

ACTION
I say go, go!!

BI G D EAL
But if they say knives or guns —

B ABY JO HN
I say let’s forget the whole thing.

SN OWB OY
What do you say, Riff?

I say this turf is small, but it’s all we got. I wanna hold it like we always held it:
with skin! But if they say switcliblades, I’ll get a switchblade. I say I want the Jets
to be Number One, to sail, to hold the sky!

D I ES E L
Then rev us off:
(A pintc/iiitg gesture)
Voom-va-voom!

ACTION
Chung chung!

A-RAB
(Gesitire)
Cracko jacko!

SN OWB OY
(Gesture)
Riga diga duin!

B AB Y JOHN
(The wildest gestut e of all)
Pam pam!!
 RI FF
O.K., buddy boys, we rumble!

Now protocality calls for a war council to decicie on weapons.

I’ll make the challenge to Bernarc4o.

G BI D E AL
You gotta take a lieutenant.

A CTI O N
That’s me!

R I FF
That’s Tony.

ACT I ON
Who needs Tony?

# 2 - Jet Song

RI FF
Against the Sharks we need every man we got.

ACT I ON
Tony don’t belong any more.

RI FF
CLlt it, Action boy. I and Tony started the Jets.

A CTI ON
Well, he acts like he hon’I warm'= ^° *°6
BAB Y JOHN
Who wouldn’t wanna belong to the Jets!

ACT I ON
Tony ain’t been with us for over a month.
 E S T S I D E S T O R Y
l?n§e 9

G BI D EAL
that about the day we clobbered the Emeralds?

A-RAB
Which we couldn't have done without Tony.

B AB Y JOHN
He saved my ever lovin’ neck.

RI FF
Right. He’s always come through for us and he will now.
(SINGS)
WHEN YOU'RE A JET,
YOU’RE A JET ALL THE WAY
FROM YOUR FIRST
CIGARETTE TO YOUR LAST
DYIN’ DAY. WHEN YOU’RE A
JET,
IF THE SPIT HITS THE FAN,
YOU GOT BROTHERS AROUND,
YOU’RE A FAMILY MAN!
YOU’RE NEVER ALONE,
YOU’RE NEVER DISCONNECTED!
YOU’RE HOME WITH YOUR OWN,
WHEN COMPANY’S EXPECTED,
YOU’RE WELL-PROTECTED!
THEN YOU ARE SET
WITH A CAPITAL J,
WHICH YOU’LL NEVER FORGET
TILL THEY CART YOU AWAY.
WHEN YOU’f'sE A JET,
YOU STAY A JET!
(S)enks)
I know Tony like I know me. I guarantee you can count him in.

A CTI ON
In, out, let’s get crackin". Where you gonna find Bernardo?
A-RAB
 W £ S T S I D E S T O R Y

RI FF
At the dance tonight at the gym.

G BI D EAL
But the gym’s neutral territory.

R I FF
(Sioecf iitnocence)
I’m gonna make nice there! I’m only gonna challenge him.

A-RAB
Great, Daddy-O!

RI FF
So everybody dress up sweet and sharp.
(THEY print and preeit)

ALL
OH, WHEN THE JETS FALL IN
AT THE CORNBALL DANCE,
WE’LL BE THE SWEETEST DRESSIN’
GANG IN PANTS!
AND WHEN THE CHICKS DIG US
IN OUR JET BLACK TIES,
THEY’RE GONNA FLIP, GONNA FLOP,
GONNA DROP LIKE FLIES!
(THEY dance together, a little mild)

RI FF

HEY. COOL.
EASY. SWEET.
Meet Tony and me at ten. And walk tall!
(HE rusts o/

A-RAB
We always walk tall!
 B ABY JOHN
We’re Jets!

ACTION
The
greatest!
ACTIO N, B ABY
JOHN
WHEN YOU’RE A JET,
YOU’RE THE TOP CAT IN TOWN,
YOU’RE THE GOLD-MEDAL KID
WITH THE HEAVYWEIGHT CROWN!

A-R AB, A CTI O N, BIG-D E

AL

WHEN YOU’RE A JET,

YOU’RE THE SWINGIN’EST THING”
LITTLE BOY, YOU’RE A MAN;
LITTLE MAN, YOU’RE A KING!

ALL
THE JETS ARE IN GEAR,
OUR CYLINDERS ARE CLICKIN’!
THE SHARKS’LL STEEL CLEAR
’CAUSE EVERY PUERTO RICAN’S
A LOUSY CHICKEN!

HERE COME THE JETS

LIKE A BAT OUT OF HELL —
SOMEONE GETS IN OUR WAY,
SOMEONE DON’T FEEL SO WELL!
HERE COME THE JETS:
LITTLE WORLD, STEP ASIDE!
BETTER GO UNDERGROUND,
BETTER RUN, BETTER HIDE!
WE’RE DRAWIN’ THE LINE,
SO KEEP YOUR NOSES HIDDEN!
WE’RE HANGIN’ A SIGN
SAYS “VISITORS FORBIDDEN” —
AND WE AIN’T KIDDIN’!
HERE COME THE JETS,
YEAH! AND
WE’RE
GONNA
BEAT
 IV E 5 T J D ES T O JI ¥

EVERY LAST BUGGIN’ GANG

ON THE WHOLE BUGGIN’ STREET!

DIE S EL, ACTION

ON THE WHOLE!

AL L
EVER — !
MOTHER — !
LOVIN’ — !
STREET!
B LACKOidT)

END OF SC EN E ONE

# 2A - Jet Song C/use

SCENE TWO
(A y«r‹t.

RI FF
Riga tiga turn turn. Why not?... You can’t say you won’t, Tony boy, without saying
why not?

SONY

Why not?

RI FF
Because it’s me askin’, Riff. Womb to tomb!

TO NY
Sperm to worm!
(Surveying the sign)
You sure this looks like sky-writing?
It’s brilliant.

TONY
27 years the boss has had that drugstore. I want to surprise him with a new sign.

(SJtaking ltte ladder)

Tony, this is important!

TONY
Very important: Acemen, Rocket men.

What’s with you? Four and one-half years I live with a buddy and his family. Four
and one-half years, I think I know a man’s character. Buddy boy, I am a victim of
disappointment in you.

TONY
End your suffering, little man. Why don’t you pack up your gear and clear out?

’Cause your ma’s hot for me.

(TONY grabs Jtis erm ortd twists it)
No! ’Cause I hate living with my buggin’ uncle uncle UNCLE!
(TONE releases hint and climbs back up)

TONY
Now go play nice with the Jets.

The Jets are the greatest!

TONY
Were.

Are. You found something better?

TO NY
No. But —
 E S T $1 D E S T O it Y

R I FF
But what?

TONY
You won't dig it.

R I FF
Try me.

TO NY
O.K. Every single c4amn night for the last month, l wake up and l’in reaching out.

R I FF
For what?

TONY
I don’t know, it’s right outside the door, around the corner. But it’s comin'!
R I FF
What is? Tell roe!
TONY
I don’t know! It’s like the kick I used to get from being a Jet.
RI FF

{Quietly)
...Or from being buddies.

TO NY
We’re still buddies.

RIFF
The kick comes from people, buddy boy.
TO NY
Yeah, but not from being a Jet.
R I FF
No? Without a gang you’re an orphan. With a gang you walk in twos, threes,
tours. And when your gang is the best, when you're a Jet, buddy boy, you’re out
in the sun and home free home!
 TONY
Riff, I’ve had it.
(Potise)

RIFF
Tony, the trouble is large: the Sharks bite hard!
We got to stop them now ancl we need you!
(Potise. Quietly)
I never asked the time of day from a clock, but I'm asking you:
Come to the dance tonight...
(TONY turns many)
I already told the gang you’d be there.

TONY

{After a bent, titrns to him ioiflt o yriii)

What time?

nIFF
Ten?

TONY
Ten it is.

RI FF
Womb to tomb!

TONY
Sperm to worm! And I’1l1ive to regret this.
RIFF
Who knows? Maybe what you’re waitin’ for'll be twitching at the dance!
(HE rtins off)
Pnge 16 IV E S T I it E S T O i‹ Y

TO NY
Who knows?
{MUSIC stuns arid HE SINLS)

ê 3 - Soiiietliing’s Coming (Tony)

COULD BE!
WHO KNOWS?
THERE'S SOMETHING DUE ANY DAY;
I WILL KNOW RIGHT AWAY
SOON AS IT SHOWS.
IT MAY COME CANNON-BAILING
DOWN THROUGH THE SKY,
GLEAM IN ITS EYE,
BRIGHT AS A ROSE!
WHO KNOWS?
IT’S ONLY JUST OUT OF REACH,
DOWN THE BLOCK, ON A BEACH,
UNDER A TREE.
I GOT A FEELING THERE’S A MIRACLE DUE,
GONNA COME TRUE,

COMING TO ME!

COULD IT BE? YES, IT COULD.

SOMETHING'S COMING, SOMETHING GOOD,
lF I CAN WAIT!
SOMETHING’S COMING, I DON'T KNOW WHAT IT IS
BUT IT IS GONNA BE GREAT!

WITH A CLICK, WITH A SHOCK,

PHONE’LL JINGLE, DOOR’LL KNOCK,
OPEN THE LATCH!
SOMETHING’S COMING, DON’T KNOW WHEN,
BUT IT’S SOON —
CATCH THE MOON,
ONE-HANDED CATCH!

AROUND THE CORNER,

 OR WHISTLING DOWN THE RIVER,
COME ON — DELIVER
TO ME!

WILL IT BE? YES, IT WILL.

MAYBE JUST BY HOLDING STILL
IT’LL BE THERE!
COME ON, SOMETHING, COME ON IN,
DON’T BE SHY, MEET A GUY,
PULL UP A CHAIR!

THE AIR IS HUMMING,

AND SOMETHING GREAT IS COMING!
WHO KNOWS?
IT’S ONLY JUST OUT OF REACH,
DOWN THE BLOCK, ON A BEACH...
MAYBE TONIGHT...

DIM-OUT)

Euo or scEuE TWO

SCENE THREE

{B ridiil shop.

A small section, enoit gli to include table turtle seizing machine;

chair or ti‹!o.

ANITA, n Puerto Sierra girl mii/ loose llnir and n slightly /asfty
”A inerican” rli ess, is /nis/iing reiuckiitg u Irat tuns a white cor7itlti-
nioii ifress iiifo a yarti ifress for an cxtremel J lovel J, extreiiiel J Joutig
gii 1: MA P•IA. ANITA is knoioiii g, [Link], SflRlit. RIA iS fri
[Link], enffiiisins tic, obedient child mixed iuitli the temper, sfiibborii
SlT£'l1 fftli nnd aiuaretiess of u women)

MARIA

(Holtliii g otit scissors)

Por favor, Anita. Make the neck lower!
Page 18

ANITA
Stop it, Maria.

MAR IA

One inch. How much can one little inch do?

ANITA
Too much.

MARIA

(Exasyernted)
Anita, it is now to be a dress for dancing, no longer for kneeling in front of an
altar.

ANITA

With those boys you can start in dancing and end up kneeling.
MARIA
Querida, one little inch; una poca poca —

ANITA
Bernardo made me promise —

MARIA
Ai! Bernardo! One month have I been in this country do I ever even touch excite--
ment? I sew all day, I sit all night. For what did my fine brother bring me here?

AN ITA
To marry Cliino.

MARIA
When I look at Chino, nothing happens.

ANITA
What do you expect to happen?

MARIA
I durino: something. What happens when you look at Bernardo?

AN ITA
lt’s when I don’t look that it happens.
MARIA
I think I will tell Mamma and Poppa about you and ’Nardo in the balcony of the movies.
ANITA
I’ll rip this to shreds!
MARIA
No. But if you perhaps could manage to lower the neck —
ANITA
Next year.
MARIA
Next year I will be married to Chino and no one will care if it is down to here!
ANITA
Down to where?

MAR IA

Down to here. I hate this dress!

ANITA
Then don’t wear it and don’t come with us to the dance.

MARIA

{Shocked)

Don’t come!

(Grabs the dress)

Could we not dye it red, at least?

ANITA
No, we could not.
(Starks to help MARIA into the dress)

MARIA
White is for babies. I will be the only one there in a white —

ANITA
Well???
 Page 20

MARIA
Ahhhh — si! It is a beautiful dress: I love you!
{As s/ie hugs ANITA, BERNARDO ENTERS follou ed bJ n shy,
gentle, sweet-faced boy: CHINO)

B ER N ARD O

Are you ready?

MARIA
Come in, ’Nardo.
tirJs in dress)
Is it not beautiful?

B ER NA if
DO

{Looking only ut kiA’S face)

Yes.
(Kisses her)
Very.
ANITA
I didn’t quite hear...
B ERN ARD O

(Kissing her quite differently)

Very beautiful.
MARIA

(thatches them a second, fhem ftirits to CHINO)

Come in, Chino. Do not be afraid.
CH I NO
But this is a shop for ladies.
B ERNAR DO
Our ladies!
MARIA
’Nardo, it is most important that I have a wonderful time at the dancing tonight.
 B ERN ARD O

{As ANITA hooks up IRU)

Why?

MARIA
Because tonight is the real beginning of my life as a young lady of America!
(SHE begins to whirl in the dress os the sop slides off nut n flood of
gaily colored streamers pours doiun. As TRIM begins to titrn nnd
furit, going OFFS TAB L, SHARE TOOLS, dressed for the dance, whirl
on, followed bJ JE T GIRLS, bJ BOYS from both gangs. The streamers
y up agnin tuith the drop to reveal:)

END OF SCE NE THREE

SCENE FOUR

(A dance hull.

Acturilly, a converted gy›nnusiu›n of « settle1i1ei1t /zot‹se, disg7‹iseJ for

the occn5loft Wltl1 streamers ‹:n1d bunting.

Both Jougs are JiiferbttJJliJ MlJ)ly Frith their bodies html their fnces,
al tlioit gli they nre enjoying themselves, remain cool, almost detached.
The line between the lwo gongs is sharply defined by the colors they
wenr: the JETS, girls os well as boys, reflecting the colors of the JET
jackets; and the serie/or the SHARES. The dancing is a phyical and
eiiiotioiinl release for these bits.

RIA ENTERS with CHINO, B ERNARDO twd ANITA. As she

foods nrounâ, cleligli ted, thriller by this, her first dance, the SETS cntcli
sight of BEfiNAfi DO who is lacing greeted by PEPE, his lic•ii feitonf
mid other SHOCKS. US HU ltitisic peters aiuaJ, the JEWS wit/iJraio to
one side of the hall, around RIFF. The SHEEES, seeing f/iis, drain to
their siJe, aoitnd BERNARDO. A brief consultation, anti LEFT starts
across — with lies fenonts — to make his challenge to B ERNARDO,
Julio starts — with his lieutennnts - to meet him. The tnoment is brief
but if moths be disastrous if a siniling, overly clieerfiil young man of
nl oitt 30 did not /iurnyfonrnrd. HE is called GLAD HAND, nut lie is
a ”square”)
Page 22 E S" 7“ S J D E S T O R Y

G LAD HAN D

(Bentning)
All right, boys and girls! Attention, please!
(Hiiiii of talk)
Attention!
(KRtJPRE oppenrs beJtiitJ GLA D HAND: the tnlk stops)
Thank you. It sure is a fine turnout tonight.
(Ad lihs from the kites)
We want you to make friends here, so we’re going to have a few get-together
dances.

You form two circles: boys on the outside, girls on the inside.

G BI D E AL
Where are
you?
G L AD HAN D

Tries to Jatiglt of this)

All right. Now when the music stops, each boy dances with whichever girl is
opposite. O.K.? O.K. Two circles, kids.
{The KIDS clap their Jiarids back at hint and ad lib: ”Two circles,
bids,” etc., etc. but do not move)
Well, it won’t hurt you to try.

G BI DEAL

(binding forward)
Oh, it hurts; it hurts; it —
(KSLfPKE S/fps fomnrd. BIG DEAL sfrnigJtfens up and iitec#Iy retu rns to his
place. RIFF steps forward and beckons to his girl, VELMA. SHE is terribly
young, sexy, lost in n worlcl of jive. She slithers forward to take her plare miiJi
RIFF. Pte cJtalfenge is otef hy BEfiNARDO alto sf s forward, leading ANITA
as fJiougJi he were presenting the iiiost mfigni/cenf lady in nll ltte world. Pte
other KIDS/ofloio, forming the Duo rirrles GLAD HAND requested)

G LAD HAND
That’s it, kids. Keep the ball rolling. ’Round she goes and where she stops, nobody
knows. All right: here we go!
(Pi‘oiiteiinJe music starts end the circles sfnrf resolving. GLAD
HEAD, whistle to his mouth, is in the center with ERUPKE. HE
mluit›s the US TO E nnd the M tJ SIC stops, leering JET BOYS oppo-
site SHARK GIRLS nnd vice-versa. There is e tnonietit of tetisetiess,
tJirii 8 E RNARDO reaches across the JRT GAAP opp0Sl Up JOE ANITA’S
limit, ml s/ie comes to him. RIFT reaches for VE£MA; and fhe Oils
of

The “get-together” has failed, eel each side is on its Own side Of the
JioJl os mambo MldSIC sforis)

SHARKS

(SJiOtf IEJ)

MAMBO!

JETS
(SJioitted)
MAMBO!

ALL

S HARK S
MAMBO!

MAMBO!
(SONY ENTERS and is iiionientarily eiiibrnced by US-F alto is
delighted tlint his hest friend did titrn up. The dnnce fiuilJs wilder
ni1i:I will:ter until nt its penk, ener yt›ody is i:tnncing)
) ALL
GO, MAMBO!
GO, MAMBO!
GO, MAMBO!
pJf /S Ot tflls PtO17?fN/ U7ai TONY and MARIA — at opposite sides o/
the hall — see each other. They linve beeil cheering on their respective
friends, clapping in i hytlinl. Note, us they see encli other, their voices
die, their smiles fnde, their llnnis slotrfy go to their sites. The LIGHTS
fade on the others who disappear info the haze of the back ground as a
delicate cJto clta begins arid TONY tiitd NIARIA SfOMf tPflJt /Of7Pnrd
to meet each other.

# 4C - Cir a-Clia (Orcliesti’a)

Slowly, as though in n dream, they drift into tile steys of the dance,
‹tllUnys looking nt enc/7 other, coii1pletely lost in «ccli otliei, t‹uownrc of
ariytl1ing, any plnce, buy fii11e, anything but owe nfiotlier. Tliei1:)

łł 4D — Meeting Scene TONY íOi rltesfi a)

You’re not thinking I’m someone else?

MARIA
I know you are not.

TONY
Or that we have met before?

MARIA
I know we have not.

TONY
I felt, I knew something-never-before was going to happen, had to happen.
But this is —
 MARIA

My hands are cold.

(HE takes them in his)
Yours, too.

(HE moves her hands to his face)

So warm.

(SHE moves his hands fo her face)

TONY
Yours, too.

MARIA
But of course. They are the same.

TONY
It’s so much to believe — you’re not joking me?

MARIA
I have not yet learned how to joke that way. I think now I never will.
{impulsively, HE stops to kiss her hands;
fJten tenderly, innocently, her lips.

The music bursts on I, the lights flare tip nnd B ERNARDO is upon
the

B ERNAR DO
Go home, “American.

TONY
Slow down, Bernardo.

BERN ARDO
Stay away from my sister!
 TONY
. . .Sister?

BERN ARD O

{To MARIA)
Couldn’t you see he’s one of them?

MARIA
No; I saw only him.
B E n N A nD O
{As CHINO comes ity)
I tolc4 you: there’s only one thing they want from a Puerto Rican girl!

TONY
That’s a lie!

Cool, boy. RI FF

CHI NO
Get away.
{To TONY)

TONY
You keep out, Chino.
{To MA RIA)
Don’t listen to them!

BER NAR DO
She will listen to her brother before —

RI FF

If you characters want to settle —

G L AD H AN D
Please! Everything was going so well! Do you fellows get pleasure out of making
trouble? Now come on — it won’t hurt you to have a good time.
(MMSIC starts again. B ERNARDO is or one side toifh MA RU
nut CI-IlNO; ANITA joins them. TONY is on the ofher mifh RlFf
and DIESEL. Light emphasizes fhe rsf group)

B E RNAR DO
I warned you —

CH I NO
Do not yell at her, ’Nardo.

BERN ARD O
You yell at babies.

ANITA
And put ideas in the baby’s head.
B ER N ARD O
Take her home, Chino.

MARIA
’Nardo, it is my first dance.

BER N AR D
Please. We are family, Maria. Go. O
(MA RIA hesitates, then starts out with CHINO as die light cross
fades with her to the other group which she passes)

{To DIESEL, indicating TONE happily)

I guess the kid’s with us for sure now.
{TONY doesn’I even hear; HE is staring at MARU
u›lto stops for a moment)

CH I NO
Come, Maria.

TONY
Maria...
 E S T S I D E S T o n y

(HE is monore that B ERNA RDO is crossing towards /tiin but

DIFF intercepts)

B ER N AR
DO
I don’t want you.

RIFF
I want you, though. For a War Council — Jets and Sharks.

B ER N AR DO
The pleasure is mine.

RI FF
Let’s go outside.

B ER N AR
DO

I would not leave ladies here alone. We will meet you in half an hour.
RIFF
Doc’s drugstore?
B ERNARDO nods)
And no jazz before then.
B ERN ARD O
I understand the rules — Native Boy.
(The light is fading or fltein, or everyone but TONY)

RI FF
Spread the word, Big Deal.
BIG DEAL
Right, Daddy-o.
RIFF
Let’s get the chicks and kick it. Tony?
{The LIGHTS dim ouf, except for a spofligitt on TONY)

TONY
Maria. . .
 (fn Jcrk›tess)
Tony!

DIESEL

(Iti darkness)
Ah, we’ll see him at Doc’s.

TO NY

Mari

THE MOST BEAUTIFUL SOUND I EVER HEARD.

FOUR BOY S

{OF- -STAC F)
MARIA, MARIA, MARIA, MARIA...

TONY

ALL THE BEAUTIFUL SOUNDS OF THE WORLD

IN A SINGLE WORD:

FOUR BOY S

(OTfSTACE)
MARIA, MARIA, MARIA, MARI
{Swelling in intensi iy)
MARIA, MARI

TONY
MAPvIA!
I’VE JUST MET A GIRL NAMED MARIA,
AND SUDDENLY THAT NAME
WILL NEVER BE THE SAME TO ME.
Page 30 E S T S i D E T O R ¥

MARIA!
I’VE JUST KISSED A GIRL NAMED MARIA,
AND SUDDENLY I’VE FOUND
HOW WONDERFUL A SOUND CAN BE!

MARIA!
SAY IT LOUD AND THERE’S MUSIC PLAYING —
SAY IT SOFT AND IT’S ALMOST LIKE PRAYING —
MARIA...
I’LL NEVER STOP SAYING

MARIA!

MARIA! MARIA!
MARIA! MARIA!
MARIA! MARIA!
MARIA! MARIA!

MARIA —
SAY IT LOUD AND THERE’S MUSIC PLAYING
SAY IT SOFT AND IT’S ALMOST LIKE PRAYING
MARIA —
I’LL NEVER STOP SAYING MARIA!
THE MOST BEAUTIFUL SOUND I EVER HEARD
MARIA.
{As ToNy slNcS, he looks for mJtere MARIA lines, wishing for her.
And she does appenr, at the window above him which opens onto the
fiTe escape)

END OF SCENE FOUR

SCENE FIVE

# 6 — Bnlcoii i¡ Sceiie (Mm in, To//i/}

(Alleyway.

A suggestion of buildings; a fire escape clitnbing to I/ie renr window of

an unseen flat.

The scene continues)

 TO NY
Maria, Maria...

MARIA
Ssh!

TONY
Maria!!

MARIA
Quiet!

TO NY
Come down.

MARIA
No.

TONY
Maria. . .

MARIA
Please. If Bernardo —

TONY
He’s at the dance. Come down.
MARI A
He will soon bring Anita home.

TONY
Just for a minute.

MARIA

(Smiles)
A minute is not enough.

TONY

(Smiles)
For an hour, then.
Page 32 E S T $1 D E T O it Y

MARIA
I cannot.

TONY
For ever!

MARIA
Ssh!

TONY
Then I’m coming up.

WOMAN’S VOI CE

(-rout the OWLS TABE apartment)

Maria!

MARIA
Momentito, Mama...

TONY
(Climbing up)
Maria, Maria —

MARIA
Calladito!
{Reaching her hand out to stop him)
Ssh!

TONY

(Grabbing her hand)

Ssh!

MARIA
It is dangerous.

TONY
I’m not “one of them.”
 MAR I A
You are; but to me, you are not. Just as I am one of them —
(Gestures inside)

TONY
To me, you are all the —
(SHE covers his mouth with her hand)

MAN’S VOICE

Maruca!

MARIA
Si, ya vengo, Papa.

TONY
Maruca?

MARIA
His pet name for me.

TONY
I like him. He will like me.

MARIA
No. He is like Bernardo: afraid.
(Suddenly laughing)
Imagine being afraid of you!

TONY
You see?

MARIA
(ToiicJiin g his face)
I see you.

TONY
See only me.
 MARIA

ONLY YOU,
YOU’HE 3 HE ON LY 4“131NG 1’ LL SEL FOIIEV ER.
IN MY EYES, IN MY WORDS
AND IN EVERYTHING I DO,
NOTHING ELSE BUT YOU ... EVER!

TO NY
AND THE HE’S NOT141NG FOR ME DUT MAIIIA,
EVERY SIGHT THAT I SEE IS MARIA.

MARIA

TONY, TONY...

TONY MAR I A
ALWAYS YOU,
EVERY THOUGHT 1’LL EVEIi KNOW,
EVERYWHERE I GO, YOU’LL BE. ALL THE WORLD IS ONLY
YOU AND ME! YOU AND ME!

MAR I A

TONIGHT, TONIGHT,
IT ALL BEGAN TONIGHT,
I SAW YOU AND THE WORLD WENT AWAY.
TONIGHT, TONIGHT,
THERE’S ONLY YOU TONIGHT,
WHAT YOU ARE, WHAT YOU DO, WHAT YOU SAY.

TONY
TODAY, ALL DAY I HAD THE FEELING
A MIRACLE WOULD HAPPEN
I KNOW NOW I WAS
RIGHT. FOR HERE YOU
ARE
AND WHAT WAS JUST A WORLD IS A STAR
TONIGHT!
 BOTH
TONIGHT, TONIGHT,
THE WORLD IS FULL OF LIGHT,
WITH SUNS AND MOONS ALL OVER THE PLACE.
TONIGHT, TONIGHT,
THE WORLD IS WILD AND BRIGHT,
GOING MAD, SHOOTING SPARKS INTO SPACE.
TODAY THE WORLD WAS JUST AN ADDRESS,
A PLACE FOR ME TO LIVE IN,
NO BETTER THAN ALRIGHT,
BUT HERE YOU ARE
AND WHAT WAS JUST A WORLD IS A STAR
TONIGHT!

VOICE

(OFFSTACE)
Maruca!

MARIA
Wait for me!
(SHE goes inside as the buildings begin to return)

TONY

(Singing)
TONIGHT. TONIGHT,
IT ALL BEGAN TONIGHT,
I SAW YOU AND THE WORLD WENT AWAY.

MARIA

(Returning)
I cannot stay. Go quickly!

TONY
I’m not afraid.

They are strict with me. Please.

 E S T 1 D E S T O R ¥

TONY

(Kissing her)
Good night.

MARIA

Buenas noches.
TONY
I love you.
MARIA

Yes, yes. Hurry.

(HE cfiiiibs loiutl)
Wait! When will I see you?
(HE starts bnck up)
No!
TONY
Tomorrow.
MARIA
I work at the bridal shop. Come there.

TONY
At sundown.

MARIA
Yes. Good night.

TO NY
Good night.
(Starks off)

MARIA
Tony!

TONY
Slih!
 MARIA
Come to the back door.

TO NY
Si.

MARIA
Tony!
(HE stops. A pause in silence)
What does Tony stand for?

TONY
Anton.

MARIA
Te adoro, Anton.

TONY
Te adoro, Maria.
{MUSIC stnrts
ngain)
BOTH

GOOD NIGHT, GOOD NIGHT,

SLEEP WELL AND WHEN YOU DREAM,
DREAM OF ME
TONIGHT.
(SHE goes inside; HE ducts out into the shadows just as
8ERNARDO anJ ANITA ENTER, /olIomed fly fNDiO and PEPE
and their GIRLS. One is a bleached blond, bungled beau :
CONS tIELA. The other, quietly dressed in SpanisJi undertones, is
ROSALIA. SHE is not too brigli I)

BERNARDO

(Looking up to the window)

Maria?
 ANITA
She has a mother. Also a
father.
B E R NA R D O
They do not know this country any better than she does.

ANITA
You do not know it at all! Girls here are free to have fun. She-is-in-America-now.

B ER NA R D O

(Exaggerated)
But Puerto-Rico-is-in-America-now!

ANITA

Ai!
B ER N A R D O

(COOlS ff)

Anita Josefina Teresita —

ANITA
It’s plain Anita now —
BE IN ARD O

(Continuing through)
— Beatrice del Carmen Marguerita etcetera etcetera —

ANITA
Immigrant!

BE nNARDO

(Pulling Jeer to Jtiin)

Thank God, you can’t change your hair!
PEPE

(Fondling CONS LIFLO’S tleached moy)

Is that possible?
 CO NS UELA
In the USA, everything is
real.
B ERN ARD O

{To CHINO alto ENTS RS)

Chino, how was she when you took her home?
CH I N O
All right. ’Nardo, she was only dancing.

BER NA R D O
With an “American.” Who is really a Polak.

ANITA
Says the Spic.

BER NA RD
You are not so cute. O

That Tony is. ANITA

And he works. RO SA L IA

A delivery boy. CH I NO

And what are you? ANITA

An assistant. C H I NO

B ER NA R DO
Si! And Chino makes lialf what the Polak makes — the Polak is American!

AN ITA
Ai! Here comes the whole commercial!
(A hitrlesque orR tion in titock I?uerto Rican accen t. 8ERNARDO
stnrts the first line with her:)
 WE S T I D E T O R ¥

The mother of Tony was born in Poland; the father still goes to night sC)qool.
Tony was born in America so that makes him an American. But us? Foreigners!

P EPE, CON SUEL A

Lice!
Cockroaches!
PEPE, CO NSUELA, ANITA

BERNARDO
Well, it is true! You remember how we were when we first came! Did we even
think of going back?
B ER NA R D O, ANITA
No! We came ready, eager —

ANITA

{Mocking)
With our hearts open —

Our arms open — CO N SUEL A

PEPE
You came with your pants open.

CON SUELA
You did, pig!
Slaps him)
You’ll go back with handcuffs!

I an going back with a Cadillac! BE RN AR DO

Air-conditioned!
CH INO

B ERN ARD O

CH INO
 B ER NAR
DO
Television!

CH I NO
Compatible color!

B E RNA R DO
And a king-sized bed.
{Grabs ANITA)
i Come on.
Come on.
ANITA

(Mimicking)

BERNARD O
Well, are you oT aren t you?

ANITA
Well, are you or aren’t you?

B E nNAn
Well, are you? DO

ANITA
You have your big, important War Council. The Council or me?

B ER NA R DO
First one, then the other.

AN ITA
(Breaking away fi‘om
Jiim)
I am an American girl now. I don’t wait.

B E R NA R DO

(To CHINO)
Back home, women know their place.
 AN ITA
Back home, little boys don’t leave war councils.
 BER NA RD O
You want me to be an American?
{To the boys)
Vaminos, claicos, es tarde.

Buenas noches, Anita, Josefina câel Carmen, etcetera, etcetera, etcetera.

(EXIT north BOYS)

RO S ALI A
That’s a very pretty name: Etcetera.

# 7 -Americn fA›iir«, nosa/iø, S/mrk Girl:

AN ITA
Ai!

CO N SUE LA
She means well.

RO SA L IA
We have many pretty names at home.

ANITA

Milliicking)
At home, at home. If it’s so nice “at home,” why câoia’t you go back tlaere?

RO SA L IA
I would like to —
(A look from ANITA)
just for a successful visit.

(SHE SINGS)
PUERTO RICO...
YOU LOVELY ISLAND...
ISLAND OF TROPICAL BREEZES.
ALWAYS THE PINEAPPLES
GROWING,
ALWAYS THE COFFEE BLOSSOMS BLOWING...
 ANITA

{SINGS sarcastically)

PUERTO RICO...
YOU UGLY ISLAND...
ISLAND OF TROPIC DISEASES.
ALWAYS THE HURRICANES BLOWING,
ALWAYS THE POPULATION GROWING...
AND THE MONEY OWING,
AND THE BABIES CRYING,
AND THE BULLETS FLYING.
I LIKE THE ISLAND MANHATTAN —
SMOKE ON YOUR PIPE AND PUT THAT IN!

OTHERS EXCErT n os Az IA
I LIKE TO BE IN AMERICA!
OKAY BY ME IN AMERICA!
EVERYTHING FREE IN AMERICA
FOR A SMALL FEE IN AMERICA!

RO S ALIA
I LIKE THE CITY OF SAN JUAN —

ANITA

I KNOW A BOAT YOU CAN GET ON.

R O SA L IA
HUNDREDS OF FLOWERS IN FULL BLOOM —

AN ITA
HUNDREDS OF PEOPLE IN EACH ROOM!

ALL EXCEPT RO SAL IA

AUTOMOBILE IN AMERICA,
CHROMIUM STEEL IN AMERICA,
WIRE-SPOKE WHEEL IN AMERICA,
VERY BIG DEAL IN AMERICA!

RO SAL IA
I’LL DRIVE A BUICK THPOUGH SAN JUAN —
 I D E S T O It Y

ANITA
IF THERE’S A ROAD YOU CAN DRIVE ON.

R O SAL IA
I’LL GIVE MY COUSINS A FREE RIDE —

ANITA
HOW YOU GET A LL OF THEM INSIDE?

ALL EXC EPT RO SAL IA

IMMIGRANT GOES TO AMERICA,
MANY HELLOS IN AMERICA;
NOBODY KNOWS IN AMERICA
PUERTO R1CO’S IN AMERICA.
ILLS mJiisfJe mid Once)

RO SA L IA

I’LL BRING A TV TO SAN JUAN —

AN ITA

IF THERE’S A CURRENT TO TURN ON.

nosALIA
I’LL GIVE THEM NEW WASHING MACHINE —

ANITA
WLIAT HAVE THEY GOT THERE TO KEEP CLEAN?

ALL EXCE PT RO SAL I A

1 LIKE THE SHORES OF AMERICA!

COMFORT IS YOURS IN AMERICA!
KNOBS ON THE DOORS IN AMERICA,
WALL-TO-WALL FLOORS IN AMERICA!
(THEY whistle and dnnce)

RO S A LIA

WHEN I WILL GO BACK TO SAN JUAN —

 r

ANITA
WHEN YOU WILL SHUT UP AND GET GONE!
RO SAL I A
EVERYONE THERE WILL GIVE BIG CHEER!

ANITA
EVERYONE THERE WILL HAVE MOVED HERE!
(More whistling and drinking)

END OF SCENE FIVE

SCENE SIX
{A Drugsfore.

A stiggestioit of n rundown, mtishJ, general store which, in cities, is a

“drugstore.” A door fending to ltte street outside; another leading to
the cellar below.

BAB Y JOHN is reeling a comic book; A-RAB is playing solitaire;

ANV8ODVS is JittdJlrd by the ytike-hox; ACTION is matching the
street door. The atmosphere is tense, /umpy. ACTION slams the door
und str ides to the dart board)

ACTION
Where the devil are they? Are we having a War Council tonight or ain’t we?
(Throws a dart savagely)

BABY JOHN
Hedon’t use knives. He don’t even use a atomic ray gun.

A-RAB
Who don’t?

BABY JOHN
Superman. Gee, I love him.
 E S T I D E ST O R

S NOWBOY
So marry him.

ANYB O DY S
I ain’t never gonna get marriec4: too noisy.

A-RAB
You ain’t never gonna get rnarriec4: too ugly.

ANYB O DY S

(“Shooting“ liiiii)
Pow pow!
A-RAB
Cracko, jacko!

{Clutching his hellJ, -‹pies to the Jloor)

Down goes a teenage laoodlum.

BABY JOHN
Could a zip gun make you do like that?
{A second of sileiice. Then BIG DELL shuts iii the torrent
nut THEY all Jitmy)

ACTI O N
What the hell's a matter with you?

BIG D EAL
I got caught sneakin’ outa the movies.

A-RAB
Sneakin’ out? Waddya do that for?

B IG D EAL
I sneaked in.
S NOWB OY
A War Council coming up and he goes to the movies.

ANYB O DY S
An’ you let him be a Jet!
 B AB Y JO HN
Ah, go walk the streets like ya sister.

ANYB O DYS

Jumping ltim)
Lissen, Jail Bait, I licked you twice and I can do it again.

DoC
Curfew, gentlemen. And lady. Baby John, you should be home in bed.

BABY JOHN
We’re gonna have a War Council here, Doc.

DOC
A who?

G BI D EAL
To decide on weapons for a big-time rumble!

S NOWBOY
We’re gonna mix with the PRs.

OOC
Weapons. You couldn’t play basketball?

ANYB ODY S
Get with it, buddy boy.

Doc
War Councils —

A CTI ON
Don’t start, Doc.

D OC
Rumbles. . .

ACT I O N
Doc —
 48

D OC
Why, when I was your age —
A CTI ON
When you was my age; when my old man was my age; when my brother was my
age! You was never my age, none a you! The sooner you creeps get hip to [Link], the
sooner you'll dig us.
D OC
I’ll dig your early graves, that’s what I’ll dig.

A-RAB

) *"I Dig, dig, dig —

DOC
What’re you gonna be when you grow up?
ANYBODYS
A telephone call girl!
(The store door bell tinkles as RIFF ENTERS with UEL )

S N OWB OY
Riff, hey!

ACT I ON
Are they comin'?

RIFF
Unwind, Action. Hey, Doc, Tony here?

D OC
No, Riff, it's closing time.

ACTION
{To RISK)
What d’ya think they're goruia ask for?

A-RAB
Just rubber hoses, maybe, huh?
 RI FF
Cool, little men.

G R AZ IELL
A
You tell ’em, Daddy-o.

ACTION
Chung chung!

A-TAB
Cracko, jacko!

BI G DE AL
Whamo bamo!

RIFF
{Sharply)
Cool!

ANYB O DY S
Riff, — in a tight spot you need every man you can —

RI FF
No.
G RAZ IE LL A

{Indicnting ANY8OD YS to VELMA)

An American
tragedy.
ANYB O DY S

Pow Pow.
G R AZ IE LL
A
Poo Poo.

RIFF
Now when the victims come in, you chicks cut out.

GRAZIELLA
We might, and then again we might not. I and Velma ain't kid stuff, neither.
Are we, Vel?
 VELMA
No, thank you-oo, ooblee-oo.

G RAZ I EL LA
And you can punctuate it?

V ELM A
Ooo! — (THEY giggle)

A CTI ON

(To RIFF)
W1iat’re we pooping around with crumb broads?

G RAZ IEL LA

I and Velma ain’t dumb!

ACTION
We got important business comin’.

DOC
Making trouble for (lie Puerto Ricans?
S NOWB OY
They make trouble for us.
DOC
Look! He almost laughs when he says it. For you trouble is a relief.

RIFF
We’ve got to stand up to the PRs, Doc. It’s irriportant.
DO C
Fighting over a little piece of the street is so important?

ACTI ON
To us, it is.

DO C
To hoodlums, it is.
 (does in cellar dooriunJ as ACTION ltinges f0r him)

ACTION
Don’t you call me hoodlum!

Easy, Action! Save your steam for the rumble.

A-RAB

(Indicating DOC)
He don’t want what we want, so we’re hoodlums!

BABY JOHN
I wear a jacket like my buddies, so my teacher calls me hoodlum!

ACTION
I swear the next creep who calls me hoodlum —

You’ll laugh! Yeah. Now you all better dig this and dig it the most. No matter who
or what is eating at you, you show it, buddy boys, and you are dead. You are
cutting a hole in yourselves for them to stick in a red hot umbrella and open it.
Wide.

You wanna live? You play it

cool.
A CTI ON

I wanna get even!

Get cool.
A-RAB

I wanna bust!

Bust cool.
 E S "T S I D E T O it Y

BABY JOHN
I wanna go!

Go cool!

(SINGING)

BOY, BOY, CRAZY BOY —

GET COOL, BOY!
GOTTA ROCKET IN YOUR POCKET
KEEP COOLLY COOL, BOY!
DON’T GET HOT,
' CAUSE MAN, YOU GOT
SOME HIGH TIMES AHEAD.
TAKE IT SLOW AND DADDY-O,
YOU CAN LIVE IT UP AND DIE IN
BED. BOY, BOY, CRAZY BOY —
STAY LOOSE, BOY!
BREEZE IT, BUZZ IT, EASY DOES IT
TURN OFF THE JUICE, BOY!
GO MAN, GO,
BUT NOT LIKE A YO-
YO SCHOOL BOY —
JUST PLAY IT COOL, BOY,
REAL COOL!
Easy Action. Easy.
{This leads into ii fi erratic ri iiicc tit which the boys nutr girls t elease
I/Weir emotions and get “cool.” It finislies, starts agaiii when a JET
bounces tit thrift the gang whistle. Everyone him RJFf- null VELMA
sfops Jniiciiig. A itioment, then BERNAEDO, CHINO, PEPE mil
/NDJO ENTER. Tension, but RIFF lattices R nioiiieiti longer. Then /tc
yats VEL DYl lIEt behind. F-olloiued by GGAZIELLA, she rtins oii t,
sli/Jieriiiy yosf tlir SHEETS. AN YBODUS is back, luuhllc•tl by the juke-
box but DIFF spo/s her. SHE gives liiiii n yletidiit g ter-inc-sfny look, but
lie gestures for her to go. Unlike the other git 1s, ANYBOD US shoves the
SHEETS like ti bi ff tDIl ffli nuns os s/ie EXITS)

# 8A - Coo I Clinse R IFF (Orchestra)

but ’em uo, Doc. Cokes all around.
 B ERNA RDO
Let’s get down to business.

Bernardo hasn’t learned the procedures of gracious living.

B ERN ARD O
I don’t like you, either, So cut it.

Kick it, Doc.

DOC
Boys, couldn’t you maybe all talk it —

Kick it!
(DOC goes oitt. Pte two GANGS take pieces heJtind fhrir lenders)
We challenge you to a rumble. All out, once and for all. Accept?

B ER NA R D O
On what terms?

Whatever terms you’re callin’, buddy boy. You crossed the line once too often.

B ERN A RDO
You started it.

Who jumped A-rab this afternoon?

B E R NA R D O
Who jumped me the first day I moved here?

ACTION
Who asked you to move here?

Who asked you?

 E S T S I D E T O It Y

S N OWB OY
Move where you’re
wanted!
A-RAB

Back where ya came from!

A CTI O N

Spics!
PEPE

Micks!
I NDIO

BERNARDO
We accept!

RIFF
Time:

Tomorrow? BERNARDO

RIFF
After dark.

Place: (Grey s/take)

The park. B ERN AR DO

The river. RIFF

B EnNAnDo
Under the highway.
(TheJ shake)

RI FF
Weapon:
 {The doorbell fishes as TONE Hursts in Selling:)

TONY
Hey, Doc!
(HE stops as lte sers them. Silence. Then lie comes forward as:)

Weapons!
(DOC ENTERS)

B ER NA R D
O
Weapons. . .

You call.

B ER NA R D O
Your challenge.

Afraid to call?

BER NA RD O
ticks.

. . Rocks.

BER NAR D O
. . Poles.

ans.

BEnNAntio
ricks.

. . Babs.
 BERNARDO
Clubs.
RI FF
. . Chains.
TO NY
. . Bottles, knives, guns!
THE Y stnre)
What a coop full of chickens!
ACT I ON
,| Who you callin’ chicken?
Every dog knows his own. B ER N AR D O

TONY
I’m calling all of you chicken. The big tough buddy boys have to throw bricks!
Afraid to get close in? Afraid to slug it out? Afraid to use plain skin?
B ABY J O HN
Not even garbage?

That ain’t a rumble. ACTION

Who says? RI FF

You said call weapons. B ERN A

RDO

TONY
A rumble can be clinched by a fair fight. If you have the guts to risk that. Best man
from each gang to slug it out.

B ER N AR DO

(Looking <› ToNyJ

I’d enjoy to risk that. O.K.! Fair fight!
What?

ACTION

{SimultnneouslJ)
No!

R IFF
The Commanders say Yes or No.
{To BERNARD 0)
Fair fight.

(THEY shake)

B ERN A RDO

{To TONE)
In two minutes you will be like a fish after skinning.

Your best man fights our best man — and we pick him.
B ERN AR D O
But I thought I would be —

We shook on it,
Bernardo.
B EnN
ARDO
Yes. I shook on it.

ACTION

Look, Bernardo, if you wanna change your mind, maybe we could all —
One of HU JETS near the door sud letily iultistles. insfnri/ly, they shift
positions so thin) are mixed up: no segregation. Silence; then in comes
SCHMNK. DOC comes in, brougllt bJ the tinkle of the little shop
tloorbell. Diiriii g tlte following, the BANKS tire absolutely silent and
tiiotionless, unless otherwise indicated)
 DOC

Good-evening, Lt. Schrank. I and Tony was just closing up.

S CH II A N K

Mind?

DOC
I leave no mind. I am the village icJiot.

SCH RAN K
(L igli tills it)

I always make it a rule to smoke in the can. And what else is a room with
half- breeds in it, eh, Riff?
B ERNARDO’S iiiove is checked by WEP.

SCH ANK, pleasantly:)

Clear out, Spics. Sure; it’s a free country and I ain’t got the right. But it’s a countij
with laws: and I can find the right. I got the badge, you got the skin. It’s tough all
over. Beat it!
{A .sccoiiil. T/Bert RIFT No‹is oncc to B ERNAR DO who meals tv lits
GANG. Slowly, THE Yale out. B ERNAR DO stnrts to whistle “MJ
Coun try ’Tis of Thee” his lie EXITS proudly. His BANK joins iii,
/itis/ting a sardonic Jnzz lick OFF-S TAB E.

From their angle, sure. Say, where’s the rumble gonna be? Ah, look: I know regul‹
Americans don’t rub with the gold-teeth otherwise. The river? The Park?
(Silence)
I’m for you. I want this beat cleaned u( and you can do it for me. I'll even lend a
hand if it gets rough. Where yoii gonna rumble? The playground? Sweeney’s lot?

Ya think I'm a lousy stool pigeon? I wanna help ya get rid of them! Come on!
Where’s it gonna be? ... Get smart, you stupid hoodlums! I ouglita fine ya for
litterin’ the streets. You ouglita be taken down the station house and have your
skulls mashecl to a pulp! You and the tin horn immigrant scum you come from!
How's your old mean’s DT's, A-rab? How’s the action on your mother’s mattress,
Action?
 ACTION lunges for him hut is tripped up by kiFF. SCHRANK
courches low, ready for him.

Let him go, buddy boy, just let him go.

ACTION starts to his feet but DIESEL holds Jtim)
One of these days there won’t be nobody to hold you.
S/F-I- tleliberately starts for Use d0or, followed by the OTHERS,
except TONE.

I’ll find out where ya gonna rumble. But be sure to finish each other off.
Because if you don’t I will!
{RIFF /IfIS SItI}f0J Alt bfU DOOR if 11 til the OTHERS lime passed /JiroiigJi.
join lie just looks a I SCHS ence.

SCHWNK looks at DOC)

Well, you try keepin’ hoodlums in line and see what it does to you.
EXITS)

DOC
It wouldn’t give me a mouth like his.

TONY
Forget him. From here on in, everything goes mv way

DO C
You think it’ll really be a fair fight?

TONY
Yeah.
DOC
What have you been taking tonight?
 E S TS 1 D E S T O R Y

TONY
A trip to the moon. And I’ll tell you a secret. It isn’t a man that’s up there, Doc. It’s a girl, a lady.
(Oprns the door)
Well, buenas noches, señor.
DOC
Buenas noches?! So that’s why you made it a fair fight.
{TONY smiles)
.. Tony... things aren’t tough enough?
TONY
Tough? Doc, I’m in love!
DOC
How do you know?

TONY
Because... there isn’t any other way I could feel.

DOC
And you’re not frightened?

Should I be? TONY

(Opens door, EXITS)

DOC
Why? I’m frightened enough for both of you.
(turns otal tlte last light)

END OF SCENE SIX

SCENE SEVEN
{B ridal Shop.

Hot late afternoon sari coloring the work rootn. One or two seMing
rtacJtines. Several dressmaker Institutes, male nnd female, in bridal
 MAhiA, in n smock, is hand-seMing a wedding veil ns ANITA whirls
in mliippiitg off her smock)

ANITA
She’s gone! That old bag of a bruja has gone!

MARIA
Brava!

ANITA
The day is over, the jail is open, home we go!

MARIA
You go, querida. I will lock up.

ANITA
Finish tomorrow. Come!

MARIA
But I am in no hurry.

ANITA
1 am. I’m going to take a bubble bath all during supper: Black Orchid.

MARIA
You will not eat?

AN ITA
After the rumble — with ’Nardo.

MARIA
(Seiuiii g ni
That rumble, why do they have it?

ANITA
You saw how they dance: like they have to get rid of something quick.
That’s how they fight.

MARIA
To get rid of what?
Page 62 E S TS i D Eb T O it Y

ANITA
Too much feeling. And they get rid of it: after a fight, that brother of yours is so
healthy! Definitely: Black Orchid.
{knock at rear door and TONY ENTER S)

TONY
Buenas noches!
ANITA

“You go, querida. I’ll lock up.

{To TONE)
It’s too early for noches. Buenas tardes.
TONY

Gracias. Buenas tardes.

MARIA
He just came to deliver aspirin.
ANITA
You’ll need it.
TONY
No, we’re out of the world.
ANITA
You’re out of your heads.
TONY
We’re twelve feet in the air.

M A if IA

(Gently faking his hand)

Anita can see all that.
{To ANITA)
You will not tell?
 ANITA
Tell what? How can I hear what goes on twelve feet over my head?
{Opens door - to MARIA)
You better be home in fifteen minutes.
{SHE goes out)

TONY
Don’t worry. She likes us!

MAR IA
But she is worried.

TONY
She’s foolish. We’re untouchable; we are in the air; we have magic!

MARIA
Magic is also evil and black. Are you going to that rumble?
TONY
No.

MARIA
Yes.

TONY
Why??

MARIA
You must go and stop it.

TONY
I have stopped it! It’s only a fist fight. ’Nardo won’t get
MAR I A
Any fight is not good for us.

TONY
Everything is good for us uuid we .are good for everything.

MAR IA
Listen and hear me. You must go and stop it.
 TO NY
Then I will.

MARIA

isii i
prised)
Can you?

TO NY
You don’t want even a fist fight? There won’t be any fight.

MARIA
I believe you! You do have magic.

TONY
Of course, I have you. You go home and dress up.

Then tonight, I will come by for you.

MARIA
You cannot come by. My mama...

TONY
After a pause)
Then I will take you to my house —

MARIA

Your mama...
(Another aiukiuard pause. Then lie sees a fetiiale diitnuiy and hushes it
forward sRJiii g:)

TONY
She will come running from the kitchen to welcome you. She lives in the kitchen.

MARIA
Dressed so elegant?
 TONY
1 told her you were coming. She will look at your face and try not to smile.
And she will say: Skinny — but pretty.

MARIA
She is plump, no doubt.

TONY

(Holding the waist of dummJ’s dress)

Fat!

MARIA

{Indicnting another female dummy)

1 take after my mama; delicate boned.

Not in front of Mama!

(HE Stints the Jtimiity oroBnd us she goes to a male dummy)
Old, l would like to see Poppa in this! Mama will make him ask about your
prospects,. if you go to church. But Poppa — Poppa might like you.

TO NY

{Kneeling to the ”father” dummy)

May I have your daughter’s hand?

MARIA
He says Yes.

TONY
Gracias!

MARIA
And your mama?

TONY
I’m afraid to ask her.

MAR IA
Tell her she’s not getting a daughter; she’s getting rid of a son!
 TO NY
She says Yes.

TO NY

MARIA
That color is bad for Anita.

TO NY
Best man!

MARI A
That is my Poppa!

TONY
Sorry, Poppa. Here we go, Riff: Wonab to Touch!
(Takes lent off ‹tfllllll

MARIA
Now you see, Anita, I told you there was nothing to worry about.

(MUSIC sfnrls as she leaves the duuuny and walks uy to TONY.

TO NY
I, Anton, take thee, Maria...

MAR IA
I, Maria, take thee, Anto
 TONY
For richer, for poorer —

MARIA
In sickness and in healt

TONY
To love and to honor...

MARIA
To hold and to keep...

TONY
From each sun to each moon...

MARIA
From tomorrow to tomorrow...

TONE
From now to forever...

Till death do us part.

TONY
With this ring, I thee wed.

MARIA
With this ring, I thee wed.
{The BtJSiC becomes a love duet:)

TONY
MAKE OF OUR HANDS ONE HAND,
MAKE OF OUR HEARTS ONE HEART,
MAKE OF OUR VOWS ONE LAST VOW:
ONLY DEATH WILL PART US NOW.

MARIA
MAKE OF OUR LIVES ONE LIFE,
DAY AFTER DAY, ONE LIFE.
 TONY, MAn IA
NOW IT BEGINS, NOW WE START
ONE HAND, ONE HEART —
EV EN DEA3“I I WON’T PAINT US NOW.

tion. B ti I eveli hack iii tlic -‹aoi 1 1, I/icy stir J:)

TO NY, MAR IA
MAKE OUR LIVES ONE LIFE, DAY AFTER DAY, ONE LIFE.
NOW IT BEGINS, NOW WE START ONE HAND, ONE HEART,
EVEN DEATH WON’T PART US NOW.
(DIM-OUT)

END OF SCE NE SEVEN

SCEN E EIGHT
(Eitsetnblel

SfOTLJGHTS picks out GIFT— mil the JETS, B ERNARD O mid the
SHARKS, ANITA, MARIA nnk TONY ngninst siii‹iJJ precis reyrc-
sciifiii iu/ici c tlieJ Rrr iii the' iici¿liborliooil. All ar e miiitiii¿ rxyer-
tantlJ for the comitig of tiiglit, but for rory tliffereiit iensoiis. lt is a
woiltage ioliicl is sitng)

JET S
THE JETS ARE GONNA HAVE THEIR DAY
TONIGHT.

S HARK S

THE SHARKS ARE GONNA HAVE THEIR WAY

TONIGHT.
 JETS
THE PUERTO RICANS GRUMBLE,
“FAIR FIGHT.”
BUT IF THEY START A RUMBLE,
WE’LL RUMBLE ’EM RIGHT.

SHARKS

WE’RE GONNA HAND ’EM A SURPRISE

TONIGHT.

JET S

WE’RE GONNA CUT ’EM DOWN TO SIZE

TONIGHT.

sHAnKs
WE SAID, “O.K., NO RUMPUS,
NO TRICKS” —
BUT JUST IN CASE THEY JUMP US,
WE’RE READY TO MIX
TONIGHT!

JET S, S HARKS

WE’RE GONNA ROCK IT TONIGHT,

WE’RE GONNA JAZZ IT UP AND HAVE US A BALL.
THEY’RE GONNA GET IT TONIGHT;
THE MORE THEY TURN IT ON
THE HARDER THEY’LL FALL!

JETS
WELL, THEY BEGAN IT!

SHARKS
WELL, THEY BEGAN IT

JET S, SHARKS
AND WE’RE THE ONES TO STOP ’EM
ONCE AND FOR ALL,
TONIGHT.
 ANITA
ANITA’S GONNA GET HER KICKS
TONIGHT.
WE’L L I—fAVE OUR PRI VATE LITTLE MIX
TONIGHT.
HE’LL WALK IN HOT AND TIRED,
SO WHAT?
DON’T MATTER IF HE’S TIRED,
AS LONG AS HE’S HOT
TONIGHT!

TO NY

TONIGHT, TONIGHT
WON’T BE JUST ANY NIGHT,
TONIGHT THERE WILL BE NO MORNING STAR.

TONIGHT, TONIGHT,
LL SEE MY LOVE TONIGHT.
AND FOR US, STARS WILL STOP WHERE THEY ARE.

TODAY
THE MINUTES SEEM LIKE HOURS, TI—
IE LtOURS GO SO SLOWLY,
AND STILL THE SKY IS LIGH

OH MOON, GROW BRIGHT,

AND MAKE THIS ENDLESS DAY ENDLESS NIGHT!

(ToTONY#
I’M COUNTING ON YOU TO BE THERE
TONIGHT.
WHEN DIESEL WINS IT FAIR AND SQUARE
TONIGHT.

THAT PUERTO RICAN PUNK’LL

GO DOWN.
AND WHEN HE’S HOLLERED “UNCLE”
WE’LL TEAR UP THE TOWN!
 MARIA
TONIGHT, (Simultaneously — firmly)
SO I CAN COUNT ON YOU, BOY?
TONIGHT TONY
{Absti actedly)
ALL RIGHT.
WON’T BE JUST ANY NIGHT,
WE’RE GONNA HAVE US A BALL.
TONY
(A bit impatiently)
ALL ftIGHT.

TONIGHT THERE WILL BE {Spoken, gently)

NO MORNING STAR Womb to tomb!
TONY
(Spoken, regretting l1l5 IlTlpritience)
Sperm to worm!

I’LL SEE YOU THERE ABOUT EIGH

TONY
TONIGH

MAR I A BER NA RD O ANITA

TONIGHT,
WE’RE GONNA ROCK
TONIGHT, IT TONIGH
TONIGH
1’LL SEE MY WE’RE GONNA
LOVE TONIGHT JAZZ IT TONIGHT,
TONIGHT,
AND FOR US, THEY’RE GONNA GET LATE TONIGHT,
STARS WILL STOP IT TONIGHT —
WHERE THEY ARE.
TONIGHT. WE’RE GONNA MIX IT
TONIGHT.
 W E S T

MAR I A, TO B E R NA R DO ANITA
NY
TODAY THEY BEGAN IT — ANlTA’S GONN A HAVE
THE MINUTES HER DAY,
JET S, S HARK S
SEEM LIKE HOURS. i i > GONNA HAVE
Ti—lEY [Link] IT.

MARIA, TONY
JETS SHARKS ANITA
THE HOURS GO
SO
SLOWLY,
THEY BEGAN IT. AND WE’RE BERNARDO’S
AND STILL THE
THE ONES GONNA HAVE
SKY IS LIGHT.
HIS WAY
TO STOP ’EM TONIGHT —
ONCE AND FOR
WE’LL STOP ALL!
’EM ONCE AND TONIGHT.
FOR ALL!
OH MOON,
GROW BRIGHT THE JETS ARE
GONNA THE SHARKS TONIGHT —
HAVE THEIR ARE GONNA
AND MAKE WAY, HAVE THEIR
THIS ENDLESS WAY,
DAY ENDLESS
THE JETS ARE THE SHARKS
NIGHT, THISVERY
GONNA HAVE ARE GONNA
NIGHT,
THEIR DAY, HAVE THEIR
DAY,

WE’RE GONNA
ROCK IT WE’RE GONNA WE’RE GONNA
TONIGHT!
TONIGHT. ROCK IT ROCK IT
TONIGHT! TONIGHT — TONIGHT
TONIGHT!
END OF SCENE EIGHT
 SCENE NINE

A dend end: rotting Minster-nnd-brick zoo/is ›zJ ›ues/z iuire fences.

A s/ree/ /orr/p.

It is nightfall. The almost-silJiouetted BANK S come in join sepnrnie

sites: clirthing over the fences or creaming I/iroiigJi Jioles its the T0alls.
There is silence us they fnn oitt on opposite sites of the cleared spnce.
Then B£RNARD O nnd DIESEL remove their jackets, Jtnnding them
to their seconds: CHINO and RIFF)

BE RN ARD O
Ready.

CH I NO
Ready!

D IE SE L
Ready.

Ready! Come center and shake hands.

B ERN AEDO
For what?

That’s how it’s done, buddy boy.

BE RN ARD O
More gracious living? Look: I don’t go for that pretend cra[ you all go for in this
country. Every one of you hates every one of us and we hate you right back. I
don't drink with nobody I hate, I don’t shake hands with nobody I hate. Let’s get
at it.

Okay.

BERNARDO

(Moviilg toward CENTER)

Here we go.
 TO NY
Holed it!
(“i-!F reads ovci n fewce with stni ts to az›tNARnoj

R IFF
Get with the gang.

TONY

No.
R IFF
What’re you doing?
BERNA RD O
Maybe he has found the guts to fight his own battles.

TONY

(Sixiliitg)
It doesn't take guts if you have a battle. But we haven’I got one, 'Nardo.
{HL exicl7JS his llGlitl for B ERNARDO io sli Ake it. B E REARDO
#qoc\s the | ntlcl yiuyj nttJ yipCS TONE n SlloUc that SCtfd HillI

B ER NAR DO
Bernardo.

RI FF

(Qiiief, strong)
The deal is a fair fight between you and Diesel.
{To TONY, who has Solicit up)
Get with the gang.
(Dt‹YiNf fHC fIf-if, BERNARDO flicks ToNy’s s:it›-i, y•isileS Hi•
shoulder, yitlclies cheek)
 BER NA RO O

(To TONE)
I’ll give you a battle, Kiddando.

DIESEL
You’ve got one.

BERN AR D O
I’ll take pretty-boy on as a warm-up. Afraid, pretty boy? Afraid, chicken?
Afraid, gutless?

Cut that —

TONY
I don’t want to, Bernardo...
(Meaning “Want to let go”)

B E RNA RD O
I’m sure.

TONY
Bernardo, you’ve got it wrong.

BERNAR DO
Are you chicken?

TONY
You won’t understand!

BERi'fARDO
What d’ya say, chicken?

ACTION
Get him, Tony!

BERNAnlio
He is chicken.

DIESEL
Tony —
 Lb E S T

A-RAB
Get him!

TONY
Bernardo, don’t.

BERNAR
DO
Don't what, pretty little chicken?

Tony, exon’I just stance —

BERNAR DO
Yellow- well iced chicken —

TONY!

ACTION
Murder him!

SNOABOY
Kill him!

TONY
D 0 N’T P US H M E !

BER NA R D O
Come on, you yellow-belliecl Polak bas —

(HE ncrrr/[Link], for fllF-I- ltniiJs oJ‘f alid ities latin. iiiiii
they tn›o BANGS nJerf aitJ the action goes iitfo dance for m. As
BEENARD0 reels back to lits feet, lie reaches for his bnck yocket.
RIFT reaches for his brick yocket nitd at the sane iitstniit, each brin$s
or th gl ning kiiife. THEY jockey for position,/eiitiing, dueiiitg;
the tiuo WINGS shift positi0n, torn niiil ayain tern{ orai ili obsrH i ing
f/ic /gJifcrs. TONE tries to get betiueen them)
 nIFF
Hold him!
(DIESEL and ACTION grab TONY and hold him back. The fight
continues. RUC loses his knife, is passed another bj a JEM. At Inst,
he has BEflNARDO in a positiOR there if seems fJinf he will be nble
to run him fJirough. TONY breaks from DiESE£ and comes to stop

TONY
Riff, don’t!
(REFS- hesitates n moment; the moment is enough for BERNARDO
ioJiose hand goes forward with a driving tnotion, running his knife
into RIFT. TONY lenps forward to catcll RISK-. HE hrenks his fall, flten
fo#es the knife front /tis hnnd. A free-for-nll has broken out as TONE,
RIFT’S knife in found, fenps at the triumphant BERNASDO. All this
linppens terribly fast; and TONE rums his knife into BERNARDO.
The free-for-all continues a moment longer. Then a sharp police
irJiisf/e. EreryfJiing comes to a dead stop, dead silence. Then a Jisfnct
police sirett: the KIDS rarer, run one way, nriofJter; prime, confusion.
As the stage is cleared, TONE stands, horrified, over the still bodies of
RiFf- nnd B E RNARDO. HE bends over ROOF’S body; then lie rolls
over B ERNAR DO’S body — and stares)

TONY

(An nngitished
cry)
MARIA!
(Another police whistle, closer now, #tif lie doesn’t iiiove. from the
slintloius, ANYBOD YS appears. SHE scurries to TONY und fogs ni
his arm. A siren, nnotlier whistle, Tier a senrcJiligJit cuts across the
ploygroiiitd. ANYBOD YS’ insistent ttiggitig brings TONY to fJte
realization of the dnnger. HE croticJies, stuns to rim toifJt her to one
escapeirny. SHE reaches it first, goes out - but Use searchlight iiifs if
jt‹sf as he would ¿n through. HE slops, runs the other Quay. He Jorfs
here, fJiere nnd finnlly gets nwaq as n distant clock fiegins to boom
nntl:

THE C tIRTAIN FALLS)

END
OF SCENE NINE
END
OF ACT ONE
 ACT TWO

A heclroom tind ynrt of ti yarlot. The bedroom lias a windoio oyetliii g off to the
are escayc•, n br f, ii sinall eli ir to the Vii’gm oi a ii nll, n id a cii i ttii cd
tlooi iutJ, ieri r. Tllcrc is ii woi kahlc clooi hetiueeti hctli ooii

UI. ltllI“l“0I“, rin‹:I oi R OSA LI in i its :)

C O N S U ELA
This is my last night as a blonde.
nosALIA
No loss.
C ON SU EL
A
A gain! The fortune teller told Pepe a dark lady was coming into his life.

RO SAL IA
So that’s why he’s not taking you out after the rumble!
{The M i_ISIC becomc•s festively, Jiuniorotisly SJinriisit us MARIA
ENTERS tlirou gli curtaiiicd tloorioay. SHE is fiii isliiiig ge//iny e
dresscd iiy)

MAR IA
There is not going to tae a rumble.

RO S ALI
A
Another fortune teller.
CON S UE L A
Where is Claino escorting you after the rumble-that-is-not-going-to-be-a-rumble?

MARIA
Cliino is escorting me no place.
 E S T S f D E S T o n y

RO SA LIA
She is just Rolling up for us. Gracias, querida.

MAR I A
No, not for you. Can you keep a secret?

CON S U E L A
I’m hot for secrets!

M ARI A
Tonight is my wedding night!

C ON SUEL A
The poor thing is out of her mind.

MAR IA
I am: crazy!

RO S ALIA
She might be at that. She looks somehow different.

MARIA

ROS A LIA
And I think she is up to something tonight.

MARIA
I am?

CON S UEL A
“I do?” “I am?” What is going on with you?

MAR I A
I FEEL PRETTY,
OH, SO PRETTY,
I FEEL PRETTY AND WITTY AND BRIGHT!
AND I PITY
ANY GIRL WHO ISN’T ME TONIGHT.
I FEEL CHARMING,
OH, SO CHARMING —
 1 F’S A LA R II I VG HOW CHA RMUG I FEEL!
AND SO PRETTY
THAT I HARDLY CAN BELIEVE I’M REAL.

SEE "I“hI E P II ETTY G1 UL IN 4 4lA I M114 llOll TH E II

E: W'HO CAN THAT ATTRACTI VE GIRL BE?
SUCH A PRETTY FACE,
SUCH A PRETTY DRESS.
SUCH A PRETTY SMI LE,
SUCH A PRETTY ME!

I
I FEEL STUNNING
AND ENTRANCING —
FEEL LIKE RUNNING AND DANCING FOR JOY,
FOR 1’M LOVED
BY A PRETTY WONDERFUL BOY!

CO N S UE LO, no SAL I A, rn AN CISCA

HAVE YOU MET MY GOOD FRIEND MARIA,
THE CRAZIEST GIRL ON THE BLOCK?
YOU'LL KNOW HER THE MINUTE YOU SEE HER —
SHE’S THE ONE WHO IS IN AN ADVANCED
STATE OF SHOCK.

CO N S U EL O, RO SA L IA

SHE THINKS SHE’S IN LOVE.

SHE THINKS SHE’S IN
SPAIN. SHE ISN’T IN LOVE,
SHE’S MERELY INSANE.

C ON S U ELO
IT MUST DE THE HEAT

nosALiA
OR SOME RARE DISEASE

FnANcisc A
OH TOO MUCH TO EAT
 W E S T S I D E S T O R Y

RO SAL I A

OR MAYBE IT’S FLEAS.

CONS UELO, ROSALIA, FRANCISCA

KEEP AWAY FROM HER — SEND FOR CHINO!

THIS IS NOT THE MARIA WE KNOW:

C ONS U EL O, RO S AL I A
MODEST AND PURE,
POLITE AND REFINED,
WELL-BRED AND MATURE
AND OUT OF HER MIND!

CO NS UE L O, RO S ALI A, FRAN CI SCA

{Vnriously)
Miss America! Speech! Speech!

MARIA
I FEEL PRETTY,
OH, SO PRETTY,
THAT THE CITY SHOULD GIVE ME ITS KEY.
A COMMITTEE
SHOULD BE ORGANIZED TO HONOR ME.

CON S U EL O, RO S AL I A, FRANCISCA

LA LA LA LA LA LA LA LA LA LA.

MAR IA
I FEEL DIZZY,
I FEEL SUNNY,
I FEEL FIZZY AND FUNNY AND FINE,
AN D SO PRETTY,
MISS AMERICA CAN JUST RESIGN!

C ON SU ELO, ROSALIA, FRANC ISCA

LA LA LA LA LA LA LA LA LA LA LA LA.

MARIA
SEE THE PRETTY G IPS L IN TH AT M IRROP THERE:
 CO N SUE L O, RO SAL IA, FRANCI SCA

WHAT MIRROR WHERE?

MARIA
WHO CAN THAT ATTIIA CTI VE GIRL DE?

FRAN CI SCA

WHICH?

C ONS UELO
WHAT?

RO SA L IA
WHERE?

MAR I A CO NS U EL O, RO SA L IA,
FnANciscA
WHOM?
SUCH A PRETTY FACE, WHOM-MM?
SUCH A PRETTY DRESS, WHOM-MM?
SUCH A PRETTY WHOM-MM?
SMILE, SUCH A
PIIETTY ME!

FRAN CI SCA

SUCH A PRETTY ME!

nosALIA

SUCH A PRETTY ME!

CON S UELO

SUCH A PRETTY ME!

 W z S T S T o n r

M AR I A CO NS U EL O, RO SA L IA,
FRAN C I SCA
1 FEEL STUNNING
I FEEL STUNNING
AND ENTRANCING —
AND ENTRANCING —
FEEL LIKE RUNNING
AND DANCING FOR JOY, RUNNING AND DANCING
FOR JOY,

ALL
FOR I’M LOVED
BY A PRETTY WONDERFUL BOY!

OFFSTAC E)

CH I N O
Maria!

CONSUELA
It’s Chino.

ROSAL IA
The happy bridegroom.

CH I NO

(Closer)
Maria!

MARIA
Please —

C ON SUEL
A
Yes, little bride, we’re going.

nosAxIA
They have a quaint old-fashioned custom in this country, Maria:
they get married here before the wedding night.
 IV E S T $1 D E S T O It Y

(SHE Jollou›s CONS UELA into the parlor as CHINO ENTERS fi oii i
OF-US TAGE. His clothes are diet j and for it fi ciii the figlit; lits fy e is
smeared. THEY slinke their hems at hint nnd flounce ont. HE closes
the oH ter door)

CH I NO
Maria. ..?
MAR I A
I’m in here. I was just getting ready to —
(SHE is it urriedl j tmJiiig to yut n bnf/ti othe ovci her dress. CHINO
comics iit before s/ie cn i finisll, so tha I s/ie fences if over her sliouldCl'S,
holding it closed turtle her hand)

CH I N O
Where are your parents?
MAniA
At the store. If I had known you were — You leave been fighting, Claino.

CHI NO
Yes, I am sorry.

M ARI A
That is not like you.

CHINO
No.

MAR I A
Why, Chino?

C HI NO
I don’t know why. It happened so fast.
MAniA
You must wash
up.
CH I NO

Maria —
 E S T S f D E S T o n y Page 85

MAnI A
You can go in there.

CH IN O
In a minute. Maria... at the rumble —

MAR IA
There was no rumble.

CH I N O
There was.

MAR IA
You are wrong.

CH I NO
No, there was. Nobody meant for it to happen...

MAR I A
...Tell me.

CH I NO
It’s bad.

MAR IA
Very bad.

CH IN O
(Nods)
You see...
(Moses closer to Jeer, helplessly)

MAR IA
It will be easier if you say it very fast.

CH I N O
(Noels)
There was a fight —
{SHE nods)
And ’Nardo —
 E S T I D E S T G R Y

And somehow a knife — and ’Nardo and someone —

(HE tribes her finite)

M A RI A
Tony. What happened to Tony?
(The ntiiim stoys CHINO. HP di‘oys lieu limits: the i‘obr o{ieiis,

Tell me!
(Crudely, CHINO banks off the robe, tevealiiig fret dressed to go oti f)
Chino, is Tony all right?!

CH I NO
He killed your brother.
(HE w«Iks ii›io the p«r/o•; s‹^ »°›i°g ‹/'e door be/' ''^ /'*'^. A 'o 'e t,

MARIA
You are lying.

smile color ns BE£NAXDO’6 S/J‹rt. di’oiii tile be‹Ji ociii, louder:)

You are lying, Chino!
(Coldly, CHINO itniornps a gun which he puts its Otis pocket. There is
i/›r SOUND OF A POLICE SEVEN at distuiice. HE goes out. During

Make it not be true... please make it not be true... I will do anything: make me
die... Only please — make it not be true.

climbs tit. His shirt is rigged, oliitosf Golf-form off. He

Killer killer killer killer killer —

 E S T S I D E T O R V

(B ut her voice brenks iiito tenrs, her erms go nboitt him, end site buries
her fnce in his chest, kissing his. Site begins to slide down his body.
He suyyoris her us, loge flier, they go to the floor, lie cradling Jeer body
in his artns. He pusltes her hair back froiii her face; kisses ller hair, her
face beAueen ltte cards fitaf fumble oitt:)

TONY
I tried to stop it; I did try. 1 don’t know how it went wrong... I didn’t mean to hurt
him; I didn’t want to; I didn’t know I had. But Riff... Riff was like my brother. So
when Bernardo killed him —

’Nardo didn’t mean it, either. Oh, I know he didn’t! Oh, no. I didn’t come to tell
you. Just for you to forgive me so I could go to the police —

MAR I A
No!

TONY
It’s easy now —

MARIA

TO NY
Whatever you want, I’ll do
—
M ARI A

Stay. Stay with me.

TONY

I love you so much.

MARIA

Tighter.
TO NY
We’ll be all right. I know it. We’re really together now.

MAR IA
But it’s not us! It’s everything around us!
 TO NY

(His voice yi niliinlly i isii i y ii i to solid)

Then we’ll find someplace where nothing can get to us; not one of them,
not anything.

AND I’LL TAKE YOU AWAY,

TA KE YOU FAR fiAR AWAY OUT OF LIEU E,
rAn rAu AwAv TILL THE WALLS
AND THE STREETS D ISAPPEAR,

MA nIA, TONY
SOMEWHERE THERE MUST BE A PLACE
WE CAN FEEL WE’ItE FREE,
SOMEWHERE THERE’S GOT TO BE
SOME PLACE FOR YOU AND FOR ME.

nciif itself goes nnd the two LOVERS hegiil to i iiit,

bntteritig o,qninsi the walls of the city, bienkiitg tlii ougli as clinot ic
go res of the quirks, of the violence flail around them. But Alley do

nn‹:I st‹›1. They stuy, looking ‹it it, plensei:I, strii tlei:I as BOYS null
GJRLS fi om hotli sides court oii. Ai I the ia
pfeiiserf.
Their clothes ni e soft, pnstef uci sions of iolint I/icy have morn hefore.
TlteJ begin to lance, to plug: no sides, no Jiosfilify more; just joy and
ylensure nut tent with. Mme mil mm g join, t ld tlin
TONY oii i MARIA iuaN / to he iii, belong to, to sluu e flicir love -‹with.
US fIfey fiCJtit th I’ Slets Of i Jgi NJ tt GJAP
SiNCJNG:)
 E S T S I D E S T O R Y

THERE’S A PLACE FOR US,

SOMEWHERE A PLACE FOR US.
PEACE AND QUIET AND OPEN AIR
WAIT FOR US
SOMEWHERE.

THERE’S A TIME FOR US,

SOME DAY A TIME FOR US,
TIME TOGETHER WITH TIME TO SPARE,
TIME TO LEARN, TIME TO CARE
SOME DAY!

SOMEWHERE
WE'LL rIND A NEW WAY OF LIVING,
WE’LL FIND A WAY OF FORGIVING
SOMEWHERE,
SOMEWHERE...

THERE'S A PLACE FOR US,

A TIME AND PLACE FOR US.
HOLD MY HAND AND WE’RE HALFWAY THERE.
HOLD MY HAND AND I’LL TAKE YOU THERE
SOME DAY,
SOMEHOW,
SOMEWHERE!

(The LO U£RS hold otal their hands to each otJier; the otJiers follow
suit. SETS to SHARKS; SHARKS to JETS. And THEY/ore wlint is
almost a Proce-Psion ruinrliti g its /riiioip/ioiit iunJ th iigl tl ild-
be world, ns than sing the toorJs of the song u›itli wonderment)
 G RO U P 2
THERE’S A PLACE FOR US, THERE’S A PLACE FOR US,
THERE’S A PLACE FOR US, THERE’S PLACE FOR
THERE’S A...
US.

(T/ieit, sir d lcitlj, there is n élrii 1 stop. Thc harsh s/injures, the fii e

B ERNARD O sl‹nul iJ oulL uii. Tlir th cam li‹•r‹›iiu:s ii iii¿lituuti‘c: us the’

city i etch ns, tlic’i e are bi icf i c°-«ii ctiiic’iits oj"tile kiiij”c fight, uf tile

TONY

HOLD MY HAND AND WE’RE HALFWAY THERE.

HOLD MY HAND AND I’LL TAKE YOU THERE
TO NY, MA n IA

SOME DAY,
SOMEHOW,
SOMEWHERE!
{As the LIGHTS fade, THEY sick baCk together oit Alis bed)
END
OF SCEN E ON E

SCENE TWO

A feiire with loose boar ds; mules betit›ceii biiildiiigs.

Softlj, fi om beliind the fence, dliv JET GANG io/iistle. A secoiid, t/imi
fiu niislpet iftg mliisfle, softlJ, OPUS TALE oi Ri’Ottntl tl c0fItg1‘. NIcI
the loosz vom d /ips oy uud BAB ¥ JOHN mi iggles tlii ou gli liz feiice.
HE mliistle.s marii, nn?l timitfl j, mut A- A B coiiies cii)
 E S T S I D E S T O ft Y Pnge 91

A-RAB
They get you yet?

B ABY JOHN
No. You?

A-RAB

B ABY JOHN
You seen Tony?

A-RAB
Nobody has.

B ABY JOHN
Geez. ..

A-RAB
You been home yet?

B ABY JOHN
.Uh uh.

A-RAB
Me, either.

B AB Y
Just hidin’ around? JOHN

Uh-huh. A-RAB

BABY JOHN
A-rab... did you get a look at ’em?

A-RAB
Lookit who?

B ABY JO HN
Ya know. At the rumble. Riff and Bernardo.
(Pause)
 A-ilAB

I wish it was yesterday.

Wadaya say we run a way? BABY JOHN

What’s a matter? You scared? A -RAB

. . .Yeah. BAB Y JO HN

A-RAB
You cut it out, ya hear? Ya only makin’ me scared an’ that scares me!
(Police ioliistle. HE grubs BABY JOHN)
Last thing ever is to let a cop know you’re scared or anythin'.

KnurKE
{OPFSTAGE)
Hey you two!
Play it big wit’ the baby blues.
A-RAB

B ABY JOHN

{Scared)
O.K
A-nAB

c'“'’^p''•8 ^'“+)
Big, not scared, big!

KnurKE

Yeah: you.
(TH£Y stop, so surprised)

A-RAB
Wlav it is Officer Krupke, Baby John.
 W E s SID E STo nr Page 93

B ABY JO HN

Top of the evening, Officer Krupke.

I'll crack the top of your skulls if you punks don't stop when I whistle.

A-RAB
But we stopped the very moment we heard.

BABY JOHN
\/Ve got 20-20 hearing.

You wanna get hauled down to the station house?

BABY JOHN
Indeed not, sir.

I’ll make a little deal. I know you was rumbling under the highway —

B ABY JOHN
We was at the playground, sir.

A-RA B
We like the playground. It keeps us deprived kids off the fould streets.

B ABY JOHN
It gives us comradeship —

A-RAB
A place for pleasant pastime —
As’ for us, born like we was on the hot pavements —

O.K., wise apples. Down to the station house.

B ABY JOHN
Which way?
 W 1 S T

A-RAB
This way!

oilier. KPL/PKE //csi/n/c’s then rz‹ns n/Mgr u//e oj" I/ic/›/, bloiuiiiy his
zo//isf/c like h1nd. 7/zg ii1oiiietit l1e is off, BOTH «yyenr till cu$li tile
fence, followe‹t by tile O7HEXS}
Look at the brass-ass run!

BABY JOHN
I hope he breaks it!

A CTI ON
Get the lead out, fat boy!

G BI D EAL
Easy. He’ll come back and drag us down the station house.

ACTION
I already been.

S NOWBO Y
We both already
been.
A-RAB

What happened?
SN OWB OY

A big fat nothing —

A-RAB

How come?
S NOWBOY
Cops believe everything they read in the papers.

A CTI ON
To them we ain’t human. We’re cruddy juvenile delinquents.
So that's what we give ’em.
 W E S T S i D r S0 T it Y

SN OWB OY

Hey, you!

ACTION
Me, Officer Krupke?

SNOABOY
Yeah, you! Gimme one gooc4 reason for not dragging ya down the station house,
ya punk?

A CTI ON

DEAR KINDLY SERGEANT KRUPKE,

YOU GOTTA UNDERSTAND —
IT’S JUST OUR BRINGIN’ UP-KE
THAT GETS US OUT OF HAND.
OUR MOTHERS ALL ARE
JUNKIES OUT FATHERS ALL ARE
DRUNKS.
GOLLY MOSES — NATCHERLY WE’RE PUNKS!

ALL

GEE, OFFICER KRUPKE, WE’RE VERY UPSET;

WE NEVER HAD THE LOVE THAT
EVERY CHILD OUGHTA GET.
WE AIN’T NO DELINQUENTS,
WE’RE MISUNDERSTOOD.
DEEP DOWN INSIDE US THEPvE IS GOOD!

AC TI O N
THERE IS GOOD!

THERE IS GOOD,

G ROU P 2

THERE IS GOOD,
Page 96

ALL

THERE IS UNTAPPED GOOD.

LIKE INSIDE, THE WORST OF US IS GOOD.
S N OWB OY

{As K£ LfPKE)
That’s a touchin’ good story.

A CTI O N
Lemme tell it to the world!

SNOABOY

Just tell it to the judge.

ACT ION

{To DIESEL, iullo pfnys ltte parf of a judge)

DEAR KINDLY JUDGE, YOUR HONOR,
MY PARENTS TREAT ME ROUGH.
WITH ALL THEIR MARIJUANA,
THEY WON’T GIVE ME A rurr
THEY DIDN’T WANNA HAVE ME,
BUT SOMEHOW 1 WAS HAD.
LEAPIN’ LIZARDS — THAT’S WHY I’M SO BAD!
D IES EL

(As judge)
RIGHT!
OFFICER KRUPKE, YOU’RE REALLY A SQUARE;
THIS BOY DON’T NEED A JUDGE,
HE NEEDS AN ANALYST’S CARE!
IT’S JUST HIS NEUROSIS THAT OUGHTA BE CURBED —
HE’S PSYCHOLOGICKLY DISTURBED!

A CTI O N

I'M DISTURBED!
 E S T S I D E S T O R V

WE’RE DISTURBED,

G RO UP 2

WE’RE DISTURBED,

ALL

WE’RE THE MOST DISTURBED.

LIKE WE’RE PSYCHOLOGICKLY DISTURBED.

D I ESE L

Hear ye, hear ye! In the opinion of this court, this child is depraved on account
he ain't had a normal home.

ACTION
(Spenks)
Hey, so I’m depraved on account I’m deprived!

D I ESE L

So take him to a headshrinker.

A CTI ON

(To A-RAB, «mo plays a psychiatrist)

MY FATHER IS A BASTARD,
MY MA'S AN S.O.B.
MY GRANDPA’S ALWAYS PLASTERED,
MY GRANDMA PUSHES TEA.
MY SISTER WEARS A MUSTACHE,
MY BROTHER WEARS A DRESS.
GOODNESS GRACIOUS, THAT’S WHY I’M A MESS!

A-RAB

(As psyc/1inlrist)

YES!
 OFFICER KRUPKE, YOU’RE REALLY A SLOB.
THIS BOY DON’T NEED A DOCTOR,
JUST A GOOD HONEST JOB.
SOCIETY’S PLAYED II IM A TERR IBLE TRICK,
A ND SOCIOLOGICA LLY HE’S SICK!

ACT IO N

I AM S ICK!

WE ARE SICK,

G ROU P 2

WE ARE SICK,

ALL

WE ARE SICK SICK SICK,

LIKE WE’RE SOCIOLOGICALLY SICK!

A-RAB

In my opinion, this child don’t need to have his head shrunk at all.
Juvenile delinquency is purely a social disease.

ACT I O N
Hey, I got a social disease!

A-nAB
{As ysycliinti ist)
So take him to a social worker!

ACT IO N

{To BAB Y JOHN, relic ylnys n f ttmle sorial -‹nor kei)

DEAR KINDLY SOCIAL WOPxKER,

THEY SAY GO EARN A BUCK,
LIKE BE A SODA JERKER,
WHICH MEANS LIKE BE A SCHMUCK.
IT’S NOT 1’M ANTI-SOCIAL,
 E S T S f D E S T O R Y
Page 99

I’M ONLY ANTI-WORK.

GLORY-OSKY, THAT’S WHY I’M A JERK!

BABY JO HN

{As female social worker, in falsetto)

EEK!
OFFICER KRUPKE, YOU’VE DONE IT AGAIN.
THIS BOY DON’T NEED A JOB,
HE NEEDS A YEAR IN THE PEN.
IT AIN’T JUST A QUESTION OF MISUNDERSTOOD;
DEEP DOWN INSIDE HIM, HE’S NO GOOD!

ACT I ON
I’M NO GOOD!

WE’RE NO GOOD,

GROUP2
{Overlapping)
WE’RE NO GOOD,

AL L
WE’RE NO EARTHLY GOOD,
LIKE THE BEST OF US IS NO DAMN GOOD!

D IES E L

(As judge)
THE TROUBLE IS HE’S CRAZY.

A-RAB

(As psycJiiofrisf)
THE TROUBLE IS HE DRINKS.

BABY JOHN

(As fetnale social worker)

THE TROUBLE IS HE’S LAZY.
 D I ES E L

(As )rid ge)

THE TROUBLE IS HE STI NKS.

A-RAB

(is ysycliinti is I)
THE TROUBLE IS HE’S GROWING.

B ABY JOHN

{As female soctel market)

THE TROUBLE IS HE’S GROWN!

ALL

KRUPKE, WE GOT TROUBLES OF OUR OWN!

GEE, OFFICER KRUPI4E,

WE’RE DOWN ON OUR KNEES,
'CAUSE NO ONE WANTS A FELLA
WITH A SOCIAL DISEASE.
GEE, OFFICER KRUPKE,
WHAT ARE WE TO DO?
GEE, OFFICER KRUPK E —
KRUP YOU!
(A fter song, ANYBOD YS sppedrs over the fence)

ANYB O DY
S
Buddy boys!

A CTI ON
Ah! Go wear a skirt.

ANYB O DY S
I got scabby knees. Listen —

A CTI ON

{To the CANG)

Come on, we gotta make sure those PRs know we’re on top.
 E S T S I D E T O R Y
Page 101

B IG D EAL
Geez, Action, ain’t we had enough?

ANYBODY S

(Going nfter fliei3i)

Wotta buncha Old Man Rivers: they don’t know nuthin’ and they don't say
nuthin’.

A CTI ON
Big deal, the question ain’t whether we had enough —

ANYBODY S
The question is: where’s Tony and what party is lookin’ for him.

ACTION
What do you know?

ANYBODYS
I know I gotta get a skirt.
(S tarts off, but DIESEL stops her)

A CTI ON
Come on, Anybodys, tell me.

S N OWB OY
Ah, what’s that freak know?

ANYBO DY S
I figgered somebody oughta infiltrate PR territory and spy around. I’m very big
with shadows, ya know. I can slip in and out of ’em like wind through a fence.

S NOWBOY
Boy, is she ever makin’ the most of it!

ANYB ODYS
You bet your fat A, I am!

A CTI O N
Go on. What dya hear?
 ANYBO DY S
! I heard Claino tellin’ the Sharks sometliin' about Tony and Bernardo's sister. And
then Chino said: “If it’s the last thing I do, I’m going to get Tony.”

A CTI ON
Wlaat’c4 I tell ya? Those PRs won’t stop!

S NOWB OY
Easy, Action!

B IG DEAL
It’s bad enough now —

Yeah! BABY JOHN

A CTI ON
You forgettin'? Tony came through for us Jets. We gotta find him and protect him
from Chino.

A-RAB
Right!

ACTION

O.K., then! Snowboy — cover the river!

{SNOW\IBOA rtiits oJ
A-rab — get over to Doc’s.
DIESEL
I'll take the back alleys.

Big deal. ACT ION

I’ll cover the park.

BI G D
EAL
Good boy!

ACTI O N
 E S T $1 D E T O R Y Pagr 103

ANYB ODYS
What about me?

A CTI ON
You? You get a hold of the girls and send ’em out as liaison runners so we’ll know
who’s found Tony where.

AN Y BO DYS
Right!
(Sfnrfs to ri‹ii off)

A CTI O N
Hey!
(SHE stops)
You done good, buddy boy.

ANYBODY S

(SHE lins fallen iit love)

Thanks, daddy-o.
{THEY both rtin offl

EN D OF SCENE TWO

SCENE THREE

die light is, aI first, a rngtie glow on the lovet s who nre asleep on the
bed. The music is btised on fJtaf iuJiicJt exiled the first npnrfoieiit scene.
From OOPSTAG E, faint at first, the sound of knocking. It gets louéler,
TON I n dis tnnce, n Police strewn with HW LtlOCking veriJ /ot‹d.
TONY bolts uyrigli t. ANITA routes in froiti oittsid‹• rind goes to the
bedroom door - iofticfi is locked — tries the knob, calling:)

AN ITA

(Holditig back teurs)

{TONY is reaching for his shirt iuJieii ARIA sit.s up. Qiticklj,
Re yuts lits hate d, then lits lips oti her liys)
Maria, it’s Anita. Why are you locked in?

M ARI A
I didn’t know it was
lockec4.
ANITA

Open the door. I need you.

{ARIA ranches for the knob, TON stoys her)

M AR I A

( MÍtÍSĘff)

Now you are afraid, too.

AN I TA
What?

MAR I A
(Loud)
One moment.

TONY

Doc’ll help. I’ll get money from him. You meet me at his drugstore.
(Jr the other room, ANJTA is more o/ voices btif insure of what

MAnI A
At Doc’s, yes.
{Aloud)
Coming, Arúta!

TONY

{Kisses her)

(HE sct tiibles out the iuiitioiu us MARIA hastily Qtr fs n batlit ohe ott
over Jeer slip. lit he other room, UNITS furs - likened n»d »ooed nu oy
from the door. SHE stouts storing of if coldlJ as MARIA prattled
Um oiigJi he door)
 E S T /1 D E S T O R V

MARIA
Did you see Chino? He was here before, but he left so angry I think maybe he...
(SHE opens the door and sees ANITA’S look. A moment, ilicn UNITS
pushes her aside: looks nt the bed; nt the miitdoio; then ftiriis ncciis-
ingfi/ to MARIA)
All right: now you know.

ANITA

And you still don’t know. Tony is one of them!

(Bitterly)
A BOY LIKE THAT WHO’D KILL YOUR BROTHER,
FORGET THAT BOY AND FIND ANOTHER!
ONE OF YOUR OWN KIND —
STICK TO YOUR OWN KIND!

A BOY LIKE THAT WILL GIVE YOU SORROW —

YOU’LL MEET ANOTHER BOY TOMORROW!
ONE OF YOUR OWN KIND,
STICK TO YOUR OWN KIND!

A BOY WHO KILLS CANNOT LOVE,

A BOY WHO KILLS HAS NO ICEA tiT.
AND HE’S THE BOY WHO GETS YOUR LOVE
AND GETS YOUR HEART —
VERY SMART, MARIA, VERY SMART!

A BOY LIKE THAT WANTS ONE THING ONLY,

AND WHEN HE’S DONE HE’LL LEAVE YOU
LONELY. HE’LL MURDER YOUR LOVE; HE
MURDERED MINE. JUST WAIT AND SEE —
JUST WAIT, MARIA,
JUST WAIT AND
SEE!
 MAR IA

0 NJ, NO, AM ITA, NO — AN ITA, NO!

lT ISN’T TRUE, NOT" FOPx ME,
IT’S TR U E FOIi YOU, NOT NOy W E,
I 1—1 EA It YOU II WOII DS —
AND IN MY HEAD
I KNOW T HEY’HE SMA FMT,
BUT MY l—lEAItT, ANITA,

MAR IA ANITA
BUT MY HEART A BOY LIKE THAT
KNOWS T41EY’1IE W WHO’D KI LL YOU II D IIOTH E II,
HONG AND MY HEART FORGET THAT DOY
IS TOO STRONG, AND FIND ANOTHER!
£OR I BELONG ONE OY YOUR OWN KIND,
STICK TO YOUR OWN KIN D!
TO HIM ALONE, TO HIM ALONE,
ONE THING I KNOW: A BOY WHO KILLS CANNOT
I AM HIS, LOVE, A BOY WHO KILLS HAS NO
I DON’T CARE WHAT HE IS. HEART AND HE’S THE BOY
1 DON’T KNOW WI—IY IT’S SO, WHO GETS YOUR LOVE
I DON’T WANT TO KNOW AND GETS YOUR HEART —
VERY SMART, MARIA, VERY SMART

MAR I A

OH, NO, ANITA, NO — YOU SHOULD KNOW BETTER!

YOU WERE IN LOVE — OR SO YOU SAID.
YOU SHOULD KNOW BETTER...

I HAVE A LOVE, AND IT’S ALL THAT I HAVE.

RIGHT OR WRONG, WHAT ELSE CAN I DO?
I LOVE HIM; I'M HIS,
AND EVERYTHING HE IS
I AM, TOO.
1 HAVE A LOVE AND IT’S ALL THAT I NEED,
RIGHT OH WRONG, AND HE NEEDS ME TOO.
1 LOVE HIM, WE'RE ONE;
THERE’S NOTHING TO BE DONE,
 IV E S T K I D E T O R Y
Page 107

NOT A THING I CAN DO

BUT HOLD HIM, HOLD HIM FOREVER,
BE WITH HIM NOW, TOMORROW
AND ALL OF MY LIFE!

MARIA, ANITA
WHEN LOVE COMES SO STRONG,
THERE IS NO RIGHT OR WRONG,
YOUR LOVE IS YOUR LIFE!

ANITA

Chino has a gun... He is sending the boys out to hunt for Tony —

MARIA

(As she tears off her batlirobe)

If he hurts Tony — if he touches him — I swear to you, I’ll —

ANITA

You’ll do what Tony did to Bernardo?

MARIA
I love Tony.

ANITA
I know. I loved Bernardo.
(SCHRANE comes into the otifer room)

scHnANK
Anybody home?
(Goes to bedroom door. Pleasnntly:)
Sorry to disturb you. Guess you’re disturbed enough.

MAR I A

(Gatlierin g her robe)

Yes. You will excuse me, please. I must go to my brother.
 S CHR AN K
There are just a coupla questions —

MAR IA
Afterwarc4s, please. Latei.

S CHR AN K
It’ll only take a minute.

ANITA
Couldn’t you wait until —

SCH R AN K

(Slinryly)
No.
{A sitiile to SiA)
\’ou were at the dance at the gym last night.
MAR I A
Yes.
S CH RA NK
Yr›tii brothei gent in a [Link] ai’gt1iiic•nt because you danced with the wrong boy.

MAR I A

S CHR AN K
Who was the
boy?
MAR I A
Excuse me. Anita, my heac4 is worse.
Will you go to the drugstore and tell them what I need?

S CH RANK
Don’t you keep aspirin around?
MAR I A
This is something special. Will you go for me, Anita?
 W E S T S I D E S T O R Y
Page 109

ANITA
Shall I tell him to hold it for you till you come?
MAnIA
{To SCHFANK)
Will I be long?

SCH RANK
As long as it takes.

MAR IA
{To ANITA)
Yes. Tell him I will pick it up myself.
(ANITA goes oitt)
m sorry. Now you asked?
S CH RANK

(As the RIGHTS dim)

I didn’t ask, 1 told you. There was an argument over a boy. Who was that boy?
MARIA
Another from my country.

SCHR AN K
And his name?

MARIA
José.
END OF SCEN E THREE

SCENE FOUR

(Drugstore.

A-RA B and sotne of the JETS ‹me I/7erc as oiJiers

«nz zixivaoovs r›‹n in)
 A CTI O N
Where’s Tony?

A-RAB
Down in the cellar with Doc.

G BI D EA L
Ya warn him about Claino?

A-R AB
Doc said he’d tell hint.

BABY JOHN
What’s lie laidin’ in the cellar frona?

BIG D EAL
aybe he can’t run as fast as you.

ACTION
Cut the frabbajabba.

ANYB O DY S
Yeah! The cops’ll get hip if Claino and the PRs don’ t.

A CTI ON
Grab some readiia’ matter; play the juke. Some of ya get outside and if ya see
Claino or any PR —
(The shop doorbfll tillkle.s n.s ANITA ENTERS. Cold silence, their
SJOItl/y sJie rO1IIc’S lOWn to the comnto THE Y ‹ill s I lie A 1
1 flie juke-box. a low mtunho)

AN ITA
I’d like to see Doc.

A CTI ON
He ain’t here.

ANITA
Where is he?
 W E S T b f D E

A-RAB
He’s gone to the bank. There was an error in his favor.

ANITA
The banks are closed at night. Where is he?

A-RAB
You know how skinny Doc is. He slipped in through the night deposit slot.

ANYB O DY S
And got stuck halfway in.

ACTION
Which indicates there’s no tellin’ when he’ll be back. Buenas noches, señorita.
{ANITA stnrts to go toionrd cellar door)

G BI DEAL
Wlaere you goin’?

ANITA
Downstairs — to see Doc.

ACTI O N
Didn’t I tell ya he ain’t here?

ANITA
I’d like to see for myself.

ACT I ON
Please.

AN ITA
.. .Please.

ACTI O N

AN ITA
Will you let me pass?

SNOABOY
She’s too dark to pass.
 AN I TA

Don’t.

A CT I O N
Please

S NOWBOY

DIESEL
Non coinprende.

A-RAB
Gracias.

B ABY JO HN
De nada.

ANYB ODYS
Ai! Mambo — Ai!

AN ITA
Listen, you —

ACT IO N
We're listenin’.

AN ITA
I’ve got to give a friend of yours a message. I've got to tell Tony —

DI ES E L
He main’I here.

AN ITA
I know he is.

ACTI O N
Who says lie is?
 E S T S i D r S T O it Y

A-RAB
Who’s the message from?

ANITA
Never mind.

ACTION
Couldn’t be from Chino, could it?

AN ITA
I want to stop Chino! I want to help!

ANYB ODYS
Bernardo’s girl wants la help?

ACTION
Even a greaseball’s got feelings.

ANYBODY S
But she wants to hel get Tony!

ANITA
No!

G BI D EAL
Not much — Bernardo’s tramp!

S NOWBOY
Bernardo’s pig!

ACTI ON
Ya lyin’ Spic — !

ANITA
Don’t do that!

G EETAR
Gold tooth!

DIESEL
Piercec4 ear!
 A-RA B
Garlic Mouth!

Spic! Lyin’ Spic! ACTION

li ti i lc•il it I ENI TO ‹tche is duct i clril aucl ‹li inert bJ llm u- liolr [back. At
they yeak, slice in sliut›rtl so tlia I she stills in it cot next‘. BAò Y JOHN is
lifirtl ,iy Jiig!i n„,i tit oyyc.,1 o,i !lri- ‹,« Doc ENTEns/›-o»i tire cc!!ni-

DO C
Stop it!... Wlaat’ve you been doing now?
(DenJ silence. A NfTA dens uy nut looks ní tlie•iii)

ANITA

{Ti i/iii g lloł tn ct i/)

Bernarc4o i›’as right... It one ot on i ’as bleecâinÿ in the street,
I’d walk by anal s it on you.

A CTI ON
Don't let her go!

D IES EL
She’ll tell Claino that Tony
(BIG D EAL ¿FHÒS IU I”, .9HE WHtIftAS fOOz9F)

ANITA
Let go!
(F-nciii g tlie•iH)
I'll give you a message for your American buddy! Tell the murderer Maria’s never
gonna meet hint! Tell lain Claino found out .and — and shot her!
(SHE .9U11lS GH I.

DOC
What does it take to get through to you? When do you sto ?
 W E S T S I D E S T O R ¥

You make this world lousy!

A CTI ON
That’s the way we found it, Doc.

D OC
Get out of here!
{Stormy, THEY sfflrt to file out as the LIGHTS rule)

END OF SCENE FOUR

SC ENE FIVE
(Cellnr.

CrnixpeJ: o fio.x or Annie; gmt of stairs fendiitg to the drugstore nbove;

n door to i/ir otiiside.

TONY is sitliti g on n crate, MRistliti g “Turin” us DOC rOItIRS dOIttt1

the sttiirs, some bills its lits Juii I)

TONY
Make a big sale?

DOC
No.

TONY

{Taking ltte money DOC holds out ntifoiiinficfllly)

Thanks. I’ll pay you back as soon as I can.

DO C
Forget that.

TONY
I won’t; I eoulc4n’t. Doc, you know what we’re going to cio in the country, Maria
and me? We’re going to have kids and we’ll name them all after you, even the
girls. Then when you come to visit —
DOC

Wake up!
 S T G X Y

Is that the only way to get though to you? Do just what you all do? Bust like a ho
water pipe?

TONY
Doc, wlâfl t’S botten —

DOC

{Over -riding angr/ly)

Why do you live like there’s a war on?

Why do you kill?

TO NY
I told you how it happened, Doc. Maria understands. Why can't you?
DOC
I never had a Maria.

TONY

I leave, and I’ll tell you one thing, Doc. Even if it only lasts from one night
to the next, it’s worth the world.

DOC
That's all it did last.

TO NY
What?
D OC
That was no customer upstairs, just now. That was Anita.
(Pnitse)
Maria is dead. Chino found out about you and her — and shot her.
(A brief moment. TONE looks aI DOC, stunned, iitunb. HE Shakes lits
l eztj is tJtottgJ lii coititof believe fltis. DOC lioltls out ltis liatids to liiiii
but TONY bticks atoms, /Jicii stiihleiily tunits niitl i iiiis oii I the tlooi’.
As |iz tjops, the s6f lies yionj yiitj the stage goc»s clni‘k. ltd the flui kliess,
 E S T S i D r S T O R ¥
Page 117

TONY
Chino? Chino? Come and get me, too, Chino.
END OF SCENE FIVE

SCEuE six
{The neighborhood.

The LfGHTS come its to reveal the snine set as its the opening.
But ii is not jngged oil/t sJindoms. TONY sounds in ltte emptiness,
cutting, whirling nroitnd us a /gtire duns otir of the shadows nut fJtrr
ritns off agnin)

TO NY
Chino?... COME ON: GET ME, TOO!

ANYB ODY S

{A n›liisper com die lurk)

Tony. .
.
TO NY

(Strings nroiinJ)
Who’s that?

ANYBO DYS
(Dnrting on)
Me: Anybodys.

TONY
Get outa here. HEY, CHINO! COME GET ME, DAMN YOU!

ANYB O DY S
What’re you doin’, Tony?

TONY
I said get outa here! CHINO!

ANYB ODY S
Look, maybe if you and me just —
 5 T O It Y

TO NY

It's not playing any more! Can’t any of you get that?
ANYBO DYS
But the gang —

TONY
You’re a girl: be a girl! Beat
it.
(SHE retreats)
CHINO, I’M CALLING FOR YA, CHINO! HURRY! IT’S CLEAR NOW. THERE’S
NOBODY BUT ME. COME ON! Will ya, please. I’m waitiri’ for ya.
I want you to —
{S Mddenly, all the tray ncioss the stage fi om him, a PIG USE steps
ont of the da rk. HE stops nitii peers os ligli I start.s to gloiu oii if.
An urificlicrnble whisper:)
Maria. .. Maria?
MAR I A
Tony...
NO)

TONY
MARIA!
{ps t/tey run to encli other, there is a giiii shot. TONY stumbles us
I/iotigli he tripyr d . MA RU catches Jtini aitd cradles him in her arms us
ie fnl hers to the grountl. s, BA8 JOHN nnd A-RA8 run on;
then PEfE und INDIO nut other SHARES. CHINO stunts cci y still,
bemildere5 bq the guti firm in lits linnd. More fETS anti SHARKS,
some GIRLS run oti and DOC coiites out to stnre mil/i them)
I didn’t believe hard enough.
Then we’ll get away.

Loving is enough.

Not here. They won’t let us

be.
MAR IA

TONY

M AR IA
 E S T S I D E S T O it Y

TONY
Yes, we can. We will.
(HE shivers, as though a paiti ioeti I through him. SHE JioJds ltim
closer oiid begins to SLND — mii/motif orcliestrn:)

MAK I A
HOLD MY HAND AND WE’RE HALFWAY THERE.
tToNy joins its. MARU SINGS hnrder us thought to urge him
ack to

TONY, MARIA
HOLD MY HAND AND I’LL TAKE YOU THERE,
SOMEHOW,
{TONE’S voice falters)

MAR I A
SOME DAY...
(MAPJA stops, TONY’S bodJ quiet iit her Rritis.

A moment, nnd then, us s/ie gently rests TONY on the floor,

the ORCHESTRA parishes the Inst bars of the song. tightly,
she hrtislies TONY’S lips with l7er ngers. 8ehind her, ACTION,
iti fi ont of a groiiy of JE TS, iitoves to lead tlietn towRrâ CHINO.

Stay back.
(The sliniul she lies Itnii around her shoulder s slips to the ground as she
gets ttp, it›aIks to CHINO not /1oiJs otif ltei hand. HE hands her the gun.

How do you fire this gun, Claino? Just by pulling this little trigger?
(SHE /ioiiifs if flf mini stirideiiJy; HE drflirs hack.

SHE Jins all of tlietn in fron t of lier iiow, Rs s/ie fields the gun out
nm lier voice Mets stronger mit/i aitger net snroge rage)
How many bullets are left, Chino? Enough for you?
 Anc1 you?
All of you? VVE ALL [Link] llIV;:tad my ÜroÛaer and wif . |, too.
ICANK)LLNOW6ECAUSE1HATENOW.
(SHE Jınc^ 1 enI mi ı tfiııy the buıı il‹fly nı ır( THE Y /ı‹tre uh ben ı

{Dotlı hmiris ot ı tltc• gtııı, SHE / ıısJıes it foootıı il tı I ACTI ON. D tıt
SUE ctımlot fiı e• mıil us she ûı cııks into teaı s, harris theo gtıu nıvııJ oııı(
s imke to Hic ¿ı(NÎ ıııl.

DON’T YOU TOUCH HIM!

Te ac4oro, Anton.

bclıiı1‹I to tnkc ‹z y/“u«ss‹u//, tim’ sn›ue y/occss‹u/‹ they nıade in the

‹Jır«ııı hallet «s BAB Y /OHN coıııes [oıznnrd to nick tip MARIA’S
olurum nnıl yu t. it onur her’ lıcnd. SHE site ryu i«tly like’ n ıuunmıı in
mıoıı ı’niny us tim ML/S/C hııil‹ls, the LICHTS sf‹zrf te durum’ uy nmJ tim

THE C tlRTAlN F-ALLS)

TH E END