West Side Story/Acte 1

* Scène 1
* Scène 2
* Scène 3
* Scène 4
* Scène 5
* Scène 6
* Scène 7
* Scène 8
* Scène 9
 *5:00 P.M. The Street.*

*(The neighborhood. A suggestion of city streets and alleyways; a workable brick wall.)*

## *#1 - Prologue (Orchestra)*

*(Note : Ne fonctionne pas sur iPad ou sur tout support ne prenant pas en charge le format audio .ogg.)*
*The opening is musical: half-danced, half-mimed with occasional phrases of dialogue. It primarily a condensation of the growing rivalry between two teenage gangs, the JETS and the SHARKS, each of which has its ownn prideful uniform. The boys - side-burned, long-haired - are vital, restless, sardonic; the SHARKS are Puerto Ricans, the JETS an anthology of what is called "American."*

*The action begins with the JETS in possession of the area: owing, enjoying, loving their "home." Their leader is RIFF: glowing, driving, intelligent, slightly whacky. His lieutenant is DIESEL: big, slow, steady, nice. The youngest member of the gang is BABY JOHN: awed at everything, including that he is a JET, trying to act the big man. His buddy is A-RAB, an explosive little ferret who enjoys everything and understands the seriousness of nothing. The most agressive is ACTION: a catlike ball of fury. We will get to know these boys better later, as well as BIG DEAL - a bespectacled self-styled expert.*

*The first interruption of the JETS' sunny mood is the sharply punctuated entrance of the leader of the Sharks, BERNARDO: handsome proud, fluid, a chip on his sardonic shoulder. The JETS, by far in the majority, flick him off. He returns with other SHARKS: they, too, are flicked off. But the numerical supremacy, the strength of the Jets, is gradually being threatened. The beginnings of warfare are mild at first: a boy being tripped up, or being sandbagged with a flour sack or even being spit on -all with overly elaborate apologies.*

*Finally, A-rab comes across the suddenly deserted area, pretending to be an airplane. There is no sound as he zooms along in fancied flight. Then over the wall drops BERNARDO. Another SHARK, another and another appear, blocking A-RAB's panicky efforts at escape. They close in, grab him, pummel him, as a*
SHARK on top of the wall is stationed as lookout. Finally, BERNARDO bends over A-RAB and makes a gesture (piercing his ear); the lookout whistles; JETS tear on, SHARKS tear on, and a free for-all breaks out. RIFF goes at once to A-RAB, like a protective father. The fight is stopped by a POLICE WHISTLE, louder and louder, and the arrival of a big goonlike cop, KRUPKE, and a plainclothesman, SCHRANK. SCHRANK is strong, always in command; he has a charming, pleasant manner, which he often employs to cover his venom and his fear.

**KRUPKE**

Knock it off! Settle down.

**SCHRANK**

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

**RIFF** *[such innocence]*

Why if it isn't Lieutenant Schrank.

**SEVERAL JETS** *[dancing class manners]*

To of the day, Lieutenant Schrank.

**BERNARDO** *[one with Riff]*

And Officer Krupke!

**SEVERAL SHARKS**

Top of the day, Officer Krupke.

**SCHRANK**

Boy, what you Puerto Ricans have done to this neighborhood. Which one of 'em clobbered ya, A-rab?

*[A-rab looks to Riff, who takes over with great helpful*
seriousness.]

**RIFF**

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

**SNOWBOY**

Two cops.

**A-RAB**

Oh, at least!

**KRUPKE**

Impossible!

**SCHRANK**

Didn't nobody tell ya there's a difference between bein' a stool pigeon and cooperatin' with the law?

**RIFF**

You told us the difference, sir. And we all chipped in for a prize for the first guy who can figure it out.

**ACTION** *[indicating Schrank]*

Maybe buddy boy should get the prize.

**SCHRANK**

Don't buddy 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. *[Mock Charm.]* Please.

**BERNARDO**

Let's go, Sharks.

*[They exit.]*

**SCHRANK** *[to Jets]*

If I don't put down the roughhouse, I get put down -on a traffic corner. Your friends 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 good-bye to the nice boys, Krupke.

**KRUPKE**

Good-bye, boys.

*[He follows Schrank out.]*

**SNOWBOY** *[imitating Krupke]*

Good-bye, boys.

**A-RAB**

They make a very nice couple.

**ACTION** *[bitterly]*

You hoodlums don't own the streets.

**SNOWBOY**

Go play in the park!

**ACTION**

Keep off the grass!

**BABY JOHN**

Get outa the house!

**ACTION**

Keep off the block!

**A-RAB**

Get outa here!

**ACTION**

Keep off the world! A gang that down own a street is nuthin'!

**RIFF**

WE DO OWN IT! Jets -square off! Acemen:

*[DIESEL, ACTION and SNOWBOY line up at attention]*

Rocketmen:

*[three others line up]*

Rank-and-file:

*[Sheepishly, A-RAB trudges into position, BABY JOHN behind him.]*

**BABY JOHN** *[shocked, to A-rab]*

Gee, your ear's got blood on it!

**A-RAB** *[proudly]*

I'm a casual, Baby John.

**BABY JOHN** *[examining the ear]*

Them PRs! They branded you!

**SNOWBOY**

That makes you a Puerto Rican tomato. Cha-cha-cha, señorita?

**RIFF**

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

**A-RAB**

Bernardo. 'Cause I heard him say: "Thees ees for stink-bombin' my old man's store."

*[He makes the same gesture Bernardo made when he pierced his ear.]*

**BABY JOHN**

Ouch!

**ACTION**

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

**RIFF**

Who says?

**ACTION**

My old man says.

**BABY JOHN** *[to A-rab]*

My old man says his old man woulda gone bust anyway.

**ACTION**

Your old man says that?

**BABY JOHN**

My old man says them Puerto Ricans is ruinin' free ennaprise.

**ACTION**

And what're we doin' about it?

*[Pushing through the game comes a scrawny teen-age girl, dressed in an outfit that is a pathetic attempt to imitate that of the Jets. Perhaps we have glimpsed her in the fracas before the police am e in. Her name is ANYBODYS.]*

**ANYBODYS**

Gassin', crabbin'-

**ACTION**

You still around?

**ANYBODYS**

Listen I was a smash in that fight. Oh, Riff, Riff, I was murder!

**RIFF**

Come on, Anybodys

**ANYBODYS**

Riff, how about me getting' in the gang now?

**A-RAB**

How about the gang gettin' in -ahhh, who'd wanta!

**ANYBODYS**

You cheap beast!

*[She lunges for A-rab, but Riff pulls her off and pushes her out.]*

**RIFF**

The road, little lady, the road.

*[In a moment of bravado, just before she goes, Anybodys spits-but cautiously.]*

Round out!

*[This is Riff's summoning of the gang, and they surround 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!

**ACTION** *[eagerly]*

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 of knives or zip guns.

**BABY JOHN**

Zip guys... Gee!

**RIFF**

I'm not finalizin' and sayin' they will: I'm only sayin' they might and we gotta be prepared. Now what's your mood?

**ACTION**

I say go, go!!

**SNOWBOY**

But if they say knives or guns

**BABY JOHN**

I say let's forget the whole thing.

**DIESEL**

What do you say, Riff?

**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 switchblades, I'll get a switchblade. I say I want the Jets to be Number One, to sail, to hold the sky!

**DIESEL**

Then rev us off. *[A punching gesture.]* Voom-va voom!

**ACTION**

Chung chung!

**A-RAB**

Cracko, jacko!

**SNOWBOY**

Riga diga dum!

**BABY JOHN**

Pam pam!!

**RIFF**

OK, buddy boys, we rumble!

*[General glee.]*

Now protocality calls

for a war council to decide on weapons. I'll make the challenge

to Bernardo.

**SNOWBOY**

You gotta take a lieutenant.

**ACTION**

That's me!

**RIFF**

That's Tony.

**ACTION**

Who need Tony?

## *#2 - Jet Song (Riff, Jets)*

*Music starts.*

**RIFF**

Against the Sharks we need every man we got.

**ACTION**

Tony don't belong any more.

**RIFF**

Cut it, Action boy. I and Tony started the Jets.

**ACTION**

Well, he acts like he don't wanna belong.

**BABY JOHN**

Who wouldn't wanna belong to the Jets!

**ACTION**

Tony ain't been with us for over a month.

**SNOWBOY**

What about the day we clobbered the Emeralds?

**A-RAB**

Which we couldn't have done without Tony.

**BABY JOHN**

He saved my ever lovin' neck.

**RIFF**

Right. He's always come through for us and he will now.

*(Note : Ne fonctionne pas sur iPad ou sur tout support ne prenant pas en charge le format audio .ogg.)*

*[He 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'RE A JET,

YOU STAY

A JET!

*[He speaks:]*

I know Tony like I know. I guarantee you can count him in.

**ACTION**

In, out, let's get crackin'.

**A-RAB**

Where you gonna find Bernardo?

**RIFF**

At the dance tonight at the gym.

**BIG DEAL**

But the gym's neutral territory.

**RIFF** *[sweet innocence]*

I'm gonna make nice there! I'm only gonna challenge him.

**A-RAB**

Great, Daddy-O!

**RIFF** *[Spoken]*

So everybody dress up sweet and sharp. Meet Tony and me at them.

And walk tall!

**A-RAB**

We always talk tall!

**BABY JOHN**

We're Jets!

**ACTION**

The greatest!

*[HE sings with BABY JOHN:]*

WHEN YOU'RE A JET,

YOU'RE THE TOP CAT IN TOWN,

YOU'RE THE GOLD-METAL KID

WITH THE HEAVYWEIGHT CROWN!

*[A-RAB, ACTION, BIG DEAL sings:]*

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 STEER CLEAR

'CAUSE EV'RY 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! AN' WE'RE GONNA BEAT

EV'RY LAST BUGGIN' GANG

ON THE WHOLE BUGGIN' STREET!

*[DIESEL and ACTION.]*

ON THE WHOLE

*[ALL:]*

EVER-!

MOTHER-!

LOVIN'-!

STREET!

*(BLACKOUT)*

## *#2A - Jet Song Chase (Orchestra)*

*5:30 P.M.*

*A back yard.*

*On a small ladder, a good-looking sandy-haired boy is painting a vertical sign that will say: "DOC'S." Below, RIFF is haranguing.*

**RIFF**

Riga tiga tum tum. Why not? ...You can't say ya won't, Tony boy, without sayin' why not?

**RIFF**

Because it's me askin': Riff. Womb to tomb!

**TONY**

Sperm to worm!

*[Surveying the sign.]*

You sure this looks like skywritin'?

**RIFF**

It's brilliant.

**TONY**

Twenty-seven years the boss has had that drugstore. I wanna surprise him with a new sign.

**RIFF** *[shaking the ladder.]*

Tony, this is important!

**TONY**

Very important: Acemen, Rocketmen.

**RIFF**

What's with you? Four and one-half year 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 sufferin', little man. Why don't you pack up your gear

and clear out?

**RIFF**

'Cause your ma's hot for me.

*[Tony grabs his arms and twists it.]*

No! 'Cause I hate livin' with my buggin' uncle uncle UNCLE!

*[Tony releases him and climbs back up the ladder.]*

**TONY**

Now go play nice with the Jets.

**RIFF**

The Jets are the greatest!

**TONY**

Were.

**RIFF**

Are. You found something' better?

**TONY**

No, But

**RIFF**

But what?

**TONY**

You won't dig it.

**RIFF**

Try me.

**TONY**

OK... Every single damn night for the last month, I wake up-and

I'm reachin' out.

**RIFF**

For what?

**TONY**

I don't know. It's right outside the door, around the corner. But

it's comin'!

**RIFF**

What is? Tell me!

**TONY**

I don't know! It's-like the kick I use to get from bein' a Jet.

**RIFF** *[quietly]*

...Or from bein buddies.

**TONY**

We're still buddies.

**RIFF**

The kick comes from the people, buddy boy.

**TONY**

Yea, but not from a Jet.

**RIFF**

No? Without a gang you're an orphan. With a gang you walk in two's three's four's. 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.

*[Pause.]*

**RIFF**

Tony, the trouble is large: The Sharks bite hard! We got to stop them now, and we need you! [Pause. Quietly.] I never asked the time of a day from a clock, but I'm askin' you: Come to the dance tonight...

*[Tony turns away.]'*

...I already told the gang you'd be there.

'**TONY** *[after a moment, turns to him with a grin]*

What time?

**RIFF**

Ten?

**TONY**

Ten it is.

'**RIFF**

Womb to tomb!

**TONY**

Sperm to worm! And I'll live to regret this.

**RIFF**

Who knows? Maybe what you're waitin' for'll be twitchin' at the dance!

*[He runs off.]*

**TONY**

Who knows?

*(Note : Ne fonctionne pas sur iPad ou sur tout support ne prenant pas en charge le format audio .ogg.)*

*[MUSIC starts and HE SINGS:]*

## *#3 - Something'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-BALLING DOWN THRU 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,

IF 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)

## *#3A - Something's Coming Chase (Orchestra)*

*6:00 P.M.*

*A bridal shop.*

*A small section, enough to include a table with sewing machine, a chair or two.*

*ANITA, A Puerto Rican girl with loose hair and slightly flashy clothes, is finishing remaking what was a white communion dress into a party dress for an extremely lovely, extremely young girl: MARIA. Anita is knowing, a sexual, sharp. MARIA is an excited, enthusiastic, obedient child, with the temper, stubborn strength and awareness of a woman.*

**MARIA** *[holding out scissors]*

Por favor, Anita. Make the neck lower!

**ANITA**

Stop it, Maria.

**MARIA**

One inch. How much can one little inch do?

**ANITA**

Too much.

**MARIA** *[exasperated]*

Anita, it is now to be a dress of 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; uno poca poca

**ANITA**

Bernardo made me promise

**MARIA**

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

**ANITA**

To marry Chino.

**MARIA**

When I look at Chino, nothing happens.

**ANITA**

What do you expect to happen?

**MARIA**

I don't know: something. What happens when you look at Bernardo?

**ANITA**

It's when I don't look at him that it happens.

**MARIA**

I think I will tell Mama and Papa about you and 'Nardo in the balcony of the movies.

**ANITA**

I will rip this to shreds!

**MARIA**

No. But you perhaps could manage to lower the neck-

**ANITA**

Next year.

**MARIA**

Next year I will be married an no one will care if its down to here!

**ANITA**

Down to where?

**MARIA**

Down to here.

*[Indicates her waist.]*

I hate this dress!

**ANITA**

Then don't wear it and don't come to the dance.

**MARIA** *[shocked]*

Don't come!

*[Grabs the dress.]*

Could we not dye it red, at least?

**ANITA**

No, we could not.

*[She starts to help MARIA into the dress.]*

**MARIA**

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

**ANITA**

Well???

**MARIA**

Ahhhh-sí! It is a beautiful dress: I love you!

*[As she hugs Anita, BERNARDO enters, followed by a shy, gentle sweet-faced boy: CHINO.]*

**BERNARDO**

Are you ready?

**MARIA**

Come in, 'Nardo.

*[Whirls in the dress.]*

Is it not beautiful?

**BERNARDO *[looking only at MARIA's face]***
Yes.

*[Kisses her.]*

Very.

**ANITA**

I didn't quite hear...

**BERNARDO** *[kissin ANITA quite differently.]*

Very beautiful.

**MARIA**

*[watches them a second, then turns to CHINO]*

Come in, Chino. Do not be afraid.

**CHINO**

But this is a shop for ladies.

**BERNARDO**

Our ladies!

**MARIA**

'Nardo, it is most important that I have a wonderful time at the dancing tonight.

**BENARDO** *[as ANITA hooks up MARIA]*

Why?

**MARIA**

Because tonight is the real beginning of my life as a young lady of America!

*[SHE begins to whirl in the dress as the shop slides off and a flood of gaily colored streamers pours down. As MARIA begins to turn and turn, going OFF-STAGE. SHARK GIRLS, dressed for the dance whirl on, followed by JET GIRLS. By BOYS from both gangs. The streamers fly up again for the next scene.]*

## *#4 - The Dance At The Gym - Blues (Orchestra)*

*10:00 P.M.*

*The gym.*

*Actually, a converted gymnasium of a settlement house, at the moment being used as a dancehall, disguised for the occasion with streamers and bunting. Both gangs are jitterbugging wildly with their bodies, but their faces, although they are enjoying themselves, remain cool, almost detached. The line between the two gangs is sharply defined by the colors they wear: the JETS, girls as well as boys, reflecting the colors of the JET jackets; the same is true of the SHARKS. The dancing is a physical and emotional release for these kids.*

*MARIA enters with CHINO, BERNARDO and ANITA. As she looks around, delighted, thrilled by this, her first dance, the JET catch sight of BERNARDO, who is being greeted by PEPE, his lieutenant, and other Sharks. As the music peters away, the Jets withdraw to one side of the hall, around RIFF. The SHARKS, seeing this, draw to their side, around BERNARDO, who starts-with his lieutenants-to meet him. The moment is brief but it would be disastrous if a smiling, overly cheerful young man of about thirty did not hurry forward. He is called GLAD HAND, and he is a "square."*

**GLAD HAND** *[beaming]*

All right, boys and girls! Attention, please!

*[Hum of talk.]*

Attention!

*[KRUPKE appears behind GLAD HAND: the talk stops.]*

Thank you. It sure is fine turnout tonight.

*[Ad libs from the kids.]*

We want to make friends here, so we're going to have a few get-together dances.

*[Ad libs: "Oh, ginger peachy," ect.]*

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

**SNOWBOY**

Where are you?

**GLAD HAND** *[tries to laugh at 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 hands back at him and ad lib: "Two circles, kids," ect., but do not move.]*

Well, it won't hurt you to try.

**SNOWBOY** *[limping forward]*

Oh, it hurts; it hurts; it-

*[KRUPKE steps forward. Snowboy straightens up and meekly returns to his place. Riff steps forward and beckons to his girl, Velma. She is terribly young, sexy, lost in a world of jive. She slithers forward to take her place with Riff. The challenge is met by Bernardo, who steps forward, leading Anita as though he were presenting the most magnificent lady in all the world. The other kids follow, forming the two circles Glad Hand requested.]*

**GLAD HAND**

That's it, kids. Keep the ball rolling. Round she goes and where she stops, nobody knows. All right: here we go!

## *#4A - Promenade (Orchestra)*

*[Promenade music starts and the circles start revolving. Glad Hand, whistles to this mouth, is in the center with Krupke. He blows the whistle and the music stops, leaving the Jet boys opposite Sharks girls, and vice versa. There is a moment of tenseness, then Bernardo reaches across the Jet girl opposite for Anita's hand, and she comes to him. Riff reaches for Velma; and the kids of both gangs follow suit.]*

## *#4B - Mambo (Orchestra)*

*(Note : Ne fonctionne pas sur iPad ou sur tout support ne prenant pas en charge le format audio .ogg.)*
*The "get-together" has failed, and each gang is on its own side of the hall as a mambo starts.*

**SHARKS** *(shouted)*

MAMBO!

**JETS** *(shouted)*

MAMBO!

**ALL**

GO!

*(This turns into a challenge dance between BERNARDO and ANITA-cheered on by the SHARKS,and RIFF and VELMA cheered on by the JETS)*

**SHARKS** *(shouted)*

MAMBO!

MAMBO!

*(During it, TONY enters and is momentarily embraced by Riff, who is delighted that his best friend did turn up. The dance builds wilder and wilder, until, at the peak, everybody is dancing and shouting)*

**ALL**

GO, MAMBO!

GO, MAMBO!

GO, MAMBO!

*(It is at this moment that TONY and MARIA - at opposite sides of the hall - see each other. They have been cheering on their respective friends, clapping in rhythm. Now, as they see each other, their voices die, their smiles fade, their hands slowly go to their sides. The LIGHTS fade on the other who disappear into the haze of the background as a delicate cha cha begins and TONY and MARIA slowly walk forward to meet each other.)*

## *#4C - Cha-Cha (Orchestra)*

*(Slowly, as thought in a dream, they drift into the steps of the dance, always looking at eahc other, completely lost in each other; unaware of anything, any place, any time, anything but one another. Then:)*

## *#4D -Meeting Scene (Orchestra)*

**TONY**

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** *[interrupting]*

My hands are cold.

*[He takes them in his.]*

Yours, too.

*[He moves her hand to his face.]'*

So warm.

*[She moves his hands to 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; then tenderly, innocently, her lips.)*

## *#4E - Jump (Orchestra)*

*(The music bursts out, the lights flare up, and Bernardo is upon them in an icy rage.)*

**BERNARDO**

Go home, "American."

**TONY**

Slow down, Bernardo.

**BERNARDO**

Stay away from my sister!

**TONY**

...Sister?

*[RIFF steps up.]*

**BERNARDO** *[to MARIA]*

Couldn't you see he's one of them?

**MARIA**

No; I saw only him.

**BERNARDO** *[as CHINO comes up]*

I told you; there's one thing they want from a Puerto Rican girl!

**TONY**

That's a lie!

**RIFF**

Cool, boy.

**CHINO** *[to TONY]*

Get away.

**TONY**

You keep out, Chino.

*[To MARIA:]*

Don't listen to them!

**BERNARDO**

She will listen to brother before

**RIFF** *[overlapping]*

If you characters want to settle

**GLAD HAND**

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.

*[Music starts again. BERNARDO is on one side with MARIA and CHINO; ANITA joins them. TONY is on the other with RIFF and DIESEL. Light emphasizes the first group.]*

**BERNARDO**

I warned you

**CHINO**

Do not yell at her, 'Nardo.

**BERNARDO**

You yell at babies.

**ANITA**

And put ideas in the baby's head.

**BERNARDO**

Take her home, Chino.

**MARIA**

'Nardo, it is my first dance.

**BERNARDO**

Please. We are family, Maria. Go.

*[Maria hesitates, then starts out with Chino as the light follows her to the other group, which she passes.]*

**RIFF** *[to DIESEL, indicating TONY happily]*

I guess the kid's with us for sure now.

*[Tony doesn't even hear; he is starting at Maria, who stops for a moment.]*

**CHINO**

Come, Maria.

*[They continue out.]*

**TONY**

Maria...

*[He is unaware that Bernardo is crossing toward him, but Riff intercepts.]*

**BERNARDO**

I don't want you.

**RIFF**

I want you, though. For a war council-Jets and Sharks.

**BERNARDO**

The pleasure is all mine.

**RIFF**

Let's go outside.

**BERNARDO**

I would not leave the ladies here alone. We will meet you in half an hour.

**RIFF**

Doc's drugstore?

*[Bernardo nods.]*

And no jazz before then.

**BERNARDO**

I understand the rules-Native Boy.

*[The lights is fading on them, on everyone but TONY.]*

**RIFF**

Spread the word, Diesel.

**DIESEL**

Right, Daddy-o.

**RIFF**

Let's get the chicks and kick it. Tony?

**TONY**

Maria...

*[Music stars.]*

*(Note : Ne fonctionne pas sur iPad ou sur tout support ne prenant pas en charge le format audio .ogg.)*

**RIFF** *[in darkness]*

Tony!

**DIESEL** *[in darkness]*

Ah, we'll see him at Doc's.

**TONY** *[dreamily]*

Maria...

## *#5 - Maria (Tony)*

**TONY** *[speaking dreamily over the music-he is now standing alone in the light]*

THE MOST BEAUTIFUL SOUND I EVER HEARD.

**VOICES** *[off stage:]*

MARIA, MARIA, MARIA, MARIA . . .

**TONY**

ALL THE BEAUTIFUL SOUNDS OF THE WORLD IN A SINGLE WORD . . .

**VOICES** *[off stage:]*

MARIA, MARIA, MARIA, MARIA . . .

MARIA, MARIA . . .

**TONY**

MARIA!

I'VE JUST MET A GIRL NAMED MARIA,

AND SUDDENLY THAT NAME

WILL NEVER BE THE SAME

TO ME.

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 X8)

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.

*[During the song, the sate behind Tony has gone dark; by the time he has finished, it is set for the next scene.]*

## *#6 - Balcony Scene (Maria, Tony)*

*11:00 P.M.*

*A back alley.*

*(A suggestion of buildings; a fire escape climbing to the rear window of an unseen flat. As Tony sings, he looks for where Maria lives, wishing for her. And she does appear,at the window above him, which opens onto the fire escape. Music stays beneath most of the scene.)*

**TONY** *[sings:]*

Maria, Maria...

**MARIA**

Ssh!

**TONY**

Maria!

**MARIA**

Quiet!

**TONY**

Come down.

**MARIA**

No.

**TONY**

Maria...

**MARIA**

Please. If Bernardo

**TONY**

He's at the dance. Come down.

**MARIA**

He will soon bring Anita home.

**TONY**

Just for a minute.

**MARIA [smiles]**

A minute is not enough.

**TONY [smiles]**

For an hour then.

**MARIA**

I cannot.

**TONY**

Forever!

**MARIA**

Ssh!

**TONY**

Then I'm coming up.

**WOMAN'S VOICE'** *[from the offstage apartment]*

Maria!

**MARIA**

Momentito, Mama...

**TONY** *[climbing up]*

Maria, Maria

**MARIA'**

Cállate!

*[Reaching her hand out to stop him.]*

Ssh!

**TONY** *[grabbing her hand]*

Ssh!

**MARIA**

It is dangerous.

**TONY**

I'm not "one of them."

**MARIA**

You are; but to me, you are not. Just as I am one of them-

*[she gestures toward the apartment.]*

**TONY**

To me, you are all the-

**[She covers his mouth with her hand.]**

**MAN'S VOICE** *[from the unseen apartment]*

Maruca!

**MARIA**

Sí, 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** *[touching his face]*

I see you.

**TONY**

See only me.

*(Note : Ne fonctionne pas sur iPad ou sur tout support ne prenant pas en charge le format audio .ogg.)*

**MARIA** *[sings:]*

ONLY YOU, YOU'RE THE ONLY THING I'LL SEE FOREVER.

IN MY EYES, IN MY WORDS AND IN EVERYTHING I DO,

NOTHING ELSE BUT YOU

EVER!

**TONY**

AND THERE'S NOTHING FOR ME BUT MARIA,

EVERY SIGHT THAT I SEE IS MARIA.

**MARIA**

TONY, TONY...

**TONY**

ALWAYS YOU , EVERY THOUGHT I'LL EVER KNOW,

EVERYWHERE I GO, YOU'LL BE.

**MARIA**

ALL THE WORLD IS ONLY YOU AND ME!

*[And now the buildings, the world fade away, leaving them suspended in space.]*

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 STARS INTO SPACE.

TODAY THE WORLD WAS JUST AN ADDRESS,

A PLACE FOR ME TO LIVE IN,

NO BETTER THAN ALL RIGHT,

BUT HERE YOU ARE

AND WHAT WAS JUST A WORLD IS A STAR

TONIGHT

**MAN'S VOICE** *[offstage]*

Maruca!

**MARIA**

Wait for me!

*[She goes inside as the buildings begin to come back into place.]*

**TONY** *[sings]*

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.

**MARIA**

They are strict with me. Please.

**TONY** *[kissing her]*

Good night.

**MARIA**

Buenos noches.

**TONY**

I love you.

**MARIA**

Yes, yes. Hurry.

*[He climbs down.]*

Wait! When will I see you?

*[He starts back up.]*

No!

**TONY**

Tomorrow.

**MARIA**

I work at the bridal shop. Come there.

**TONY**

At sundown.

**MARIA**

Yes. Good night.

**TONY**

Good night.

*[He starts off.]*

**MARIA**

Tony!

**TONY**

Ssh!

**MARIA**

Come to the back door.

**TONY**

Si.

*[Again he starts out.]*

**MARIA**

Tony!

*[He stops. A pause.]*

What does Tony stand for?

**TONY**

Anton.

**MARIA**

Te adoro, Anton.

**TONY**

Te adoro, Maria.

*[Both sing as music starts again:]*

**BOTH**

GOOD NIGHT, GOOD NIGHT,

SLEEP WELL AND WHEN YOU DREAM,

DREAM OF ME

TONIGHT.

*[SHE goes inside; He ducks out into the shadows just as BERNARDO and ANITA enter, followed by INDIO, and PEPE and their GIRLS. One is a bleached-blond, bangled beauty: Consuelo. The other, more quietly dressed, is ROSALIA. She is not too bright.]*

**BERNARDO** *[Looking up to the window.]*

Maria?

**ANITA**

She also has a mother. Also a father.

**BERNARDO**

They do not know the country any better than she does.

**ANITA**

You do not know it all! Girls here are free to have fun. She-isin-America-now.

**BERNARDO** *[exaggerated]*

But Puerto-Rico-is-in-America-now!

**ANITA** *[in disgust]*

Ai!

**BERNARDO** *[cooing]*

Anita Josefina Teresita

**ANITA**

It's plain Anita now

**BERNARDO** *[continuing through]*

-Beatriz del Carmen Margarita, etcetera, etcetera

**ANITA**

Immigrant!

**BERNARDO** *[pulling her to him]*

Thank God, you can't change your hair!

**PEPE** *[fondling Consuelo's bleached mop]*

Is that possible?

**CONSUELO**

In the U.S.A., everything is real.

**BERNARDO** *[to CHINO, who enters]*

Chino, how was she when you took her home?

**CHINO**

All right. 'Nardo, she was only dancing.

**BERNARDO**

With an "American." Who is really a Polack.

**ANITA**

Says the Spic.

**BERNARDO**

You are not so cute.

**ANITA**

That Tony is.

**ROSALIA**

And he works.

**CHINO**

A delivery boy.

**ANITA**

And what are you?

**CHINO**

An assistant.

**BERNARDO**

Sí! And Chino makes half what the Polack makes-the Polack is American!

*[A burlesque oration in mock Puerto Rican accent. Bernardo starts the first line with her.]*

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

**PEPE** and **CONSUELO**

Lice!

**PEPE, CONSUELO, ANITA**

Cockroaches!

**BERNARDO**

Well, it is true! You remember how we were when we first came! Did we even think of going back?

**BERNARDO** and **ANITA**

No! We came ready, eager

**ANITA** *[mocking]*

With our hearts open

**CONSUELO**

Our arms open

**PEPE**

You came with your pants open.

**CONSUELO**

You did, pig!

*[Slaps him.]*

You'll go back with handcuffs!

**BERNARDO**

I am going back with a Cadillac!

**CHINO**

Air-conditioned!

**BERNARDO**

Built-in bar!

**CHINO**

Telephone!

**BERNARDO**

Television!

**CHINO**

Compatible color!

**BERNARDO**

And a king-sized bed.

*[Grabs Anita.]*

Come on.

**ANITA** *[mimicking]*

Come on.

**BERNARDO**

Well, are you or aren't you?

**ANITA**

You have your big, important war council. The council or me?

**BERNARDO**

First one, then the other.

**ANITA** *[breaking away from him]*

I am an American girl now. I don't wait.

**BERNARDO** *[to CHINO]*

Back home, women know their place.

**ANITA**

Back home, little boys don't have war councils.

**BERNARDO**

You want me to be an American?

*[To the boys.]*

Vámonos, chicos, Es

tarde.

*[A mock bow.]*

Buenos noches, Anita Josefina del Carmen, etcetera, etcetera, etcetera.

*[He exits with the boys.]*

**ROSALIA**

That's a very pretty name: Etcetera.

## *#7 - America (Anita, Rosalia, Shark Girls)*

**ANITA**

Ai!

**CONSUELO**

She means well.

**ROSALIA**

We have many names at home.

**ANITA** *[mimicking]*

At home, at home. If it's so nice "at home," why don't you go back there?

**ROSALIA**

I would like-

*[A look from Anita.]*

-just for a successful visit.

*[She sings nostalgically:]*

*(Note : Ne fonctionne pas sur iPad ou sur tout support ne prenant pas en charge le format audio .ogg.)*

PUERTO RICO...

YOU LOVELY ISLAND...

ISLAND OF TROPICAL BREEZES.

ALWAYS THE PINEAPPLES GROWING,

ALWAYS THE COFFEE BLOSSOMS BLOWING...

**ANITA**

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!

*[all, except Rosalia:]*

I LIKE TO BE IN AMERICA!

OK BY ME IN AMERICA!

EVERYTHING FREE IN AMERICA

FOR A SMALL FEE IN AMERICA!

**ROSALIA**

I LIKE THE CITY OF SAN JUAN

**ANITA**

I KNOW A BOAT YOU CAN GET ON.

**ROSALIA**

HUNDREDS OF FLOWERS IN FULL BLOOM

**ANITA**

HUNDREDS OF PEOPLE IN EACH ROOM!

*[all except Rosalia:]*

AUTOMOBILE IN AMERICA,

CHROMIUM STEEL IN AMERICA,

WIRE-SPOKE WHEEL IN AMERICA

VERY BIG DEAL IN AMERICA

**ROSALIA**

I'LL DRIVE A BUICK TO SAN JUAN

**ANITA**

IF THERE'S A ROAD YOU CAN DRIVE ON.

**ROSALIA**

I'LL GIVE MY COUSIN A FREE RIDE

**ANITA**

HOW YOU GET ALL OF THEM INSIDE?

*[all except Rosalia:]*

AN IMMIGRANT GOES TO AMERICA,

MANY HELLOS IN AMERICA;

NOBODY KNOWS IN AMERICA

PUERTO RICO'S IN AMERICA.

*[The girls whistle and dace.]*

**ROSALIA**

WHEN WILL I GO BACK TO SAN JUAN

**ANITA**

WHEN YOU WILL SHUT UP AND GET GONE!

**ROSALIA**

I'LL GIVE THEM NEW WASHING MACHINE

**ANITA**

WHAT HAVE THEY GOT THERE TO KEEP CLEAN?

*[all except Rosalia:]*

I 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 dance.]*

**ROSALIA**

I'LL BRING TV TO SAN JUAN

**ANITA**

IF THERE'S A CURRENT TO TURN ON.

**ROSALIA**

EVERYONE THERE WILL GET BIG CHEER!

**ANITA**

EVERYONE THERE WILL HAVE MOVED HERE!

*[The song ends in a joyous dance. The Lights Black Out.]*

## *#7A - America to Drugstore (Orchestra)*

 *Midnight.*

*The drugstore.*

*A suggestion of a run-down, musty general store which, in cities, is called a drugstore. A door leading to the street outside; another leading to the cellar below. BABY JOHN is reading a comic book; A-RAB is playing solitaire; ANYBODYS is huddled by the jukebox: ACTION is watching the street door. The atmosphere is tense, jumpy. ACTION slams the door and strides to the dart board.*

**ACTION**

Where the devil are they? Are we havin' a war council tonight or ain't we?

*[He throws a dart savagely.]*

**BABY JOHN**

He don't use knives. He don't even use an atomic ray gun.

**A-RAB**

Who don't?

**BABY JOHN**

Superman. Gee, I love him.

**SNOWBOY**

So marry him.

**ANYBODYS**

I ain't never gonna get married: too noisy.

**A-RAB**

You ain't never gonna get married: too ugly.

**ANYBODYS** *["shooting" him]*
Pow pow!

**A-RAB**

Cracko, jacko!

*[Clutching his belly, he spins to the floor.]*

Down goes a teen-age hoodlum.

**BABY JOHN**

Could a zip gun make you do like that?

*[A second of silence. Then SNOWBOY slams into the room and they all jump.]*

**ACTION**

What the hell's a matter with you?

**SNOWBOY**

I got caught sneakin' outa the movies.

**A-RAB**

Sneakin' out? Whadd'ya do that for?

**SNOWBOY**

I sneaked in.

**ACTION**

A ware council comin' up and he goes to the movies.

**ANYBODYS**

And you let him be a Jet!

**BABY JOHN**

Ah, go walk the streets like ya sister.

**ANYBODYS** *[jumping him]*

Lissen, jail bait, I licked you twice and I can do it again.

*[From the doorway behind the counter a little middle-aged man enters: DOC.]*

**DOC**

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

**BABY JOHN**

We're gonna have a ware council here, Doc.

**DOC**

A who?

**A-RAB**

To decide on weapons for a big-time rumble!

**SNOWBOY**

We're gonna mix with the PRs.

**DOC**

Weapons. You couldn't play basketball?

**ANYBODYS**

Get with it, buddy boy.

**DOC**

War councils

**ACTION**

Don't start, Doc.

**DOC**

Rumbles...

**ACTION**

Doc

**DOC**

Why, when I was your age...

**ACTION**

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 a hip to that, the sooner you'll dig us.

**DOC**

I'll dig you early graves, that's what I'll do.

**A-RAB**

Dig, dig, dig

**DOC**

What're you gonna be when you grow up?

**ANYBODYS** *[wistfully.]*

A telephone call girl!

*[The store doorbell tinkles as RIFF enters with VELMA.]*

**SNOWBOY**

Riff, hey!

**ACTION**

Are they comin'?

**RIFF**

Unwind, Action. Hey, Doc, Tony here?

**DOC**

No, Riff, it's closing time.

**ACTION** *[to RIFF]*

What d'ya think they're gonna ask for?

**A-RAB**

Just rubber hoses, maybe, huh?

**RIFF**

Cool, little men. Easy, freezy cool.

**VELMA**

Oo, oo, ooblee-oo.

*[Diesel enters with a would-be grand number: GRAZIELLA.]*

**DIESEL**

They're comin' any minute now!

**ACTION**

Chung chung!

**A-RAB**

Cracko, jacko!

**VELMA**

Ooblee-oo.

**RIFF** *[sharply]*

Cool!

**ANYBODYS**

Riff-in a tight spot you need every man you

**RIFF**

No.

**GRAZIELLA** *[indicating Anybodys to Velma]*

An American tragedy.

**ANYBODYS** *["shooting" to her]*

Pow.

**GRAZIELLA**

Poo.

**VELMA**

Ooblee-pooh.

*[They giggle.]*

**RIFF**

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

**GRAZIELLA**

We might, and then again, we might not.

**DIESEL**

This ain't kid stuff, Graziella.

**GRAZIELLA**

I and Velma aint kid stuff, neither. Are we, Vel?

**VELMA**

No thank you-oo, ooblee-oo.

**GRAZIELLA**

And you can punctuate it?

**VELMA**

Ooo!

*[They giggle again.]*

**ACTION [to Riff]**

What're we poppin' around with dumb broads?

**GRAZIELLA**

I and Velma ain't dumb!

**ACTION**

We got important business comin'

**DOC**

Makin' trouble for the Puerto Ricans?

**SNOWBOY**

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 important.

**DOC**

Fighting over a little piece of the street is so important?

**ACTION**

To us, it is.

**DOC**

To hoodlums, it is.

*[He goes out through the cellar doorway as Action lunges for him.]*

**ACTION**

Don't you call me hoodlum!

**RIFF** *[holding him]*

Easy, Action! Save your steam for the rumble.

**A-RAB**

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

**RIFF**

You'll laugh! Yeah. Now you all better dig this and dig it the most. No matter who or what is eatin' at you, you show it, buddy boys, and you are dead. You are cuttin' a hole in yourselves for them to stick in a red-hot umbrella and open it. Wide. You wanna live? You play it cool.

## *#8 - Cool (Riff, Jets)*

**ACTION**

I wanna get even!

**RIFF**

Get cool.

**A-RAB**

I wanna bust!

**RIFF**

Bust cool.

**BABY JOHN**

I wanna go!

**RIFF**

Go cool!

*(Note : Ne fonctionne pas sur iPad ou sur tout support ne prenant pas en charge le format audio .ogg.)*

BOY, BOY, CRAZY BOY

GET COOL, BOY!

GOT A 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 a frenetic dance in which the boys and girls release their emotions and get "cool." It finishes, starts again when a JET bounces in with the gang whistle. Everyone but RIFF and VELMA stops dancing. A moment, then BERNARDO, CHINO, PEPE and INDIO enter. The tinkle of the doorbell brings a moment longer. Then he pats VELMA on her behind. Followed by GRAZIELLA, she runs out, slithering past the SHARKS. ANYBODYS is back, huddled by the jukebox, but RIFF spots her. He gives him a pleading let-me-stay look, but he gestures for her to go. Unlike the other girls, as she exits, ANYBODYS shoves the SHARKS like a big tough man as she EXITS.]*

## *#8A - Cool Chase (Orchestra)*

**RIFF**

Set 'em up, Doc. Cokes all around.

**BERNARDO**

Let's get down to business.

**RIFF**

Bernardo hasn't learned the procedures of gracious livin'.

**BERNARDO**

I don't like you, either. So cut it.

**RIFF**

Kick it, Doc.

**DOC**

Boys, couldn't you maybe all talk it

**RIFF**

Kick it!

*[Do goes out. The two gangs take places behind their leaders.]*

**RIFF**

We challenge you to a rumble. All out, once and for all. Accept?

**BERNARDO**

On what terms?

**RIFF**

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

**BERNARDO**

You started it.

**RIFF**

Who jumped A-rab this afternoon?

**BERNARDO**

Who jumped me the first day I moved here?

**RIFF**

Who asked you to moved here?

**BERNARDO**

Who asked you?

**SNOWBOY**

Move where you're wanted!

**A-RAB**

Back where ya came from!

**ACTION**

Spics!

**PEPE**

Micks!

**INDIO**

Wop!

**BERNARDO**

We accept!

**RIFF**

Time:

**BERNARDO**

Tomorrow?

**RIFF**

The river.

**BERNARDO**

Under the highway.

*[They shake.]*

**RIFF**

Weapons!

**BERNARDO**

Weapons...

**RIFF**

You call.

**BERNARDO**

You're challenge.

**RIFF**

Afraid to call?

**BERNARDO**

...Sticks.

**RIFF**

...Rocks.

**BERNARDO**

...Poles.

**RIFF**

...Cans.

**BERNARDO**

...Bricks.

**RIFF**

...Bats.

**BERNARDO**

...Clubs.

**TONY**

Bottles, knives, guns!

*[They stare.]*

What a coop full of chickens!

**BERNARDO**

Every dog knows his own.

**TONY**

I'm callin' all of you chicken. The big touch buddy boys have to throw bricks! Afraid to get close in? Afraid to slug it out? Afraid to use plain skin?

**BABY JOHN**

Not even garbage?

**ACTION**

That ain't rumble.

**RIFF**

Who says?

**BERNARDO**

You said call weapons.

**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.

**BERNARDO** *[looking at TONY]*

I'd enjoy to risk that. O.K.! Fair fight!

**PEPE**

What?

**ACTION** *[simultaneously]*

No!

**RIFF**

The commanders say yes or no.

*[To BERNARDO.]*

Fair fight.

*[They shake.]*

**BERNARDO** *[To TONY.]*

In two minutes you will be like a fish after skinnin'.

**RIFF**

Your best man fights our best man-and we pick him.

*[Claps Diesel on the shoulder.]*

**BERNARDO**

But I thought it would be

**RIFF**

We shook on it, Bernardo.

**BERNARDO**

Yes. I shook on it.

**ACTION** *[quickly]*

Look, Bernardo, if you wanna change your mind, maybe we could all-

*[One of the JETS near the door suddenly whistles. Instantly, they shift positions so they are mixed up, no segregation. Silence; then in comes SCHRANK. DOC comes in, brought by the tinkle of the little shop doorbell. During the following, the GANGS are absolutely silent and motionless, unless otherwise indicated.]*

**DOC** *[unhappily.]*
Good evening, Lieutenant Schrank. I and Tony was just closing up.

**SCHRANK** *[lifting a pack of cigarettes]*

Mind?

**DOC**

I have no mind. I am the village idiot.

**SCHRANK** *[lighting a cigarette]*

I always make it a rule to smoke in the can. And what else is a room with half-breeds in it, eh, Riff?

*[BERNARDO's move is checked by RIFF. SCHRANK speaks again, pleasantly.]*

Clear out, Spics. Sure; it's a free country and I ain't got the right. But it's a country with laws: and I can find the right. I got the badge, you got the skin. It's tough all over. Beat it!

*[A second. Then RIFF nods once to BERNARDO, who nods to his GANG. Slowly, THEY file out. BERNARDO starts to whistle "My Country 'Tis of Thee" as he EXITS proudly. His GANG joins in, finishing a sardonic jazz lick OFFSTAGE.*

**SCHRANK** *[still pleasant.]*

From their angle, sure. Say, where's the rumble gonna be? Ah, look: I know regular American don't rub with the gold teeth otherwise. The river? The park?

*[Silence.]*

I'm for you. I want this beat cleaned up and you can do it for me. I'll even lend a hand if it getsrough. Where ya gonna rumble? The playground? Sweeney's lot?

*[Angered by the silence.]*

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 oughta fine ya for litterin' the streets. You oughta be taken down the station house and have your skulls mashed to a pulp! You and the tin horn immigrant scum you come from! How's your old man's DT's, A-Rab? How's the action on your mother's mattress, Action?

*[ACTION lunges for him but is tripped up by RIFF. SCHRANK courches low, ready for him]*

**SCHRANK** *[quiet now.]*

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

*[ACTION starts to his feet but DIESEL holds him.]*

**SCHRANK**

One of these days there won't be nobody to hold you.

*[RIFF deliberately starts for the door, followed by the OTHERS, except TONY. As they go]*

**SCHRANK**

I'll find out where ya gonna rumble. But be sure to finish each other off. Because if you don't I will!

*[RIFF has stayed at the door until the OTHERS have passed throught. Now he just looks at SCHRANK and cockily saunters out. Silence.]*

**SCHRANK** *[looks at DOC.]*

Weel, you try keepin' hoodlums in line and see what it does to you.

*[He exits.]*

**DOC** *[indicating Schrank]*

Wouldn't give me a mouth like his.

## *#8B - Under Dialogue And Change of Scene (Orchestra)*

**TONY**

Forget him. From here on in, everything goes my way.

*[He starts to clean up, to turn out the lights.]*

**DOC**

You think it'll really be a fair fight.

**TONY**

Yeah.

**DOC**

What have you been takin' tonight?

**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.

*[Opens the door.]*

Buenos noches, señor.

**DOC**

Buenos 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?

**TONY**

Should I be?

*[He opens door, exits.]*

**DOC**

Why? I'm frightened enough for both of you.

*[He turns out the last light.]*

*The Stage is Dark.* Acte 1/scène 7

 Acte 1/scène 8

 Acte 1/scène 9