West side story



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Come on, you yellow-bellied Polack bas-

[He never finishes, for Riff hauls off and hits him. Immediately,

the two gangs alert, and the following action takes on the form

of a dance. As Bernardo reels back to his feet, he reaches for

his back pocket. Riff reaches for his back pocket, and at the

same instant each forth a gleaming knife. They jockey for

position, feinting, dueling; the two gangs shift position, now

and again temporarily obscuring the fighters. Tony tries to get

between them.]

RIFF

Hold him!


[Diesel and Action grab Tony and hold him back. The fight

continues. Riff loses his knife, is passed another by a Jet. At

last, he has Bernardo in a position where it seems that he will

be able to run him through. Tony breaks from Diesel and, crying

out, moves to stop Riff.]

TONY


Riff, don't! [Riff hesitates a moment; the moments is enough for

Bernardo-whose hand goes forward with a driving motion, running

his knife into Riff. Tony leaps forward to catch Riff. He breaks

his fall, then takes the knife in hand, leaps at the triumphant

Bernardo. All this happens terribly fast; and Tony rams his knife

into Bernardo. The free-for-all continues a moment longer. Then

there is a sharp police whistle. Everything comes to a dead stop-

dead silence. Then a distant police siren: the kids waver, run

one way, another, in panic, confusion. As the stage is cleared,

Tony stands, horrified, over the still bodies of Riff and

Bernardo. He bends over Riff's body; then he rolls Bernardo's

body over-and stares. Then Tony raises his voice in an anguished

cry.]

MARIA!


[Another police whistle, closer now, but he doesn't move. From

the shadows, Anybodys appears. She scurries to Tony and tugs at

his arm. A siren, another whistle, then a searchlight cuts across

the playground. Anybodys' insistent tugging brings Tony to the

realization of the danger. He crouches, starts to run with her

to one escape way. She reaches it first, goes out-but the

searchlight hits it just as he would go through. He stops, runs

the other way. He darts here, there, and finally gets away as a

distant clock begins to boom.]

The Curtain Falls.

WEST SIDE STORY

ACT II

9:15 P.M. A bedroom.

Part of a parlor is also visible. The bedroom as a window

opening onto the fire escape, a bed on a wall, a small shrine to

the Virgin, and a curtained doorway, rear. There is a door

between the bedroom and the parlor.

Gay music for Consuelo, who is examining herself in the

mirror, and for Rasolia, who is on the bed, finishing her nails.

CONSUELO


This is my last night as a blonde.

ROSALIA


No loss.

CONSUELO


Again! The fortune-teller told Pepe a dark lady was coming into

his life.

ROSALIA

So that's why he's not taking you out after the rumble!



[The music becomes festively, humorously Spanish as Maria enters

through the curtained doorway. She is finishing getting very

dressed up.]

MARIA


There is not going to be a rumble.

ROSALIA


Another fortune-teller.

CONSUELO


Where is Chino escorting you after the rumble-that-is-not-going-

to-be-a-rumble?

MARIA

Chino is escorting me no place.



ROSALIA

She is just dolling for us. Gracias, querida.

MARIA

No, not for you. Can you keep a secret?



CONSUELO

I'm not for secrets!

MARIA

Tonight is my wedding night!



CONSUELO

The poor thing is out of her mind.

MARIA

I am: crazy!



ROSALIA

She might be at that. She looks somehow different.

MARIA

I do?


ROSALIA

And I think she is up to something tonight.

MARIA

I am?

CONSUELO

I do? I am? What is going on with you?

MARIA [sings]

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,

It's alarming how charming I feel,

And so pretty That I hardly can believe I'm real.

See the pretty girl in that mirror there:

Who can that attractive girl be?

Such a pretty face,

Such a pretty dress,

Such a pretty smile,

Such a pretty me!

I feel stunning

And entrancing,

Feel like running and dancing for joy,

For I'm loved

By a pretty wonderful boy!

ROSALIA and CONSUELO

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.

She thinks she's in love.

She thinks she's in Spain.

She isn't in love,

She's merely insane.

It must be the heat

Or some rare disease,

Or too much to eat

Or maybe it's fleas.

Keep away from her,

Send for Chino!

This is not the Maria we know!

Modest and pure,

Polite and refined,

Well-bred and mature,

And out of her mind!

MARIA

I feel pretty,


Oh so pretty

That the city should give me its key.

A committee

Should be organized to honor me.

I feel dizzy,

I feel sunny,

I feel fizzy and funny and fine,

And so pretty,

Miss America can just resign!

See the pretty girl in that mirror there:

ROSALIA and CONSUELO

What mirror where?

MARIA

Who can that attractive girl be?



ROSALIA and CONSUELO

Which? What? Where? Whom?

MARIA

Such a pretty face,



Such a pretty dress,

Such a pretty smile,

Such a pretty me!

ALL


I feel stunning

And entrancing,

Feel like running and dancing for joy,

For I'm loved

By a pretty wonderful boy!

CHINO [offstage]

Maria!

CONSUELO


It's Chino.

ROSALIA


The happy bridegroom.

CHINO [closer]

Maria!

MARIA


Please-

COSUELO


Yes, little bride, we're going.

[She exits.]

ROSALIA

They have a quaint old-fashioned custom in this country, Maria:



they get married here before the wedding night. [She follows

Consuelo out as Chino enters from offstage. His clothes are dirty

and torn from the fight. His face is smeared. They shake their

heads at him and flounce out. He closes the outer door.]

CHINO

Maria...


MARIA

I'm in here. I was just getting ready to-[She is hurriedly trying

to put a bathrobe over her dress. Chino comes in before she can

finish, so that she leaves it over her shoulders, holding it

closed with her hands.]

CHINO


Where are your parents?

MARIA


At the store. If I had known you were-You have been fighting,

Chino.

CHINO

Yes, I'm sorry.

MARIA

That is not like you.


CHINO

No.


MARIA

Why, Chino?

CHINO

I don't know why. It happened so fast.



MARIA

You must wash up.

CHINO

Maria-


MARIA

You can go in there.

CHINO

In a minute. Maria... at the rumble-



MARIA

There was no rumble.

CHINO

There was.



MARIA

You are wrong.

CHINO

No; there was. Nobody meant for it to happen...



MARIA

...Tell me.

CHINO

It's bad.



MARIA

Very bad?

CHINO

You see... [he moves to her, helplessly]



MARIA

It will be easier if you say it very fast.

CHINO [nods]

There was a fight-[She nods.] And 'Nardo-[She nods.] And somehow

a knife-and 'Nardo someone-[He takes her hand.]

MARIA


Tony. What happened to Tony? [The name stops Chino. He yanks off

the robe, revealing that she is dressed to go out.] Chino, is

Tony all right?!

CHINO


He killed your brother. [She walks into the parlor, slamming the

door behind him. A pause.]

MARIA

You are lying. [Chino has started to leave the parlor, but comes


back now. Swiftly searching behind the furniture, he come up with

a n object wrapped in material the same color as Bernardo's

shirt. From the bedroom, Maria's voice calls out, louder.] You

are lying, Chino! [Coldly, Chino unwraps a gun, which he puts in

his pocket. There is the sound of a police siren at a distance.

He goes out. During this, Maria has knelt before the shrine on

the wall. She rocks back and forth in prayer, some of it in

Spanish, some of it in English.] 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. [As she prays, Tony appears at the

fire-escape window and quietly climbs in. His shirt is ripped,

half-torn off. He stands still, limp, watching her. Aware that

someone is in the room, she tops her prayers. Slowly, her head

turns; she looks at him for a long moment. Then, almost in one

spring, she in on him, her fists beating his chest.] Killer,

killer, killer,

TONY

I tried to stop it; I did try. I 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-[She lifts her head.] 'Nardo didn't mean it either. Oh, I

don't know he didn't! Oh, no. I didn't come to tell you just for

you to forgive me so I couldn't go to the police-

MARIA


No!

TONY


It's easy now-

MARIA


No...

TONY


Whatever you want, I'll do-

MARIA


Stay. Stay with me.

TONY


I love you so much.

MARIA


Tighter.

[Music starts.]

TONY

We'll be all right. I know it. We're really together now.



MARIA

But it's not us! It's everything around us!

TONY

Then we'll find some place where nothing can et to us; not one of


them, not anything. And-

[He sings.]

I'll take you away, take you far far away out of here,

Far far away till the walls and the streets disappear,

Somewhere there must be a place we can feel we're free,

Somewhere there's got to be some place for you and for me.

[As he sings, the walls of the apartment begin to move off, and

the city walls surrounding them begin to close in on them. Then

the apartment it self goes, and the two lovers begin to run,

battering against the walls of the city, beginning to break

through as chaotic figures of the gangs, of violence, fail around

them. But they do break through, and suddenly-they are in a world

of space and air and sun. They stop, looking at it, pleased,

startled, as boys and girls both sides come on. And they, too,

stop and stare, happy, pleased. Their clothes are soft and pastel

versions of what they have worn before. They begin to dance, to

play: no sides, no hostility now; join, making a world that Tony

and Maria want to be in, belong to, share their love with. As

they go into the steps of a gentle love dance, a voice is heard

singing.]

OFFSTAGE VOICE [sings]

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 look, time to care,

Someday!

Somewhere.

We'll find 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 half way there.

Hold my hand and I'll take you there

Someday,

Somehow,


Somewhere!

[The lovers hold out their hands to each other; the others follow

suit: Jets to Sharks; Sharks to Jets. And they form what is

almost a procession winding its triumphant way through this

would-be world, as they sing the words of the song with

wonderment. Then, suddenly, there is a dead stop. The harsh

shadows, the fire escapes of the real, tenement world cloud the

sky, and the figures of Riff and Bernardo slowly walk on. The

dream becomes a nightmare: as the city returns, there are brief

reenactments of the knife fight, of the deaths. Maria and Tony

are once again separated from each other by the violent warring

of the two sides. Maria tries to reach Bernardo, Tony tries to

stop Riff; the lovers try to reach each other, but they cannot.

Chaotic confusion and blackness, after which they find

themselves, back in the bedroom, clinging to each other

desperately. With a blind refusal to face what they know must be,

they reassure each other desperately as they sing.]

TONY and MARIA

Hold my hand and we're halfway there.

Home my hand and I'll take you there

Someday,

Somehow,


Somewhere!

[As the lights fade, together they sink back on the bed.]

SCENE TWO.

10:00 P.M. Another alley.

A fence with loose boards; angles between buildings.

Softly, from behind the fence, the Jet gang whistles. A pause,

then the answering whistle, softly, from offstage or around a

corner. Now a loose board flips up and Baby John wriggles through

the fence. He whistles again, timidly, and A-rab comes on.

A-RAB

They got you yet?

BABY JOHN

No, you?

A-RAB


Hell, no.

BABY JOHN

You seen Tony?

A-RAB


Nobody has.

BABY JOHN

Geez...

A-RAB


You been home yet?

A-RAB


Uh uh.

A-RAB


Me either.

BABY JOHN

Just hidin' around?

A-RAB


Uh huh.

BABY JOHN

A-rab... did you get a look at 'em?

A-RAB


Loot at who?

BABY JOHN

Ya know. At the rumble. Riff and Bernardo.

[Pause.]


A-RAB

I wish it was yesterday.

BABY JOHN

Wadaya say we run away?

A-RAB

What's the matter? You scared?



BABY JOHN

...Yeah.


A-RAB

You cut it out, ya hear? You're only makin' me scared and that

scares me! [Police whistle. He grabs Baby John.] Last thing ever

is to let a cop know you're scared or anythin'.

KRUPKE [offstage]

Hey, you two!

A-RAB

Play it big with the baby blues.



BABY JOHN [scared]

OK.


A-RAB [gripping him]

Big, not scare, big!

[Again a whistle. Elaborately casual, they start sauntering off

as Krupke appears.]

KRUPKE

Yeah, you.



[They stop, so surprised.]

A-RAB


Why, it is Officer Krupke, Baby John.

BABY JOHN [quaking]

Top of the evening, Officer Krupke.

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

We got twenty-twenty hearing.

KRUPKE

You wanna get hauled down to the station house?



BABY JOHN

Indeed not, sir.

KRUPKE

I'll make a little deal. I know you was rumblin' under the



highway-

BABY JOHN

We was at the playground, sir.

A-RAB

We like the playground. It keeps us deprived kids off the foul

streets.


BABY JOHN

It gives us comradeship-

A-RAB

A place for pleasant pastimes-And for us, born like we was on the



hot pavements-

KRUPKE


OK, wise apples, down to the station house.

BABY JOHN

Which way?

A-RAB


This way! [He gets down on all fours, Baby John pushes Krupke, so

that he tumbles over A-rab. Baby John pushes Krupke, so that he

tumbles over A-rab. Baby John starts off one way, A-rab the

other. Krupke hesitates, then runs after one of them, blowing his

whistle like mad. The moment he is off, A-rab and Baby John

appear through the fence, followed by the other Jets.] Look at

the brass-ass run!

BABY JOHN

I hope he breaks it!

ACTION


Get the lead out, fat boy!

DIESEL


Easy. He'll come back and drag us down the station house.

ACTION


I already been.

SNOWBOY


We both already been.

A-RAB


What happened?

SNOWBOY


A bit fat nuthin'!

A-RAB


How come?

SNOWBOY


Cops believe everythin' they read in the papers.

ACTION


To them we ain't human. We're cruddy juvenile delinquents. So

that's what we give 'em.

SNOWBOY [imitating Krupke]

Hey, you!

ACTION

Me, Officer Krupke?



SNOWBOY

Yeah, you! Gimme one good reason for not draggin' ya down the

station house, ya punk.

ACTION

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,

Our fathers all are drunks.

ALL

Golly Moses, natcherly we're punks!


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 there is good!

ACTION


There is good!

ALL


There is good, there is good,

There is untapped good.

Like inside, the worst of us is good.

SNOWBOY [imitating Krupke]

That's a touchin' good story.

ACTION


Lemme tell it to the world!

SNOWBOY [imitating Krupke]

Just tell it to the judge.

ACTION [to Diesel]

Dear kindly Judge, your Honor,

My parents treat me rough.

With all their marijuana,

They won't give me a puff.

They didn't wanna have me,

But somehow I was had.

Leapin' lizards, that's why I'm so bad!

DIESEL [imitating a 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 psychologic'ly disturbed!

ACTION

I'm disturbed!



ALL

We're disturbed, we're disturbed,

We're the most disturbed,

Like we're psychologic'ly disturbed.

DIESEL [speaks, still acting part of the judge]

Hear ye, Hear ye! In the opinion of this court, this child

is depraved on account he ain't had a

normal home.

ACTION

Hey, I'm depraved on account I'm



deprived!

DIESEL [as Judge]

So take him to a headshrinker.

ACTION

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 psychiatrist]

Yes!

Officer Krupke, you're really a slob.


This boy don't need a doctor, just a good honest job.

Society's played him a terrible trick,

And sociologically he's sick!

ACTION


I am sick!

ALL


We are sick, we are sick,

We are sick sick sick,

Like we're sociologically sick!

A-RAB [speaks as psychiatrist]

In my opinion, this child don't need

to have his head shrunk at all. Juvenile

delinquency is purely a social disease!

ACTION


Hey, I got a social disease!

A-RAB [as psychiatrist]

So take him to a social worker!

ACTION [to Baby John]

Dear kindly social worker,

They say go earn a buck,

Like be a soda jerker,

Which means like be a schmuck.

It's not I'm anti-social,

I'm only anti-work.

Glory Osky, that's why I'm a jerk!

BABY JOHN [as a female social workers]

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!

ACTION


I'm no good!

ALL


We're no good, we're no good,

We're no earthly good,

Like the best of us is no damn good!

DIESEL [as judge]

The trouble is he's crazy,

A-RAB [as psychiatrist]

The trouble is he drinks.

BABY JOHN [as social worker]

The trouble is he's lazy.

DIESEL [as judge]

The trouble is he stinks.

A-RAB [as psychiatrist]

The trouble is he's grown.

BABY JOHN [as social worker]

The trouble is he's grown.

ALL

Krupke, we got troubles of our own!

Gee, Officer Krupke,

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 Krupke,

Krup you!

[At the end of the song, Anybodys appears over the fence]

ANYBODYS


Buddy boys!

ACTION


Ah! Go wear a skirt.

ANYBODYS


I got scabby knees. Listen-

ACTION [to the gang]

Come on, we gotta make sure those PRs know we're on top.

DIESEL


Geez, Action, ain't we had enough?

ANYBODYS [going after them]

Wotta buncha Old Man Rivers: they don't know nothin' and they

don't say nuthin'.

ANYBODYS

Diesel, the question ain't whether we had enough-

ACTION

What do you know?



ANYBODYS

I know I gotta get a skirt. [She starts off, but Diesel stops

her.]

DIESEL


Come on, Anybodys, tell me.

SNOWBOY


Ah, what's the freak know?

ANYBODYS


Plenty. 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.

SNOWBOY


Boy, is she ever makin' the most of it!

ANYBODYS


You be you fat A, I am!

ACTION


Go on. Wadd'ya hear?

ANYBODYS


I heard Chino tellin' the Sharks somethin' about Tony and

Bernardo's sister. Then Chino said, "If it's the last thing I do,

I'm going to get Tony."

ACTION


What'd I tell ya? Them PRs won't stop!

SNOWBOY



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