West side story



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Easy, action!

DIESEL


It's bad enough now-

BABY JOHN

Yeah!

ACTION


You forgettin'? Tony came through for us Jet's We gotta find him

and protect him from Chino.

A-RAB

Right!


ACTION

OK then! Snowboy-cover the river! [Snowboy runs off.] A-rab-get

over to Doc's.

BABY JOHN

I'll take the back alleys.

ACTION


Diesel?

DIESEL


I'll cover the park.

ACTION


Good boy! [He begins to run off.]

ANYBODYS


What about me?

ACTION


You? You get a hold of the girls and send 'em out as liaison

runners so we'll know who's found Tony where.

ANYBODYS

Right! [She starts to run off.]

ACTION

Hey! [She stops.] You done good, buddy boy.



ANYBODYS [she has fallen in love]

Thanks, Daddy-o.

[They both run off.]

The Lights Black Out.

SCENE THREE

11:30 P.M. The bedroom.

The light is, at first, a vague glow on the lovers, who are

sleep on the bed. From offstage, faint at first, there is the

sound of knocking. It gets louder; Tony stirs. At a distance, a

police siren sounds, and the knocking is now very loud. Tony

bolts upright. Anita comes in from outside and goes to the

bedroom door-which is locked-tries the knob.

ANITA [holding back tears]

Maria? ... Maria? [Tony is reaching for his shirt, when Maria

sits up. Quickly, he puts his hand, then his lips on her lips.]

Maria, it's Anita. Why are you locked in?

MARIA

I didn't know it was locked.


ANITA

Open the door. I need you.

[Maria reaches for the knob, Tony stops her.]

MARIA [a whisper]

Now you are afraid, too.

ANITA


What?

MARIA [loud]

One moment.

TONY [whispering]

Doc'll help. I'll get money from him. You meet me at his

drugstore.

[In the other room, Anita is aware of voices but unsure of

what they are saying.]

At Doc's, yes. [Aloud.] Coming, Anita!

TONY [kisses her]

Hurry!

[He scrambles out the window as Maria hastily puts a bathrobe on



over her slip. In the other room Anita has stiffened and moved

away from the door. She stands staring at it coldly as Maria

prattles to her through the door.]

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, then Anita pushes her aside: looks at the bed, at the

window, then turns accusingly to Maria.] All right. Now you know.

ANITA [savagely]

And you still don't know: Tony is one of them!

[She sings 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 heart.

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!

MARIA

Oh, no, Anita, no-


Anita, no!

It isn't true, not for me,

It is true for you, not for me,

I hear your words-

And in my head

I know they're smart,

But my heart, Anita,

But my heart

Knows they're wrong

[Anita reprises the chorus she has just sung, as Maria continues

her song.]

And my heart

Is too strong,

For I belong

To him alone, to him alone.

One thing I know:

I am his,

I don't care what he is.

I don't know why it's so,

I don't want to know.

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.

I have a love and it's all that I need,

Right or wrong, and he needs me too.

I love him, we're one;

There's nothing to be done,

Not a thing I can do

But hold him, hold him forever,

Be with him now, tomorrow

And all of my life!

BOTH

When love comes so strong,


There is no right or wrong,

Your love is your life!

ANITA [quietly]

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

MARIA [tears off her bathrobe]

If he hurts Tony-If he touches him-I swear to you, I'll-

ANITA [sharply]

You'll do what Tony did to Bernardo?

MARIA

I love Tony.



ANITA

I know. I loved Bernardo.

[Shrank comes into the outer room.]

SCHRANK


Anybody home? [Goes to bedroom door, Pleasantly.] Sorry to

disturb you. Guess you're disturbed enough.

MARIA [gathering her robe]

Yes. You will excuse me, please. I must go to my brother.

SCHRANK

There are just a coupla questions-



MARIA

Afterwards, please. Later.

SCHRANK

It'll only take a minute.



ANITA

Couldn't you wait until-

SCHRANK [sharply]

No! [A smile to Maria.] You were at the dance at the gym last

night.

MARIA


Yes.

SCHRANK


Your brother got in a heavy argument because you danced with the

wrong boy.

MARIA

Oh?


SCHRANK

Who was the wrong boy?

MARIA

Excuse me. Anita, my head is worse. Will you go to the drugstore



and tell them what I need?

SCHRANK


Don't you keep aspirin around?

MARIA


This is something special. Will you go for me, Anita?

ANITA [hesitates, looks at Maria, then nods.]

Shall I tell him to hold it for you till you come?

MARIA [to Shrank]

Will I be long?

SCHRANK

As long as it takes.

MARIA [to Anita]

Yes. Tell him I will pick it up myself. [Anita goes out.] I'm

sorry. Now you asked?

SCHRANK

I didn't ask, I told you. There was an argument over a boy. Who


was that boy?

MARIA


Another from my country.

SCHRANK


And his name?

MARIA


Jose.

The Lights Are Out.

SCENE FOUR

11:40 P.M. The drugstore.

A-rab and some of the Jets are there as Anybodys and other

Jets run in.

ACTION

Where's Tony?



A-RAB

Down in the cellar with Doc.

DIESEL

Ya warn him about Chino?



A-RAB

Doc said he'd tell him.

BABY JOHN

What's he hidin' in the cellar from?

SNOWBOY

Maybe he can't run as fast as you.



ACTION

Cut the frabbajabba.

ANYBODYS

Yeah! The cops'll get hip, if Chino and the PRs don't.

ACTION

Grab some readin' matter; play the juke. Some of ya get outside



and if ya see Chino or any PR-

[The shop doorbell tinkles as Anita enters. Cold silence,

then slowly she comes down to the counter. They all stare at her.

A long moment. Someone turns on the jukebox; a mambo comes on

softly.]

ANITA


I'd like to see Doc.

ACTION


He ain't here.

ANITA


Where is he?

A-RAB


He's gone to the bank. There was an error I 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.

ANYBODYS

And got stuck halfway in.

A-RAB

Which indicates there's no tellin' when he'll be back. Buenos



noches, senorita.

[Anita starts to go toward the cellar door.]

DIESEL

Where you going?



ANITA

Downstairs to-see Doc.

ACTION

Didn't I tell ya he ain't here?


ANITA

I'd like to see for myself.

ACTION [nastily]

Please.


ANITA [controlling herself]

...Please.

ACTION

Por favor.



ANITA

Will you let me pass?

SNOWBOY

She's too dark to pass.



ANITA [low]

Don't.


ACTION

Please don't.

SNOWBOY

Por favor.



DIESEL

Non comprende.

A-RAB

Gracias.


BABY JOHN

Di nada.


ANITA

Listen, you-[She controls herself.]

ACTION

We're listenin'.



ANITA

I've got to give a friend of yours a message. I've got tell Tony-

DIESEL

He ain't here.



ANITA

I know he is.

ACTION

Who says he is?



A-RAB

Who's the message from?

ANITA

Never mind.



ACTION

Couldn't be from Chino, could it?

ANITA

I want to stop Chino! I want to help!



ANYBODYS

Bernardo's girl wants ta help?

ACTION

Even a greaseball's got feelings.



ANYBODYS

But she wants to help Tony!

ANITA

No!


ACTION

Not much-Bernardo's tramp.

SNOWBOY

Bernardo's pig!



ANITA

Don't do that!

BABY JOHN

Gold tooth!

DIESEL

Pierced ear!



A-RAB

Garlic mouth!

ACTION

Spic! Lyin' Spic!



[The taunting breaks out into a wild, savage dance, with

epithets hurled at Anita, who is encircled and drivers by the

whole pack. At the peak, she is shoved so that she falls in a

corner. Baby John is lifted up high and dropped on her as Doc

enters from the cellar door and yells.]

DOC

Stop it!... What've you been doing now?

[Dead silence. Anita gets up and looks at them.]

ANITA [trying not to cry]

Bernardo was right... If one of you was bleeding in the street,

I'd walk by and spit on you. [She flicks herself off and makes

her way toward the door.]

ACTION

Don't let her go!


DIESEL

She'll tell Chino that Tony-

[Snowboy grabs her; she shakes loose.]

ANITA


Let go! [Facing them.] I'll give you a message for your American

buddy! Tell the murderer Maria's never going to meet him! Tell

him Chino found out and-and shot her!

[She slams out. There is a stunned silence.]

DOC

What does it take to get through to you? When do you stop? You



make this world lousy!

ACTION


That's the way we found it, Doc.

DOC


Get out of here!

[Slowly, they start to file out.]

The Lights Fade.

11:50 P.M. The Cellar.

Cramped: a box or crate; stairs leading to the drugstore

above; a door to the outside.

Tony is sitting on a crate, whistling "Maria" as Doc comes

down the stairs, some bills in his hand.

TONY

Make a big sale?



DOC

No.


TONY [taking the money that Doc is holding]

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

DOC

For get that.



TONY

I won't; I couldn't. Doc, you know what we're going to do 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 [slaps him]

Wake up! [Raging.] Is that the only way to get through to you? Do

just what you all do? Bust like a hot-water pipe?

TONY


Doc, what's gotten-

DOC [overriding angrily]

Why do you live like there's a war on? [Low.] Why do you kill?

TONY


I told you how it happened, Doc. Maria understands. Why can't

you?

DOC

I never had a Maria.

TONY [gently]

I have, 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.

TONY


What?

DOC


That was no costumer upstairs, just now. That was Anita. [Pause.]

Maria is dead. China found out about you and her-and shot her.

[A brief moment. Tony looks at Doc, stunned, numb. He shakes his

head, as though he cannot believe this. Doc holds out his hands

to him, but Tony backs away, then suddenly turns and runs out the

door. As he does, the set flies away and the stage goes dark. In

the darkness, we heaver Tony's voice.]

TONY


Chino? Chino? Come and get me, too, Chino.

SCENE SIX

Midnight. The street.

The lights come up to reveal the same set we saw at the

beginning of Act One-but it is now jagged with shadows. Tony

stands in the emptiness, calling, whirling around as a figure

darts out of the shadows and then runs off again.

TONY


Chino?... COME ON: GET ME TOO!

ANYBODYS [a whisper from the dark]

Tony...

TONY [swings around]



Who's that?

ANYBODYS [darting on]

Me: Anybodys.

TONY


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

ANYBODYS


What're you doin', Tony?

TONY


I said get outa here! CHINO!

ANYBODYS


Look, maybe if you and me just-

TONY [savagely]

It's not playing any more! Can't any of you get that?

ANYBODYS


But the gang-

TONY

You're a girl: be a girl! Beat it. [She retreats.] CHINO, I'M

CALLING FOR YOU, CHINO! HURRY! IT'S CLEAR NOW. THERE'S NOBODY BUT

ME. COME ON! Will you, please? I'm waiting for you. I want you

to- [Suddenly, all the way across the stage from him, a figure

steps out of the dark. He stops and peers as light starts to glow

on it. He utters an unbelieving whisper.] Maria... Maria?

MARIA

Tony... [As she holds out her arms toward him, another figure


appears: Chino.]

TONY


MARIA! [As they run to each other, there is a gunshot. Tony

stumbles, as though he has tripped. Maria catches him and cradles

him in her arms as he falters to the ground. During this Baby

John and A-rab run on; then Pepe and Indio and other Sharks.

Chino stands very still, bewildered by the gun dangling from his

hand. More Jets and Sharks, some girls run on, and Doc comes out

to stare with them.] I didn't believe hard enough.

MARIA


Long is enough.

TONY


Not here. They won't let us be.

MARIA


Then we'll get away.

TONY


Yes, we can. We sill. [He shivers, as though a pain went through

him. She holds him closer and begins to sing-without orchestra.]

MARIA

Hold my hand and we're halfway there.



Hold my hand and I'll take you there,

Someday,

Somehow...

[He has started to join in on the second line. She sings harder,

as though to urge him back to life, but his voice falters and he

barely finishes the line. She sings on, a phrase or two more,

then stops, his body quiet in her arms. A moment, and then, as

she gently rests Tony on the floor, the orchestra finishes the

last bars of the song. Lightly, she brushes Tony's lips with her

fingers. Behind her, Action, in font of a group of Jets, moves to

lead them toward Chino. Maria speaks, her voice cold, sharp.]

Stay back. [The shawl she has had around her shoulders slips to

the ground as she gets up, walks to Chino and holds out her hand.

He hands her the gun. She speaks again, in a flat, hard voice.]

How do you fire this gun, Chino? Just by pulling this little

trigger? [She points it at him suddenly; he draws back. She has

all of them in front of her now, as she holds the gun out and her

voice gets stronger with anger and savage rage.] How many bullets

are left, Chino? Enough for you? [Pointing at another.] And you?

[At Action.] All of you? WE ALL KILLED HIIM; and my brother and

Riff. I, too. I CAN KILL NOW BECAUSE I HATE NOW. [She has been

pointing the gun wildly, and they have all been drawing back.

Now, again, she holds it straight out at Action.] How many can I

kill, Chino? How many-and still have one bullet left for me?

[Both hands on the gun, she breaks into tears, hurls the gun away

and sinks to the ground. Schrank walks on looks around and starts

toward Tony's body. Like a madwoman, Maria races to the body

[She kisses him gently. Music starts as the two Jets and

two Sharks lift up Tony's body and start to carry him out. The

others, boys and girls, fall in behind to make a procession, the

same procession they made in the dream ballet, as Baby John comes

forward to pick up Maria's shawl and put it over her head. She

sits quietly, like a woman in mourning, as the music builds, the

light starts to come up and the procession makes its way across

the stage. At last, she gets up and, despite the tears on her

face, lifts her head proudly, and triumphantly turns to follow

the others. The adults-Doc, Schrank, Krupke, Glad Hand-are left

bowed, alone, useless.]



The Curtain Falls.

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