and protect him from Chino.
OK then! Snowboy-cover the river! [Snowboy runs off.] A-rab-get
over to Doc's.
I'll take the back alleys.
runners so we'll know who's found Tony where.
Right! [She starts to run off.]
Hey! [She stops.] You done good, buddy boy.
[They both run off.]
The Lights Black Out.
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?
I didn't know it was locked.
Open the door. I need you.
[Maria reaches for the knob, Tony stops her.]
MARIA [a whisper]
Now you are afraid, too.
Doc'll help. I'll get money from him. You meet me at his
[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]
[He scrambles out the window as Maria hastily puts a bathrobe on
away from the door. She stands staring at it coldly as Maria
prattles to her through the door.]
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.
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,
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!
Oh, 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
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!
When love comes so strong,
There is no right or wrong,
Your love is your life!
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-
You'll do what Tony did to Bernardo?
I love Tony.
I know. I loved Bernardo.
[Shrank comes into the outer room.]
disturb you. Guess you're disturbed enough.
MARIA [gathering her robe]
Yes. You will excuse me, please. I must go to my brother.
There are just a coupla questions-
Afterwards, please. Later.
It'll only take a minute.
Couldn't you wait until-
No! [A smile to Maria.] You were at the dance at the gym last
Who was the wrong boy?
Excuse me. Anita, my head is worse. Will you go to the drugstore
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?
MARIA [to Anita]
Yes. Tell him I will pick it up myself. [Anita goes out.] I'm
sorry. Now you asked?
I didn't ask, I told you. There was an argument over a boy. Who
was that boy?
The Lights Are Out.
11:40 P.M. The drugstore.
A-rab and some of the Jets are there as Anybodys and other
Jets run in.
Down in the cellar with Doc.
Ya warn him about Chino?
Doc said he'd tell him.
What's he hidin' in the cellar from?
Maybe he can't run as fast as you.
Cut the frabbajabba.
Yeah! The cops'll get hip, if Chino and the PRs don't.
Grab some readin' matter; play the juke. Some of ya get outside
[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
And got stuck halfway in.
Which indicates there's no tellin' when he'll be back. Buenos
[Anita starts to go toward the cellar door.]
Where you going?
Downstairs to-see Doc.
Didn't I tell ya he ain't here?
I'd like to see for myself.
Will you let me pass?
She's too dark to pass.
Listen, you-[She controls herself.]
I've got to give a friend of yours a message. I've got tell Tony-
He ain't here.
I know he is.
Who says he is?
Who's the message from?
Couldn't be from Chino, could it?
I want to stop Chino! I want to help!
Bernardo's girl wants ta help?
Even a greaseball's got feelings.
But she wants to help Tony!
Not much-Bernardo's tramp.
Don't do that!
Spic! Lyin' Spic!
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.]
[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.]
Don't let her go!
She'll tell Chino that Tony-
[Snowboy grabs her; she shakes loose.]
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.]
What does it take to get through to you? When do you stop? You
[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.
Make a big sale?
Thanks. I'll pay you back as soon as I can.
For get that.
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?
DOC [overriding angrily]
Why do you live like there's a war on? [Low.] Why do you kill?
I never had a Maria.
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.
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.]
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.
ANYBODYS [a whisper from the dark]
TONY [swings around]
ANYBODYS [darting on]
It's not playing any more! Can't any of you get that?
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?
Tony... [As she holds out her arms toward him, another figure
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.
him. She holds him closer and begins to sing-without orchestra.]
Hold my hand and we're halfway there.
[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.]