West Side Story. Perusal. by Music Theatre International Australasia

Libretto Vocal Book

Based on a conception of Jerome Robbins

Book by Arthur Laurents

Music by Leonard Bernstein

Lyrics by Stephen Sondheim

Entire Original Production Directed and Choreographed by Jerome Robbins

NOTICE: DO NOT DEFACE!

•Should you find it necessary to mark cues or cuts, use a soft black lead pencil only.

NOT FOR SALE

• This book is rented for the period specified in your contract. It remains the property of:

Music Theatre International (Australasia) Ground Floor, Suite 2 20-22 Albert Road, South Melbourne, Victoria, 3205 Australia

In accordance with the terms and conditions specified in your performance license, all music, lyrics and dialogue contained herein are the property of the Authors and are fully protected by copyright.

You are not permitted to make any changes to the music, lyrics or dialogue of the Play, including the interpolation of new material and/or the exclusion of existing material. Any changes shall constitute a wilful infringement of said copyright and will subject you to all the criminal penalties and civil liabilities under the United States Copyright Act.

This book may not be duplicated and must be returned at the conclusion of your production. This Play is the property of its Authors. Remember, you have rented these materials and been granted a performance license. You may not duplicate any portion of these materials, disseminate them in any way, in whole or in part, including electronic or digital transmission and posting on the Internet, or use them for performances other than those specified in your license agreement.

ACT ONE SCENE ONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 #1Prologue(Orchestra) . . . . . . . . . . . . . . . . . . .1 #2Jet Song(Riff, Jets) . . . . . . . . . . . . . . . . . . . .8 #2AJet Song Chase(Orchestra) . . . . . . . . . . . . . . . . . .12 SCENE TWO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 #3Something’s Coming(Tony) . . . . . . . . . . . . . . . . . . . . . .16 #3ASomething’s Coming Chase(Orchestra) . . . . . . . . . . . . . . . . . .17 SCENE THREE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 #4The Dance At The Gym — Blues(Orchestra) . . . . . . . . . . . . . . . . . .21 SCENE FOUR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 #4APromenade(Orchestra) . . . . . . . . . . . . . . . . . .23 #4BMambo(Orchestra) . . . . . . . . . . . . . . . . . .23 #4CCha-Cha(Orchestra) . . . . . . . . . . . . . . . . . .24 #4DMeeting Scene(Orchestra) . . . . . . . . . . . . . . . . . .24 #4EJump(Orchestra) . . . . . . . . . . . . . . . . . .25 #5Maria(Tony) . . . . . . . . . . . . . . . . . . . . . .29 SCENE FIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30 #6Balcony Scene(Maria, Tony) . . . . . . . . . . . . . . . .30 #7America(Anita, Rosalia, Shark Girls) . . . . .42 #7AAmerica To Drugstore(Orchestra) . . . . . . . . . . . . . . . . . .45 SCENE SIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45 #8Cool(Riff, Jets) . . . . . . . . . . . . . . . . . . .51 #8ACool Chase(Orchestra) . . . . . . . . . . . . . . . . . .52 #8BUnder Dialogue And Change Of Scene(Orchestra) . . . . . . . . . . . . . . . . . .59 SCENE SEVEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60 #9Under Dialogue(Orchestra) . . . . . . . . . . . . . . . . . .64 #9AOne Hand, One Heart(Tony, Maria) . . . . . . . . . . . . . . . .66 SCENE EIGHT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 #10Tonight(Jets, Sharks, Anita, Tony, Maria, Riff, Bernardo) . . . . . . . . . .68 SCENE NINE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73 #11The Rumble(Orchestra) . . . . . . . . . . . . . . . . . .76 —i—

TableofContents

ACT TWO SCENE ONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78 #12I Feel Pretty(Maria, Consuela, Rosalia, Francisca) . . . . . . . . . . . .78 #13Under Dialogue(Orchestra) . . . . . . . . . . . . . . . . . .87 #13ABallet Sequence(Tony, Maria) . . . . . . . . . . . . . . . .88 #13BTransition To Scherzo(Orchestra) . . . . . . . . . . . . . . . . . .88 #13CScherzo(Orchestra) . . . . . . . . . . . . . . . . . .88 #13DSomewhere(Girl) . . . . . . . . . . . . . . . . . . . . . . .89 #13EProcession And Nightmare(Tony, Maria, Company) . . . . . . . .89 SCENE TWO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90 #14Gee, Officer Krupke(Jets) . . . . . . . . . . . . . . . . . . . . . . .95 SCENE THREE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103 #15ABoy Like That And I Have ALove(Maria, Anita) . . . . . . . . . . . . . . .105 #15AChange Of Scene(Orchestra) . . . . . . . . . . . . . . . . .109 SCENE FOUR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109 #16Taunting Scene(Orchestra) . . . . . . . . . . . . . . . . .110 SCENE FIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115 SCENE SIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117 #17Finale(Maria, Tony) . . . . . . . . . . . . . . .119 —ii—

Characters

THE JETS:

RIFF, the leader

TONY, his friend

ACTION

A-RAB

BABYJOHN SNOWBOY

BIG DEAL

DIESEL

GEE-TAR MOUTHPIECE

TIGER

THEIR GIRLS:

GRAZIELLA

VELMA MINNIE

CLARICE

PAULINE ANYBODYS

THE SHARKS:

BERNARDO, the leader MARIA, his sister ANITA, his girl

CHINO, his friend PEPE

INDIO

LUIS

ANXIOUS NIBBLES

JUANO

TORO MOOSE

THEIR GIRLS: ROSALIA

CONSUELO TERESITA

FRANCISCA ESTELLA MARGARITA

THE ADULTS: DOC

SCHRANK KRUPKE

GLAD HAND

—iii—

GIRL

ANITA #7America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42 #10Tonight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 #15ABoy Like That And I Have ALove . . . . . . . . . . .105

#10Tonight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 COMPANY #13EProcession And Nightmare . . . . . . . . . . . . . . . . . . .89 CONSUELA #12I Feel Pretty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78

#10Tonight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 FRANCISCA #12I Feel Pretty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78

SongsbyCharacter

BERNARDO

ENSEMBLE

#13DSomewhere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89 JETS #2Jet Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 #8Cool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 #10Tonight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 #14Gee, Officer Krupke . . . . . . . . . . . . . . . . . . . . . . . .95 MARIA #6Balcony Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30 #9AOne Hand, One Heart . . . . . . . . . . . . . . . . . . . . . .66 #10Tonight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 #12I Feel Pretty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78 #13ABallet Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . .88 #13EProcession And Nightmare . . . . . . . . . . . . . . . . . . .89 #15ABoy Like That And I Have ALove . . . . . . . . . . .105 #17Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 RIFF #2Jet Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 #8Cool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 #10Tonight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 —iv—

ROSALIA #7America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42 #12I Feel Pretty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78 SHARKS #10Tonight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 SHARK GIRLS #7America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42 TONY #3Something’s Coming . . . . . . . . . . . . . . . . . . . . . . . .16 #5Maria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 #6Balcony Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30 #9AOne Hand, One Heart . . . . . . . . . . . . . . . . . . . . . .66 #10Tonight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 #13ABallet Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . .88 #13EProcession And Nightmare . . . . . . . . . . . . . . . . . . .89 #17Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 —v—

The action takes place on the West Side of New York City during the last days of summer.

Prologue: The Months Before

5:00 p.m.The Street

5:30 p.m.ABack Yard

6:00 p.m.ABridal Shop 10:00 p.m.The Gym

11:00 p.m.ABack Alley

MidnightThe Drugstore

The Next Day

5:30 p.m..The Bridal Shop

6:00 to 9:00 p.m.The Neighborhood

MidnightThe Street

A CT O NE

A CT T WO

p.m.ABedroom

Alley 11:30 p.m.The Bedroom

9:00 p.m.Under the Highway

9:15

10:00 p.m.Another

11:40 p.m.The Drugstore 11:50 p.m.The Cellar

—vi—

ACT ONE SCENE ONE

(The neighborhood. Asuggestion of city streets and alleyways; a workable brick wall.

#1—Prologue(Orchestra)

The opening is musical: half-danced, half-mimed with occasional phrases of dialogue. It is primarily a condensation of the growing rivalry between two teenage gangs, the JETS and the SHARKS, each of which has its own 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: owning, 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 aggressive 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 BERNARDO, the leader of the SHARKS: 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 as a SHARK on top of the wall is stationed as look-out. Finally, BERNARDO bends over A-RAB and makes a gesture (piercing his ear); the look-out 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. It is stopped by a POLICE WHISTLE louder and louder and the arrival of a big, goon-like 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)

WESTSIDESTORY Page1

Knock it off! Settle down.

KRUPKE

SCHRANK

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

RIFF

(Such innocence)

Why if it isn’t Lt. Schrank!

SEVERALJETS

(Dancing class manners)

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.

BIG DEAL

Two cops.

Oh, at least!

Impossible!

A-RAB

KRUPKE

SCHRANK

Didn’t nobody tell you 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.

Page2 WESTSIDESTORY

(Indicating SCHRANK)

ACTION

Maybe buddy boy should get the prize.

SCHRANK

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

(Mock charm)

Please.

Let’s go, Sharks.

(THEY EXIT)

BERNARDO

SHRANK

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

KRUPKE

Goodbye, boys.

(Follows SCHRANK out)

SNOWBOY

(Imitating KRUPKE)

Goodbye, boys.

They make a very nice couple.

A-RAB

ACTION (Bitterly)

“You hoodlums don’t own the streets.”

BIG DEAL

Go play in the park!

WESTSIDESTORY Page3

Keep off the grass!

Get outa the house!

Keep off the block!

Get outa here!

ACTION

BABY JOHN

ACTION

A-RAB

ACTION

Keep off the world! Agang that don’t own a street is nuthin’!

RIFF

WE DO OWN IT! Jets — square off! Acemen: (DIESEL, ACTION and BIG DEALline 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)

Those PRs! They branded you!

BIG DEAL

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

Page4 WESTSIDESTORY

RIFF

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

A-RAB

Bernardo. ’Cause I hear him say: thees ees for stink-bombin’ my old man’s store.

(Makes 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?

My old man says.

ACTION

BABY JOHN

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

ACTION

Your old man says what?

BABY JOHN

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

ACTION

And what’re we doin’ about it?

(Pushing through the gang comes a scrawny teenage 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 came in. Her name:)

Gassin’, crabbin’ —

You still around?

ANYBODYS

ACTION

WESTSIDESTORY Page5

ANYBODYS

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

RIFF

Come on, Anybodys —

ANYBODYS

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

A-RAB

How about the gang gettin’ in — ahhh, who’d wanta!

ANYBODYS

You cheap beast!

(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 beckoning 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)

Arumble!

(Ajabbing gesture)

Chung! Chung!

RIFF

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

BABY JOHN

Zip guns… Gee!

Page6 WESTSIDESTORY

RIFF

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

ACTION

I say go, go!!

But if they say knives or guns —

BIG DEAL

BABY JOHN

I say let’s forget the whole thing.

SNOWBOY

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:

(Apunching gesture)

Voom-va-voom!

Chung chung!

ACTION

A-RAB

(Gesture)

Cracko jacko!

SNOWBOY (Gesture)

Riga diga dum!

BABY JOHN

(The wildest gesture of all)

Pam pam!!

WESTSIDESTORY Page7

RIFF

O.K., buddy boys, we rumble!

(General glee)

Now protocality calls for a war council to decide on weapons. I’ll make the challenge to Bernardo.

BIG DEAL

You gotta take a lieutenant.

That’s me!

That’s Tony.

Who needs Tony? (MUSIC starts)

ACTION

RIFF

ACTION

#2—JetSong(Riff,Jets

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.

Page8 WESTSIDESTORY

BIG DEAL

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. (SINGS)

WHEN YOU’RE AJET, YOU’RE AJET ALLTHE WAY FROM YOUR FIRST CIGARETTE TO YOUR LAST DYIN’ DAY.

WHEN YOU’RE AJET, IF THE SPIT HITS THE FAN, YOU GOT BROTHERS AROUND, YOU’RE AFAMILYMAN!

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 ACAPITALJ, WHICH YOU’LLNEVER FORGET TILLTHEYCART YOU AWAY.

WHEN YOU’RE AJET, YOU STAYAJET!

(Speaks)

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

ACTION

In, out, let’s get crackin’.

Where you gonna find Bernardo?

A-RAB

WESTSIDESTORY Page9

At the dance tonight at the gym.

But the gym’s neutral territory.

RIFF

BIG DEAL

RIFF

(Sweet innocence)

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

A-RAB

Great, Daddy-O!

RIFF

So everybody dress up sweet and sharp.

(THEY primp and preen)

ALL

OH, WHEN THE JETS FALLIN AT THE CORNBALLDANCE, WE’LLBE THE SWEETEST DRESSIN’ GANG IN PANTS!

AND WHEN THE CHICKS DIG US IN OUR JET BLACK TIES, THEY’RE GONNAFLIP, GONNAFLOP, GONNADROPLIKE FLIES!

(THEY dance together, a little wild)

RIFF

(Spoken)

HEY. COOL. EASY. SWEET.

Meet Tony and me at ten. And walk tall!

(HE runs off)

We always walk tall!

A-RAB

Page10 WESTSIDESTORY

We’re Jets!

The greatest!

BABY JOHN

ACTION

ACTION, BABY JOHN

WHEN YOU’RE AJET, YOU’RE THE TOPCAT IN TOWN, YOU’RE THE GOLD-MEDALKID WITH THE HEAVYWEIGHT CROWN!

A-RAB, ACTION, BIG-DEAL

WHEN YOU’RE AJET, YOU’RE THE SWINGIN’EST THING” LITTLE BOY, YOU’RE AMAN; LITTLE MAN, YOU’RE AKING!

ALL

THE JETS ARE IN GEAR, OUR CYLINDERS ARE CLICKIN’! THE SHARKS’LLSTEER CLEAR ’CAUSE EVERYPUERTO RICAN’S ALOUSYCHICKEN!

HERE COME THE JETS

LIKE ABAT OUT OF HELL— SOMEONE GETS IN OUR WAY, SOMEONE DON’T FEELSO WELL!

HERE COME THE JETS: LITTLE WORLD, STEPASIDE! BETTER GO UNDERGROUND, BETTER RUN, BETTER HIDE! WE’RE DRAWIN’ THE LINE, SO KEEPYOUR NOSES HIDDEN! WE’RE HANGIN’ ASIGN SAYS “VISITORS FORBIDDEN” — AND WE AIN’T KIDDIN’!

HERE COME THE JETS, YEAH! AND WE’RE GONNABEAT

WESTSIDESTORY Page11

EVERYLAST BUGGIN’ GANG ON THE WHOLE BUGGIN’ STREET!

DIESEL, ACTION

ON THE WHOLE! ALL EVER — ! MOTHER — !

LOVIN’ — ! STREET! (BLACKOUT)

END OF SCENE ONE SCENE TWO (Ayard.

#2A—JetSongChase(Orchestra)

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 you won’t, Tony boy, without saying why not?

TONY (Grins)

Why not?

RIFF

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

TONY

Sperm to worm!

(Surveying the sign)

You sure this looks like sky-writing?

Page12 WESTSIDESTORY

It’s brilliant.

RIFF

TONY

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

RIFF

(Shaking the ladder)

Tony, this is important!

TONY

Very important: Acemen, Rocket men.

RIFF

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

TONY

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

RIFF

’Cause your ma’s hot for me.

(TONY grabs his arm and twists it)

No! ’Cause I hate living with my buggin’ uncle uncle UNCLE!

(TONY releases him and climbs back up)

Now go play nice with the Jets.

The Jets are the greatest!

Were.

TONY

RIFF

TONY

RIFF Are. You found something better?

TONY

No. But —

WESTSIDESTORY Page13

But what?

You won’t dig it.

Try me.

RIFF

TONY

RIFF

TONY

O.K. Every single damn night for the last month, I wake up and I’m reaching 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 used to get from being a Jet.

RIFF

(Quietly)

…Or from being buddies.

We’re still buddies.

TONY

RIFF

The kick comes from people, buddy boy.

TONY

Yeah, but not from being a Jet.

RIFF

No? Without a gang you’re an orphan. With a gang you walk in twos, threes, fours. And when your gang is the best, when you’re a Jet, buddy boy, you’re out in the sun and home free home!

Page14 WESTSIDESTORY

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 day from a clock, but I’m asking you: Come to the dance tonight…

(TONY turns away)

… I already told the gang you’d be there.

TONY

(After a beat, turns to him with a grin)

What time?

Ten?

Ten it is.

Womb to tomb!

RIFF

TONY

RIFF

TONY

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

RIFF

Who knows? Maybe what you’re waitin’ for’ll be twitching at the dance!

(HE runs off)

WESTSIDESTORY Page15

TONY

Who knows?

(MUSIC starts and HE SINGS)

#3—Something’sComing(Tony)

COULD BE! … WHO KNOWS? … THERE’S SOMETHING DUE ANYDAY; I WILLKNOW RIGHT AWAY SOON AS IT SHOWS. IT MAYCOME CANNON-BALLING DOWN THROUGH THE SKY, GLEAM IN ITS EYE, BRIGHT AS AROSE! WHO KNOWS? … IT’S ONLYJUST OUT OF REACH, DOWN THE BLOCK, ON ABEACH, UNDER ATREE.

I GOT AFEELING THERE’S AMIRACLE DUE, GONNACOME 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 GONNABE GREAT!

WITH ACLICK, WITH ASHOCK, PHONE’LLJINGLE, DOOR’LLKNOCK, OPEN THE LATCH!

SOMETHING’S COMING, DON’T KNOW WHEN, BUT IT’S SOON — CATCH THE MOON, ONE-HANDED CATCH!

AROUND THE CORNER,

Page16 WESTSIDESTORY

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

WILLIT BE? YES, IT WILL. MAYBE JUST BYHOLDING STILL IT’LLBE THERE!

COME ON, SOMETHING, COME ON IN, DON’T BE SHY, MEET AGUY, PULLUPACHAIR!

THE AIR IS HUMMING, AND SOMETHING GREAT IS COMING! WHO KNOWS?

IT’S ONLYJUST OUT OF REACH, DOWN THE BLOCK, ON ABEACH… MAYBE TONIGHT…

(DIM-OUT)

END OF SCENE TWO

#3A—Something’sComingChase(Orchestra)

SCENE THREE

(Bridal shop.

Asmall section, enough to include table with sewing machine; chair or two.

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

MARIA

(Holding out scissors)

Por favor, Anita. Make the neck lower!

WESTSIDESTORY Page17

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 for dancing, no longer for kneeling in front of an altar.

ANITA

With those boys you can start in dancing and end up kneeling.

MARIA

Querida, one little inch; una poca poca —

ANITA

Bernardo made me promise —

MARIA

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

ANITA

To marry Chino.

MARIA

When I look at Chino, nothing happens.

ANITA

What do you expect to happen?

MARIA

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

ANITA

It’s when I don’t look that it happens.

Page18 WESTSIDESTORY

MARIA

I think I will tell Mamma and Poppa about you and ’Nardo in the balcony of the movies.

ANITA

I’ll rip this to shreds!

MARIA

No. But if you perhaps could manage to lower the neck —

ANITA

Next year.

MARIA

Next year I will be married to Chino and no one will care if it is down to here!

ANITA

Down to where?

MARIA

Down to here. I hate this dress!

ANITA

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

MARIA

(Shocked)

Don’t come!

(Grabs the dress)

Could we not dye it red, at least?

No, we could not.

ANITA

(Starts to help MARIAinto the dress)

MARIA

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

ANITA

Well???

WESTSIDESTORY Page19

MARIA

Ahhhh — si! It is a beautiful dress: I love you!

(As she hugs ANITA, BERNARDO ENTERS followed by a shy, gentle, sweet-faced boy: CHINO)

Are you ready?

Come in, ’Nardo. (Whirls in dress)

Is it not beautiful?

BERNARDO

MARIA

BERNARDO

(Looking only at MARIA’S face)

Yes.

Very.

(Kisses her)

I didn’t quite hear…

ANITA

BERNARDO

(Kissing her quite differently)

Very beautiful.

MARIA

(Watches them a second, then turns to CHINO)

Come in, Chino. Do not be afraid.

But this is a shop for ladies.

Our ladies!

CHINO

BERNARDO

MARIA

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

Page20 WESTSIDESTORY

Why?

BERNARDO

(As ANITAhooks up MARIA)

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 sop slides off and a flood of gaily colored streamers pours down. As MARIAbegins to turn and turn, going OFFSTAGE, SHARK GIRLS, dressed for the dance, whirl on, followed by JET GIRLS, by BOYS from both gangs. The streamers fly up again with the drop to reveal:)

END OF SCENE THREE

#4—TheDanceAtTheGym—Blues(Orchestra)

SCENE FOUR

(Adance hall.

Actually, a converted gymnasium of a settlement house, 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; and the same for the SHARKS. The dancing is a phyical and emotional release for these kids.

MARIAENTERS with CHINO, BERNARDO and ANITA. As she looks around, delighted, thrilled by this, her first dance, the JETS 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, aound BERNARDO. Abrief consultation, and RIFF starts across — with lieutenants — to make his challenge to 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 30 did not hurry forward. HE is called GLAD HAND, and he is a “square”)

WESTSIDESTORY Page21

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 a fine turnout tonight.

(Ad libs from the kids)

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

(Ad-libs: “Oh, ginger peachy,” etc., etc.)

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

BIG DEAL

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,” etc., etc. but do not move)

Well, it won’t hurt you to try.

BIG DEAL

(Limping forward)

Oh, it hurts; it hurts; it —

(KRUPKE steps forward. BIG DEALstraightens 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!

Page22 WESTSIDESTORY

#4A—Promenade(Orchestra)

(Promenade music starts and the circles start revolving. GLAD HAND, whistle to his mouth, is in the center with KRUPKE. HE blows the WHISTLE and the MUSIC stops, leaving JET BOYS opposite SHARK GIRLS and vice-versa. There is a moment of tenseness, then BERNARDO reaches across the JET GIRLopposite for ANITA’S hand, and she comes to him. RIFF reaches for VELMA; and the kids of both gangs follow suit)

#4B—Mambo(Orchestra)

The “get-together” has failed, and each side is on its own side of the hall as mambo MUSIC starts)

SHARKS

(Shouted)

MAMBO!

(Shouted)

JETS

MAMBO! ALL

GO!

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

SHARKS

MAMBO!

(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 its peak, everybody is dancing)

WESTSIDESTORY Page23

ALL

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 others who disappear into the haze of the background as a delicate cha cha begins and TONY and MARIAslowly walk forward to meet each other.

#4C—Cha-Cha(Orchestra)

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

#4D—MeetingScene(Orchestra)

TONY

You’re not thinking I’m someone else?

MARIA

I know you are not.

Or that we have met before?

TONY

MARIA

I know we have not.

TONY

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

Page24 WESTSIDESTORY

MARIA

(Interrupting)

My hands are cold.

(HE takes them in his)

Yours, too.

(HE moves her hands to his face)

So warm.

Yours, too.

(SHE moves his hands to her face)

But of course. They are the same.

TONY

MARIA

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)

Go home, “American.”

Slow down, Bernardo.

Stay away from my sister!

BERNARDO

TONY

BERNARDO

WESTSIDESTORY Page25

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 only one thing they want from a Puerto Rican girl!

TONY

That’s a lie!

Cool, boy.

Get away.

(To TONY)

You keep out, Chino.

(To MARIA)

Don’t listen to them!

RIFF

CHINO

TONY

BERNARDO

She will listen to her 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

Page26 WESTSIDESTORY

trouble? Now come on — it won’t hurt you to have a good time.

(MUSIC starts again. BERNARDO is on one side with MARIAand CHINO; ANITAjoins them. TONY is on the other with RIFF and DIESEL. Light emphasizes the first group)

I warned you —

Do not yell at her, ’Nardo.

You yell at babies.

BERNARDO

CHINO

BERNARDO

And put ideas in the baby’s head.

Take her home, Chino.

’Nardo, it is my first dance.

Please. We are family, Maria. Go.

ANITA

BERNARDO

MARIA

BERNARDO

(MARIAhesitates, then starts out with CHINO as the light cross fades with 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 staring at MARIA who stops for a moment)

CHINO

Come, Maria.

(THEY continue out)

TONY

Maria…

WESTSIDESTORY Page27

(HE is unaware that BERNARDO is crossing towards him but RIFF intercepts)

I don’t want you.

BERNARDO

RIFF

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

BERNARDO

The pleasure is mine.

Let’s go outside.

RIFF

BERNARDO

I would not leave 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 light is fading on them, on everyone but TONY)

Spread the word, Big Deal.

Right, Daddy-o.

RIFF

BIG DEAL

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

RIFF

(The LIGHTS dim out, except for a spotlight on TONY)

TONY

Maria… Page28 WESTSIDESTORY

RIFF

(In darkness)

Tony!

DIESEL

(In darkness)

Ah, we’ll see him at Doc’s.

TONY

(Dreamily)

Maria…

#5—Maria(Tony)

(Singing softly)

THE MOST BEAUTIFULSOUND I EVER HEARD.

FOUR BOYS

(OFFSTAGE)

MARIA, MARIA, MARIA, MARIA…

TONY

ALLTHE BEAUTIFULSOUNDS OF THE WORLD IN ASINGLE WORD:

FOUR BOYS

(OFFSTAGE)

MARIA, MARIA, MARIA, MARIA… (Swelling in intensity)

MARIA, MARIA…

TONY

MARIA!

I’VE JUST MET AGIRLNAMED MARIA, AND SUDDENLYTHAT NAME WILLNEVER BE THE SAME TO ME.

WESTSIDESTORY Page29

MARIA!

I’VE JUST KISSED AGIRLNAMED MARIA, AND SUDDENLYI’VE FOUND

HOW WONDERFULASOUND CAN BE!

MARIA!

SAYIT LOUD AND THERE’S MUSIC PLAYING — SAYIT SOFT AND IT’S ALMOST LIKE PRAYING — MARIA…

I’LLNEVER STOPSAYING MARIA!

MARIA! MARIA!

MARIA—

SAYIT LOUD AND THERE’S MUSIC PLAYING — SAYIT SOFT AND IT’S ALMOST LIKE PRAYING — MARIA—

I’LLNEVER STOPSAYING MARIA!

THE MOST BEAUTIFULSOUND I EVER HEARD — MARIA.

(As TONY SINGS, he looks for where MARIAlives, wishing for her. And she does appear, at the window above him which opens onto the fire escape)

END OF SCENE FOUR

SCENE FIVE

#6—BalconyScene(Maria,Tony)

(Alleyway.

Asuggestion of buildings; a fire escape climbing to the rear window of an unseen flat.

The scene continues)

Page30 WESTSIDESTORY

Maria, Maria…

Ssh!

Maria!!

Quiet!

Come down.

TONY

MARIA

TONY

MARIA

TONY

MARIA

No.

Maria…

Please. If Bernardo —

He’s at the dance. Come down.

He will soon bring Anita home.

TONY

MARIA

TONY

MARIA

TONY

Just for a minute.

MARIA (Smiles)

Aminute is not enough.

TONY (Smiles)

For an hour, then.

WESTSIDESTORY Page31

MARIA

I cannot.

For ever!

Ssh!

Then I’m coming up.

Maria!

TONY

MARIA

TONY

WOMAN’S VOICE

(From the OFFSTAGE apartment)

Momentito, Mama…

MARIA

TONY (Climbing up)

Maria, Maria —

Calladito!

Ssh!

MARIA

(Reaching her hand out to stop him)

TONY (Grabbing her hand)

It is dangerous.

I’m not “one of them.”

MARIA

TONY

Page32 WESTSIDESTORY

MARIA

You are; but to me, you are not. Just as I am one of them — (Gestures inside)

TONY

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

MAN’S VOICE

(From the unseen apartment)

Maruca!

Si, ya vengo, Papa.

Maruca?

His pet name for me.

I like him. He will like me.

MARIA

TONY

MARIA

TONY

MARIA

No. He is like Bernardo: afraid. (Suddenly laughing)

Imagine being afraid of you!

You see?

I see you.

TONY

MARIA (Touching his face)

See only me.

TONY

WESTSIDESTORY Page33

MARIA

(Singing)

ONLYYOU, YOU’RE THE ONLYTHING I’LLSEE FOREVER. IN MYEYES, IN MYWORDS AND IN EVERYTHING I DO, NOTHING ELSE BUT YOU …EVER!

TONY

AND THERE’S NOTHING FOR ME BUT MARIA, EVERYSIGHT THAT I SEE IS MARIA.

MARIA

TONY, TONY…

TONY

ALWAYS YOU, EVERYTHOUGHT I’LLEVER KNOW, EVERYWHERE I GO, YOU’LLBE. YOU AND ME!

MARIA

ALLTHE WORLD IS ONLY YOU AND ME!

(The y kiss. And now the buildings, the world fade away leaving them suspended in space)

MARIA

TONIGHT, TONIGHT, IT ALLBEGAN TONIGHT, I SAW YOU AND THE WORLD WENT AWAY. TONIGHT, TONIGHT, THERE’S ONLYYOU TONIGHT, WHAT YOU ARE, WHAT YOU DO, WHAT YOU SAY.

TONY

TODAY, ALLDAYI HAD THE FEELING AMIRACLE WOULD HAPPEN I KNOW NOW I WAS RIGHT. FOR HERE YOU ARE AND WHAT WAS JUST AWORLD IS ASTAR TONIGHT!

Page34 WESTSIDESTORY

BOTH

TONIGHT, TONIGHT,

THE WORLD IS FULLOF LIGHT, WITH SUNS AND MOONS ALLOVER THE PLACE. TONIGHT, TONIGHT, THE WORLD IS WILD AND BRIGHT, GOING MAD, SHOOTING SPARKS INTO SPACE. TODAYTHE WORLD WAS JUST AN ADDRESS, APLACE FOR ME TO LIVE IN, NO BETTER THAN ALRIGHT, BUT HERE YOU ARE AND WHAT WAS JUST AWORLD IS ASTAR TONIGHT!

VOICE

(OFFSTAGE)

Maruca!

MARIA

Wait for me!

(SHE goes inside as the buildings begin to return)

TONY

(Singing)

TONIGHT. TONIGHT, IT ALLBEGAN TONIGHT, I SAW YOU AND THE WORLD WENT AWAY.

MARIA

(Returning)

I cannot stay. Go quickly!

I’m not afraid.

TONY

MARIA

They are strict with me. Please.

WESTSIDESTORY Page35

TONY (Kissing her)

Good night.

Buenas noches.

I love you.

Yes, yes. Hurry. (HE climbs down)

Wait! When will I see you? (HE starts back up)

No!

Tomorrow.

MARIA

TONY

MARIA

TONY

MARIA

I work at the bridal shop. Come there.

TONY

At sundown.

Yes. Good night.

Good night. (Starts off)

MARIA

TONY

MARIA

Tony!

Shh!

TONY

Page36 WESTSIDESTORY

Come to the back door.

Si.

Tony!

(Again, he starts out)

MARIA

TONY

MARIA

(HE stops. Apause in silence)

What does Tony stand for?

Anton.

Te adoro, Anton.

Te adoro, Maria.

(MUSIC starts again)

TONY

MARIA

TONY

BOTH

(Singing)

GOOD NIGHT, GOOD NIGHT, SLEEPWELLAND WHEN YOU DREAM, DREAM OF ME

TONIGHT.

(SHE goes inside; HE ducks out into the shadows just as BERNARDO and ANITAENTER, followed by INDIO and PEPE and their GIRLS. One is a bleached blond, bangled beauty: CONSUELA. The other, quietly dressed in Spanish undertones, is ROSALIA. SHE is not too bright)

BERNARDO

(Looking up to the window)

Maria?

WESTSIDESTORY Page37

ANITA

She has a mother. Also a father.

BERNARDO

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

ANITA

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

BERNARDO

(Exaggerated)

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

ANITA

(In disgust)

Ai!

BERNARDO

(Cooing)

Anita Josefina Teresita —

It’s plain Anita now —

ANITA

BERNARDO

(Continuing through)

— Beatrice del Carmen Marguerita 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?

Page38 WESTSIDESTORY

In the USA, everything is real.

CONSUELA

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 Polak.

ANITA

Says the Spic.

You are not so cute.

That Tony is.

And he works.

BERNARDO

ANITA

ROSALIA

CHINO

Adelivery boy.

And what are you?

An assistant.

ANITA

CHINO

BERNARDO

Si! And Chino makes half what the Polak makes — the Polak is American!

ANITA

Ai! Here comes the whole commercial!

(Aburlesque oration in mock Puerto Rican accent. BERNARDO starts the first line with her:)

WESTSIDESTORY Page39

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

PEPE, CONSUELA

Lice!

Cockroaches!

PEPE, CONSUELA, ANITA

BERNARDO

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

BERNARDO, ANITA

No! We came ready, eager —

ANITA (Mocking)

With our hearts open —

Our arms open —

You came with your pants open.

CONSUELA

PEPE

CONSUELA

You did, pig! (Slaps him)

You’ll go back with handcuffs!

I an going back with a Cadillac!

BERNARDO

CHINO

Air-conditioned!

Built-in bar!

BERNARDO

CHINO

Telephone!

Page40 WESTSIDESTORY

Television!

Compatible color!

And a king-sized bed. (Grabs ANITA)

Come on.

BERNARDO

CHINO

BERNARDO

ANITA (Mimicking)

Well, are you or aren’t you?

Well, are you?

BERNARDO

ANITA

BERNARDO

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.

WESTSIDESTORY Page41

BERNARDO

You want me to be an American?

(To the boys)

Vaminos, chicos, es tarde. (Amock bow)

Buenas noches, Anita, Josefina del Carmen, etcetera, etcetera, etcetera. (EXIT with BOYS)

ROSALIA

That’s a very pretty name: Etcetera.

#7—America(Anita,Rosalia,SharkGirls)

ANITA

Ai!

She means well.

CONSUELA

ROSALIA

We have many pretty 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 to — (Alook from ANITA) just for a successful visit.

(SHE SINGS)

PUERTO RICO… YOU LOVELYISLAND… ISLAND OF TROPICALBREEZES. ALWAYS THE PINEAPPLES GROWING, ALWAYS THE COFFEE BLOSSOMS BLOWING…

Page42 WESTSIDESTORY

ANITA

(SINGS sarcastically)

PUERTO RICO… YOU UGLYISLAND…

ISLAND OF TROPIC DISEASES.

ALWAYS THE HURRICANES BLOWING, ALWAYS THE POPULATION GROWING… AND THE MONEYOWING, AND THE BABIES CRYING, AND THE BULLETS FLYING.

I LIKE THE ISLAND MANHATTAN — SMOKE ON YOUR PIPE AND PUT THAT IN!

OTHERS EXCEPT ROSALIA

I LIKE TO BE IN AMERICA!

OKAYBYME IN AMERICA!

EVERYTHING FREE IN AMERICA FOR ASMALLFEE IN AMERICA!

ROSALIA

I LIKE THE CITYOF SAN JUAN —

ANITA

I KNOW ABOAT YOU CAN GET ON.

ROSALIA

HUNDREDS OF FLOWERS IN FULLBLOOM —

ANITA

HUNDREDS OF PEOPLE IN EACH ROOM!

ALLEXCEPT ROSALIA

AUTOMOBILE IN AMERICA, CHROMIUM STEELIN AMERICA, WIRE-SPOKE WHEELIN AMERICA, VERYBIG DEALIN AMERICA!

ROSALIA

I’LLDRIVE ABUICK THROUGH SAN JUAN —

WESTSIDESTORY Page43

ANITA

IF THERE’S AROAD YOU CAN DRIVE ON.

ROSALIA

I’LLGIVE MYCOUSINS AFREE RIDE —

ANITA

HOW YOU GET ALLOF THEM INSIDE?

ALLEXCEPT ROSALIA

IMMIGRANT GOES TO AMERICA, MANYHELLOS IN AMERICA; NOBODYKNOWS IN AMERICA

PUERTO RICO’S IN AMERICA.

(The GIRLS whistle and dance)

ROSALIA

I’LLBRING ATV TO SAN JUAN —

ANITA

IF THERE’S ACURRENT TO TURN ON.

ROSALIA

I’LLGIVE THEM NEW WASHING MACHINE —

ANITA

WHAT HAVE THEYGOT THERE TO KEEPCLEAN?

ALLEXCEPT ROSALIA

I LIKE THE SHORES OF AMERICA! COMFORT IS YOURS IN AMERICA! KNOBS ON THE DOORS IN AMERICA, WALL-TO-WALLFLOORS IN AMERICA!

(THEY whistle and dance)

ROSALIA

WHEN I WILLGO BACK TO SAN JUAN —

Page44 WESTSIDESTORY

ANITA

WHEN YOU WILLSHUT UPAND GET GONE!

ROSALIA

EVERYONE THERE WILLGIVE BIG CHEER!

ANITA

EVERYONE THERE WILLHAVE MOVED HERE!

(More whistling and dancing)

#7A—AmericatoDrugstore(Orchestra)

END OF SCENE FIVE

SCENE SIX (ADrugstore.

Asuggestion of a rundown, musty, general store which, in cities, is a “drugstore.” Adoor 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 juke-box; 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 having a War Council tonight or ain’t we? (Throws a dart savagely)

BABY JOHN

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

A-RAB

Who don’t?

Superman. Gee, I love him.

BABY JOHN

WESTSIDESTORY Page45

So marry him.

SNOWBOY

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!

Cracko, jacko!

A-RAB

(Clutching his belly, spins to the floor)

Down goes a teenage hoodlum.

BABY JOHN

Could a zip gun make you do like that?

(Asecond of silence. Then BIG DEALslams in the doorway and THEY all jump)

What the hell’s a matter with you?

ACTION

BIG DEAL

I got caught sneakin’ outa the movies.

A-RAB

Sneakin’ out? Waddya do that for?

BIG DEAL

I sneaked in.

SNOWBOY

AWar Council coming up and he goes to the movies.

ANYBODYS

An’ you let him be a Jet!

Page46 WESTSIDESTORY

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 War Council here, Doc.

DOC

Awho?

BIG DEAL

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.

War Councils —

DOC

Don’t start, Doc. DOC

Rumbles…

ACTION

ACTION Doc — WESTSIDESTORY Page47

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 hip to that, the sooner you’ll dig us.

DOC

I’ll dig your early graves, that’s what I’ll dig.

A-RAB

Dig, dig, dig —

DOC

What’re you gonna be when you grow up?

ANYBODYS

Atelephone call girl!

(The store doorbell tinkles as RIFF ENTERS with VELMA)

SNOWBOY

Riff, hey! ACTION

Are they comin’?

Unwind, Action. Hey, Doc, Tony here?

RIFF

No, Riff, it’s closing time.

DOC

ACTION

(To RIFF)

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

A-RAB

Just rubber hoses, maybe, huh?

Page48 WESTSIDESTORY

Cool, little men.

You tell ’em, Daddy-o.

Chung chung!

Cracko, jacko!

Whamo bamo!

RIFF

GRAZIELLA

ACTION

A-RAB

BIG DEAL

RIFF (Sharply)

Cool!

ANYBODYS

Riff, — in a tight spot you need every man you can —

RIFF

No.

GRAZIELLA

(Indicating ANYBODYS to VELMA)

An American tragedy.

Pow Pow.

Poo Poo.

ANYBODYS

GRAZIELLA

RIFF

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

GRAZIELLA

We might, and then again we might not. I and Velma ain’t kid stuff, neither. Are we, Vel?

WESTSIDESTORY Page49

No, thank you-oo, ooblee-oo.

And you can punctuate it?

Ooo! —(THEYgiggle)

VELMA

GRAZIELLA

VELMA

ACTION

(To RIFF)

What’re we pooping around with dumb broads?

GRAZIELLA (Enraged)

I and Velma ain’t dumb!

We got important business comin’.

ACTION

DOC

Making 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.

To hoodlums, it is.

DOC

Page50 WESTSIDESTORY

(Goes in 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

(Indicating DOC)

He don’t want what we want, so we’re hoodlums!

BABY JOHN

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

ACTION

I swear the next creep who calls me hoodlum —

RIFF

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

#8—Cool(Riff,Jets)

You wanna live? You play it cool.

I wanna get even!

Get cool.

I wanna bust!

ACTION

RIFF

A-RAB

RIFF

Bust cool.

WESTSIDESTORY Page51

I wanna go!

Go cool!

BABY JOHN

RIFF

(SINGING)

BOY, BOY, CRAZYBOY— GET COOL, BOY!

GOTTAROCKET IN YOUR POCKET — KEEPCOOLLYCOOL, BOY!

DON’T GET HOT, ’CAUSE MAN, YOU GOT SOME HIGH TIMES AHEAD. TAKE IT SLOW AND DADDY-O, YOU CAN LIVE IT UPAND DIE IN BED. BOY, BOY, CRAZYBOY— STAYLOOSE, BOY!

BREEZE IT, BUZZ IT, EASYDOES IT — TURN OFF THE JUICE, BOY! GO MAN, GO, BUT NOT LIKE AYOYO SCHOOLBOY—

JUST PLAYIT COOL, BOY, REALCOOL!

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. Amoment, then BERNARDO, CHINO, PEPE and INDIO ENTER. Tension, but RIFF dances a moment longer. Then he pats VELMAon her behind. Followed by GRAZIELLA, she runs out, slithering past the SHARKS. ANYBODYS is back, huddled by the juke-box but RIFF spots her. SHE gives him a pleading let-me-stay look, but he gestures for her to go. Unlike the other girls, ANYBODYS shoves the SHARKS like a big tough man as she EXITS)

#8A—CoolChase(Orchestra)

RIFF

Set ’em up, Doc. Cokes all around.

Page52 WESTSIDESTORY

Let’s get down to business.

BERNARDO

RIFF

Bernardo hasn’t learned the procedures of gracious living.

BERNARDO

I don’t like you, either, So cut it.

Kick it, Doc.

Boys, couldn’t you maybe all talk it —

RIFF

DOC

RIFF

Kick it!

(DOC goes out. The two GANGS take places behind their leaders)

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?

ACTION

Who asked you to move here?

Who asked you?

PEPE

WESTSIDESTORY Page53

Move where you’re wanted!

Back where ya came from!

Spics!

SNOWBOY

A-RAB

ACTION

PEPE

Micks! INDIO

Wop!

We accept!

Time:

Tomorrow?

BERNARDO

RIFF

BERNARDO

RIFF

After dark. (They shake)

Place:

The park.

The river.

Under the highway. (They shake)

BERNARDO

RIFF

BERNARDO

RIFF

Weapon:

Page54 WESTSIDESTORY

Hey, Doc!

(The doorbell tinkles as TONY bursts in yelling:)

TONY

(HE stops as he sees them. Silence. Then he comes forward as:)

RIFF

Weapons!

(DOC ENTERS)

Weapons…

You call.

Your challenge.

Afraid to call?

… Sticks.

… Rocks.

… Poles.

…Cans.

… Bricks.

BERNARDO

RIFF

BERNARDO

RIFF

BERNARDO

RIFF

BERNARDO

RIFF

BERNARDO

RIFF

… Bats.

WESTSIDESTORY Page55

… Clubs.

… Chains.

BERNARDO

RIFF

TONY

… Bottles, knives, guns!

(THEY stare)

What a coop full of chickens!

Who you callin’ chicken?

Every dog knows his own.

ACTION

BERNARDO

TONY

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

BABY JOHN

Not even garbage?

That ain’t a rumble.

Who says?

You said call weapons.

ACTION

RIFF

BERNARDO

TONY

Arumble 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!

Page56 WESTSIDESTORY

PEPE

What?

ACTION

(Simultaneously)

No!

The Commanders say Yes or No. (To BERNARDO)

Fair fight. (THEY shake)

RIFF

BERNARDO

(To TONY)

In two minutes you will be like a fish after skinning.

RIFF

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

BERNARDO

But I thought I would be —

We shook on it, Bernardo.

Yes. I shook on it.

RIFF

BERNARDO

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)

WESTSIDESTORY Page57

DOC

(Unhappily)

Good-evening, Lt. 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 it)

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

(BERNARDO’S move is checked by RIFF.

SCHRANK, 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!

(Asecond. 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, pleasantly)

From their angle, sure. Say, where’s the rumble gonna be? Ah, look: I know regular Americans 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 gets rough. Where you 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?

Page58 WESTSIDESTORY

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

Quiet now:)

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

(ACTION starts to his feet but DIESELholds him)

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:)

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 through. Now he just looks at SCHRANK and cockily saunters out. Silence.

SCHRANK looks at DOC)

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

(EXITS)

It wouldn’t give me a mouth like his.

DOC

#8B—UnderDialogueAndChangeOfScene(Orchestra)

TONY

Forget him. From here on in, everything goes my way. (Starts to clean up, turn out lights)

DOC

You think it’ll really be a fair fight?

Yeah.

What have you been taking tonight?

TONY

DOC

WESTSIDESTORY Page59

TONY

Atrip 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)

Well, buenas noches, señor.

DOC

Buenas noches?! So that’s why you made it a fair fight.

(TONY smiles)

… Tony… things aren’t tough enough?

TONY

Tough? Doc, I’m in love!

How do you know?

DOC

TONY

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

DOC

And you’re not frightened?

Should I be?

(Opens door, EXITS)

TONY

DOC

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

(Turns out the last light)

END OF SCENE SIX

SCENE SEVEN

(Bridal Shop.

Hot late afternoon sun coloring the work room. One or two sewing machines. Several dressmaker dummies, male and female, in bridal party garb.

Page60 WESTSIDESTORY

MARIA, in a smock, is hand-sewing a wedding veil as ANITAwhirls in whipping off her smock)

ANITA

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

MARIA

Brava!

ANITA

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

MARIA

You go, querida. I will lock up.

Finish tomorrow. Come!

ANITA

MARIA

But I am in no hurry.

ANITA

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

MARIA

You will not eat?

ANITA

After the rumble — with ’Nardo.

(Sewing angrily)

That rumble, why do they have it?

MARIA

ANITA

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

MARIA

To get rid of what?

WESTSIDESTORY Page61

ANITA

Too much feeling. And they get rid of it: after a fight, that brother of yours is so healthy! Definitely: Black Orchid.

(Knock at rear door and TONY ENTERS)

Buenas noches!

TONY

ANITA (Sarcastically, to MARIA)

“You go, querida. I’ll lock up.”

(To TONY)

It’s too early for noches. Buenas tardes.

TONY (Bows)

Gracias. Buenas tardes.

MARIA

He just came to deliver aspirin.

You’ll need it.

ANITA

TONY

No, we’re out of the world.

You’re out of your heads.

We’re twelve feet in the air.

ANITA

TONY

MARIA (Gently taking his hand)

Anita can see all that.

(To ANITA)

You will not tell?

Page62 WESTSIDESTORY

ANITA

Tell what? How can I hear what goes on twelve feet over my head?

(Opens door — to MARIA)

You better be home in fifteen minutes.

(SHE goes out)

Don’t worry. She likes us!

But she is worried.

TONY

MARIA

TONY

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

MARIA

Magic is also evil and black. Are you going to that rumble?

TONY

No.

Yes.

Why??

You must go and stop it.

MARIA

TONY

MARIA

TONY

I have stopped it! It’s only a fist fight. ’Nardo won’t get —

MARIA

Any fight is not good for us.

TONY

Everything is good for us and we are good for everything.

MARIA

Listen and hear me. You must go and stop it.

WESTSIDESTORY Page63

Then I will.

TONY

MARIA

(Surprised)

Can you?

TONY

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

MARIA

I believe you! You do have magic.

TONY

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

#9—UnderDialogue(Orchestra)

Then tonight, I will come by for you.

MARIA

You cannot come by. My mama…

TONY

(After a pause)

Then I will take you to my house —

MARIA

(Shaking her head)

Your mama…

(Another awkward pause. Then he sees a female dummy and pushes it forward saying:)

TONY

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

MARIA

Dressed so elegant?

Page64 WESTSIDESTORY

TONY

I told her you were coming. She will look at your face and try not to smile. And she will say: Skinny — but pretty.

MARIA

She is plump, no doubt.

Fat!

TONY

(Holding the waist of dummy’s dress)

MARIA

(Indicating another female dummy)

I take after my mama; delicate boned.

(HE kisses her)

Not in front of Mama!

(HE turns the dummy around as she goes to a male dummy)

Oh, I would like to see Poppa in this! Mama will make him ask about your prospects,. if you go to church. But Poppa — Poppa might like you.

TONY

(Kneeling to the “father” dummy)

May I have your daughter’s hand?

MARIA

He says Yes.

Gracias!

And your mama?

I’m afraid to ask her.

TONY

MARIA

TONY

MARIA

Tell her she’s not getting a daughter; she’s getting rid of a son!

WESTSIDESTORY Page65

She says Yes.

She has good taste.

TONY

MARIA

(SHE grabs up the wedding veil and puts it on as TONY arranges the dummies)

Maid of Honor!

TONY

MARIA

That color is bad for Anita.

Best man!

That is my Poppa!

TONY

MARIA

TONY

Sorry, Poppa. Here we go, Riff: Womb to Tomb!

(Takes hat off dummy)

MARIA

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

#9A—OneHand,OneHeart(Tony,Maria)

(MUSIC starts as she leaves the dummy and walks up to TONY. THEY look at each other — and the playing vanishes. Slowly, seriously, they turn front and, together, kneel as before an altar)

I, Anton, take thee, Maria…

I, Maria, take thee, Anton…

TONY

MARIA

Page66 WESTSIDESTORY

For richer, for poorer —

In sickness and in health…

To love and to honor…

To hold and to keep…

From each sun to each moon…

TONY

MARIA

TONY

MARIA

TONY

MARIA

From tomorrow to tomorrow…

From now to forever…

Till death do us part.

With this ring, I thee wed.

TONY

MARIA

TONY

MARIA

With this ring, I thee wed. (The MUSIC becomes a love duet:)

TONY

MAKE OF OUR HANDS ONE HAND, MAKE OF OUR HEARTS ONE HEART, MAKE OF OUR VOWS ONE LAST VOW: ONLYDEATH WILLPART US NOW.

MARIA

MAKE OF OUR LIVES ONE LIFE, DAYAFTER DAY, ONE LIFE.

WESTSIDESTORY Page67

TONY, MARIA

NOW IT BEGINS, NOW WE START ONE HAND, ONE HEART — EVEN DEATH WON’T PART US NOW.

(THEY look at each other, then at the reality of their “game.” They smile tenderly, ruefully and slowly put the dummies back into position. But even back in the world, they sing:)

TONY, MARIA

MAKE OUR LIVES ONE LIFE, DAYAFTER DAY, ONE LIFE.

NOW IT BEGINS, NOW WE START ONE HAND, ONE HEART, EVEN DEATH WON’T PART US NOW. (DIM-OUT)

END OF SCENE SEVEN

SCENE EIGHT

#10—Tonight(Ensemble)

(The neighborhood.

SPOTLIGHTS picks out RIFF and the JETS, BERNARDO and the SHARKS, ANITA, MARIAand TONY against small pieces representing where they are in the neighborhood. All are waiting expectantly for the coming of night, but for very different reasons. It is a montage which is sung)

JETS

THE JETS ARE GONNAHAVE THEIR DAY TONIGHT.

SHARKS

THE SHARKS ARE GONNAHAVE THEIR WAY TONIGHT.

Page68 WESTSIDESTORY

JETS

THE PUERTO RICANS GRUMBLE, “FAIR FIGHT.”

BUT IF THEYSTART ARUMBLE, WE’LLRUMBLE ’EM RIGHT.

SHARKS

WE’RE GONNAHAND ’EM ASURPRISE TONIGHT.

JETS

WE’RE GONNACUT ’EM DOWN TO SIZE TONIGHT.

SHARKS

WE SAID, “O.K., NO RUMPUS, NO TRICKS” — BUT JUST IN CASE THEYJUMPUS, WE’RE READYTO MIX TONIGHT!

JETS, SHARKS

WE’RE GONNAROCK IT TONIGHT, WE’RE GONNAJAZZ IT UPAND HAVE US ABALL. THEY’RE GONNAGET IT TONIGHT; THE MORE THEYTURN IT ON THE HARDER THEY’LLFALL!

JETS

WELL, THEYBEGAN IT!

SHARKS

WELL, THEYBEGAN IT —

JETS, SHARKS

AND WE’RE THE ONES TO STOP’EM ONCE AND FOR ALL, TONIGHT.

WESTSIDESTORY Page69

ANITA

ANITA’S GONNAGET HER KICKS TONIGHT.

WE’LLHAVE OUR PRIVATE LITTLE MIX TONIGHT.

HE’LLWALK IN HOT AND TIRED, SO WHAT?

DON’T MATTER IF HE’S TIRED, AS LONG AS HE’S HOT TONIGHT!

TONY

TONIGHT, TONIGHT WON’T BE JUST ANYNIGHT, TONIGHT THERE WILLBE NO MORNING STAR.

TONIGHT, TONIGHT, I’LLSEE MYLOVE TONIGHT.

AND FOR US, STARS WILLSTOPWHERE THEYARE.

TODAY

THE MINUTES SEEM LIKE HOURS, THE HOURS GO SO SLOWLY, AND STILLTHE SKYIS LIGHT…

OH MOON, GROW BRIGHT, AND MAKE THIS ENDLESS DAYENDLESS NIGHT!

RIFF

(To TONY)

I’M COUNTING ON YOU TO BE THERE TONIGHT.

WHEN DIESELWINS IT FAIR AND SQUARE TONIGHT.

THAT PUERTO RICAN PUNK’LL GO DOWN.

AND WHEN HE’S HOLLERED “UNCLE” WE’LLTEAR UPTHE TOWN!

Page70 WESTSIDESTORY

MARIA

TONIGHT, TONIGHT WON’T BE JUST ANYNIGHT,

TONIGHT THERE WILLBE NO MORNING STAR

MARIA

TONIGHT, TONIGHT, I’LLSEE MYLOVE TONIGHT AND FOR US, STARS WILLSTOP WHERE THEYARE.

RIFF

(Simultaneously — firmly) SO I CAN COUNT ON YOU, BOY?

TONY

(Abstractedly) ALLRIGHT.

RIFF

WE’RE GONNAHAVE US ABALL.

TONY (Abit impatiently) ALLRIGHT.

RIFF

(Spoken, gently)

Womb to tomb!

TONY

(Spoken, regretting his impatience)

Sperm to worm!

RIFF (Sung)

I’LLSEE YOU THERE ABOUT EIGHT…

TONY

TONIGHT…

BERNARDO

WE’RE GONNAROCK IT TONIGHT!!!

WE’RE GONNA JAZZ IT TONIGHT,

THEY’RE GONNAGET IT TONIGHT — TONIGHT.

ANITA

TONIGHT… TONIGHT, LATE TONIGHT, WE’RE GONNAMIX IT TONIGHT.

WESTSIDESTORY Page71

MARIA, TONY TODAY

THE MINUTES SEEM LIKE HOURS.

MARIA, TONY

THE HOURS GO SO SLOWLY, AND STILLTHE SKYIS LIGHT.

BERNARDO

THEYBEGAN IT— JETS, SHARKS THEYBEGAN IT.

JETS

THEYBEGAN IT.

ANITA

ANITA’S GONNAHAVE HER DAY, ANITA’S GONNAHAVE HER DAY,

OH MOON, GROW BRIGHT AND MAKE THIS ENDLESS DAYENDLESS NIGHT, TONIGHT!

WE’LLSTOP’EM ONCE AND FOR ALL!

THE JETS ARE GONNAHAVE THEIR WAY,

THE JETS ARE GONNAHAVE THEIR DAY, WE’RE GONNA ROCK IT

TONIGHT. TONIGHT!

END OF SCENE EIGHT

SHARKS AND WE’RE THE ONES

TO STOP’EM ONCE AND FOR ALL!

THE SHARKS ARE GONNA HAVE THEIR WAY, THE SHARKS ARE GONNA

HAVE THEIR DAY, WE’RE GONNA

ROCK IT

TONIGHT — TONIGHT!

ANITA

BERNARDO’S GONNAHAVE HIS WAY

TONIGHT — TONIGHT. TONIGHT —

THIS VERY NIGHT, WE’RE GONNA

ROCK IT

TONIGHT

Page72 WESTSIDESTORY

SCENE NINE

(Under the highway.

Adead end: rotting plaster-and-brick walls and mesh wire fences. Astreet lamp.

It is nightfall. The almost-silhouetted GANGS come in from separate sides: climbing over the fences or crawling through holes in the walls. There is silence as they fan out on opposite sides of the cleared space. Then BERNARDO and DIESELremove their jackets, handing them to their seconds: CHINO and RIFF)

BERNARDO

Ready.

Ready!

Ready.

CHINO

DIESEL

RIFF

Ready! Come center and shake hands.

BERNARDO

For what?

RIFF

That’s how it’s done, buddy boy.

BERNARDO

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

RIFF

Okay.

BERNARDO

(Moving toward CENTER)

Here we go.

WESTSIDESTORY Page73

Hold it!

(DIESELbegins to move toward him. There are encouragements called from each side. The “fair fight” is just beginning when:)

TONY

(HE leaps over a fence and starts to BERNARDO)

RIFF

Get with the gang.

TONY No.

RIFF

What’re you doing?

BERNARDO

Maybe he has found the guts to fight his own battles.

TONY

(Smiling)

It doesn’t take guts if you have a battle. But we haven’t got one, ’Nardo.

(HE extends his hand for BERNARDO to shake it. BERNARDO knocks the hand away and gives TONY a shove that send him sprawling)

BERNARDO

Bernardo.

RIFF

(Quiet, strong)

The deal is a fair fight between you and Diesel. (To TONY, who has gotten up)

Get with the gang.

(During the next, BERNARDO flicks TONY’S shirt, pushes his shoulder, pinches cheek)

Page74 WESTSIDESTORY

BERNARDO

(To TONY)

I’ll give you a battle, Kiddando.

You’ve got one.

DIESEL

BERNARDO

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

RIFF

Cut that —

TONY

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

BERNARDO

I’m sure.

Bernardo, you’ve got it wrong.

Are you chicken?

You won’t understand!

What d’ya say, chicken?

Get him, Tony!

He is chicken.

TONY

BERNARDO

TONY

BERNARDO

ACTION

BERNARDO

DIESEL

Tony —

WESTSIDESTORY Page75

A-RAB

Get him!

TONY

Bernardo, don’t.

Don’t what, pretty little chicken?

BERNARDO

RIFF

Tony, don’t just stand —

Yellow-bellied chicken —

TONY!

Murder him!

Kill him!

DON’T PUSH ME!

BERNARDO

RIFF

ACTION

SNOWBOY

TONY

BERNARDO

Come on, you yellow-bellied Polak bas —

#11—TheRumble(Orchestra)

(HE never finishes, for RIFF hauls off and hits him. Immediately, the two GANGS alert and the action goes into dance form. 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 brings 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)

Page76 WESTSIDESTORY

RIFF

Hold him!

(DIESELand 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 DIESELand moves to stop RIFF, crying:)

TONY

Riff, don’t!

(RIFF hesitates a moment; the moment 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 from his hand. Afree-for-all has broken out as TONY, RIFF’S 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 a sharp police whistle. Everything comes to a dead stop, dead silence. Then a distant police siren: the KIDS waver, run one way, another; 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 over BERNARDO’S body — and stares)

TONY

(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. Asiren, 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 escapeway. 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 and:

THE CURTAIN FALLS)

END OF SCENE NINE

END OF ACT ONE

WESTSIDESTORY Page77

ACT TWO

#12—IFeelPretty(Maria,Consuela,Rosalia,Francisca)

SCENE ONE

(An apartment.

Abedroom and part of a parlor. The bedroom has a window opening on to the fire escape, a bed, a small shrine to the Virgin on a wall, and a curtained doorway, rear. There is a workable door between bedroom and the parlor, which has some furniture.

Gay MUSIC for FRANCISCA, CONSUELAwho is examining herself in the mirror, and for ROSALIAwho is on the bed, finishing her nails)

CONSUELA

This is my last night as a blonde.

No loss.

ROSALIA

CONSUELA

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 curtained doorway. SHE is finishing getting very dressed up)

There is not going to be a rumble.

Another fortune teller.

MARIA

ROSALIA

CONSUELA

Where is Chino escorting you after the rumble-that-is-not-going-to-be-a-rumble?

MARIA

Chino is escorting me no place.

Page78 WESTSIDESTORY

ROSALIA

She is just dolling up for us. Gracias, querida.

MARIA

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

CONSUELA

I’m hot for secrets!

Tonight is my wedding night!

MARIA

CONSUELA

The poor thing is out of her mind.

I am: crazy!

MARIA

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?

CONSUELA

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

MARIA

I FEELPRETTY, OH, SO PRETTY, I FEELPRETTYAND WITTYAND BRIGHT! AND I PITY

ANYGIRLWHO ISN’T ME TONIGHT.

I FEELCHARMING, OH, SO CHARMING —

WESTSIDESTORY Page79

IT’S ALARMING HOW CHARMING I FEEL! AND SO PRETTY THAT I HARDLYCAN BELIEVE I’M REAL.

SEE THE PRETTYGIRLIN THAT MIRROR THERE: WHO CAN THAT ATTRACTIVE GIRLBE? SUCH APRETTYFACE, SUCH APRETTYDRESS. SUCH APRETTYSMILE, SUCH APRETTYME!

I FEELSTUNNING AND ENTRANCING — FEELLIKE RUNNING AND DANCING FOR JOY, FOR I’M LOVED BYAPRETTYWONDERFULBOY!

CONSUELO, ROSALIA, FRANCISCA

HAVE YOU MET MYGOOD FRIEND MARIA, THE CRAZIEST GIRLON THE BLOCK?

YOU’LLKNOW HER THE MINUTE YOU SEE HER — SHE’S THE ONE WHO IS IN AN ADVANCED STATE OF SHOCK.

CONSUELO, ROSALIA

SHE THINKS SHE’S IN LOVE. SHE THINKS SHE’S IN SPAIN. SHE ISN’T IN LOVE, SHE’S MERELYINSANE.

CONSUELO

IT MUST BE THE HEAT

ROSALIA

OR SOME RARE DISEASE

FRANCISCA

OR TOO MUCH TO EAT

Page80 WESTSIDESTORY

ROSALIA

OR MAYBE IT’S FLEAS.

CONSUELO, ROSALIA, FRANCISCA

KEEPAWAYFROM HER — SEND FOR CHINO! THIS IS NOT THE MARIAWE KNOW:

CONSUELO, ROSALIA MODEST AND PURE, POLITE AND REFINED, WELL-BRED AND MATURE AND OUT OF HER MIND!

CONSUELO, ROSALIA, FRANCISCA

(Variously)

Miss America! Speech! Speech!

MARIA

I FEELPRETTY, OH, SO PRETTY, THAT THE CITYSHOULD GIVE ME ITS KEY. ACOMMITTEE

SHOULD BE ORGANIZED TO HONOR ME.

CONSUELO, ROSALIA, FRANCISCA

LALALALALALALALALALA.

MARIA

I FEELDIZZY, I FEELSUNNY, I FEELFIZZYAND FUNNYAND FINE, AND SO PRETTY, MISS AMERICACAN JUST RESIGN!

CONSUELO, ROSALIA, FRANCISCA

LALALALALALALALALALALALA.

MARIA

SEE THE PRETTYGIRLIN THAT MIRROR THERE:

WESTSIDESTORY Page81

CONSUELO, ROSALIA, FRANCISCA

WHAT MIRROR WHERE?

MARIA

WHO CAN THAT ATTRACTIVE GIRLBE?

FRANCISCA

WHICH?

CONSUELO

WHAT?

ROSALIA

WHERE?

MARIA

SUCH APRETTYFACE, SUCH APRETTYDRESS, SUCH APRETTYSMILE, SUCH APRETTYME!

CONSUELO, ROSALIA, FRANCISCA

WHOM?

WHOM-MM?

FRANCISCA

(Overlapping)

SUCH APRETTYME!

ROSALIA

(Overlapping)

SUCH APRETTYME!

CONSUELO

(Overlapping)

SUCH APRETTYME!

Page82 WESTSIDESTORY

MARIA

I FEELSTUNNING

AND ENTRANCING —

FEELLIKE RUNNING AND DANCING FOR JOY,

CONSUELO, ROSALIA, FRANCISCA

I FEELSTUNNING AND ENTRANCING — FEELLIKE RUNNING AND DANCING FOR JOY,

ALL FOR I’M LOVED BYAPRETTYWONDERFULBOY!

(After the song, there is the sound of CHINO calling from OFFSTAGE)

CHINO

Maria!

It’s Chino.

CONSUELA

ROSALIA

The happy bridegroom.

CHINO (Closer)

Maria!

Please —

Yes, little bride, we’re going.

(SHE does)

MARIA

CONSUELA

ROSALIA

They have a quaint old-fashioned custom in this country, Maria: they get married here before the wedding night.

WESTSIDESTORY Page83

Maria…?

(SHE follows CONSUELAinto the parlor 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

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 hand)

CHINO

Where are your parents?

MARIA

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

CHINO

Yes, I am sorry.

That is not like you.

No.

MARIA

CHINO

MARIA

Why, Chino?

CHINO

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

MARIA

You must wash up.

CHINO Maria —

Page84 WESTSIDESTORY

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 (Nods)

You see… (Moves closer to her, helplessly)

MARIA

It will be easier if you say it very fast.

CHINO (Nods)

There was a fight — (SHE nods)

And ’Nardo —

WESTSIDESTORY Page85

(SHE nods)

And somehow a knife — and ’Nardo and someone —

(HE takes her hand)

MARIA

Tony. What happened to Tony?

(The name stops CHINO. HE drops her hand: the robe opens, showing that she is dressed)

Tell me!

(Crudely, CHINO yanks off the robe, revealing her dressed to go out)

Chino, is Tony all right?!

CHINO

He killed your brother.

(HE walks into the parlor, slamming the door behind him. Amoment, then:)

MARIA

You are lying.

(CHINO has started to leave the parlor, but turns back now, swiftly searches behind furniture and comes up with an object wrapped in the same color as BERNARDO’S shirt. From the bedroom, louder:)

You are lying, Chino!

(Coldly, CHINO unwraps a gun which he puts in his pocket. There is the SOUND OF APOLICE SIREN at distance. HE goes out. During this, MARIAhas 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, almost half-torn off. He stands still, limp, watching her. Aware that someone is in the room, she stops her prayers. Slowly, her head turns; she looks at him for a long moment. Then, almost in one spring, she is on him, her fists beating his chest as:)

Killer killer killer killer killer —

Page86 WESTSIDESTORY

#13—UnderDialogue(Orchestra)

(But her voice breaks into tears, her arms go about him, and she buries her face in his chest, kissing him. She begins to slide down his body. He supports her as, together, they go to the floor, he cradling her body in his arms. He pushes her hair back from her face; kisses her hair, her face between the words that tumble out:)

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

MARIA

No!

It’s easy now —

No…

Whatever you want, I’ll do —

Stay. Stay with me.

I love you so much.

Tighter.

TONY

MARIA

TONY

MARIA

TONY

MARIA

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!

WESTSIDESTORY Page87

TONY

(His voice gradually rising into song)

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

#13A—BalletSequence(Tony,Maria)

AND I’LLTAKE YOU AWAY, TAKE YOU FAR FAR AWAYOUT OF HERE, FAR FAR AWAYTILLTHE WALLS AND THE STREETS DISAPPEAR,

MARIA, TONY

SOMEWHERE THERE MUST BE APLACE WE CAN FEELWE’RE FREE, SOMEWHERE THERE’S GOT TO BE SOME PLACE FOR YOU AND FOR ME.

(As they sing, the walls of the apartment begin to move off, leaving city walls surrounding them moving in on them.

#13B—TransitionToScherzo(Orchestra)

#13C—Scherzo(Orchestra)

Then the apartment itself goes and the two LOVERS begin to run, battering against the walls of the city, breaking through as chaotic figures of the gangs, of the violence flail 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 from both sides come on. And they, too, stop and stare, happy, pleased.

Their clothes are soft, pastel versions of what they have worn before. They begin to dance, to play: no sides, no hostility now; just joy and pleasure and warmth. More and more join, making a world that TONY and MARIAwant to be in, belong to, to share their love with. As they begin the steps of a gently love dance, a GIRLis heard SINGING:)

Page88 WESTSIDESTORY

#13D—Somewhere(Girl)

GIRL

THERE’S APLACE FOR US, SOMEWHERE APLACE FOR US. PEACE AND QUIET AND OPEN AIR WAIT FOR US SOMEWHERE.

THERE’S ATIME FOR US, SOME DAYATIME FOR US, TIME TOGETHER WITH TIME TO SPARE, TIME TO LEARN, TIME TO CARE SOME DAY!

SOMEWHERE WE’LLFIND ANEW WAYOF LIVING, WE’LLFIND AWAYOF FORGIVING SOMEWHERE, SOMEWHERE…

THERE’S APLACE FOR US, ATIME AND PLACE FOR US. HOLD MYHAND AND WE’RE HALFWAYTHERE. HOLD MYHAND AND I’LLTAKE YOU THERE SOME DAY, SOMEHOW, SOMEWHERE!

#13E—ProcessionAndNightmare(Tony,Maria,Company)

(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 wouldbe world, as they sing the words of the song with wonderment)

WESTSIDESTORY Page89

GROUP 1

THERE’S APLACE FOR US, THERE’S APLACE FOR US, THERE’S A…

GROUP 2

THERE’S APLACE FOR US,

THERE’S APLACE FOR US.

(Then, suddenly, there is a dead stop. The harsh shadows, the fire escapes of the real tenement 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 re-enactments of the knife fight, of the deaths. MARIAand TONY are once again separated from each other by the violent warring of the two sides. MARIAtries to reach BERNARDO, TONY tries to stop RIFF; the LOVERS try to reach each other but they cannot get there. Chaotic confusion and blackness out of 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 deperately as they SING:)

TONY

HOLD MYHAND AND WE’RE HALFWAYTHERE. HOLD MYHAND AND I’LLTAKE YOU THERE

TONY, MARIA

SOME DAY, SOMEHOW, SOMEWHERE!

(As the LIGHTS fade, THEY sink back together on the bed)

END OF SCENE ONE

SCENE TWO

(Back alley.

Afence with loose boards; angles between buildings.

Softly, from behind the fence, the JET GANG whistle. Asecond, then the answering whistle, softly, OFFSTAGE or around a corner. Now the loose board flips up and BABY JOHN wriggles through the fence. HE whistles again, and timidly, and A-RAB comes on)

Page90 WESTSIDESTORY

They get you yet?

No. You?

Hell, no.

You seen Tony?

Nobody has.

Geez…

You been home yet?

…Uh uh.

Me, either.

Just hidin’ around?

Uh-huh.

A-RAB

BABY JOHN

A-RAB

BABY JOHN

A-RAB

BABY JOHN

A-RAB

BABY JOHN

A-RAB

BABY JOHN

A-RAB

BABY JOHN

A-rab… did you get a look at ’em?

Lookit who?

A-RAB

BABY JOHN

Ya know. At the rumble. Riff and Bernardo.

(Pause)

WESTSIDESTORY Page91

I wish it was yesterday.

Wadaya say we run away?

What’s a matter? You scared?

…Yeah.

A-RAB

BABY JOHN

A-RAB

BABY JOHN

A-RAB

You cut it out, ya hear? Ya only makin’ me scared an’ 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!

Play it big wit’ the baby blues.

A-RAB

BABY JOHN

(Scared)

O.K.

A-RAB

(Gripping him)

Big, not scared, big!

(Again a whistle. Elaborately casual, THEY start sauntering off)

KRUPKE

Yeah: you. (THEY stop, so surprised)

A-RAB

Why it is Officer Krupke, Baby John.

Page92 WESTSIDESTORY

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 20-20 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 rumbling under the highway —

BABY JOHN

We was at the playground, sir.

A-RAB

We like the playground. It keeps us deprived kids off the fould streets.

BABY JOHN

It gives us comradeship —

Aplace for pleasant pastime —

A-RAB

An’ for us, born like we was on the hot pavements —

KRUPKE

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

BABY JOHN

Which way?

WESTSIDESTORY Page93

A-RAB

This way!

(HE gets down on all fours, 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, BOTH appear through the fence, followed by the OTHERS)

Look at the brass-ass run!

I hope he breaks it!

Get the lead out, fat boy!

BABY JOHN

ACTION

BIG DEAL

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

ACTION

I already been.

We both already been.

What happened?

Abig fat nothing —

How come?

SNOWBOY

A-RAB

SNOWBOY

A-RAB

SNOWBOY

Cops believe everything they read in the papers.

ACTION

To them we ain’t human. We’re cruddy juvenile delinquents. So that’s what we give ’em.

Page94 WESTSIDESTORY

#14—Gee,OfficerKrupke(Jets)

SNOWBOY

(Imitating KRUPKE)

Hey, you!

Me, Officer Krupke?

ACTION

SNOWBOY

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

ACTION

DEAR KINDLYSERGEANT KRUPKE, YOU GOTTAUNDERSTAND — IT’S JUST OUR BRINGIN’ UP-KE THAT GETS US OUT OF HAND. OUR MOTHERS ALLARE JUNKIES OUR FATHERS ALLARE DRUNKS. GOLLYMOSES — NATCHERLYWE’RE PUNKS!

ALL

GEE, OFFICER KRUPKE, WE’RE VERYUPSET; WE NEVER HAD THE LOVE THAT EVERYCHILD OUGHTAGET. WE AIN’T NO DELINQUENTS, WE’RE MISUNDERSTOOD.

DEEPDOWN INSIDE US THERE IS GOOD!

ACTION

THERE IS GOOD!

GROUP 1

THERE IS GOOD, GROUP 2

(Overlapping)

THERE IS GOOD,

WESTSIDESTORY Page95

ALL

THERE IS UNTAPPED GOOD.

LIKE INSIDE, THE WORST OF US IS GOOD.

SNOWBOY

(As KRUPKE)

That’s a touchin’ good story.

Lemme tell it to the world!

ACTION

SNOWBOY

(As KRUPKE)

Just tell it to the judge.

ACTION

(To DIESEL, who plays the part of a judge)

DEAR KINDLYJUDGE, YOUR HONOR, MYPARENTS TREAT ME ROUGH. WITH ALLTHEIR MARIJUANA, THEYWON’T GIVE ME APUFF.

THEYDIDN’T WANNAHAVE ME, BUT SOMEHOW I WAS HAD.

LEAPIN’ LIZARDS — THAT’S WHYI’M SO BAD!

DIESEL

(As judge)

RIGHT!

OFFICER KRUPKE, YOU’RE REALLYASQUARE; THIS BOYDON’T NEED AJUDGE, HE NEEDS AN ANALYST’S CARE!

IT’S JUST HIS NEUROSIS THAT OUGHTABE CURBED — HE’S PSYCHOLOGICKLYDISTURBED!

ACTION

I’M DISTURBED!

Page96 WESTSIDESTORY

GROUP 1

WE’RE DISTURBED,

GROUP 2

(Overlapping)

WE’RE DISTURBED, ALL

WE’RE THE MOST DISTURBED. LIKE WE’RE PSYCHOLOGICKLYDISTURBED.

DIESEL

(As 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 (Speaks)

Hey, so I’m depraved on account I’m deprived!

DIESEL

(As judge)

So take him to a headshrinker.

ACTION

(To A-RAB, who plays a psychiatrist)

MYFATHER IS ABASTARD, MYMA’S AN S.O.B.

MYGRANDPA’S ALWAYS PLASTERED, MYGRANDMAPUSHES TEA.

MYSISTER WEARS AMUSTACHE, MYBROTHER WEARS ADRESS.

GOODNESS GRACIOUS, THAT’S WHYI’M AMESS!

A-RAB

(As psychiatrist)

YES!

WESTSIDESTORY Page97

OFFICER KRUPKE, YOU’RE REALLYASLOB. THIS BOYDON’T NEED ADOCTOR, JUST AGOOD HONEST JOB.

SOCIETY’S PLAYED HIM ATERRIBLE TRICK, AND SOCIOLOGICALLYHE’S SICK!

ACTION

I AM SICK!

GROUP 1

WE ARE SICK, GROUP 2

(Overlapping)

WE ARE SICK, ALL

WE ARE SICK SICK SICK, LIKE WE’RE SOCIOLOGICALLYSICK!

A-RAB

(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, who plays a female social worker)

DEAR KINDLYSOCIALWORKER, THEYSAYGO EARN ABUCK, LIKE BE ASODAJERKER, WHICH MEANS LIKE BE ASCHMUCK. IT’S NOT I’M ANTI-SOCIAL,

Page98 WESTSIDESTORY

I’M ONLYANTI-WORK.

GLORY-OSKY, THAT’S WHYI’M AJERK!

BABY JOHN

(As female social worker, in falsetto)

EEK!

OFFICER KRUPKE, YOU’VE DONE IT AGAIN. THIS BOYDON’T NEED AJOB, HE NEEDS AYEAR IN THE PEN.

IT AIN’T JUST AQUESTION OF MISUNDERSTOOD; DEEPDOWN INSIDE HIM, HE’S NO GOOD!

ACTION

I’M NO GOOD!

GROUP 1

WE’RE NO GOOD,

GROUP 2

(Overlapping)

WE’RE NO GOOD, ALL

WE’RE NO EARTHLYGOOD, 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 female social worker)

THE TROUBLE IS HE’S LAZY.

WESTSIDESTORY Page99

DIESEL

(As judge)

THE TROUBLE IS HE STINKS.

A-RAB

(As psychiatrist)

THE TROUBLE IS HE’S GROWING.

BABY JOHN

(As female 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 AFELLA WITH ASOCIALDISEASE.

GEE, OFFICER KRUPKE, WHAT ARE WE TO DO?

GEE, OFFICER KRUPKE — KRUPYOU!

(After song, ANYBODYS appears over the fence)

Buddy boys!

Ah! Go wear a skirt.

I got scabby knees. Listen —

ANYBODYS

ACTION

ANYBODYS

ACTION

(To the GANG)

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

Page100 WESTSIDESTORY

BIG DEAL

Geez, Action, ain’t we had enough?

ANYBODYS

(Going after them)

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

ACTION

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

ANYBODYS

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

ACTION

What do you know?

I know I gotta get a skirt.

ANYBODYS

(Starts off, but DIESELstops her)

ACTION

Come on, Anybodys, tell me.

Ah, what’s that freak know?

SNOWBOY

ANYBODYS

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 bet your fat A, I am!

Go on. What dya hear?

ACTION

WESTSIDESTORY Page101

ANYBODYS

I heard Chino tellin’ the Sharks somethin’ about Tony and Bernardo’s sister. And then Chino said: “If it’s the last thing I do, I’m going to get Tony.”

ACTION

What’d I tell ya? Those PRs won’t stop!

SNOWBOY

Easy, Action!

It’s bad enough now —

Yeah!

BIG DEAL

BABY JOHN

ACTION

You forgettin’? Tony came through for us Jets. We gotta find him and protect him from Chino.

A-RAB

Right!

ACTION

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

(SNOWBOY runs off)

A-rab — get over to Doc’s.

I’ll take the back alleys.

Big deal.

I’ll cover the park.

Good boy!

(Begins to run off)

DIESEL

ACTION

BIG DEAL

ACTION

Page102 WESTSIDESTORY

What about me?

ANYBODYS

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!

Hey!

(Starts to run off)

ACTION

(SHE stops)

You done good, buddy boy.

ANYBODYS

(SHE has fallen in love)

Thanks, daddy-o.

(THEY both run off)

END OF SCENE TWO

SCENE THREE

(The apartment.

The light is, at first, a vague glow on the lovers who are asleep on the bed. The music is based on that which ended the first apartment scene. From OFFSTAGE, faint at first, the sound of knocking. It gets louder, TONY stirs. At a distance, a police siren and the knocking very loud. TONY bolts upright. ANITAcomes in from outside and goes to the bedroom door — which is locked — tries the knob, calling:)

ANITA

(Holding back tears)

Maria? … Maria?

(TONY is reaching for his shirt when MARIAsits up. Quickly, he puts his hand, then his lips on her lips)

WESTSIDESTORY Page103

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

MARIA

I didn’t know it was locked.

ANITA

Open the door. I need you. (MARIAreaches for the knob, TONY stops her)

MARIA

(Awhisper)

Now you are afraid, too.

What?

ANITA

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, ANITAis aware of voices but unsure of what they are saying)

MARIA

At Doc’s, yes. (Aloud)

Coming, Anita!

TONY (Kisses her)

Hurry!

(HE scrambles out the window as MARIAhastily puts a bathrobe on over her slip. In the other room, ANITAhas stiffened and moved away from the door. SHE stands staring at it coldly as MARIAprattles through the door)

Page104 WESTSIDESTORY

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. Amoment, 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! (Bitterly)

#15—ABoyLikeThatAndIHaveALove(Maria,Anita)

ABOYLIKE THAT WHO’D KILLYOUR BROTHER, FORGET THAT BOYAND FIND ANOTHER!

ONE OF YOUR OWN KIND — STICK TO YOUR OWN KIND!

ABOYLIKE THAT WILLGIVE YOU SORROW — YOU’LLMEET ANOTHER BOYTOMORROW!

ONE OF YOUR OWN KIND, STICK TO YOUR OWN KIND!

ABOYWHO KILLS CANNOT LOVE, ABOYWHO KILLS HAS NO HEART. AND HE’S THE BOYWHO GETS YOUR LOVE AND GETS YOUR HEART — VERYSMART, MARIA, VERYSMART!

ABOYLIKE THAT WANTS ONE THING ONLY, AND WHEN HE’S DONE HE’LLLEAVE YOU LONELY. HE’LLMURDER YOUR LOVE; HE MURDERED MINE. JUST WAIT AND SEE — JUST WAIT, MARIA, JUST WAIT AND SEE!

WESTSIDESTORY Page105

MARIA

(Overlapping)

OH, NO, ANITA, NO — ANITA, NO! IT ISN’T TRUE, NOT FOR ME, IT’S TRUE FOR YOU, NOT FOR ME, I HEAR YOUR WORDS — AND IN MYHEAD

MARIA

BUT MYHEART KNOWS THEY’RE WRONG AND MYHEART 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 WHYIT’S SO, I DON’T WANT TO KNOW

I KNOW THEY’RE SMART, BUT MYHEART, ANITA, MARIA

ANITA ABOYLIKE THAT WHO’D KILLYOUR BROTHER, FORGET THAT BOY AND FIND ANOTHER!

ONE OF YOUR OWN KIND, STICK TO YOUR OWN KIND!

ABOYWHO KILLS CANNOT LOVE, ABOYWHO KILLS HAS NO HEART. AND HE’S THE BOY WHO GETS YOUR LOVE AND GETS YOUR HEART — VERYSMART, MARIA, VERYSMART

OH, NO, ANITA, NO — YOU SHOULD KNOW BETTER! YOU WERE IN LOVE — OR SO YOU SAID. YOU SHOULD KNOW BETTER…

I HAVE ALOVE, AND IT’S ALLTHAT 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 ALOVE AND IT’S ALLTHAT I NEED, RIGHT OR WRONG, AND HE NEEDS ME TOO.

I LOVE HIM, WE’RE ONE; THERE’S NOTHING TO BE DONE,

Page106 WESTSIDESTORY

NOT ATHING I CAN DO BUT HOLD HIM, HOLD HIM FOREVER, BE WITH HIM NOW, TOMORROW AND ALLOF MYLIFE!

MARIA, ANITA

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

(As she 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. (SCHRANK 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.

WESTSIDESTORY Page107

SCHRANK

There are just a coupla questions —

MARIA

Afterwards, please. Later.

It’ll only take a minute.

Couldn’t you wait until —

No.

SCHRANK

ANITA

SCHRANK (Sharply)

(Asmile 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?

Who was the boy?

SCHRANK

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?

Page108 WESTSIDESTORY

ANITA

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

MARIA

(To SCHRANK)

Will I be long?

As long as it takes.

SCHRANK

MARIA

(To ANITA)

Yes. Tell him I will pick it up myself. (ANITAgoes out)

I’m sorry. Now you asked?

SCHRANK

(As the LIGHTS dim)

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

MARIA

Another from my country.

And his name?

SCHRANK

MARIA

Josè.

END OF SCENE THREE

#15A—ChangeOfScene(Orchestra)

SCENE FOUR (Drugstore. A-RAB and some of the JETS are there as others and ANYBODYS run in)

WESTSIDESTORY Page109

Where’s Tony?

Down in the cellar with Doc.

ACTION

A-RAB

Ya warn him about Chino?

BIG DEAL

A-RAB

Doc said he’d tell him.

BABY JOHN

What’s he hidin’ in the cellar from?

BIG DEAL

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 ANITAENTERS. Cold silence, then slowly she comes down to the counter. THEY all stare at her. Along moment. Someone turns on the juke-box: a low mambo)

#16—TauntingScene(Orchestra)

ANITA

I’d like to see Doc. ACTION

He ain’t here.

ANITA

Where is he?

Page110 WESTSIDESTORY

A-RAB

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

ANITA

The banks are closed at night. Where is he?

A-RAB

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

ANYBODYS

And got stuck halfway in.

ACTION

Which indicates there’s no tellin’ when he’ll be back. Buenas noches, señorita. (ANITAstarts to go toward cellar door)

BIG DEAL

Where you goin’?

Downstairs — to see Doc.

Didn’t I tell ya he ain’t here?

I’d like to see for myself.

Please.

…Please.

Por favor.

ANITA

ACTION

ANITA

ACTION

ANITA

ACTION

ANITA

Will you let me pass?

She’s too dark to pass.

SNOWBOY

WESTSIDESTORY Page111

Don’t.

ANITA

(Low)

Please “don’t.”

Por favor.

ACTION

SNOWBOY

DIESEL

Non comprende.

Gracias.

De nada.

Ai! Mambo — Ai!

A-RAB

BABY JOHN

ANYBODYS

ANITA

Listen, you — (Controls herself)

ACTION

We’re listenin’.

ANITA

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

DIESEL

He ain’t here.

I know he is.

ANITA

ACTION

Who says he is?

Page112 WESTSIDESTORY

A-RAB

Who’s the message from?

Never mind.

Couldn’t be from Chino, could it?

ANITA

ACTION

ANITA

I want to stop Chino! I want to help!

ANYBODYS

Bernardo’s girl wants ta help?

Even a greaseball’s got feelings.

But she wants to help get Tony!

No!

Not much — Bernardo’s tramp!

Bernardo’s pig!

Ya lyin’ Spic — !

Don’t do that!

ACTION

ANYBODYS

ANITA

BIG DEAL

SNOWBOY

ACTION

ANITA

GEETAR

Gold tooth!

DIESEL

Pierced ear!

WESTSIDESTORY Page113

A-RAB

Garlic Mouth!

ACTION

Spic! Lyin’ Spic!

(The taunting breaks out into a wild, savage dance with epithets hurled at ANITAwho is encircled and driven 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. ANITAgets 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!

She’ll tell Chino that Tony —

DIESEL

(BIG DEALgrabs 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 gonna 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?

Page114 WESTSIDESTORY

You make this world lousy!

That’s the way we found it, Doc.

ACTION

DOC

Get out of here!

(Slowly, THEY start to file out as the LIGHTS fade)

END OF SCENE FOUR

SCENE FIVE

(Cellar.

Cramped: a box or crate; part of 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?

No.

TONY

DOC

TONY

(Taking the money DOC holds out automatically)

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

DOC

Forget 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

(Slapping him)

Wake up!

WESTSIDESTORY Page115

(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

(Over-riding 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 customer upstairs, just now. That was Anita.

(Pause)

Maria is dead. Chino found out about you and her — and shot her. (Abrief 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 hear:)

Page116 WESTSIDESTORY

TONY

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

END OF SCENE FIVE

SCENE SIX

(The neighborhood.

The LIGHTS come up to reveal the same set as in the opening. But it is now jagged with shadows. TONY stands in the emptiness, calling, whirling around as a figure darts our of the shadows and then runs off again)

TONY

Chino?… COME ON: GET ME, TOO!

ANYBODYS

(Awhisper 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?

I said get outa here! CHINO!

TONY

ANYBODYS

Look, maybe if you and me just —

WESTSIDESTORY Page117

TONY

(Savagely)

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

ANYBODYS

But the gang —

You’re a girl: be a girl! Beat it.

(SHE retreats)

TONY

CHINO, I’M CALLING FOR YA, CHINO! HURRY! IT’S CLEAR NOW. THERE’S NOBODYBUT ME. COME ON! Will ya, please. I’m waitin’ for ya.

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. An unbelievable whisper:)

Maria… Maria?

Tony…

MARIA!

MARIA

(As she holds out her arms towards him, another figure appears: CHINO)

TONY

(As they run to each other, there is a gun shot. TONY stumbles as though he tripped. MARIAcatches 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 limp in his hand. More JETS and SHARKS, some GIRLS run on and DOC comes out to stare with them)

I didn’t believe hard enough.

Loving is enough.

Not here. They won’t let us be.

Then we’ll get away.

MARIA

TONY

MARIA

Page118 WESTSIDESTORY

TONY

Yes, we can. We will.

(HE shivers, as though a pain went through him. SHE holds him closer and begins to SING — without orchestra:)

#17—Finale(Maria,Tony)

MARIA

HOLD MYHAND AND WE’RE HALFWAYTHERE.

(TONY joins in. MARIASINGS harder as though to urge him back to life)

TONY, MARIA

HOLD MYHAND AND I’LLTAKE YOU THERE, SOMEHOW, (TONY’S voice falters)

MARIA

SOME DAY…

(MARIAstops, TONY’S body quiet in her arms.

Amoment, and then, as she gently rests TONY on the floor, the ORCHESTRAfinishes the last bars of the song. Lightly, she brushes TONY’S lips with her fingers. Behind her, ACTION, in front of a group of JETS, moves to lead them toward CHINO. 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.

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?

WESTSIDESTORY Page119

And you?

(At another)

(At ACTION)

All of you? WE ALLKILLED HIM; and my brother and Riff. I, too.

I CAN KILLNOW 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 pushes it forward at ACTION. But SHE cannot fire and as 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, MARIAraces to the body and puts her arms around it, all-embracing, protecting as she cries:)

DON’T YOU TOUCH HIM!

(SCHRANK steps back. KRUPKE has appeared in the shadows behind him. MARIAnow turns and looks at CHINO, holds her hand out to him. Slowly HE comes and stands by the body. Now SHE looks at ACTION, holds out her hand to him. HE, too, comes forward, with DIESEL, to stand by the body. PEPE joins CHINO. Then, MARIA leans low over TONY’S face.

Softly, privately:)

Te adoro, Anton.

(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 LIGHTS start 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 as:

THE CURTAIN FALLS)

THE END

Page120 WESTSIDESTORY

West Side Story (7/20/99) Overture … —TACET— … West Side Story 1 Prologue … —TACET— … —121—

(ACTION) WhoneedsTony?

V8 6 ‰

V10 3 (ACTION)

8 Œ . U Œ .

West Side Story 2

9 ∑

(BABY JOHN)

23 ∑

b b 21 2

(7/20/99)

Allegro moderato (qd =116-128) (deliberately) 1 3 V

2 (RIFF) AgainsttheSharksweneedeverymanwegot.

2 (ACTION)

Tonydon'tbelonganymore.

(RIFF) Cutit,Actionboy, IandTonystartedtheJets.

Well,heactslikehedon'twannabelong.

3 (BABY JOHN) Whowouldn'twannabelongtotheJets!

(ACTION)

Tonyain'tbeenwithusforoveramonth.

(SNOWBOY) WhataboutthedayweclobberedtheEmeralds?

(A-RAB)

Whichwecouldn'thavedonewithoutTony.

Hesavedmyeverlovin'neck! V b b

(RIFF)

Right!He'salwayscomethroughforusandhewillnow.

—122—

Jet Song

V b b 28 (RIFF) œ œ œ Whenyou'rea 29 œ œ œ Jet,you'rea 30 œ œ œ Jetallthe 31 œ œ œ wayfromyour V b b 32 œ b œ œ firstcig-a33 œ œ œ rettetoyour 34 œ œ œ lastdy-in' 35 . ˙ day. V b b 36 cresc. poco a poco œ œ œ Whenyou'rea 37 œ œ œ Jet,ifthe 38 œ œ œ spithitsthe 39 œ œ œ fan,yougot V b b 40 œ b œ œ b broth-ersa41 œ œ œ round,you'rea 42 œ œ œ fam-i-ly 43 . œ ‰‰ J œ # man!You're V b b 44 œ J œ n œ œj # nev-era-lone, 45 . œ ‰‰ œj you're 46 œ J œ n œ œj # nev-erdis-con47 œ J œ A J œ‰‰ nect-ed! V b b 48 Œ . ‰‰ œj You're 49 œ J œ n œ œj # homewithyourown: 50 . œ ‰‰ œj When 51 œ J œ n œ œj # com-pa-ny'sexV b b 52 œ J œ b‰‰ œj pect-ed,you're 53 œ J œ > œ J œ > wellpro-tect54 œ œj > œ ‰ ed! V b b 55 œ œ œ Thenyouare 56 œ œ œ setwitha 57 œ œ œ cap-i-tal 58 œ œ œ J,whichyou'll V b b 59 cresc. œ b œ œ nev-erfor60 œ œ œ gettillthey 61 œ œ œ cartyoua62 œ j œœ œ œ b way.Whenyou'rea #2— Jet Song —123—

V b b 63 (RIFF) œ > ‰Œ . Jet, 64 œ > ‰Œ . You 65 œ b > ‰Œ . stay 66 œ N > ‰Œ . a V b b 67 . ˙ Jet! 68 . ˙ 69 . ˙ 70 . ˙ 71 2 V b b n n 73 2 (RIFF) IknowTonylikeIknowme. 75 4 Iguaranteeyoucancounthimin. V 79 Œ . U Œ . (ACTION) In,out,let'sgetcrackin.' 80 ∑ 81 3 (A-RAB) WhereyougonnafindBernardo? V84 2 (RIFF) Atthedancetonightatthegym. 86 2 (BIG DEAL) Butthegym'sneutralterritory. V 88 2 (RIFF) (Innocently) I'mgonnamakenicethere! 90 2 I'monlygonnachallengehim. VI = Ò 92 Œ . ‰‰‰ (A-RAB) Great,Daddy-O! V 93 4 (RIFF) Soeverybodydressupsweetandsharp. 97 3 (They primp and preen) #2— Jet Song —124—

V100 ‰‰ f (ALL) œj œ œj Oh,whenthe 101 . œ . œ Jetsfall 102 . œ œ œj inatthe 103 . œ 2 œ œ corn-balldance, V104 œ J œ œ J œ we'llbethe 105 œ b J œ œ J œ sweet-estdress-in' 106 . ˙ gang 107 . œ 2 œ b œ inpants! V108 ‰‰ œj œ œj Andwhenthe 109 . œ . œ chicksdig 110 . œ œ œj usinour 111 . œ 2 œ N œ Jetblackties, V112 œ J œ œ J œ they'regon-na 113 cresc. . œ b œ J œ flip,gon-na 114 . œ œ b J œ flop,gon-na 115 . œ 2 œ N œ droplikeflies! V 116 œ ‰Œ . (They dance together, a little wild.) 117 8 V 125 f (RIFF) ¿ Hey. 126 F ¿ Cool. 127 P 2 ¿ ¿ Œ . Eas-y. = DE Ò 128 π . O Sweet. V129 2 (RIFF) MeetTonyandmeatten.Andwalktall! 131 ∑ (He runs off) 132 2 (A-RAB) Wealwayswalktall! V 134 2 (BABY JOHN) We'reJets! 136 ∑ (ACTION) Thegreatest! #2— Jet Song —125—

V 137 (ACTION and BABY JOHN) œ œ œ Whenyou'rea 138 œ œ œ Jet,you'rethe 139 œ œ œ topcatin 140 œ œ œ town,you'rethe V141 œ b œ œ goldmed-al 142 œ œ œ kidwiththe 143 œ œ œ heav-yweight 144 . ˙ crown! V 145 (A-RAB, ACTION and BIG DEAL) œ œ œ Whenyou'rea 146 œ œ œ Jet,you'rethe 147 œ œ œ swing-in'-est 148 œ œ œ thing.Lit-tle V 149 œ b œ œ b boy,you'rea 150 œ œ œ man;Lit-tle 151 œ œ œ man,you'rea 152 œ ‰‰‰ (ALL) J œ # king!The V 153 œ J œ # œ œj # Jetsareingear, 154 . œ ‰‰ œj our 155 œ J œ # œ œj # cyl-in-dersare 156 œ J œ N J œ ‰‰ click-in'. V157 Œ . ‰‰ œj The 158 œ J œ # œ œj # Sharks'-llsteerclear 159 . œ ‰‰ œj 'cause 160 œ J œ # œ œj # ev-'ryPuer-to V 4 2 161 œ J œ N œ œj Ric-an’sa 162 œ > J œ > œ J œ > lous-ychick(qd = q) 163 œ œ > œj ‰ en! V 164 π . œ œ œ œ Herecomethe 165 . œ œ œ œ Jetslikea 166 . œ œ œ œ batoutof 167 . œ œ œ œ hell.Some-one V168 . œ b œ œ œ getsinour 169 . œ œ œ œ way,some-one 170 . œ œ œ œ don'tfeelso 171 ˙ well. #2— Jet Song —126—

V 172 (ALL) . œ œ œ œ Herecomethe 173 . œ œ 3 œ œ œ Jets:Lit-tleworld, 174 . œ œ œ œ stepa175 . œ œ œ œ side!Bet-ter V 8 6 176 . œ b œ œ œ b goun-der177 . œ œ œ œ ground,bet-ter 178 . œ œ œ œ run,bet-ter 179 œ 3 J œ ‰ J œ # hide.We're V8 6 (q = q d) 180 œ J œ # œ œj # draw-in'theline, 181 . œ ‰‰ œj so 182 œ J œ # œ œj # keepyournos-es 183 œ J œ N J œ Œ hid-den! V 184 Œ . ‰‰ œj We're 185 œ J œ # œ œj # hang-inasign, 186 . œ ‰‰ œj says: 187 œ J œ # œ œj # “Vis-it-orsforV 4 2 188 œ J œ N œ œj bid-den”And 189 œ > J œ > œ J œ > weain'tkid(qd = q) 190 œ œ > Œ din’! V 191 f . œ œ œ œ Herecomethe 192 . œ ¿ ¿ œ Jets,Yeah!An' 193 cresc. . œ œ œ œ we'regon-na 194 . œ œ œ œ beatev-'ry V195 . œ b œ œ œ lastbug-gin' 196 . œ œ œ œ gangonthe 197 f . œ œ œ œ wholebug-gin' 198 œ ≈ œ œ œ street!Onthe V 8 6 199 J œ ‰Œ whole 200 œ œ ‰Œ ev-er 201 œ b œ ‰Œ moth-er 202 div. œ œ b b œ œ ‰Œ lov-in' V8 6 4 2 203 ƒ . . ˙ ˙ N N street! 204 . . ˙ ˙ 205 . . ˙ ˙ 206 . . ˙ ˙ 207 . . ˙ ˙ 208 . . ˙ ˙ Applause Segue 209 œ œ œ œ ¿ Yeah! #2— Jet Song —127—

West Side Story 2a (7/20/99) Jet Chase … —TACET— … —128—

(RIFF) Maybewhatyou'rewaitin'forwillbetwitchin'atthedance. (He runs off) (TONY) Whoknows?

# # 4 3

1 2

V # # . . . . Safety (Vocal last time) 3 Œ‰ π (TONY) J œ > œ Could 4 . ˙ be! 5 . ˙ 6 . ˙ 7 œ ‰ J œ > œ Who V # # 8 œ # > œ ˙ knows? 9 . ˙ 10 . ˙ 11 œ ‰ J œ > œ There’s V # # 12 rhythmically œ # œ ‰ J œ œ some-thingdue 13 œ # œ ‰ œj œ an-yday; 14 œ # œ ‰ J œ œ Iwillknow V # # 4 2 15 œ # œ ‰ œj œ righta-way, 16 3 œ # œ œ cresc. œ n soonasitshows. 17 . ˙ 18 . ˙ 19 . ˙ V # # 4 2 20 ‰ f marc. J œœ œ Itmaycome 21 œ œ œ œ can-non-ball-ing 22 œ > œ œ œ > downthruthesky, 23 Œœ > œ gleamin 24 œ œ > Œ itseye, V # # 4 3 25 œ > œ œ œ > brightasarose! 26 dim. . ˙ 27 . ˙ 28 . ˙ 29 œ ‰ π J œ > œ Who V # # 30 œ # > œ ˙ knows? 31 . ˙ 32 . ˙ 33 œ ‰ J œ œ It’s West Side Story 3

—129—

Fast (q =176)

(7/23/99) Something's Coming

V # # 34 œ # œ ‰ J œ œ on-lyjust 35 œ # œ ‰ œj œ outofreach 36 œ # œ ‰ J œ œ downtheblock, V # # 4 2 37 œ # œ ‰ œj œ onabeach, 38 3 œ # œ œ cresc. œ n un-deratree. 39 . ˙ 40 . ˙ 41 . ˙ V # # 4 2 42 ‰ f marc. J œœ œ Igota 43 œ œ œ œ feel-ingthere’sa 44 œ > œ œ œ > mir-a-cledue, V # # n n 45 Œœ > œ gon-na 46 œ œ > Œ cometrue, 47 œ > œ œ ƒ œ > com-ingtome! V 48 ˙ 49 ˙ 50 ˙ 51 ˙ 52 dim. ˙ 53 ˙ 54 ˙ 55 ˙ V 56 with rhythmic excitement p œ # œ ‰ œj Coulditbe? 57 ˙ 58 œ # œ ‰ œj Yes,itcould. 59 ˙ 60 œ # œ ‰ J œ > Some-thing’scom61 J œ . œ > ing, V 62 œ # œ ‰ œj some-thinggood, 63 ˙ 64 œ # œ œ œ b > ifIcanwait! 65 cresc. ˙ 66 ˙ 67 ˙ V 68 f œ > œ > Some-thing’s 69 œ > œ > com-ing, 70 œ > œ œ Idon’tknow 71 œ œ > what 72 œj . œ itis, V 4 3 4 2 73 œ > œ œ butitis 74 œ œ > œ œ œ > gon-nabegreat! 75 ˙ 76 ˙ 77 ˙ 78 ˙ #3—Something's Coming —130—

V 79 p œ # œ ‰ œj Withaclick, 80 ˙ 81 œ # œ ‰ œj withashock, 82 ˙ 83 œ # œ ‰ J œ > phone-’lljin84 J œ . œ > gle, V 85 œ # œ ‰ œj door-’llknock, 86 ˙ 87 œ # œ œ œ b > o-penthelatch! 88 cresc. ˙ 89 ˙ 90 ˙ V91 f œ > œ > Some-thing’s 92 œ > œ > com-ing, 93 œ > œ œ don’tknowwhen, 94 œ œ > but 95 œj . œ > it’ssoon; V 4 3 # # 4 2 96 œ > œ œ > catchthemoon, 97 œ œ > œ œ œ > onehand-edcatch! 98 dim. ˙ 99 ˙ 100 ˙ V # # 101 Œ F warmly, freely œ A102 ˙ round 103 ˙ 104 3 œ ˙ the 105 ˙ 106 3 ˙ œ cor-ner, V # # 107 ˙ 108 ˙ 109 œ cresc. œ or 110 3 ˙ œ whist-ling 111 3 œ ˙ down 112 ˙ 113 œ œ the V # # 114 3 ˙ œ riv-er, 115 ˙ 116 ˙ 117 Œ F œ come 118 dim. ˙ n on, 119 ˙ V # # 120 3 œ ˙ de121 ˙ 122 3 ˙ œ liv-er 123 ˙ 124 ˙ 125 ˙ to V # # n n 126 π dolce ˙ me! 127 ˙ 128 ˙ 129 ˙ 130 ˙ 131 ˙ 132 ˙ 133 ˙

—131—

#3—Something's Coming

V 134 ∏ œ # œ ‰ œj Willitbe? 135 ˙ 136 œ # œ ‰ œj Yes,itwill. 137 ˙ 138 œ # œ ‰ J œ > May-bejust 139 J œ . œ > by V140 œ # œ ‰ œj hold-ingstill, 141 ˙ 142 œ # œ œ œ b > it’-llbethere! 143 cresc. ˙ 144 ˙ 145 ˙ V146 œ > œ > Comeon 147 œ > œ > some-thing, 148 œ > œ œ comeonin, 149 œ œ > don’t 150 œj . œ beshy, V 4 3 # # 4 2 151 œ > œ œ meetaguy, 152 œ œ > œ œ œ > pullupachair! 153 dim. ˙ 154 ˙ 155 ˙ V # # 156 Œ p sub. (freely) œ The 157 ˙ air 158 ˙ 159 3 œ ˙ is 160 ˙ V # # 161 3 ˙ œ hum-ming, 162 ˙ 163 ˙ 164 œ œ and 165 3 ˙ œ some-thing 166 3 œ ˙ great 167 ˙ V # # 4 3 168 œ œ is 169 œ œ ˙ com-ing! 170 . ˙ 171 . ˙ 172 œ ‰ dim. J œ > œ Who V # # 173 œ # > œ ˙ knows? 174 . ˙ 175 . ˙ 176 œ ‰ J œ > œ It’s 177 œ # œ ‰ J œ œ on-lyjust V # # 178 œ # œ ‰ œj œ outofreach, 179 œ # œ ‰ J œ œ downtheblock, 180 œ # œ ‰ œj œ onabeach, V # # . . . . 181 3 œ # œ œ œ n may-beto-night… 182 . ˙ 183 dim. . ˙ 184 . ˙ 185 . ˙ Applause Segue 186 fade out . ˙ #3—Something's Coming —132—

Side Story 3a (7/20/99) Something’s Coming Chase … —TACET— …

West

… —TACET— …

(The Dance at the Gym) Blues

4 Promenade … —TACET— …

West Side Story

4a —133—

West Side Story

&4 2 Fast (q =126) 58 8 66 œ n ‰ œ ‰ ∑ 67 œ n ≈ œ œ œ œ ∑ 68 œ n œ Œ ∑ & 69 Œ‰ (SHARKS) ¿j Mam70 ¿j ‰ (JETS) ¿ ¿ bo!Mam-bo! 71 Œ (ALL) ¿ Go! & 72 16 88 4 & 92 œ œ œ œ # œ œ œ œ ∑ 93 œ # œ n ‰œ # œ ‰ ∑ 94 œ œ œ œ # œ œ œ œ ∑ 95 œ # œ n œ # œ œ œ # ‰ ∑ & 96 4 & 100 œ n œ ‰ œj ∑ 101 ≈ œ n œ œ n œ ∑ 102 œ # œ œ œ # ∑ 103 ‰ (SHARKS) J ¿ > J ¿ > ‰ Mam-bo! &104 4 108 8 & 116 œ n œ ‰ œj ∑ 117 ≈ œ n œ œ n œ ∑ 118 œ # œ œ œ ∑ 119 ‰ (SHARKS) J ¿ > J ¿ > ‰ Mam-bo! West Side Story 4b

(7/20/99) —134—

Mambo

West Side Story 4c

West Side Story 4d

West Side Story 4e

& # # # 120 4 124 4 & # # # n n n 128 6 134 4 138 8 & # # # 146 4 150 8 158 8 166 4 & # # # n n n 170 4 174 8 182 4 & 186 16 202 3 rall. molto Segue 205 2 #4b—Mambo Cha-Cha … —TACET— …

… —TACET— …

Jump

Meeting Scene

—135—

(DIESEL) We'llseehimatDoc’s (TONY) Maria...

V # # # # # 4 4 Slowly

1 Œ 3 ‰ p (TONY) œ œ 3 œ œ œ œ œ Themostbeau-ti-fulsoundI

and Freely

2 œ œ ˙

# # # # # 3 cresc. œj œ , œj 3 œ œ œ 3 œ œ œ ri-a,Ma-ri-a,Ma-ri-a,Ma, 4 œj . œ ˙ ri-a…

# # # # # 5 3 ‰ œ œ 3 œ œ œ 3 œ œ œ 3 œ œ œ

6 œ œ ˙

# # # # #

œj œ , œj 3 œ œ œ 3 œ œ œ ri-a,Ma-ri-a,Ma-ri-a,Ma-

8 œj œ più

3 œ œ œ 3 œ œ œ ri-a…Ma-ri-a,Ma-ri-a…Ma-

b b b C

warmly œj n . œ . œ œj ri-a!I’ve 10 3 œ n œ œ 3 œ œ œ justmetagirlnamedMa11 œj n . œ . œ

b b b 12 œ n œ œ œ . œ J œ sud-den-lythatnamewill 13 œ A œ œ œ œ œ nev-erbethesameto 14 . ˙ ‰ œj me.MaWest Side Story 5

(7/23/99) —136—

‰ œj ev-erheard.MaV

Allthebeau-ti-fulsoundsoftheworldina

‰ œj sin-gleword:MaV

b b b C

cresc.

rall.

cresc. e rall. œj

Moderato con Anima

P dolce J

ri-a,and V

Maria

V b b b

V b b b poco rall.

V b b b

V & b b b b b b

3 œ n œ œ 3 œ œ œ

œ œ

19 œ œ œ œ œ œ won-der-fulasoundcan 20 . ˙ ƒ œ –

œj n . œ . œ œj ri-a!I’ve

cresc.

justkissedagirlnamedMa-

J œ . œ . œ f J œ ri-a,and

b b b

œ œ

sud-den-lyI’vefoundhow

be!Ma-

œ œ œ

22 3 œ œ œ œ œ loudandthere’smu-sic 23

œ 3

J œ . œ

ri-a!Sayit

J œ .

Œ π sub. œ œ play-ingSayit

24 3

b œ œ 3

œ œ

œ .

softandit’sal-mostlike

dolce

pray-ingMa-

œj . œ . œ œj ri-a…I’ll

27 3 œ œ œ 3 œ œ œ

ne-verstopsay-ingMaa tempo

œj

œ ˙ ri-a!

.. ˙ f J œ Ma-

. œ J œ ˙ ri-a!

œ > œ

32 Œ œ ˙ > Ma-ri33 3 œ œ œ 3

˙ >

Œ œ

Ma-ri-a!

œ ˙ a!Ma-ri-a!

J œ‰‰ p J œ

Ma-ri-

cresc. w

—137—

œ œ , f ˙ > a!Ma---(Ossia) ˙ œ œ aMa-

w ˙ œ

ri-a,Ma-

w ˙ œ f œ ri-a,Ma-

ƒ 3 ˙ n

˙ ri-a!Ma˙ n 3 œ œœ ri-a,Ma #5—Maria

V b b b 40 J œ > . œ œ œ œ ri-aSayit 41 3 œ œ œ œ œ loudandthere’smu-sic 42 J œ . œ 3 Œ π sub. œ œ play-ingSayit V b b b 43 3 œ b œ œ 3 œ œ œ softandit’sal-mostlike 44 J œ . œ œ p dolce œ pray-ingMaV b b b 45 œj . œ . œ œj ri-aI’ll molto rall. " 46 3 œ œ œ 3 œ œ U π œ ne-verstopsay-ingMa47 œj . œ ˙ ri-a! V b b b meno mosso 48 w 49 œ 3 ‰ ∏ a piacere œ œ 3 œ œ œ œ œ Themostbeau-ti-fulsoundI 50 œ b œ b ˙ b ‰ J œ ev-erheardMaV b b b Adagio (in 4) 51 œ . ˙ N ri-a. 52 w U Applause Segue 53 J œ ‰ŒÓ #5—Maria —138—

Balcony Scene

& b b 4 4 C Very Slowly 1 4 5 4 & b b C ( q = h ) 9 6 15 5 20 Ó Œ œ ∑ ? ? b b 21 œj . œ œ œj ∑ 22 3 œ œ œ . œ œj ∑ 23 œj œ œœ œ ∑ 24 3 œ b œ œ 3 œ œ œ ∑ 25 œj . œ ˙ ∑ ? b b 26 ∑ (MARIA) Imaginebeing afraidofyou! 27 ∑ (TONY) Yousee? 28 ∑ (MARIA) Iseeyou. 29 ∑ (TONY) Seeonlyme. & & b b Andantino accel. poco a poco (very gradually) (q =80+) 30 π (MARIA) . œ œj œ œ œ On-lyyou,you’rethe 31 œ œ œ œ . œ œj on-lythingI’llseefor& b b 32 œ ˙ œ œ n ev-er.Inmy 33 œœ œ œ œ œ eyes,inmywordsandin & V b b b b 34 (MARIA) œ œ œ œ ˙ eve-ry-thingIdo, ∑ 35 œ œ œ œ ˙ no-thingelsebutyou ∑ (q =100) 36 œ ˙ Œ ev-er! Ó Œ p (TONY) œ œ Andthere’s West Side Story 6

(7/20/99) —139—

& V b b b b 37 ∑ (TONY) œ œ œ œ œ œ no-thingformebutMa38 ∑ œ ˙ cresc. œ œ ri-a,ev’-ry & V b b b b 39 ∑ œ œ œ œ œ œ sightthatIseeisMa40 ∑ F œ . ˙ ri-a. 41 (MARIA) œ – œ œ – œ To-ny,To-ny… J œ ‰ŒÓ & V b b b b 2 3 2 3 Allegretto (q =108) sempre un poco accel. 42 ∑ . œ œj œ œ œ Al-waysyou,eve-ry 43 ∑ œ œ œ œ ˙ thoughtI’llev-erknow, 44 ∑ cresc. œ œ œ œ . œ J œ ev’-ry-whereIgo,you’ll & V b b b b 2 3 2 3 C C 45 F . œ œj œ œ œ œ f . œ J œ Alltheworldison-lyyouand p w f . œ J œ be.youand Allegro (h =66) ancora accel. 46 w me! w me! 47 w w 48 œ ŒÓ (They kiss) œ ŒÓ (They kiss) & b b 49 ∑ Molto allegro (h =72+) 50 ∑ 51 Ó Œ F warmly (MARIA) œ To#6—Balcony Scene —140—

& b b 52 (MARIA) . ˙ œ night,to53 . ˙ œ night,it 54 œ œ œ œ allbe-ganto55 . ˙ œ night,I & b b 56 œ œ œ œ sawyouandthe 57 ˙ œ œ worldwenta58 w way. 59 ˙ Œ œ To& b b 60 . ˙ b œ night,to61 . ˙ œ night,there’s 62 œ b œ œ b œ on-lyyouto63 ˙ œ b œ night,whatyou & b b 64 cresc. ˙ œ b œ are,whatyou 65 ˙ œ b œ do,whatyou 66 F w say. 67 œ Œ ˙ To& b b 68 f . ˙ b œ day,all 69 œ œ œ b œ dayIhadthe 70 œ œ Œ œ b feel-inga 71 œ œ œ œ mir-a-clewould & b b 72 œ œ b Œ œ hap-penI 73 œ œ œ b œ knownowIwas 74 w right. 75 ˙ Œ œ for & b b 76 . ˙ œ hereyou 77 . ˙ œ areand 78 cresc. œ œ œ œ whatwasjusta 79 ˙ œ œ worldisa & b b # # # 80 w star 81 ˙ ˙ toMolto meno mosso (ma in 2) 82 ƒ w night! 83 w 84 ∑ (They kiss) #6—Balcony Scene —141—

& V # # # # # # rall. Slowly 85 ∑ ∑ 86 Ó π (MARIA) ˙ ToÓ π (TONY) ˙ ToAndante (h =50-) 87 . ˙ œ night,to. ˙ œ night,to88 . ˙ œ night,the . ˙ œ night,the 89 œ œ œ œ worldisfullof œ œ œ œ worldisfullof & V # # # # # # 90 . ˙ œ light,with . ˙ œ light,with accel. poco a poco 91 œ œ œ œ sunsandmoonsall œ œ œ œ sunsandmoonsall 92 ˙ œ œ o-verthe ˙ œ œ o-verthe 93 cresc. w place. cresc. w place. 94 . ˙ œ To. ˙ œ To& V # # # # # # a tempo (Allegro) 95 F . ˙ n œ night,toF . ˙ n œ night,to96 . ˙ œ night,the . ˙ œ night,the 97 œ n œ œ n œ worldiswildand œ n œ œ n œ worldiswildand 98 ˙ œ n œ bright,go-ing ˙ œ n œ bright,go-ing & V # # # # # # 99 cresc. ˙ œ n œ mad,shoot-ing cresc. ˙ œ n œ mad,shoot-ing 100 ˙ œ n œ sparksin-to ˙ œ n œ sparksin-to 101 w space. w space. 102 œ Œ ˙ Toœ Œ ˙ To& V # # # # # # 103 f . ˙ n œ daythe f . ˙ n œ daythe 104 œ œ œ n œ worldwasjustan œ œ œ n œ worldwasjustan 105 œ œ Œ œ n ad-dress,a œ œ Œ œ n ad-dress,a #6—Balcony Scene —142—

& V # # # # # # 106 (MARIA) œ œ œ œ placeformeto (TONY) œ œ œ œ placeformeto 107 œ ˙ n œ livein,no œ ˙ n œ livein,no 108 œ œ œ n œ bet-terthanall œ œ œ n œ bet-terthanall & V # # # # # # 109 w right, w right, 110 ˙Œ œ but ˙Œ œ but 111 . ˙ œ hereyou . ˙ œ hereyou 112 . ˙ œ are,and . ˙ œ are,and & V # # # # # # 113 cresc. œ œ œ œ whatwasjusta cresc. œ œ œ œ whatwasjusta 114 ˙ œ œ worldisa ˙ œ œ worldisa 115 F w star F w star 116 ˙ ˙ to˙ ˙ to& V # # # # # # b b b b b b b b Molto meno mosso (sub. in 4) 117 w night! w night! 118 œ ŒÓ (VOICE—offstage) Maruca! (MARIA) Waitforme! œ ŒÓ 119 ∑ ∑ rall. 120 ∑ Ó Œ π œ b ToV b b b b Broadly 121 (TONY) . ˙ œ night,to122 . ˙ œ night,it 123 œ œ œ œ allbe-ganto124 . ˙ œ night,I V b b b b 125 œ œ œ œ sawyouandthe 126 ˙ œ œ worldwenta127 w way. 128 ˙ (Maria re-enters) Ó #6—Balcony Scene —143—

& b b b b 129 ∑ (MARIA) Icannotstay.Goquickly. 130 ∑ 131 ∑ (TONY) I'mnotafraid. 132 ∑ (MARIA) Theyarestrictwithme. Please. & b b b b 133 ∑ (TONY) (Kissing her) Goodnight. 134 ∑ (MARIA) Buenosnoches. 135 ∑ (TONY) Iloveyou. 136 ∑ (MARIA) Yes,yes.Hurry. & b b b b 137 ∑ (He climbs down.) (MARIA) Wait!WhenwillIseeyou? (He starts to back up.) No! 138 ∑ 139 ∑ (TONY) Tomorrow. (MARIA) Iworkatthebridalshop. & b b b b 140 ∑ (MARIA) Comethere. (TONY) Atsundown. 141 ∑ (MARIA) Yes.Goodnight. (TONY) Goodnight. (He starts off.) 142 ∑ (MARIA) Tony! (TONY) Shhh! 143 ∑ (MARIA) Cometothebackdoor. (TONY) Si. (Again he starts out) & V b b b b b b b b Adagio (sempre in 4) " " 144 Ó U π ˙ Good (MARIA) Tony!What doesTony standfor? Te adoro, Anton. Ó U π ˙ Good (TONY) Anton. Te adoro, Maria. 145 . ˙ œ night,good . ˙ œ night,good 146 . ˙ œ night,sleep . ˙ œ night,sleep 147 œ œ œ œ wellandwhenyou œ œ œ œ wellandwhenyou & V b b b b b b b b 148 ˙ œ œ dream,dreamof ˙ œ œ dream,dreamof 149 F w me F w me ritard 150 ˙ π ˙ to˙ π ˙ to& V b b b b b b b b 151 dolciss. w night. dolciss. w night. 152 w w 153 ˙ Ó U ˙ Ó U 154 ∑ ∑ #6—Balcony Scene —144—

That'saveryprettyname:Etcetera.

& b b C Moderato,

1 2 (ROSALIA)

& b b . . . . (Repeat

3 2 5 2 (ROSALIA)

& b b 7 (ROSALIA) P (nostalgically) . ˙ œ Puer-to 8 3 œ ˙ ˙ Ri-co, 9 3 ˙ ˙ ˙ n youlove-ly 10 3 œ ˙ ˙ is-land, & b b 11 3 ˙ ˙ ˙ n is-landof 12 3 ˙ ˙ ˙ trop-i-cal 13 œ n . ˙ n breez-es. 14 . ˙ Œ & b b 15 cresc. 3 ˙ ˙ n ˙ Al-waysthe 16 3 ˙ ˙ A ˙ pine-ap-ples 17 3 œ ˙ ˙ grow-ing, & b b 18 f 3 ˙ ˙ ˙ al-waysthe 19 œ œ œ œ cof-feeblos-soms 20 3 œ n ˙ ˙ blow-ing. & b b 21 p sub. (ANITA) (mockingly) . ˙ œ Puer-to 22 3 œ ˙ ˙ Ri-co, 23 3 ˙ ˙ ˙ n youug-ly 24 3 œ ˙ ˙ is-land, & b b 25 3 ˙ ˙ ˙ n is-landof 26 3 ˙ ˙ ˙ trop-icdis27 œ n . ˙ n eas-es. 28 . ˙ Œ West Side Story 7

(7/20/99) —145—

Tempo di “Seis”

ad lib. under dialog until cue.)

Justforasuccessfulvisit.

America

& b b 29 cresc. (ANITA) 3 ˙ ˙ n ˙ Al-waysthe 30 3 ˙ ˙ A ˙ hur-ri-canes 31 3 œ ˙ ˙ blow-ing, & b b 32 f 3 ˙ ˙ ˙ al-waysthe 33 œ œ œ œ pop-u-la-tion 34 (rhythmically) œj n . œ ˙ grow-ing, & b b 35 ‰ œ > J œ œ œ andthemon-ey 36 œj n . œ ˙ ow-ing 37 ‰ dim. p œ œj n œ œ andtheba-bies & b b 38 œj n . œ ˙ cry-ing, 39 ‰ p dim. œ œj n œ œ andthebul-lets 40 œj n . œ ˙ fly-ing. & b b 41 f sub. 3 ˙ b ˙ ˙ Ilikethe 42 3 ˙ b ˙ A ˙ is-landMan43 œj > . œ ˙ hat-tan & b b n n 8 6+4 3 rall. 44 3 ˙ > ˙ b > ˙ > smokeonyour 45 3 ˙ > ˙ b > ˙ > pipeandput &86+4 3 Tempo di Huapango (fast) 46 J œ > œ . œ thatin! 47 . ˙ 48 2 #7—America —146—

& & 50 p (ANITA) œ . œ . œ . œ . œ . œ . IliketobeinAp (GIRLS) (except Rosalia) œ . œ . œ . œ . œ . œ . IliketobeinA51 œ –œ –œ –mer-i-ca! œ –œ –œ –mer-i-ca! 52 œ . œ . œ . œ . œ . œ . O.K.bymeinAœ . œ . œ . œ . œ . œ . O.K.bymeinA53 œ –œ –œ –mer-i-ca! œ –œ –œ –mer-i-ca! & & 54 œ b . œ . œ . œ . œ . œ . Ev-'rythingfreeinAœ b . œ . œ . œ b . œ . œ . Ev-'rythingfreeinA55 œ b –œ – œ –mer-i-ca, œ –œ b –œ –mer-i-ca, 56 œ . œ b . œ . œ b . œ . œ . forasmallfeeinAœ b . œ . œ . œ b . œ . œ . forasmallfeeinA57 œ n –f J œ > ‰ œ > mer-i-i-ca! œ –f J œ > ‰ œ > mer-i-i-ca! & & 58 . ˙ . ˙ 59 . ˙ . ˙ 60 2 2 & & 62 (ROSALIA) œ œ œ œ œ œ Ilikethecit-yof ∑ 63 œ œj > . œ SanJuan. ∑ 64 ∑ (ANITA) œ œ œ œ œ œ Iknowaboatyoucan 65 ∑ œ J œ > . œ geton. 66 ∑ (ad lib. OLE's! etc.) . ˙ & & 67 F œ œ œ œ œ œ Hun-dredsofflow-ersin ∑ 68 œ œj > . œ fullbloom. ∑ 69 ∑ ƒ œ œ œ œ œ œ Hun-dredsofpeo-plein 70 ∑ œ œj > . œ eachroom! 71 ∑ ∑ #7—America —147—

& & 72 f (ANITA) œ œ œ œ œ œ Au-to-mo-bileinAf (GIRLS) (except Rosalia) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Au-to-mo-bileinA73 œ œ œ mer-i-ca, œ œ œ œ œ œ œ œ œ mer-i-ca, 74 œ œ œ œ œ œ chro-mi-umsteelinAœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ chro-mi-umsteelinA& & 75 œ œ œ mer-i-ca, œ œ œ œ œ œ œ œ œ mer-i-ca, 76 œ b œ œ œ œ œ wi-respokewheelinAœ œ œ b b œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ wi-respokewheelinA77 œ b œ œ mer-i-ca, œ œ œ b œ œ œ A œ œ œ b mer-i-ca, & & 78 œ œ b œ œ b œ œ ver-ybigdealinAœ œ œ b b œ œ œ œ œ œ œ œ œ b b œ œ œ œ œ œ ver-ybigdealinA79 œ N f J œ > ‰ œ mer-i-ca! œ œ œ N f J œ œ œ N > ‰ œ mer-i-ca! 80 4 4 & & 84 (ROSALIA) œ œ œ œ œ œ I'lldriveaBu-ickthrough ∑ 85 œ œj > . œ SanJuan. ∑ 86 ∑ (ANITA) œ œ œ œ œ œ Ifthere'saroadyoucan & & 87 ∑ œ J œ > . œ driveon. (ad lib. OLE's! etc.) 88 ∑ . ˙ 89 œ œ œ œ œ œ I'llgivemycou-sinsa ∑ 90 œ œj > . œ freeride. ∑ #7—America —148—

& 91 ƒ (ANITA) œ œ œ œ œ œ Howyougetallofthem 92 œ œj > . œ in-side? 93 ∑ & & 94 f (ANITA) œ œ œ œ œ œ Im-mi-grantgoestoAf (GIRLS) (except Rosalia) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Im-mi-grantgoestoA95 œ œ œ mer-i-ca, œ œ œ œ œ œ œ œ œ mer-i-ca, 96 œ œ œ œ œ œ man-yhel-losinAœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ man-yhel-losinA& & 97 œ œ œ mer-i-ca, œ œ œ œ œ œ œ œ œ mer-i-ca, 98 œ b œ œ œ œ œ no-bod-yknowsinAœ œ œ b b œ œ œ œ œ œ œ œ œ b b œ œ œ œ œ œ no-bod-yknowsinA99 œ b œ œ mer-i-ca, œ œ œ b œ œ œ b œ œ œ b mer-i-ca, & & b b b b b b b b 100 (ALL) œ œ b œ œ b œ œ Puer-toRi-co'sinAœ œ œ b b œ œ œ œ œ œ œ œ œ b b œ œ œ œ œ œ Puer-toRi-co'sinA101 œ N f J œ > ‰ œ > mer-i-ca! œ œ œ N f J œ œ œ N > ‰ œ > mer-i-ca! 102 . ˙ . ˙ 103 œ ‰‰ (Whistling) œ œ b œ ‰‰ (Whistling) œ œ b & b b b b 104 (The girls whistle and dance around Rosalia.) œ > œ œ œ > œ œ 105 œ > œ œ b > œ œ > œ 106 œ > œ œ b œ > œ œ & b b b b 107 œ ‰ œ > . œ n 108 . ˙ 109 ˙œ n . œ . & b b b b 110 œ > œ n œ œ > œ œ 111 œ > œ > œ > 112 œ > œ œ œ > œ œ #7—America —149—

& b b b b 113 (Whistling) œ ‰ œ > . œ n 114 . ˙ 115 ˙ œ . œ n . & b b b b 116 œ n > œ œ œ > œ œ 117 œ n > œ œ > œ n œ > œ 118 œ n > œ œ œ n > œ œ & b b b b119 œ n ‰ œ > . œ n 120 . ˙ 121 ˙œ n . œ n . & b b b b122 œ > œ n œ œ > œ œ 123 œ > œ > œ > 124 œ > œ œ œ > œ œ 125 œ ‰ œ > molto . œ & b b b b n n n n 8 6 126 J ¿ ‰‰Œ . 127 7 &8 6 134 4 138 (ROSALIA) œ œ œ œ œ œ I'llbringaT.V.to 139 œ œj > . œ SanJuan. & 140 (ANITA) œ œ œ œ œ œ Ifthere'sacur-rentto 141 œ J œ > . œ turnon! 142 . ˙ & & 143 (ROSALIA) œ œ œ œ œ œ I'llgivethemnewwash-ing ∑ 144 œ œj > . œ ma-chine. ∑ 145 ∑ (ANITA) œ œ œ œ œ œ Whathavetheygotthereto 146 ∑ œ œj > . œ keepclean? & & 147 ∑ ∑ 148 f (ANITA) œ œ œ œ œ œ IliketheshoresofAf (GIRLS) (except Rosalia) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ IliketheshoresofA149 œ œ œ mer-i-ca! œ œ œ œ œ œ œ œ œ mer-i-ca! #7—America —150—

& & 150 (ANITA) œ œ œ œ œ œ Com-fortisyoursinA(GIRLS) (except Rosalia) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Com-fortisyoursinA151 œ œ œ mer-i-ca! œ œ œ œ œ œ œ œ œ mer-i-ca! 152 œ b œ œ œ œ œ KnobsonthedoorsinAœ œ œ b b œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ KnobsonthedoorsinA& & 153 œ b œ œ mer-i-ca, œ œ œ b œ œ œ A œ œ œ b mer-i-ca, 154 œ œ b œ œ b œ œ wall-towallfloorsinAœ œ œ b b œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ wall-towallfloorsinA155 œ N J œ > ‰ œ > mer-i-ca! œ œ œ N J œ œ œ N > ‰ œ > mer-i-ca! & & b b b b b b b b 156 . ˙ . ˙ 157 . ˙ . ˙ 158 . ˙ . ˙ 159 œ ‰‰ (Whistling) œ . œ b . œ ‰‰ (Whistling) œ . œ b . & b b b b 160 (Whistling) œ > œ œ œ > œ œ 161 œ > œ œ b œ > œ œ 162 œ > œ œ b œ > œ œ 163 œ ‰ œ > . œ n & b b b b 164 . ˙ 165 ˙œ n . œ n . 166 œ > œ n œ œ > œ œ 167 œ > œ > œ > & b b b b168 œ > œ œ œ > œ œ 169 œ ‰ œ > . œ n 170 . ˙ 171 ˙ œ . œ n . & b b b b 172 œ n > œ œ œ > œ œ 173 œ n > œ œ > œ n œ > œ 174 œ n > œ œ œ n > œ œ #7—America —151—

& b b b b175 œ n ‰ œ > . œ n 176 . ˙ 177 ˙œ n . œ n . & b b b b 178 œ > œ n œ > œ > œ œ > 179 œ > œ > œ > 180 œ > œ œ œ > œ œ 181 œ > ‰ œ > gliss. . œ & b b b b n n n n 8 6 182 J ¿ ‰‰Œ . 183 7 &8 6 190 4 194 (ROSALIA) œ œ œ œ œ œ WhenIwillgobackto 195 œ œj > . œ SanJuan &196 (ANITA) œ œ œ œ œ œ Whenyouwillshutupand 197 œ J œ > . œ getgone! 198 . ˙ & & 199 (ROSALIA) œ œ œ œ œ œ Ev-'ryonetherewillgive ∑ 200 œ œj > . œ bigcheer! ∑ 201 ∑ p (ANITA) œ œ œ œ œ œ Ev-'ryonetherewillhave 202 ∑ œ œj > . œ movedhere! & # # # # 203 9 & # # # # 212 12 #7—America —152—

America to Drugstore

West Side Story 7a (7/20/99)

… —TACET— … —153—

(RIFF) Youwannalive?Youplayitcool.

(ACTION) Iwannageteven!

(RIFF) Bustcool.

(RIFF) Getcool (A-RAB) Iwannabust!

(BABY JOHN) Iwannago! (RIFF) Gocool!

V C 2

=90) 1 ∑

3 Solid and boppy (h

2 ∑

3 ∑

V C 4 ∑

5 ∑

6 ∑ V 7 p œ œ # Œ œ œ Œ Boy,boy, (RIFF) (almost whispered) 8 œ œ # ‰ œj > œ œ Œ cra-zyboy, 9 Œ œ . œ œj –getcool,boy! 10 w V 11 œ œ Œ œ œ Œ Got-tarock-et 12 œ œ ‰ J œ > œ œ Œ inyourpock-et, 13 Œ œ –œ –œ œ –keepcool-lycool, 14 œ œ . ˙ > boy! V 15 œ œ b œ N . œ J œ Don’tgethot,’cause 16 œ œ b œ . œ J œ man,yougotsome 17 3 œ œ b œ ˙ hightimesa-head. 18 w V 19 œ œ b œ # . œ œj Takeitslowand 20 œ œ b œ # œ . œ œ dad-dy-o,youcan 21 . œ b œ . œ œ b œj œ œj > liveitupanddieinbed. 22 w V 23 œ œ # Œ œ œ Œ Boy,boy, 24 œ œ # ‰ œj > œ œ Œ cra-zyboy, 25 Œ œ . œ œj –stayloose,boy! 26 w V 27 œ œ Œ œ œ Œ Breezeit,buzzit, 28 œ œ ‰ J œ > œ œ Œ ea-sydoesit. 29 Œ œ –œ –œ œ –Turnoffthejuice, 30 œ œ . ˙ > boy! West Side Story 8 (7/20/99) Cool —154—

V 31 (RIFF) œ œ b œ N . œ J œ Goman,go,but 32 3 œ œ b œ œ œ notlikeayo-yo 33 . œ b –J œ –˙ schoolboy V 34 . œ dim. molto J œ 3 œ œ œ Justplayit 35 π sub. . œ b –J œ –˙ cool,boy, 36 . œ J œ > . œ œj Realcool! V 37 w 38 w 39 2 poco piu mosso 41 2 V Fugue 43 15 58 17 75 7 V 82 5 87 7 94 5 99 5 V 104 5 109 3 112 2 Drums solo ad lib. V 2 3 C # 114 5 119 2 121 3 124 ∑ V # 125 5 130 4 V # 134 4 138 3 & #8—Cool —155—

& # 141 ‰ . œ # œ # œ . œ n œ œ œ ∑ 142 œ b œ b œ œ œ # œ n œ n œ n œ œ b . œ œ b ∑ & # n 143 œ œ œ œ œ b œ . œ b œ b ∑ 144 . œ b œ . œ # œ n œ œ œ œ b œ œ b ∑ V V 145 p (JETS) œ œ # Œ œ œ Œ Boy,boy, 146 œ œ # ‰ œj > œ œ Œ cra-zyboy, 147 Œ œ . œ – œj –stayloose,boy! 148 w V 149 œ œ Œ œ œ Œ Breezeit,buzzit, 150 œ œ ‰ J œ > œ œ Œ ea-sydoesit. 151 Œ œ –œ –œ œ –Turnoffthejuice, 152 cresc. molto œ œ . ˙ > boy! V 153 ƒ œ œ b œ . œ J œ Goman,go,but 154 3 œ œ b œ œ œ notlikeayo-yo 155 . œ b –J œ –˙ schoolboy V 156 . œ dim. molto (RIFF) J œ 3 œ œ œ playitcool, 157 π . œ b –J œ –˙ boy,Real 158 . œ J œ > . œ œj cool! 159 w 160 w V161 3 Applause Segue 164 10 V C Lo stresso tempo (They resume dancing) 174 12 #8—Cool West Side Story 8a Cool Chase —156—

One Hand, One Heart

& b b b b b b 4 3 n n n n n n Andante con moto 35 6 dim. e rall. 41 2 & 43 Œ ˙ ∑ (Tony and Maria kneel) poco rall. 44 œ . œ J œ ∑ a tempo 45 ˙ ∑ (TONY) I,Anton,takethee,Maria.... poco rall. 46 œ . œ J œ ∑ & a tempo 47 . ˙ ∑ (MARIA) I,Maria,takethee,Anton.... 48 œ œ œ ∑ 49 œ œ œ ∑ (TONY) Forricher,forpoorer... 50 œ œ œ ∑ &51 . ˙ ∑ (MARIA) Insickness,andinhealth.... poco rall. 52 œ . œ œj # ∑ a tempo 53 . ˙ ∑ (TONY) Toloveandtohonor... poco rall. 54 œ œ # œj ∑ & a tempo 55 . ˙ ∑ (MARIA) Toholdandtokeep.... 56 œ œ # œ # ∑ (TONY) Fromeachsuntoeachmoon… 57 œ œ # œ # ∑ (MARIA) Fromtomorrowtotomorrow... 58 œ œ # œ ∑ &59 ˙ b ∑ (TONY) Fromnow toforever.... 60 œ œ b œ ∑ 61 . ˙ b ∑ (MARIA) Tilldeathdouspart. 62 œ n œ b œ b ∑ & b b b b b b 63 ˙ ˙ ∑ (TONY) Withthisring,Itheewed... rall. 64 œ n œ œ b ∑ 65 . ˙ b ∑ (MARIA) Withthisring,Itheewed... 66 . ˙ ∑ West Side Story 9a

(7/20/99) —157—

V b b b b b b Adagio 67 (TONY) p dolce œ œ œ Makeofour 68 . ˙ hands 69 . ˙ one 70 . ˙ hand, 71 œ œ œ makeofour V b b b b b b 72 . ˙ hearts 73 . ˙ one 74 . ˙ heart, 75 œ œ œ makeofour 76 . ˙ vows 77 ˙ œ onelast V b b b b b b 78 . ˙ vow: 79 ˙ œ on-ly 80 ˙ ∫ œ deathwill 81 . ˙ part 82 ˙ œ ∫ us & V b b b b b b b b b b b b 83 (MARIA) p dolce œ œ œ Makeofour (TONY) . ˙ now. 84 . ˙ lives œ ŒŒ 85 . ˙ one ∑ 86 . ˙ life, ∑ & V b b b b b b b b b b b b 87 œ œ œ dayaf-ter ∑ 88 . ˙ day, ∑ 89 . ˙ one ∑ 90 . ˙ life. ∑ & V b b b b b b b b b b b b 91 cresc. poco avanti œ œ œ Nowitbecresc. poco avanti œ œ œ Nowitbe92 . ˙ gins, . ˙ gins, 93 ˙ œ nowwe ˙ œ nowwe 94 . ˙ b start . ˙ b start 95 f . ˙ –one f . ˙ –one #9a—One Hand , One Heart —158—

& V b b b b b b b b b b b b 96 p (MARIA) . ˙ hand, p (TONY) . ˙ hand, 97 . ˙ one . ˙ one , , 98 . ˙ heart; . ˙ heart; 99 π tranquillo ˙ œ ev-en π tranquillo ˙ œ ev-en 100 ˙ ∫ œ deathwon't ˙ ∫ œ deathwon't & V b b b b b b b b b b b b 101 . ˙ part . ˙ part 102 ˙ œ ∫ us ˙ œ ∫ us 103 . ˙ now. . ˙ now. 104 . ˙ . ˙ 105 . ˙ . ˙ rall. 106 œ ŒŒ œ ŒŒ & b b b b b b b b b b a tempo (They kiss.) 107 7 114 5 (They rise and put the dummies back in position.) & V b b b b b b b b 119 2 2 121 p espr. (MARIA) œ œ œ Makeofour p espr. (TONY) œ œ œ Makeofour 122 . ˙ lives . ˙ lives & V b b b b b b b b 123 . ˙ one . ˙ one 124 . ˙ life, . ˙ life, 125 œ œ œ dayaf-ter œ œ œ dayaf-ter 126 . ˙ day, . ˙ day, 127 . ˙ one . ˙ one 128 . ˙ life. . ˙ life. #9a—One Hand , One Heart —159—

& V b b b b b b b b 129 cresc. poco avanti (MARIA) œ œ œ Nowitbecresc. poco avanti (TONY) œ œ œ Nowitbe130 . ˙ gins, . ˙ gins, 131 ˙ œ nowwe Œ œ œ nowwe 132 . ˙ b start . ˙ start 133 f . ˙ –one f . ˙ –one & V b b b b b b b b 134 . ˙ –hand, . ˙ –hand, 135 . ˙ one . ˙ one , , rall. 136 . ˙ heart. . ˙ heart. Molto tranquilo (meno mosso) 137 π . ˙ Death π ˙ œ Ev-en 138 . ˙ won't ˙ b œ deathwon't & V b b b b b b b b 139 . ˙ part . ˙ part 140 . ˙ N us ˙ , œ b us 141 . ˙ now. . ˙ now. 142 . ˙ . ˙ 143 . ˙ . ˙ 144 œ ŒŒ œ ŒŒ & b b b b 145 3 rall. 148 ∑ Segue 149 ∑ U

Hand , One Heart —160—

#9a—One

&44ˆ4 2 Fast and Rhythmic (q =132) 1 5 ? 6 Œ‰ (RIFF) P marc. J œ > The 7 œ œ œ œ œ œ œ Jetsaregon-nahavetheirday 8 . œ œj to9 œ > œ œ . ˙ night. ? ? 10 œŒ Œ‰ P marc. (BERNARDO) J œ > The 11 ∑ œ œ œ œ œ œ œ Sharksaregon-nahavetheirway 12 ∑ . œ J œ to? ? 4 4 4 4 8 3 8 3 13 ∑ (BERNARDO) œ > œ œ . ˙ night. 14 Œ‰ F (RIFF) J œ The œ Œ 15 œ œ œ œ œ # œ Œ Puer-toRi-cansgrum-ble, ∑ ? 8 3 4 4 8 3 16 (RIFF) . œ > “Fair 17 œj > ‰ J œ fight.”But 18 œ œ œ œ œ # œ ‰ J œ iftheystartarum-ble,we’ll ? ? 8 3 8 3 4 4ˆ4 2 4 4ˆ4 2 19 (RIFF) œ > œ œ rum-ble’em ∑ 20 œ > œ œ . ˙ right. ∑ 21 œ Œ Œ‰ P (BERNARDO) J œ > We’re West Side Story 10 (7/20/99) Tonight —161—

? ? 22 ∑ (BERNARDO) œ œ œ œ œ œ œ gon-nahand’emasur-prise 23 ∑ . œ œj to24 ∑ œ > œ œ . ˙ night. 25 Œ‰ (RIFF) J œ > We’re œŒ ? ? 4 4 4 4 26 œ œ œ œ œ œ œ gon-nacut’emdowntosize ∑ 27 . œ J œ to∑ 28 œ > œ œ . ˙ night. ∑ 29 œ Œ Œ‰ F (BERNARDO) J œ We ? 4 4 8 3 4 4 8 3 30 (BERNARDO) œ œ œ œ œ # œ Œ said,“O.K.,norum-pus, 31 . œ > no 32 œj > ‰ J œ tricks”but 33 œ œ œ œ œ # œ ‰ J œ justincasetheyjumpus,we’re ? 8 3 4 4ˆ4 2 # # # 4 4 34 œ > œ œ read-yto 35 œ > œ œ . ˙ mix 36 . œ f J œ > to? ? # # # # # # 4 4 4 4 37 ∑ (BERNARDO) œ > ŒÓ night! 38 ‰ f (RIFF) J œ œ œ n œ > œ œ œ We’regon-narockitto-night, ‰ f J œ œ œ n œ > œ œ œ We’regon-narockitto-night, ? ? # # # # # # 39 œ œ œ > œ n œ > œ œ œ

œ œ œ > œ n œ > œ œ œ

40 œ > œ # œ œ n > ˙ haveusaball. œ > œ # œ œ n > ˙ haveusaball. 41 w w #10—Tonight —162—

we’regon-najazzitupand

They’regon-nagetitto-night;

? ? # # # # # # 42 ‰ (RIFF) J œ œ œ n œ > œ œ œ

‰ (BERNARDO) J œ œ œ n œ > œ œ œ

43 œ œ œ > œ n œ > œ œ œ themoretheyturnitonthe œ œ œ > œ n œ > œ œ œ themoretheyturnitonthe ? ? # # # # # # 44 œ > œ # œ œ > ˙ hard-erthey’llfall! œ > œ # œ œ > ˙ hard-erthey’llfall! 45 w w 46 ‰ J œ > œ > œ n > œ > œ > Œ Well,theybe-ganit! Ó Œ‰ ƒ J œ > Well, ? ? # # # # # # 47 Ó ‰ œ > œ > œ n > Andwe’rethe œ > œ n > œ > œ > ‰ œ > œ > œ > theybe-ganit,–Andwe’rethe 48 œ > œ > œ n > œ > œ > œ # > œ > œ n > onestostop’emonceandforall, œ > œ > œ n > œ > œ > œ # > œ > œ n > onestostop’emonceandforall, & ? ? # # # # # # # # # n n n n n n n n n 4 4ˆ4 2 4 4ˆ4 2 4 4ˆ4 2 49 ∑ (RIFF) .. ˙ Ï J œ > to(BERNARDO) .. ˙ Ï J œ > to50 ∑ œ > ŒÓ night. œ > ŒÓ night. 51 ∑ ∑ ∑ 52 Ó Œ‰ P (sexily) (ANITA) œj A∑ ∑ #10—Tonight —163—

&44ˆ4 2 53 (ANITA) 3 œ œj 3 œ œj 3 œ œj œ ni-ta’sgon-nagetherkicks 54 . œ œj to55 œ > œ œ . ˙ night. 56 œ ‰ œj We’ll & 4 4 57 3 œ œj 3 œ œj 3 œ œj œ haveourpri-vatelit-tlemix 58 œ ‰ œj to59 œ > œ œ . ˙ night. 60 . œ œj He’ll &4 4 8 3 61 3 œ œj 3 œ œj 3 œ # œj œj ‰ walkinhotandti-red, 62 . œ > so & 4 4 8 3 63 œj > ‰ œj what?Don’t 64 3 œ œj 3 œ œj 3 œ # œj ‰ œj mat-terifhe’sti-red,as V & 8 3 8 3 4 4ˆ4 2 4 4ˆ4 2 # # # # # # C C 65 ∑ (ANITA) 3 œ œj œj longashe’s 66 ∑ œ > œ œ . ˙ hot 67 Œ (TONY) (warmly) F œ > Toœ œ > toV & # # # # # # C C ( q = q ) 68 . ˙ œ night,toœ > ŒÓ night! 69 . ˙ œ nightwon’t ∑ 70 œ œ œ œ bejustan-y ∑ 71 . ˙ œ night,to∑ #10—Tonight —164—

V # # # n n n 72 (TONY) œ œ œ œ nighttherewillbe 73 ˙ œ œ nomorn-ing 74 w star. 75 ˙ ˙ ToV 76 più f . ˙ œ night,to77 . ˙ œ night,I’ll 78 œ œ œ œ seemyloveto79 ˙ œ œ night.Andfor V80 ˙ œ œ us,starswill 81 ˙ œ œ stopwherethey 82 w are. 83 ˙ ˙ ToV 84 f . ˙ œ daythe 85 œ œ œ œ min-utesseemlike 86 œ œ Œ œ ho-urs,the 87 œ œ # œ œ ho-ursgoso V # # # 88 œ œ Œ œ slow-ly,and 89 œ œ # œ œ stilltheskyis 90 w light… 91 ˙ P ˙ Oh V # # # 92 . ˙ œ moon,grow 93 . ˙ œ bright,and 94 œ œ œ œ makethisend-less 95 ˙ œ œ dayend-less V # # # 4 4 b b b 96 f w night! 97 w Come prima, in 4 98 ˙ Ó 99 3 ? b b b 4 2 4 4ˆ4 2 102 ∑ 103 Œ‰ P (RIFF) (To TONY) J œ > I’m 104 œ œ œ œ œ œ œ count-ingonyoutobethere ? b b b 105 . œ J œ to106 œ > œ œ . ˙ night. 107 œ ‰ J œ > When #10—Tonight —165—

? b b b 4 4 108 (RIFF) œ œ œ œ œ œ œ Die-selwinsitfairandsquare 109 . œ J œ to110 œ > œ œ . ˙ night. 111 œ ‰ F J œ > That ? b b b 4 4 8 3 4 4 112 œ > œ œ > œ œ n > œ œ Puer-toRi-canpunk’ll 113 . œ > go 114 J œ > ‰ J œ down.And & ? b b b b b b 4 4 4 4 8 3 8 3 4 4 4 4 n n n n n n 115 ∑ (RIFF) œ > œ œ > œ œ n > œ ‰ J œ whenhe’shol-lered"Un-cle"we’ll 116 ∑ œ > œ œ tearupthe 117 Ó Œ F (warmly) (MARIA) œ Toœ > œ œ . ˙ town! & V ? 118 (MARIA) . ˙ œ night,to∑ (RIFF) (firmly) œ œ œ œ b œ œ œ œ > SoIcancountonyou,boy? 119 . ˙ œ nightwon’t ‰ P (TONY) (abstractedly) œj œ # > œ œ . œ ‰ Allright. J œ ‰ŒÓ & V ? 120 œ œ œ œ bejustan-y ∑ ‰ J œ œ œ b œ œ œ œ > We’regon-nahaveusaball. 121 . ˙ œ night,to‰ f (a bit impatiently) J œ b œ > œ œ J œ ‰Œ Allright… J œ ‰ŒÓ #10—Tonight —166—

122 (MARIA)

123

(regretting his impatience) (TONY)

(spoken — gently) (RIFF) ¿¿ ¿ ¿ Œ Wombtotomb!

124 w star,

(lights on BERNARDO)

126 (MARIA) . ˙ b

& V

œ œ œ œ

∑

nighttherewillbe

˙ œ œ

¿ > ¿ ¿ > ¿ Œ

∑ &

nomorn-ing

Spermtoworm!

∑ ‰

œ # œ œ œ œ œ œ # >

˙ più

œ œ

J œ ‰Œ

I’llseeyoutherea-bouteight… 125

To‰ P (dreamily again) œj # œ # >

To-night…

Ó (He exits)

& ?

∑ ‰

œ œ œ œ >

. ˙ œ

> œ œ ˙

J œ ‰ŒÓ #10—Tonight —167—

night,to-

F (BERNARDO) J

We’regon-narockitto-night!!! 127

night,I’ll ‰ F (ANITA) (sexily) J

To-night…

& & ?

128 cresc. (MARIA) œ b œ

seemyloveto-

‰ (BERNARDO) J œ b œ b œ b œ œ œ œ >

We’regon-najazzitto-night,

& & ?

130 f ˙ œ b œ

us,starswill f ˙ b

They’regon-na

133 (MARIA) ˙

ToÓ f (TONY) (lights on TONY) ˙ To(ANITA) w ‰ P (BERNARDO) J œ œ # > œ œ # ˙

To-night.

#10—Tonight

129 ˙ œ b œ night.Andfor ‰ cresc. (ANITA) J œ b œ n > œ œ ˙ to-night, J œ ‰ŒÓ

132 w are. ‰ J œ n œ œ œ œ œ œ # > we’regon-namixitto-night.

day, sim. ˙ –(lights on RIFF) ˙ –

œ b œ

∑

˙ LatetoŒ œ b Í

b Í œ Í

131 ˙ œ b

Í œ Í œ > Í

stopwherethey w night, œ b Í œ b

getitto-night

˙ Ó & V & ?

˙ Í

Í –

134 . ˙ b

daythe . ˙ b œ daythe ‰ œ œ b œ œ œ œ

A-ni-ta’sgon-nahaveher

–˙ b

Theybe-

135 œ œ œ b œ min-utesseemlike œ œ œ b œ min-utesseemlike œ b > œ b œ . ˙

ganit

—168—

& V & ? ?

136 (MARIA) œ œ Œ œ b

ho-urs.the (TONY)

œ œ Œ œ b

ho-urs.the ‰ (ANITA) œ œ b œ œ œ œ œ

A-ni-ta’sgon-nahaveher (RIFF)

˙ –Í ˙ b –Í

Theybe(BERNARDO)

˙ –˙ b –

Theybe-

& V & ? ?

138 œ œ b Œ œ

slow-ly,and œ œ b Œ œ slow-ly,and ‰ œj b œ b œ œ œ œ œ

Ber-nar-do’sgon-nahavehis

˙ b –˙ b –

Theybe˙ b œ b œ b

Andwe’rethe

137 œ œ œ œ ho-ursgoso œ œ œ œ ho-ursgoso

œ b œ œ . ˙ day, sim. ˙ –˙ –ganit… ˙ –˙ –ganit.

139 œ œ œ b œ

stilltheskyis œ œ œ b œ stilltheskyis

œ b > œ œ b . ˙ way ˙ b –˙ b –ganit.

œ b > œ b œ b . ˙ ones

#10—Tonight —169—

140 dim. (MARIA) w light. dim. (TONY) w light.

(ANITA)

f (BERNARDO) J

moon,grow

141

f (RIFF) J

143

& V & ? ?

œ œ > œ b . œ

∑ ‰

œ n œ n œ œ > œ œ œ n >

to-night,

˙ ˙

Œ œ –œ n œ . œ

‰

œ n œ œ œ

tostop’emonceandforall! œ œ

To-night.

We’llstop’emonceandfor dim. molto

& V & ? ?

π . ˙ œ

Œ π œ ˙

œ π œ . œ . œ . œ . œ . œ . œ .

‰ π œ . œ . œ . œ . œ . œ . œ .

Agitato 142

moon,grow

to-night,

all!TheJetsaregon-nahavetheir

. ˙ œ

w œ

> œ œ . ˙

œ > œ œ

. ˙

#10—Tonight —170—

TheSharksaregon-nahavetheir

brightand

way,

144 cresc. molto (MARIA)

makethisend-less cresc. molto (TONY)

makethisend-less

cresc. molto (ANITA)

cresc. molto (RIFF)

TheJetsaregon-nahavetheir

molto (BERNARDO)

TheSharksaregon-nahavetheir

dayend-less

night,

day,

day.

We’regon-narockitto-night!

We’regon-narockitto-night,

& V & ?

œ œ œ œ

œ œ œ

‰

œ . œ # . œ . œ . œ . œ . œ .

thisver-y

‰

œ . œ . œ . œ . œ . œ . œ .

cresc.

145 ˙ œ œ

˙ œ œ

œ > œ œ . ˙

> œ

œ . ˙

ƒ w >

w >

‰ ƒ œ œ œ œ œ œ œ >

V & ?

146

night, ƒ

night,

ƒ œ œ œ œ œ œ œ >

‰

ƒ œ œ œ œ œ œ œ >

‰

, , , , 147 ˙ ˙ > to˙ ˙ > tow . ˙ œ > to. ˙ œ > to#10—Tonight —171—

—172—

(MARIA) w > night! () (TONY) w w > night! (ANITA) w (RIFF) w > night! (BERNARDO) w > night! 150 w () w w w w w

151 . ˙ J œ ‰ () . . ˙ ˙ () J œ œ ‰ . ˙ J œ ‰ . ˙ J œ ‰ . ˙ J œ ‰

#10—Tonight The Rumble … —TACET— …

West Side Story 11

& V & ? ?

148 149 w () w w w w w

& b b b 8 3 Allegro (qd =66+) 1 ∑ 2 ‰ œ œ œ œ ∑ 3 œ œ œ ∑ 4 . œ œ œ ∑ 5 ∑ 6 ‰ œ œ œ œ ∑ 7 œj ‰‰ ∑ & b b b 8 2 10 8 18 8 26 8 & b b b 34 8 42 ‰ œ œ œ œ ∑ 43 œ œ b œ ∑ 44 œ œ œ ∑ 45 ∑ & b b b 46 ‰ œ œ œ œ ∑ 47 . œ œ œ ∑ 48 œ œ œ ∑ 49 œj ‰‰ ∑ 50 8 & b b b b 58 8 66 4 70 3 & b Curtain 73 ∑ 74 ‰ œ n œ œ œ ∑ 75 œj Œ ∑ 76 ‰ œ œ œ œ ∑ 77 œj œ œ ∑ & b 78 œ œ œ ∑ 79 ‰ œ œ ∑ 80 œ œ œ ∑ 81 ‰ œ œ ∑ 82 4 & b 86 8 94 8 West Side Story 12 (7/20/99)

—173—

I Feel Pretty

& b 102 8 110 ‰ œ œ œ œ ∑ 111 œ œ b œ ∑ 112 . œ œ œ ∑ 113 ∑ & b 114 ‰ œ œ œ œ ∑ 115 . œ œ œ ∑ 116 œ œ œ ∑ 117 œj ‰‰ ∑ 118 8 & b 126 7 133 ‰ œ œ ∑ 134 œ ∑ 135 œ œ œ ∑ 136 œ œ œ ∑ 137 œ œ œ ∑ & b . . . . Safety (Vocal last time) 138 ∑ 139 ‰ P (MARIA) œ œ Ifeel (CONSUELA) “Ido?”“Iam?” Whatisgoingonwithyou? 140 œ œ œ pret-ty, 141 ‰ œ œ oh,so 142 œ œ œ pret-ty, & b 143 ‰ œ œ Ifeel 144 œ . œ œ pret-tyand 145 œ . œ œ wit-tyand 146 . œ bright! 147 œ œ œ AndI & b 148 œ œ œ pi-ty 149 œ œ œ an-y 150 . œ œ œ œ girlwhois-n’t 151 œ 3 œ œ œ meto152 . œ night. 153 . œ 154 œj ‰‰ & b 155 ‰ œ œ Ifeel 156 œ œ œ charm-ing, 157 ‰ œ œ oh,so 158 œ œ œ charm-ing, 159 ‰ œ œ it’sa160 œ . œ œ larm-inghow & b 161 œ . œ œ charm-ingI 162 . œ feel! 163 œ œ œ Andso 164 œ œ œ pret-ty 165 œ œ œ thatI & b 166 . œ œ œ œ hard-lycanbe167 œ œj lieveI’m 168 . œ real. 169 . œ 170 œj ‰‰ 171 ∑ #12—I Feel Pretty —174—

& b 172 ‰ (MARIA) œ œ œ œ Seethepret-ty 173 œ œ b œ girlinthat 174 . œ œ œ mir-rorthere: 175 J œ‰‰ 176 ‰ œ œ œ œ whocanthatat& b 177 . œ œ œ trac-tivegirl 178 œ > œ œ be? 179 œ ‰ 180 ‰ œ œ œ œ Suchapret-ty 181 œ n cresc. œ œ œ œ face,suchapret-ty & b 182 œ œ œ œ œ dress.suchapret-ty 183 œ œ œ œ œ smile,suchapret-ty 184 f . œ > me! 185 . œ 186 œ ‰ & b 187 ‰ p sub. œ œ Ifeel 188 œ œ œ stun-ning 189 ‰ œ œ anden190 œ œ œ tran-cing, 191 ‰ œ œ feellike 192 œ . œ œ run-ningand & b 193 œ . œ œ danc-ingfor 194 . œ joy, 195 ‰ œ œ forI’m 196 f . œ loved 197 œ œ œ bya 198 œ œ œ pret-ty & b n 199 . œ > œ œ won-der-ful 200 . œ > boy! 201 . œ 202 œ ‰ 203 ∑ &204 3 207 ‰‰ F (CONSUELA, ROSALIA, FRANCISCA) œj Have 208 œ œ œ youmetmy 209 œ œ œ b goodfriendMa&210 3 œ œ b œ œ ri-a, 211 œ œj the 212 œ œ œ cra-zi-est 213 œ œ œ girlonthe 214 . œ b block? &215 œ J œ You’ll 216 œ # œ œ knowherthe 217 œ # œ œ min-uteyou 218 3 œ œ œ œ seeher 219 œ œ œ b she’sthe & # # 220 3 œ b œ œ œ œ onewhois 221 3 œ œ b œ œ # œ inanad222 œ > œ > œ > vancedstateof 223 œj > ‰ div. p (CONSUELA, ROSALIA) œj œ # shock.She #12—I Feel Pretty —175—

& # # 224 (CONSUELA, ROSALIA) œ œ œ œ œ œ thinksshe’sin 225 œ œ œj œ love.She 226 œ œ . . œ œ œ œ thinksshe’sin 227 . . œ œ Spain. 228 œ œ ‰ œ œ She & # # 229 œ œ . . œ œ œ œ # is-n’tin 230 œ œ œj œ love,she’s 231 œ œ œ œ œ œ mere-lyin232 . . œ œ sane. 233 œ œ ‰ (CONSUELA) œ It & # # 234 œ œ œ mustbethe 235 œ (ROSALIA) œj heator 236 œ . œ œ someraredis237 . œ ease 238 œ ‰ (FRANCISCA) œ or & # # b b 239 œ . œ œ toomuchto 240 œ (ROSALIA) œj eator 241 œ œ œ may-beit’s 242 . œ fleas. 243 œj ‰‰ & b b 244 f unison (CONSUELA, ROSALIA, FRANCISCA) œ J œ Keepa245 . œ œ œ wayfromher, 246 ‰ . œ œ sendfor 247 œ œj Chi-no! & b b # # 248 ‰ œ œ Thisis 249 . œ œ n œ nottheMa250 œ . œ œ ri-a 251 œ n œj weknow: & # # 252 div. (CONSUELA, ROSALIA) œ œ œ œ œ œ Mod-estand 253 œ œ œj œ pure,po254 œ œ . . œ œ œ œ liteandre255 œj œ ‰‰ fined, & # # 256 ‰‰ œj œ well257 œ œ . . œ œ œ œ # bredandma258 œ œ ‰ œ œ tureand 259 œ œ œ œ œ œ outofher 260 œj œ ‰‰ mind! & # # # 261 6 267 ‰ (MARIA) œ œ Ifeel #12—I Feel Pretty —176—

& # 268 (MARIA) œ œ œ pret-ty, 269 ‰ œ œ oh,so 270 œ œ œ pret-ty, 271 ‰ œ œ thatthe 272 œ . œ œ ci-tyshould & # 273 œ . œ œ givemeits 274 . œ key. 275 œ œ œ Acom276 œ œ œ mit-tee 277 œ œ œ shouldbe & & # # 278 (MARIA) . œ œ œ œ or-gan-izedto ∑ 279 œ 3 œ œ œ ho-nor ∑ 280 . œ me. ‰ div. (CONSUELA, ROSALIA, FRANCISCA) œ œ œ œ œ œ œ œ Lalalala 281 . œ œ œ œ œ œ œ lalala 282 œj ‰‰ . . œ œ œ œ œ œ lalala. & # 283 ‰ (MARIA) œ œ Ifeel 284 œ œ œ diz-zy, 285 ‰ œ œ Ifeel 286 œ œ œ sun-ny, 287 ‰ œ œ Ifeel 288 œ . œ œ fiz-zyand & # 289 œ . œ œ fun-nyand 290 . œ fine, 291 œ œ œ andso 292 œ œ œ pret-ty, 293 œ œ œ MissA294 . œ œ œ œ mer-i-cacan & & # # 295 (MARIA) œ 3 œ œ œ justre∑ 296 . œ sign! ‰ div. (CONSUELA, ROSALIA, FRANCISCA) œ œ œ œ œ œ œ œ Lalalala 297 ∑ œ œ œ œ œ œ lalala 298 ∑ . . œ œ œ œ œ œ lalala 299 ∑ œ œ œ œ œ œ n > ‰ Lala. & & # # 300 ‰ œ œ œ œ Seethepret-ty ∑ 301 œ œ n œ girlinthat ∑ 302 . œ œ œ mir-rorthere: ∑ 303 J œ ‰‰ unis. œ œ œ Whatmir-ror #12—I Feel Pretty —177—

& & & # # # 304 ‰ (MARIA) œ œ œ œ whocanthatat(CONSUELA, ROSALIA, FRANCISCA) J œ ‰‰ where? ∑ 305 . œ œ œ trac-tivegirl ∑ ∑ 306 œ œ œ be? ∑ ∑ 307 J œ‰‰ (FRANCISCA) J œ ‰ (ROSALIA) œj Which?Where? ‰ (CONSUELA) œj ‰ What? & & # # 308 ‰œ œ œ œ Suchapret-ty (CONSUELA, ROSALIA, FRANCISCA) œj ‰‰ Whom? 309 cresc. œ # œ œ œ œ face,suchapret-ty div. . . œ œ # Whommm? 310 œ œ œ œ œ dress,suchapret-ty . . œ œ Whommm? 311 œ œ œ œ œ smile,suchapret-ty . . œ œ Whommm? & & & # # # 312 f . œ > me! ‰ (FRANCISCA) œ œ œ œ Suchapret-ty ∑ ∑ 313 . œ . œ me! ‰ (ROSALIA) œ œ œ œ Suchapret-ty ∑ 314 œ ‰ . œ . œ me! ‰ (CONSUELA) œ œ œ œ Suchapret-ty 315 ‰ œ œ Ifeel œj ‰‰ J œ ‰‰ œj ‰‰ me! & & & # # # 316 œ œ œ stun-ning ‰ (CONSUELA, ROSALIA, FRANCISCA) œ œ Ifeel ‰ ‰ œ œ Ifeel 317 ‰ œ œ andenœ œ ‰‰ stun-ning, ‰‰ œ œ ‰‰ stun-ning, 318 œ œ œ tran-cing, ‰ œ œ anden‰ ‰ œ œ anden319 ‰ œ œ feellike œ œ ‰‰ tranc-ing ‰‰ œ œ ‰‰ tranc-ing 320 œ . œ œ run-ningand ‰ œ œ feellike ‰ ‰ œ œ feellike #12—I Feel Pretty —178—

& & & # # # 321 (MARIA) œ . œ œ danc-ingfor (CONSUELA, ROSALIA, FRANCISCA) œ œ œ run-ningand œ œ œ run-ningand 322 . œ joy, œ œ œ danc-ingfor œ œ œ danc-ingfor 323 œ œ œ forI’m œ œ œ joy,forI’m œ œ œ œ joy,forI’m 324 . œ loved . œ loved . œ . œ loved 325 œ œ œ bya œ œ œ bya œ œ œ œ œ œ bya & & & # # # 326 œ œ œ pret-ty œ œ œ pret-ty œ œ œ œ œ œ pret-ty 327 . œ œ œ won-der-ful . œ œ œ won-der-ful . œ œ œ . œ œ œ won-der-ful 328 . œ boy! . œ boy! . œ . œ boy! 329 . œ . œ . œ . œ 330 . œ . œ . œ . œ 331 ∑ ∑ ∑ #12—I Feel Pretty —179—

& b b b 2 3 Allegro agitato (h =108+) 1 6 7 4 11 3 14 3 & b b b 17 Ó J œ œ J œ œ ∑ 18 œj œ œj œj n œ œj œj œ œj ∑ 19 œj œ œj œj n œ œj œj œ œj ∑ & b b b 20 œj n œ œj œj œ œj œj œ œj ∑ 21 œj œ œj œj n œ œj œj œ œj ∑ 22 œj n œ œj œj œ œj œj œ œj ∑ & b b b 2 1 . . . . 2 3 23 œj œ œj œj n œ œj œj œ œj ∑ V Safety 24 Œ (TONY) œ œ AndI’ll TONY: (Speaking, his voice gradually rising into song) Notoneofthem,notanything. V b b b 2 3 Lo stesso tempo 25 (TONY) œ œ œ œ œ œ œ œ n œ takeyoua-way,takeyoufar,fara26 . œ n œ œ w wayoutofhere, V b b b 27 œ œ œ œ œ œ œ œ n œ far,fara-waytillthewallsandthe 28 . œ n œ A œ w streetsdis-a-pear. & V b b b b b b 29 œ œ n cresc. œ œ œ œ œ œ œ Some-wheretheremustbeaplacewecan (MARIA) (joining TONY) (TONY) œ œ n cresc. œ œ œ œ œ œ œ Some-wheretheremustbeaplacewecan 30 . œ n J œ N w feelwe’refree, . œ n J œ N w feelwe’refree, West Side Story 13 (7/27/99) Ballet Sequence West Side Story 13a Under Dialogue —180—

Transition to Scherzo

& V b b b b b b 31 (MARIA) œ A œ n œ œ œ œ œ œ œ

œ A œ n œ œ œ œ œ œ œ

32 . œ n œ N œ w # youandforme. . œ n œ N œ w # youandforme. & V b b b b b b 4 3 4 3 4 5 4 5 33 (They run) œ ŒÓ Ó œ ŒÓ Ó 34 ∑ ∑ 35 2 2 & b b b 4 5 4 3 C 37 2 39 2 & b b b C 2 3 n n n 4 4 41 3 44 ∑ &4 4 4 2 Adagio (twice as slow) ( h = q ) 45 6 poco più mosso (q =96) 51 2 (q =120) accel. poco a poco 53 ∑ &4 2 4 3 4 2 54 ∑ 55 ∑ accel. di più 56 2 &4 2 4 4 4 3 b 58 ∑ (q =132) accel. poco 59 ∑ 60 3 #13a—Ballet Sequence

some-wherethere’sgottobesomeplacefor (TONY)

some-wherethere’sgottobesomeplacefor

West Side Story 13b —181—

& b . . 4 4 8 9 4 2 4 3 Fast and light (q =172) 63 ∑ 64 ∑ 65 ∑ 66 ∑ 67 5 & b . . 72 3 75 1. 2 75 2. 2 & b 4 2 4 3 4 2 4 3 4 2 4 3 77 ∑ 78 ∑ 79 ∑ 80 ∑ 81 ∑ 82 ∑ & b 4 3 4 2 4 3 4 2 4 3 83 2 85 ∑ 86 ∑ 87 ∑ & b 4 3 4 2 4 3 4 2 4 3 88 ∑ 89 ∑ 90 ∑ 91 ∑ 92 5 & b 4 4 8 9 4 2 4 3 97 ∑ 98 ∑ 99 ∑ 100 ∑ & b 4 3 4 5 101 6 107 5 & b 4 5 # # # # 112 œ œ œ œ ˙ ˙ ˙ ˙ ∑ 113 . . ˙ ˙ ˙ ˙ ∑ 114 œ œ n œ œ ˙ ˙ ˙ ˙ ∑ 115 . . ˙ ˙ ˙ ˙ ∑ & # # # # 8 4 116 œ œ œ œ ˙ ˙ ˙ ˙ ∑ 117 . . ˙ ˙ ˙ ˙ ∑ 118 . . ˙ ˙ ˙ ˙ ∑ 119 3 122 ∑ U West Side Story 13c

—182—

Scherzo

& # # # # 8 4 Adagio (e =72) 123 (A GIRL) P œ œ There’sa 124 . œ œ œ placeforus, 125 ‰ J œ œ œ some-wherea 126 . œ œ œ placeforus. & # # # # 127 . œ œ 3 œ œ œ Peaceandqui-etand 128 . œ œ œ o-penair 129 . œ œ œ waitforus 130 œ . œ œ some-where… & # # # # 131 œ œ There’sa 132 . œ œ œ timeforus, 133 ‰ J œ œ œ some-daya 134 . œ œ œ timeforus, & # # # # # 135 . œ œ 3 œ œ œ timeto-geth-erwith 136 . œ œ œ timetospare, 137 cresc. . œ œ œ timetolearn, 138 . œ n œ œ n timetocare, & # poco più mosso 139 F œ . œ œ some-day! 140 œ . œ œ Some-where. 141 f 3 œ œ œ 3 œ # œ œ We’llfindanewwayof & # # # # # 142 œ . œ œ liv-ing, 143 p 3 œ œ N œ 3 œ œ œ We’llfindawayoffor144 œ . œ œ giv-ing West Side Story 13d (7/20/99) Somewhere —183—

& # # # # 145 π œ . œ œ some-where… rall. 146 ˙ a tempo 147 π œ œ There’sa 148 . œ œ œ placeforus, & # # # # 149 ‰ J œ œ œ atimeand 150 . œ œ œ placeforus. 151 . œ œ 3 œ œ œ Holdmyhandandwe’re & # # # # 152 . œ œ œ half-waythere, 153 cresc. . œ œ 3 œ œ œ holdmyhandandI’ll 154 . œ n œ œ n takeyouthere & # # # # 155 f œ n . œ œ some-how, 156 œ n . œ œ some-day, 157 œ n > . œ œ some-where! 158 dim. molto ˙ Segue 159 ∏ J œ ‰Œ U #13d—Somewhere —184—

Procession and Nightmare

& # # # # 8 4 Più mosso (q =40) 160 œ œ # œ ∑ 161 œ œ œ # ∑ 162 œ œ # œ ∑ 163 œ œ œ ∑ & # # # # 164 œ n œ œ œ ∑ 165 . œ œ œ ∑ 166 œj n œ œ œ ∑ 167 œ œ ∑ 168 œ œ ∑ & & # # # # # # # # 169 p (GROUP 1) œ œ There’sa ∑ 170 F . œ œ œ placeforus, F (GROUP 2) œ œ There’sa 171 p dim. œ œ there’sa p dim. . œ œ œ placeforus, 172 . œ œ œ placeforus, œ œ there’sa 173 ∏ œ œ there’sa… ∏ . œ œ œ placeforus. & # # # # 174 ∑ U 175 2 accel. molto 177 2 & # # # # n n n n 4 4 (q =80) 179 4 (q =120) 183 2 (q =138) 185 2 &4 4 4 2 4 4 4 5 Allegro molto (q =152) 187 3 190 ∑ 191 4 &4 5 4 4 4 5 4 4 195 ∑ 196 ∑ 197 ∑ 198 ∑ 199 Ó Œ œ œ œ œ ∑ & 4 3 4 4 200 œj b ‰‰ œj Œ œ œ œ œ ∑ 201 œj b ‰ œ œ Ó ∑ 202 Ó Œ œ œ œ œ ∑ 203 œj b ‰ œ œ Œ ∑ West Side Story 13e (7/28/99)

—185—

&4 4 4 2 4 4 4 5 204 3 207 3 210 ∑ 211 2 &4 5 4 3 4 4 2 3 b b b 8 6 213 2 215 2 217 3 220 ∑ & b b b 8 6 Presto (q d =152) 221 3 224 ‰‰ J œ . œ ∑ 225 . ˙ ∑ 226 œj n ‰‰Œ . ∑ 227 Œ . ‰‰ œj ∑ & b b b b 8 4 228 œ œ n œ b œ ∑ 229 ˙ ∑ 230 œj ‰‰‰‰ j œ ∑ 231 œ œ n œ b œ b œj ∑ 232 long . ˙ U ∑ & b 8 4 Tempo 1 (Adagio) 233 œ œ ∑ 234 œ œ œ ∑ 235 ‰ œj œ œ ∑ 236 œ œ œ ∑ & b 237 π (TONY) . œ œ 3 œ œ œ Holdmyhandandwe’re 238 . œ œ œ half-waythere. 239 cresc. . œ œ 3 œ œ œ HoldmyhandandI’ll 240 . œ b œ œ b takeyouthere & & b b 241 F R œ b > .. œ Some-how, (MARIA) (Joining TONY) F (TONY) R œ b > .. œ Some-how, 242 cresc. R œ b > .. œ some-day, cresc. R œ b > .. œ some-day, 243 f R œ b > .. œ some-where! f R œ b > .. œ some-where! 244 p ∏ ˙ p∏ ˙ & b 245 2 247 ∑ U #13e—Procession and Nightmare —186—

Gee, Officer Krupke

(ACTION) We'recruddyjuveniledelinquents. Sothat'swhatwegive'em.

V # # # # # 4 2 Fast, vaudeville style 1 7

V # # # # # . . . . Safety 8 (ACTION) ˙ # Dear 9 œ œ œ œ kind-lySer-geant 10 œ œ ‰ œj Krup-ke,you 11 œ n œ œ œ n got-taun-der12 . œ j œ n stand,it’s V # # # # # 13 œ n œ œ œ n justourbring-in’ 14 œ œ n ‰ œj up-kethat 15 œ n œ œ œ n getsusoutof 16 . œ n œj n hand.Our V # # # # # 17 cresc. œ n œ œ œ n moth-ersallare 18 œ n œ n ‰ œj junk-ies,our 19 œ b œ n œ œ n fath-ersallare 20 ˙ n drunks. V # # # # # 21 f œ n > J œ‰ Gol-ly 22 œ n > J œ‰ Mo-ses— 23 œ n œ œ œ nat-cher-lywe’re 24 J œ‰ (ALL) œ > punks!Gee, V # # # # # 25 œ œ ‹ œ œ Of-fi-cerKrup26 J œ œ œj ke,we’re 27 œ œ # œ œ ve-ryup-set; 28 . œ œj we V # # # # # 29 œ # œ œ œ ne-verhadthe 30 œ # œ œ n œ lovethateve-ry 31 œ œ ‹ œ œ childought-aget. 32 . œ œj # We West Side Story 14 (7/23/99)

—187—

SKIT 1 — (SNOWBOY) (imitating Krupke) That'satouchinggoodstory. (ACTION) Lemmetellittotheworld! (SNOWBOY) (shoving him) Justtellittothejudge.

V # # # # # 33 cresc. (ALL) œ œ # œ œ ain’tnode-lin34 œj œ œj quents,we’re 35 œ œ ‹ œ œ > mis-un-der-stood. 36 ˙ V V # # # # # # # # # # 37 ∑ ƒ (ALL) œ > . œ > œ Deepdownin38 ∑ œ # œ œ n œ sideusthereis 39 Œ ƒ (ACTION) . œ > œ > Thereis œ Œ good! 40 œ > Œ good! Œ ƒ . œ > œ > Thereis V V # # # # # # # # # # 41 (ALL) ˙ > good, Œ ƒ . œ n > œ > Thereis 42 œ . œ n œ thereis œ n > . œ œ good,thereis 43 œ n > œ > un-tapped œ > œ n > un-tapped 44 œ > . œ n œ n good.Likeinœ n > . œ œ good.LikeinV V # # # # # # # # # # n n n n n n n n n n 45 . œ n œj side,the . œ œj n side,the 46 œ œ n œ œ worstofusis œ œ œ œ worstofusis 47 œ > Œ good. œ > Œ good. 48 5 5 V . . . . 53 ∑ Safety 54 ∑

V 55 2 57 œ # œ œ œ œ œ œ œ # ∑ 58 œ œ œ œ œ œ œ # ∑ #14—Officer Krupke —188—

V . . . . Safety 59 ˙ # Dear (ACTION) (To Diesel) 60 œ œ œ œ kind-lyJudge,your 61 œ œ ‰ œj Hon-or,my 62 œ b œ œ œ b par-entstreatme 63 . œ j œ b rough.With V64 œ b œ œ œ b alltheirmar-i65 œ œ b ‰ œj jua-na,they 66 œ b œ œ œ b won’tgivemea 67 . œ b œj b puff.They V 68 cresc. œ b œ œ œ b did-n’twan-na 69 œ b œ b ‰ œj haveme,but 70 œ œ b œ n œ b some-howIwas 71 ˙ b had. V72 f œ b> J œ ‰ Leap-in’ 73 œ b> J œ ‰ liz-ards— 74 œ b œ œ œ that’swhyI’mso 75 J œ ‰ ¿ > bad!Right! (DIESEL) (imitating Judge) V 76 œ œ # œ œ Of-fi-cerKrup77 J œ œ œj ke,you’re 78 œ œ # œ œ real-lyasquare; 79 . œ œj this V80 œ # œ œ œ boydon’tneeda 81 œ # œ œ n œ judge,heneedsan 82 œ œ # œ œ an-al-yst’scare! 83 . œ œj # It’s V 84 œ œ # œ œ justhisneu-ro85 œj œ œj sisthat 86 œ œ # œ œ > ought-abecurbed. 87 ˙ V88 ƒ œ > . œ > œ He’spsych-o89 œ # œ œ n œ log-ic-’lydis90 œ > ƒ (ACTION) . œ > œ > turbed!I’mdis91 œ > ƒ (GROUP 1) . œ > œ > turbed!We’redis#14—Officer Krupke —189—

V V 92 (GROUP 1) ˙ > turbed, Œ ƒ (GROUP 2) . œ b > œ > We’redis93 œ . œ b œ we’rethe œ b > . œ œ turbed,we’rethe 94 œ b > œ > mostdisœ > œ b > mostdis95 œ > . œ b œ b turbed.Likewe’re œ b > . œ œ turbed.Likewe’re V

b b b b b b b b b b 96 . œ b œj psy-chol. œ œj b psy-chol97 œ œ b œ œ og-ic-’lydisœ œ œ œ og-ic-’lydis98 œ > Œ turbed. œ > Œ turbed. 99 5 5 V b b b b b . . . . 104 ∑ Safety 105 ∑ SKIT 2 — (DIESEL) (imitating Judge) Intheopinionofthecourt, thischildisdepravedonaccountheain'thadanormalhome (ACTION) Hey,soI'mdepravedonaccountI'mdeprived! (DIESEL) Sotakehimtoaheadshrinker. V b b b b b 106 2 108 œ n œ œ œ œ œ œ œ n ∑ 109 œ œ œ œ œ œ œ n ∑ V b b b b b . . . . Safety 110 ˙ n > My (ACTION) (to A-rab) 111 œ œ œ œ fa-therisa 112 œ œ ‰ œj bas-tard,my 113 œ n œ # œ œ n ma’sanS.O. 114 . œ # j œ n B.My V b b b b b 115 œ n œ # œ œ n grand-pa’sal-ways 116 œ # œ n ‰ œj plas-tered,my 117 œ n œ # œ œ n grand-mapush-es 118 . œ n œj n tea.My #14—Officer Krupke —190—

V b b b b b 119 cresc. (ACTION) œ n œ # œ œ n sis-terwearsa 120 œ n œ n ‰ œj mus-tache,my 121 œ œ n œ œ n bro-therwearsa 122 ˙ n dress. V b b b b b 123 f œ b> J œ ‰ Good-ness 124 œ b> J œ ‰ gra-cious, 125 œ b œ œ œ that’swhyI’ma 126 J œ ‰ ¿ > mess!Yes! (A-RAB) (imitating psychiatrist) V b b b b b 127 œ œ n œ œ Of-fi-cerKrup128 J œ œ J œ ke,you’re 129 œ œ n œ œ real-lyaslob. 130 . œ œj This V b b b b b 131 œ n œ œ œ boydon’tneeda 132 œ n œ œ b œ doc-tor,justa 133 œ œ n œ œ goodhon-estjob. 134 . œ œj n SoV b b b b b 135 cresc. œ œ n œ œ ci-e-ty’splayed 136 œj œ œj hima 137 œ œ n œ œ ter-ri-bletrick, 138 ˙ V b b b b b 139 ƒ œ > . œ > œ andso-cio140 œ n œ œ b œ log-ic-'lyhe’s 141 œj ‰ (ACTION) . œ > œ > sick!Iam 142 œ > ƒ (GROUP 1) . œ # > œ > sick!Weare

V b b b b b b b b b b 143 (GROUP 1) ˙ # > sick, Œ ƒ (GROUP 2) . œ n > œ > Weare 144 œ . œ n œ # weare œ n > . œ # œ sick,weare 145 œ n > œ # > sicksick œ > œ n > sicksick 146 œ # > . œ n œ n sick,Likewe’re œ n > . œ # œ # sick,Likewe’re V V b b b b b b b b b b # # # # 147 . œ n œj # so-cio. œ # œj n so-cio148 œ # œ n œ # œ # lo-gic-al-ly œ # œ # œ # œ lo-gic-al-ly 149 œ # > Œ sick! œ # > Œ sick! 150 5 5 #14—Officer Krupke —191—

SKIT 3— (A-RAB) (imitating psychiatrist) Inmyopinion, thischilddon'tneedtohavehishead-shrunkatall. Juveniledelinquencyispurelyasocialdisease! (ACTION) Hey,Igotasocialdisease.

V # # . . . . 155 ∑ Safety 156 ∑

Sotakehimtoasocialworker! V # # 157 2 159 œ # œ œ œ œ œ œ œ # ∑ 160 œ œ œ œ œ œ œ # ∑ V # # . . . . Safety 161 ˙ # Dear (ACTION) (to Baby John) 162 œ œ œ œ kind-lyso-cial 163 œ œ ‰ œj work-er,they 164 œ b œ œ œ n saygoearna 165 . œ œj b buck,like V # # 166 œ b œ œ œ n beaso-da 167 œ œ b ‰ œj jerk-er,which 168 œ b œ œ œ b meanslikebea 169 . œ n œj b schmuck.It’s V # # 170 cresc. œ b œ œ œ b notI’man-ti171 œ n œ b ‰ œj so-cial,I’m 172 œ b œ n œ œ b on-lyan-ti173 ˙ n work. V # # 174 f œ n> J œ ‰ Glo-ry175 œ n > J œ ‰ os-ky, 176 œ n œ œ œ that’swhyI’ma 177 J œ ‰ ¿ jerk!Eek! V # # 178 œ œ # œ œ Of-fi-cerKrup(BABY JOHN) (imitating female social worker) (falsetto) 179 J œ œ J œ ke,you’ve 180 œ œ # œ œ doneita-gain. 181 . œ œj This V # # 182 œ # œ œ œ boydon’tneeda 183 œ # œ œ n œ job,heneedsa 184 œ œ # œ œ yearinthepen. 185 . œ œj # It #14—Officer Krupke —192—

(A-RAB)

V # # 186 cresc. (BABY JOHN) œ œ # œ œ ain’tjustaques187 œj œ œj tionof 188 œ œ # œ œ mis-un-der-stood; 189 ˙ V # # 190 ƒ œ > . œ > œ deepdownin191 œ # œ œ n œ sidehim,he’sno 192 œj ‰ (ACTION) . œ > œ > good!I’mno 193 œ > ƒ (GROUP 1) . œ > œ > good!We’reno V V # # # # 194 (GROUP 1) ˙ > good, Œ ƒ (GROUP 2) . œ b > œ > We’reno 195 œ . œ n œ we’reno œ b > . œ œ good,we’reno 196 œ n > œ > earth-ly œ > œ n > earth-ly 197 œ > . œ b œ n good,likethe œ n > . œ œ good,likethe V V # # # # 198 . œ b œj bestof . œ œj n bestof 199 œ œ n œ œ usisnodamn œ œ œ œ usisnodamn più mosso 200 œ > Œ good! œ > Œ good! 201 2 2

# # 203 Œ‰ f j œ The (DIESEL) (as JUDGE) 204 œ œ œ œ trou-bleishe’s 205 œ œ ‰ œj cra-zy.The (A-RAB)

PSYCH.) V # # 206 œ b œ œ œ n trou-bleishe 207 œ ‰ œj b drinks.The (BABY JOHN) (as SOCIAL WORKER) 208 œ b œ œ œ n trou-bleishe’s V # # 209 œ œ b ‰ œj la-zy.The (DIESEL) (as JUDGE) 210 œ b œ œ œ b trou-bleishe 211 œ n ‰ œj b stinks.The

PSYCH.) V # # 212 (A-RAB) œ b œ œ œ b trou-bleishe’s 213 œ n œ b ‰ œj

(BABY JOHN) (as SOCIAL WORKER) 214 œ b œ n œ œ b trou-bleishe’s 215 ˙ n grown! #14—Officer Krupke —193—

(as

(A-RAB) (as

grow-ing.The

V V V # # # # # # b b b rall. 216 ƒ œ n> J œ ‰ Krup-ke, (ALL) div. ƒ œ > J œ‰ Krup-ke, ƒ œ > œj # ‰ Krup-ke, 217 œ n> J œ ‰ wegot œ > J œ‰ wegot œ # > œj n ‰ wegot 218 œ n œ œ œ trou-blesofour œ œ œ œ trou-blesofour œ # œ n œ n œ trou-blesofour 219 J œ ‰ ƒ œ own!Gee, J œ ‰ ƒ œ own!Gee, œj ‰ ƒ œ own!Gee, V V b b 220 œ œ # œ œ > Of-fi-cerKrupœ œ œ œ > Of-fi-cerKrup221 J œ œ > J œ ke,we’re J œ œ > J œ ke,we’re 222 œ œ n œ œ downonourknees, œ œ # œ œ downonourknees, 223 . œ J œ ’cause . œ J œ ’cause 224 œ n œ œ œ noonewantsa œ n œ œ œ noonewantsa V V b b 225 œ n œ œ b œ fel-lawitha œ n œ œ b œ fel-lawitha 226 œ œ # œ œ so-cialdis-ease. œ œ # œ œ so-cialdis-ease. 227 . œ œj # Gee, . œ œj # Gee, 228 œ œ # œ œ Of-fi-cerKrupœ œ # œ œ Of-fi-cerKrup229 J œ œ œj ke,what J œ œ œj ke,what

V V b b b 230 œ œ # œ œ > arewetodo? œ œ # œ œ œ n > arewetodo? œ œ # œ œœ > arewetodo? 231 ˙ U ˙ ˙ U ˙˙ U 232 Ï œ > 3 œ > œ n > œ > Gee,Of-fi-cer Ï œ > 3 œ > œ n > œ > Gee,Of-fi-cer Ï œ > 3 œ > œ n > œ > Gee, Gee,Of-Of-fi-fi-cer cer œ 3 233 œ b> œ > Krup-ke— œ b> œ > Krup-ke— œ b > œ > KrupKrup-ke— ke— 234 Œ J œ > ‰ Krup Œ J œ > ‰ Krup Œ œj > ‰ Krup J œ 235 J œ > ‰Œ you! J œ > ‰Œ you! œj > ‰Œ you! J œ #14—Officer Krupke —194—

A Boy Like That —and— I Have a Love

& b b b b b2 3 4 4 Allegro con fuoco (q =132) 1 2 (ANITA) Andyoustilldon'tknow:Tonyisoneofthem! & b b b b b4 4 4 3 4 4 4 3 3 ‰ j œ œ œ . œ j œ Aboylikethatwho’d (ANITA) (bitterly) F 4 œ œ œ n œ b Œ killyourbroth-er, 5 ‰ j œ œ œ . œ œj for-getthatboyand & b b b b b4 3 4 4 6 œ n œ b œ n œ b Œ findan-oth-er! 7 ‰ f œ b > œ œ . œ > œj b > Oneofyourownkind, & b b b b b 2 3 4 4 8 œ œ ∫ > œ œ . œ > œj b > sticktoyourownkind! 9 ˙ œj ‰ŒÓ 10 ∑ & b b b b b4 4 4 3 4 4 4 3 11 ‰ F œ œ œ . œ j œ Aboylikethatwill 12 œ œ œ n œ b Œ giveyousor-row, 13 ‰ œ œ œ . œ œj you’llmeeta-noth-er & b b b b b4 3 4 4 14 œ n œ b œ n œ b Œ boyto-mor-row! 15 ‰ f œ b > œ œ . œ > œj b > Oneofyourownkind, & b b b b b 2 3 16 œ œ ∫ > œ œ . œ > œj b > sticktoyourownkind! 17 ˙ œj ‰ŒÓ West Side Story 15 (7/20/99)

—195—

& b b b b b 4 4 18 ‰ P (ANITA) œ n œ œ # ˙ n œ œ n œ n Aboywhokillscan-notlove, 19 ‰ œ n œ œ # ˙ n œ œ n œ n aboywhokillshasnoheart. & b b b b b4 4 20 ‰ cresc. œ # œ n œ n . œ œj Andhe’stheboywho 21 œ n œ n œœ œ œ œ getsyourlove,andgetsyour 22 f . ˙ > ƒ œ œ heart.Ve-ry & b b b b b 2 3 4 4 23 . œ > œj œ b œ œ œ smart,Ma-ri-a,ve-ry 24 . w > smart! 25 w J œ ‰Œ & b b b b b4 4 4 3 4 4 4 3 26 ‰ P œ œ œ . œ j œ Aboylikethatwants 27 œ œ œ n œ b Œ onethingon-ly, 28 ‰ œ œ œ . œ œj andwhenhe’sdonehe’ll & b b b b b4 3 4 4 29 œ n œ b œ n œ b Œ leaveyoulone-ly. 30 ‰ f œ b > œ œ . œ > œj b > He’llmur-deryourlove; 31 œ œ ∫ > œ œ ˙ > hemur-deredmine. & & b b b b b b b b b b 32 ∑ ‰ P (ANITA) œ œ œ . œ cresc. molto œj Justwaitandsee,just 33 ∑ œ œ œ œ ‰ f œ œ œ wait,Ma-ri-a,justwaitand 34 Œ (MARIA) f molto cantabile œ œ –œ –Oh,no,Aw > see! & & b b b b b b b b b b 2 3 2 3 35 œ œ b ˙ –ni-ta,no, ∑ 36 œ dim. œ œ œ A-ni-ta, ∑ 37 w b no! ∑ #15—A Boy Like That / I Have a Love —196—

#15—A

& b b b b b2 3 4 4

‰ P (with intensity) (MARIA) œ n œ n œ # ˙ n œ œ œ n Itis-n’ttrue,notforme, 39 ‰ œ n œ n œ # ˙ n œ œ œ n it’strueforyou,notforme, & b b b b b4 4 40 ‰ cresc. œ # œ n œ n . œ œj Ihearyourwords,and 41 œ n œ n œ‰ œ œ œ inmyheadIknowthey’re & b b b b b 42 f . ˙ > ƒ œ œ smart,butmy 43 . œ > œj œ b œ œ œ heart,A-ni-ta,butmy & & b b b b b b b b b b 4 3 4 3 4 4 4 4

(MARIA) . ˙ > œ œ heartknowsthey’re ‰ P (ANITA) œ œ œ . œ j œ Aboylikethatwho’d 45 ˙ œ œ wrong.Andmy œ œ œ n œ b Œ killyourbroth-er, & & b b b b b b b b b b 4 4 4 4 4 3 4 3 4 4 4 4 46 . ˙ œ œ heartistoo ‰ œ œ œ . œ œj for-getthatboyand 47 ˙ œ strong,for œ n œ b œ n œ b Œ findan-oth-er! & & b b b b b b b b b b 4 4 4 4 48 . ˙ œ Ibe‰ œ b > œ œ . œ > œj b > Oneofyourownkind, 49 w

œ œ ∫ > œ œ . œ > œj > sticktoyourownkind! & & b b b b b b b b b b 50 ‰ œ œ –œ . œ J œ tohima-lone,to w 51 œ –œ n œ ‰ œ –œ –œ –hima-lone,OnethingI œ ŒÓ

long

Boy Like That / I Have a Love —197—

& & b b b b b b b b b b 52 (MARIA) . ˙ –F œ n œ know:Iam

(ANITA) œ n œ œ # ˙ n Aboywhokills 53 . ˙ n œ œ n his,Idon’t œ # œ n . ˙ n can-notlove, 54 . ˙ œ n œ carewhathe ‰ œ n œ n œ # ˙ n aboywhokills & & b b b b b b b b b b 55 . ˙ n œ œ is.Idon’t œ # œ n . ˙ n hasnoheart. 56 cresc. . ˙ œ œ n knowwhyit’s ‰ œ # œ n œ n . œ œj Andhe’stheboywho & & b b b b b b b b b b 57 . ˙ œ n œ so,Idon’t œ n œ n œ‰ œ œ œ getsyourlove,andgetsyour 58 f . œ b> J œ ˙ > wanttoknow. . ˙ œ œ heart.Ve-ry 59 w . œ > œj œ b œ œ œ smart,Ma-ri-a,ve-ry & & b b b b b b b b b b 60 Œ ƒ œ n> œ > œ > Oh,no,A. ˙ > J œ ‰ smart! 61 œ œ ˙ > ni-ta,no, ∑ 62 œ stentato œ n –œ –œ –youshouldknow ∑ & b b b b b 63 (MARIA) œ > œ ‰ (intense) œj œ œ œ bet-ter!Youwereinlove, 64 œ ‰ dim. œj œ œ œ orsoyousaid. & b b b b b # C 65 œ ‰ œj œ œ b œ œ Youshouldknowbet-ter… rall. 66 2 #15—A Boy Like That / I Have a Love —198—

‰

& # C Andante Sostenuto 68 (MARIA) . ˙ œ œ Ihavea 69 . ˙ cresc. œ œ love,andit’s 70 . ˙ œ œ allthatI 71 . ˙ œ œ have.rightor & # 72 F . œ b œj 3 œ b œ b œ wrong,whatelsecanI 73 p . ˙ espr. œ do?I 74 œ –˙ œ lovehim;I’m 75 . ˙ œ his,and & # # # # 76 œ –œ œ œ eve-ry-thinghe 77 . ˙ œ œ is,Iam, 78 w too. 79 w & # # # 80 π . ˙ œ œ Ihavea 81 . ˙ cresc. œ œ loveandit’s 82 . ˙ œ œ allthatI & # # # 83 . ˙ œ œ need,rightor 84 F . œ n œj 3 œ n œ n œ wrong,andheneedsme 85 p . ˙ espr. œ too.I & # # # # # # # # # 86 œ –˙ œ lovehim,we’re 87 . ˙ œ one;there’s 88 œ –œ œ œ no-thingtobe 89 . ˙ œ œ done,nota & # # # # # # 90 œ œ œ ˙ thingIcando, 91 . ˙ F con espansione œ but 92 . ˙ œ holdhim, 93 œ n ˙ œ holdhimfor94 ˙ ˙ ev-er, & # # # # # # # 95 Œ œ œ œ bewithhim 96 . ˙ œ now,to97 œ n ˙ œ mor-rowand 98 w all 99 ˙ œ œ ofmy #15—A Boy Like That / I Have a Love —199—

& # 100 f cresc. (MARIA) w n life! 101 w 102 w 103 w , & & # # rall. 104 ∑ ∑ 105 Ó Œ (MARIA) œ When Ó Œ (ANITA) œ When 106 œ ˙ œ lovecomesso œ ˙ œ lovecomesso 107 . ˙ œ strong,there . ˙ œ strong,there & & # # 108 œ œ œ œ isnorightor œ œ œ œ isnorightor 109 . ˙ œ wrong,your . ˙ œ wrong,your 110 ˙ ˙ loveis ˙ ˙ loveis 111 ˙ ˙ your ˙ ˙ your & & # # 112 w life! w life! accel. 113 w w 114 w w 115 w w 116 œ ŒÓ œ ŒÓ & # 117 ∑ Adagio (in 4) 118 4 122 ∑ U #15—A Boy Like That / I Have a Love —200—

&4 2 1 œ n œ ‰ œj ∑ 2 ≈ œ n œ œ n œ ∑ 3 œ # œ œ œ # ∑ 4 ‰ (SHARKS) J ¿ > J ¿ > ‰ Mam-bo! &5 4 A 9 8 & B 17 œ n œ ‰ œj ∑ 18 ≈ œ n œ œ n œ ∑ 19 œ # œ œ œ ∑ 20 ‰ (SHARKS) J ¿ > J ¿ > ‰ Mam-bo! & (Tacet al fine) 21 4 (7/20/99) *The Mambo section of this scene is pre-recorded and must seem to be coming from the Juke Box. Taunting

West Side Story 16 West Side Story 15 Change of

… —TACET— … —201—

Scene

& & # # # # # # # # 8 4 8 4 Adagio 1 P (MARIA) . œ œ 3 œ œ œ Holdmyhandandwe’re ∑ 2 . œ œ œ half-waythere. ∑ 3 cresc. . œ œ 3 œ œ œ HoldmyhandandI’ll cresc. P (TONY) . œ œ 3 œ œ œ HoldmyhandandI’ll & & # # # # # # # # 4 . œ n œ œ n takeyouthere . œ n œ œ n takeyouthere 5 f œ n > . œ œ some-how, f œ n > . œ œ some-how, , , 6 œ n > . œ œ someday! (She falters and stops.) ∑ (He dies.) & # # # # 7 7 14 long ∑ U (MARIA) Stayback! & # # # # meno mosso 15 10 (MARIA) Teadoro,Anton U 25 ∑ & # # # # ancora meno mosso , 26 ∑ , 27 ∑ Slow Curtain 28 long ∑ U West Side Story 17

(7/20/99) —202—

Finale