We are in the back room of Lillas Pastia’s club, which is the home base of DANCAIRO’s crew. There is a bar at the back of the stage, and the back wall is covered with colored curtains depicting scenes from a tropical location.
At one table we see CARMEN, FRASQUITA, and MERCEDES. At the end of the bar, JOSÉ is drinking by himself, head down. The atmosphere is fairly busy, and the music from the sound system is upbeat.
MERCEDES
This boy wants me sooo much, you wouldn’t believe it. If I walk into a room where he is, his heart starts beating faster. You can tell from across the room-you can almost hear it! That’s how much he loves me.
FRASQUITA
Is he cute?
MERCEDES
He drives a BMW.
FRASQUITA
That’s pretty cute. What was he arrested for?
MERCEDES
How do you know he was arrested? You don’t know that.
FRASQUITA
He’s young, he lives around here, he’s been arrested. What for?
MERCEDES
On a technicality. They caught him with some television sets, which he was going to sell but they got to him before he could get the sets out. Then-and you’re not going to believe this-they charged him with possession of stolen goods, and the only reason he had them in his possession was because they arrested him before he could sell them!
FRASQUITA
That’s got to be some kind of violation. That’s what they do to us and then they say we don’t have family values. How are we going to have family values when you can’t afford a place to put your family?
CARMEN
I think I need somebody new to fall in love with. Maybe this weekend. Any parties going on?
FRASQUITA
Whoa, Carmen. What happened to José? I thought you were all hot and bothered over him. All the pain in his eyes and everything? I thought you went for that big-time?
CARMEN
Frasquita, I don’t know if I was really seeing his pain or just seeing the place where it should have been. Sometimes I look at him and I see that shining knight I was talking about. Then I look again and there’s a shadow across his face. I think you can hold some things in you too long and they go bad. It’s as if your soul gets dark. Then it gets to be dangerous. I’m a little bit afraid of him. Maybe I let my heart get away from me. It won’t happen again.
FRASQUITA
I told you that, girlfriend. I’ve been there once or twice myself. Yeah, me, Frasquita Margarita Ortiz. I’ve been head-over-heels in love before. Or was it heels over head? Anyway… I’ve been there! But I’m not sure about you, Carmen. You’re, like, really messed around over that dude. I can even hear it in your voice.
CARMEN
I’m over him. Love knows how to die.
DANCAIRO enters with RAMI and YOSHIRO. RAMI is a slightly built Indian, and YOSHIRO is stocky and Japanese.
DANCAIRO
Here’s my crew! Lay it out for them, guys.
RAMI
This marketing company in Pittsburgh is buying a list of credit-card users. It’s a one-time deal; they’re going to try to sell audio equipment over the Internet to everyone on the list. But instead of just sending the names and e-mail addresses, the card company sent the numbers, too. They have a good security system, but one computer-
YOSHIRO
On the third floor.
RAMI
It monitors everything. We’ve hacked the password and can download all the numbers onto a flash drive in-
YOSHIRO
Forty-two seconds.
RAMI
We need three minutes to go up the back elevator, into the office, get in, and download the numbers, and we’re out of there!
DANCAIRO
The building is empty on weekends except for a rent-a cop who guards the entrance on the first floor. We get a girl in there who needs directions because she’s lost. Then she sees how handsome the guard is. The other two girls are lookouts. Any cops passing by won’t be suspicious of two girls standing on the corner.
FRASQUITA
Sounds good to me.
MERCEDES
And when do we get paid?
DANCAIRO
We’ll do the caper Saturday morning, sell the numbers in the afternoon, and you get paid on Sunday morning. Right after Mass!
There are high fives all around, and DANCAIRO leads RAMI and YOSHIRO out. JOSÉ gets up and approaches the girls’ table.
FRASQUITA
Here comes José. You need us to stay?
CARMEN
No, I’ll be okay.
MERCEDES
We’ll be in the corner. You need us, mami, just whistle.
FRASQUITA and MERCEDES retreat to a corner table.
CARMEN
José, you look like shit, man.
JOSÉ
I feel out of place. What’s inside me, what’s really me deep inside, is different from what’s inside these people watching the world go by.
CARMEN
We all think we’re different, but when it comes around, we end up needing the same things. Somebody to love us. Somebody to respect us.
JOSÉ
Zuniga screwed up my career big-time. All the time I was on traffic duty, I thought about how he was trying to bring me down. I made myself think about you to keep him off my mind. He’s trying to destroy me. You’re my flower, my promise of life and hope.
CARMEN
José, I’m not a flower. I’m not a promise. I’m Carmen.
JOSÉ
That’s not how I thought of you during those hard days.
CARMEN
José, you’re making my head spin. What else were you thinking about?
JOSÉ
About my mother, and how much I miss the life I had with her. Does that sound weak to you? That a grown man should be thinking of his mother?
CARMEN
Of course not. I admire a man who thinks of his mother.
JOSÉ
She doesn’t know about all the changes in my life. I know that what she wants is for me to settle down with some nice girl. I know she wants grandchildren. I think she’s lonely.
CARMEN
We could go see her. Maybe spend some time with her.
JOSÉ
No, I wouldn’t want to spoil the vision of me she has. She wants me to show up at her doorstep with a plain little girl wearing flat shoes and carrying a book. You know how old women are-everything has to line up just right to spell out the word familia or they just don’t get it.
CARMEN
She wouldn’t like me?
JOSÉ
She’d get used to you after a while.
CARMEN
Get used to me? You get used to dandruff, not people!
JOSÉ
Anyway, I have plans for us. You help these guys pull this caper off, and we can get out of here. Maybe find a place in San Juan. Near the beach. One of those gated communities they advertise for vacations. It would be like a whole new life for you. Clean. Fresh air. Safe.
CARMEN
I don’t want to move to San Juan. I don’t have any family there.
JOSÉ
If you’re with me, then you’ll live where I say.
CARMEN
Am I with you now, José? If your mother walked down the street right now, would I be with you?
JOSÉ
What are you talking about? Look, I’m telling you the way it is. Don’t get in my face. I don’t like it! You and me, we belong together-like you said before… something about feeling pain. I liked that. We’ve got pain holding us together.
CARMEN
Pain? Not love? José, maybe we need to slow this train down. I don’t know if I’m ready to make a lifetime thing of this.
JOSÉ
Carmen, don’t… Don’t think of being away from me. I’ve given up my whole career on the force for you. It’s going to be me and you. Don’t even think about it being any other way. You don’t want me disappointed in you. That would really piss me off.
CARMEN
Don’t piss you off? Tell me, Don José, O brave one who gets pissed off: When you were a boy, did you hide behind your mother’s legs when the big boys came after you?
JOSÉ
Do yourself a favor, Carmen. Take my mother’s name from your lips.
CARMEN
(edging close to JOSÉ)
What will you put on my lips to replace her name?
She is leaning against him, but he pushes her away.
JOSÉ
You don’t understand. You will never understand what is between me and my mother.
CARMEN
I don’t understand, and I don’t want to understand! I thought you loved me.
JOSÉ
I love you in a different way, Carmen. You’re like…
JOSÉ
A flower? A rose? Something that you can own? I don’t think so, baby.
JOSÉ
(embarrassed as people are looking at him)
Carmen, sit down. We don’t need to put our business in the street.
OLD MAN IN THE CORNER
It’s okay, I don’t mind. There’s nothing on television, anyway.
CARMEN
(clearly hurt)
José, I don’t know what you need. I know it’s not me.
JOSÉ
Carmen, baby, you don’t understand. It’s like you’re a part of me. When you become a part of someone, it’s forever. So when you talk about José, you’re talking about Carmen, too. We belong to each other and with each other!
CARMEN
I don’t belong to anyone!
JOSÉ
Don’t push me.
For a moment, the two stand toe to toe, then CARMEN turns and walks over to where MERCEDES and FRASQUITA are sitting on one side of the stage. JOSÉ goes to sit on the other side.
RAIMONDO
(trying to break the tension)
I have to go make a delivery. You, pretty boy, keep an eye on the door. Don’t let any crooked cops in here. Ha!
RAIMONDO exits.
TERESA, an older woman, enters. She is very dark-skinned and wears a blue bandana around her head from which wisps of gray hair protrude. Her eyes are large, and her fingernails are painted dark green. She is wearing large gold earrings.
FRASQUITA
(trying to settle CARMEN down)
Carmen, forget him. Look-Teresa is here. Let’s have her tell our fortunes.
MERCEDES
I’m due to hit the lottery, but I don’t want to play unless today’s the day.
CARMEN
(glances at JOSÉ and then away)
Why not? She can tell us how wonderful we’re going to be living soon.
The three girls shepherd TERESA to a table.
TERESA
(in a wonderfully husky voice)
I’m thirsty.
FRASQUITA
What do you want?
TERESA
Cappuccino.
MERCEDES signals to a man behind the bar, who starts making the cappuccino.
TERESA opens her purse and takes out a pack of cards, which she shuffles and lays out facedown.
MERCEDES
(lightly)
The cards don’t lie.
FRASQUITA
They’ll tell us what the future holds.
CARMEN
They’ll speak our destinies.
TERESA places her hands over the cards, closes her eyes, nods, and then turns the first one over.
TERESA
You will meet a young man. He has a job in an office.
MERCEDES
Young. But old enough to drive?
TERESA
Old enough to drive, and he leads many men.
MERCEDES
He’s in the army. How much does a general make?
TERESA
Everybody looks up to him!
MERCEDES
Oh, my God, it’s that cute quarterback that won the Super Bowl!
TERESA
He loves you very much. He adores you!
MERCEDES
Do you have a name? Does he have a tattoo?
TERESA
You are lucky. The cards have spoken well of your future.
FRASQUITA
Do me!
TERESA gathers the cards and once again shuffles them and lays them out facedown. She then begins to turn them over.
TERESA
Hah! You will marry an old man. He has been married before, but still he wants you.
FRASQUITA
Mine’s old! Pooh. How old? But look, diamonds! He’s going to be rich. Old and rich. Not good, but I’ll take it.
MERCEDES
Look how much mine loves me! I’d better start taking vitamins.
FRASQUITA
Will we have a big house?
TERESA
In the Bronx.
FRASQUITA
An old man in a big house in the Bronx? That’s no fun.
TERESA
More bad news: he dies.
FRASQUITA
Oh, look-he’s going to die. Poor thing. But wait-he leaves me all his money. I’ll be a rich widow! Yes! Yes! I’ll wear my black toreador pants to the funeral, the ones with the sequins.
TERESA
He dies, but such things happen. We cannot put our hands up against the winds of fate.
CARMEN
Teresa, do my fortune.
TERESA looks up at CARMEN. She brings her hand to her forehead and closes her eyes for a moment. She exhales heavily.
TERESA
I am too tired.
CARMEN
No, Teresa. I need you to do mine.
TERESA hands the cards to CARMEN, who kisses them up to heaven and then hands them back. TERESA shuffles them, lays them out, and begins to turn them over.
CARMEN
Oh, no! Diamonds, then spades-death! I see it clearly. First him and then me. Here, give me the cards.
CARMEN gathers up the cards and takes the rest of the deck from TERESA as MERCEDES and FRASQUITA go off to one side, still talking about their good luck. CARMEN frantically shuffles the cards herself, then lays them out and begins to turn them over.
CARMEN
Again! Two deaths! Two destinies intertwined. The cards come up one by one to speak of my doom. Let me shuffle them again.
(She does so.)
Again and again I shuffle them, turn them up, but it’s always the same…
CARMEN throws the cards down and staggers to a table.
CARMEN
Teresa, what’s wrong with these cards?
TERESA
They’re only cards, Carmen. They don’t know how to lie.
FRASQUITA and MERCEDES go to CARMEN.
FRASQUITA
Teresa, Carmen, come with us. We’ll go case out the company. It’ll be fun.
CARMEN
One minute.
CARMEN shuffles the cards again. Again she lays them out and turns them over one by one.
CARMEN
Muerte, siempre muerte.
FRASQUITA
(at the door)
Carmen?
CARMEN looks away for a moment, then forces a smile and follows her friends out.
JOSÉ has been sitting in the corner, facing away from the stage. TERESA walks over to him and touches his shoulder. JOSÉ brushes her hand roughly away and turns again toward the wall, lost in his own thoughts.
MICAELA enters from a side door. She looks around nervously and is clearly upset by the sinister look of the room. She spots JOSÉ in a corner, takes a tentative step toward him, then stops. She crosses herself and begins to pray aloud.
MICAELA
I pray that one day he will see me. I pray, O Lord, I have so much to give but nothing that pleases him. I have this heart he doesn’t want, these arms so ready for him. I’m so in need, and all he wants is her! O God, please give me this moment. Let him see me at last, O Lord.
MICAELA hears a commotion from the front of the club and steps into a darkened corner.
JOSÉ stands quickly and points his gun at the door as ESCAMILLO enters.
ESCAMILLO
Relax, cowboy! It’s only me. Drinks for everybody!
JOSÉ
They don’t serve drinks here. This is a social club. Only coffee and sodas. They don’t want the police raiding them on some phony liquor charge.
ESCAMILLO
Good thinking. You have to be focused. Give me an iced tea.
(gesturing to the gun)
You need to be careful with that thing.
JOSÉ
I don’t expect a big name like Escamillo to come rushing in here every day.
ESCAMILLO
You’re right. Usually, I’m in my corporate offices, taking care of serious business. If I pull off this concert this weekend-and I will-it’ll be the start of the greatest tour you’ve seen. Bigger than Lil Wayne, Shakira, and Beyoncé combined.
JOSÉ
So what are you doing here?
ESCAMILLO
I’m looking for a certain girl. I’ve only met her once, but somehow she stays in my head.
JOSÉ
With all the girls following you around the world, you actually remember one of them? She must be beautiful.
ESCAMILLO
Beautiful, but not available. That’s what I’ve been told. They say she leaves men lying in her wake the way a ship leaves dead fish in the water, gasping and confused.
JOSÉ
So why would you be interested in her?
ESCAMILLO
I don’t know. Maybe because I’ve always wanted what other men have said is not available. When I lived in the projects, I wanted to be rich. I used to look up into the sky and envy people flying high above me. Now when I look down from my private jet, I wonder if there’s some small boy looking up in envy of me as I soar overhead.
JOSÉ
Do you have her address?
ESCAMILLO
No, but I’ll give a reward to the one who leads me to her. She’s beautiful, as you said, and she used to be in love with a cop.
JOSÉ
A police officer?
ESCAMILLO
I say cop; you say police officer. Interesting. Yes, some poor fool who thought he could hold her because he’s had some experience with crackheads.
JOSÉ
I think you’d better watch your mouth, maricón.
ESCAMILLO
¿Maricón? Ah, I get it. You have a personal interest in this adventure, eh?
JOSÉ
Do I? Tell me, what’s this girl called?
ESCAMILLO
Carmen. Let me say the name slowly for you so you can enjoy the sound of it coming from my mouth. Caaarmen. Or shall I say, “Officer, her name is Carmen.”
JOSÉ
Yes, you’re right. I am the policeman she loves.
ESCAMILLO
Loved. Past tense. Once upon a time in a galaxy far away!
The two men cross the stage toward each other.
JOSÉ
As a policeman, I’ve handled plenty of fools like you.
ESCAMILLO
Don’t let the thousand-dollar suit fool you, Tex, or whatever your name is. Under these fancy threads is a ghetto heart direct from the projects, and you have never dealt with someone like me before.
JOSÉ rushes across the stage and attempts to hit ESCAMILLO with his gun butt. ESCAMILLO sidesteps the blow and hits JOSÉ in the small of his back. The two men start tussling. Soon ESCAMILLO is on the ground. JOSÉ aims his gun at ESCAMILLO.
DANCAIRO, RAIMONDO, and CARMEN enter. CARMEN kneels over ESCAMILLO, shielding him from JOSÉ.
RAIMONDO
What’s going on?
DANCAIRO
They must be fighting over Carmen.
RAIMONDO
Look, we don’t want any fighting in here. We don’t need any weight on this place. We’ve got a good thing going, and we can’t mess it up because you guys are chasing the same skirt.
DANCAIRO
Have a drink. Relax.
RAIMONDO
Relax.
CARMEN, suddenly confident again, strides, with hands on hips, to center stage.
CARMEN
Men have to fight. It’s their nature. But Raimondo is trying to run a business here. You understand that, don’t you, Escamillo?
ESCAMILLO
Yes, yes, of course. But I’m glad it was you, Carmen, who saved me from this madman. I owe you.
JOSÉ
We have unsettled business!
ESCAMILLO
I’ll find a way to accommodate you, my friend. You won’t be hard to find. I have a dog trained to sniff out gutter rats.
DANCAIRO barely restrains JOSÉ, who lunges forward.
ESCAMILLO
But before I go, I want to invite you all to my big concert this weekend. Madison Square Garden. Just tell the ticket men that you are from
(looks around)
Lillas’s place. And a special invitation to you, Carmen.
He kisses her hand, then exits.
RAIMONDO
(relieved)
Everybody take it easy! Somebody go down to the pizza shop and bring back some pies. Put on some music. I need some noise up in here! Some noise!
We hear “El Ritmo del Barrio,” the bright, cheerful music heard earlier in the play. There is a general relaxation, but we also see CARMEN and JOSÉ looking at each other from across the stage. Slowly CARMEN starts toward JOSÉ. At first he turns away, but slowly, ever so slowly, he turns toward her.
JOSÉ
Carmen! I’ve… I’ve been a fool…
He reaches out to her.
MICAELA suddenly runs toward them.
MICAELA
José!
JOSÉ turns and sees MICAELA, but then, love in his eyes, turns back to CARMEN.
JOSÉ
Carmen!
MICAELA
Your mother sent me. She needs to see you!
JOSÉ
What? Oh, tell her that I’ll be by this weekend.
MICAELA
She was coughing, and at first
(glances toward CARMEN)
they thought it was nothing.
JOSÉ
But now…?
MICAELA
I’ve always been brave, José. Throughout my life and no matter what I’ve faced. But seeing you here like this…
JOSÉ
Micaela, don’t worry about it. Tell my mother I’ll drop by Sunday, maybe Saturday night.
MICAELA
She might not live that long.
JOSÉ
What?
MICAELA
Your mother’s dying. She might not make it to the weekend.
JOSÉ
(to CARMEN)
I should go.
CARMEN
(dismissively)
Yes, yes, of course. You should go.
MICAELA
Please hurry.
JOSÉ
Carmen, I have to go.
CARMEN
I’m not stopping you, José. Go!
JOSÉ
I’ll be back, and then we’ll settle things!
JOSÉ leaves with MICAELA.
CARMEN stares down DANCAIRO and brushes off a friendly gesture from RAIMONDO. She is about to leave when the radio begins to play ESCAMILLO’s theme song, “The Toreador Song.” CARMEN, by herself and defiantly, dances across the stage. She stops and looks at herself in a mirror.
CARMEN
Oh, chicky, look at you. Your makeup is ruined. Your mascara runs down your face like black tears. Escamillo wants us to fight against being invisible. I welcome it. I don’t want to see this sad face anymore. Oh, chicky, how did you let your heart get broken again?
(she sings “Love Has Flown Away”)
Love came to me, but it
Just wasn’t for me.
It touched my heart and left it
Lying on the shore, and
Love smiled at me, but it
Just wasn’t for me.
It glanced my way with pity, but
I soon knew it had other plans.
Once again my heart was broken;
I was all alone to
Mourn.
We are outside Madison Square Garden. It is night, and the street is alive with young fans. A crowd is forming, and OFFICERS SHEA and LANE are putting barriers in place to hold people back.
OFFICER SHEA
Escamillo should be paying us overtime for this duty. You could get crushed in this crowd.
OFFICER LANE
I bet somebody is getting paid big bucks. The television cameras are being set up over on Seventh Avenue, and they have their own security.
OFFICER SHEA
I heard he’s got two wives. One in New York and one in the Dominican Republic.
OFFICER LANE
Bad business. Spanish girls will cut your throat when you’re sleeping!
OFFICER SHEA
You think Spanish girls are really all that hot in bed?
OFFICER LANE
I’ll settle for one who’s awake!
Sergeant ZUNIGA enters.
ZUNIGA
Okay, men, keep your eyes open. Look out for terrorists.
OFFICER LANE
Yes, sir.
ZUNIGA goes off left.
OFFICER SHEA
Who’s he kidding? Terrorists wouldn’t attack this crowd. They only want to kill white people. Look-here comes Escamillo’s entourage now.
The dimly lit stage grows brighter, and a sign comes down that reads MADISON SQUARE GARDEN. A parade of “beautiful people” makes its way to the concert. We hear music in the background, a combination of hip-hop and Bizet.
A small crowd enters, the imposing figure of ESCAMILLO, dressed in all of his finery, at its center. CARMEN is on his arm. Photographers hover all around them. ESCAMILLO is shaking hands and smiling. He stops his entourage (made up of music types and some business types in suits) and whispers into CARMEN’s ear. He takes CARMEN’s face between his hands and lifts it gently as he kisses her.
ESCAMILLO
I’ll be thinking of you while I’m in there. All these suits may have their degrees and old-boy networks, but I have my street smarts-and the most beautiful woman in New York waiting for me. It’s almost not fair.
CARMEN
Be careful. I feel danger in the air.
CARMEN and ESCAMILLO kiss again, and then he goes off with his entourage in tow.
CARMEN is standing alone at center stage; we still hear the background music.
MERCEDES and FRASQUITA enter.
MERCEDES
Girl, you are looking good!
CARMEN
Girl, I am feeling good.
FRASQUITA
Carmen, he’s here!
CARMEN
Who?
MERCEDES
José. I saw him on the avenue. I said hello, and he just mumbled at me. He doesn’t look good at all. He hasn’t shaved, and he’s… funky!
CARMEN
I told him we were through, that I didn’t want to see him anymore.
FRASQUITA
(chewing her gum faster)
What did he say?
CARMEN
He didn’t… He didn’t seem to understand. It was as if I was just gaming him to pass the time of day. You ever tell somebody something and they act like you’re speaking another freaking language?
FRASQUITA
Baby, you need to be looking out for that man. José is not somebody I would turn my back on. Why don’t you come inside with us?
CARMEN
I’ll be okay. Right now I don’t think I can stand a crowd. I’m a little jumpy. I need to be alone with my thoughts for a bit. I told Escamillo I’d meet him outside so we can make a quick getaway when the show’s over.
MERCEDES
You falling for Escamillo now?
CARMEN
Escamillo and I understand each other. He lives for the minute, and I’m just one of those minutes. He’ll stop for a while and then move on. No big deal. No forever after, no por vida. I’m back to being Carmen again.
FRASQUITA
Okay, but watch your back, girlfriend. Remember, José’s a cop. You know how sneaky they can be.
CARMEN
Go on, guys. I’ll be okay.
FRASQUITA
Carmen, don’t forget us when you reach the top, baby. We don’t want anything, but just nod when you see us. We’ll understand.
MERCEDES
And be proud of you!
CARMEN
We’ll always be homegirls.
The three girls embrace, and then MERCEDES and FRASQUITA rush off to the concert.
We hear the music of the opening act begin. CARMEN, somewhat uncomfortable in her new role, moves to the beat and leans against a light pole. Then, from out of the shadows, comes JOSÉ. Unshaven, he is wearing a dark hoodie and sneakers. At first he appears drunk, but then we see that he’s distorted with rage.
JOSÉ
Carmen!
CARMEN
(shrinking away from him)
José! What…? What are you doing here?
JOSÉ
(his speech slow and hollow)
Carmen, I had to see you. I love you so.
CARMEN
(turning away)
No!
JOSÉ
Love doesn’t know such a word as no. Love can only know yes.
CARMEN
What do you want from my life, José? What do you want? I don’t have anything to give you. ¡No más! ¡No más! I need to be by myself.
JOSÉ
(taking something from his pocket)
Look, I’ve brought you something. A ring. It’s the symbol of my love for you. I give it to you, and my heart goes with it, as your heart came to me with the flower you gave me that sweet day.
CARMEN
(turning away)
I am ruined by love, a bright dayflower lost in his grave, dark eyes.
JOSÉ
Carmen, all I want is your heart. Is that too much to ask?
CARMEN
My heart, a pitiful handful of dust.
JOSÉ gives the ring to CARMEN. She looks at it for a moment, then flings it back at him, hitting him in the chest.
JOSÉ
No! Your heart is everything to me, Carmen, everything! You said you loved me.
CARMEN
Take it back, José. I don’t want it, or you. You have no love to give. You just have your darkness. I’m afraid of you.
JOSÉ
Carmen! That was my mother’s ring, and I gave it to you. You need me. I’m all you have in this world!
CARMEN
I gave you my heart once, José. But what we had was never real love. You planted a lie in my heart, and I nourished it too eagerly. We’re through.
JOSÉ
Give me one more chance.
CARMEN
Never! Never!
JOSÉ
So that you can laugh at me in Escamillo’s arms? So that the two of you can think of me and smile? You can’t do this to me! You can’t do this to me!
CARMEN tries to run, but José quickly catches her. She desperately tries to push away from him, and he just as desperately clings to her. ESCAMILLO’s theme, “The Toreador Song”, begins to play from inside the Garden.
CARMEN
José, please leave me alone. Let me lead my life in peace. You have somebody-that girl. Go with her and leave me in peace.
JOSÉ falls to his knees and puts his arms around CARMEN’s legs.
JOSÉ
Carmen, you can’t leave me. You need me. Admit it! From the first time you saw me, you needed me. You need me!
ESCAMILLO’s theme rises as CARMEN and JOSÉ struggle in the semi-darkness. In the background, the crowd noises become louder, as does the music.
JOSÉ
Where are you going? To be with him? To be with him while the world looks at me like some kind of freak to be pitied? Never, Carmen. Never, do you hear me? You need me. You will always need me!
JOSÉ pulls a gun from under his coat.
CARMEN
Fate closes the day.
JOSÉ
Carmen, I love you so much. You have to believe me.
CARMEN
Stars all look away.
JOSÉ
There is nothing in life but the two of us! Nothing!
CARMEN
Death opens her arms. She says, “Come to me.”
JOSÉ
I won’t give you to Escamillo.
CARMEN
(sings the “Destiny Theme”)
Life laughs at me now,
Sad, forsaken clown.
Dreams crumble and fall.
They die silently.
JOSÉ
We will always be together.
CARMEN
Where is there to turn to?
Where can I find mercy?
Love is what I needed,
All I wanted from this life.
CARMEN pushes away from JOSÉ one last time and desperately looks for a way into Madison Square Garden. JOSÉ aims his gun and shoots. CARMEN gasps, clutches her side, and falls.
JOSÉ
Carmen, I love you! I love you!
The two figures are silhouetted on the stage. JOSÉ leans over CARMEN’s prone body as the music continues in the background.
Slowly, the stage grows dark, and we continue to hear the melancholy sound of the ominous theme we have heard several times before.
Then, in the darkness, we once again hear “El Ritmo del Barrio”, the cheerful, lively music we heard toward the beginning of the play.
The End