Carmen (9 page)

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

Author’s Note