You ignore me, then I’ll love you,
And when I do, beware of me.
You ignore me—at least you’ll try,
But I’ll love you,
And if I love you, if I love you,
Beware of me!
FRASQUITA
Carmen is right! Love is not for us!
CARMEN
(looking at JOSÉ)
I bet he doesn’t even remember me. I think I was ten when he moved.
MERCEDES
Ten? Carmen, you were never ten! Anyway, boys don’t remember anything.
CARMEN
You’re right. I’ll say hello, anyway.
CARMEN goes over to JOSÉ, who is looking at some papers. She puts her hand over the papers, and he looks up.
CARMEN
José Ibarra. You know I remember you from the old neighborhood, when I lived on Manhattan Avenue. You lived in the only building on the block with an elevator.
JOSÉ
That was a long time ago.
CARMEN
You used to buy potato chips from Ferrara’s and eat them on the corner. Once I was standing in the doorway of my building and when I saw you passing, I lifted my skirt a little so you could see my legs. You didn’t even look in my direction.
JOSÉ
We were both young. You’re very pretty now.
CARMEN
You went to church with your mother every Sunday. The early Mass.
JOSÉ
You were really watching me.
CARMEN
De pe a pa. We were poor, and you looked rich. We were nothing much, and you looked pretty special to me.
JOSÉ
You know, I remember you now. Someone said you were a gypsy.
CARMEN
You don’t remember me.
JOSÉ
Didn’t you go to Saint Dominic’s? But you were just a kid.
CARMEN
(smiling as she twirls)
Am I a kid now?
CARMEN dances playfully around JOSÉ. The other cops motion for him to go after her, but he tries to ignore her. Finally, he takes a step toward her, but she moves quickly away. She stops, takes the flower from her hair, and tosses it to him. He catches the flower and looks down at it as she crosses toward him.
JOSÉ
For me?
CARMEN
For you, baby. I didn’t know you would still be so handsome. Your wife must be proud of you.
?
JOSÉ
I don’t have a wife.
CARMEN
Then your woman must be happy with you.
JOSÉ
I don’t… What do you care?
CARMEN
I care about a lot of things. You’d be surprised.
CARMEN moves closer to JOSÉ. The other cops gesture for him to go after her, but he is shy. When he takes another step toward her, she runs away and into Delgado’s as the other officers laugh.
ZUNIGA
Okay, okay, let’s get back to the station. We’ve got work to do.
TÍA SOFIA
And don’t come back without a warrant!
ZUNIGA
In this neighborhood, nobody has an education and everybody is a lawyer!
MERCEDES
In this neighborhood, you don’t need an education because they don’t hire us anyway. You need to be a lawyer because one way or another—you will get arrested.
ZUNIGA
Yeah, yeah. Look, mami, we don’t need your lectures today. When we come back, we’ll arrest you first.
MERCEDES
Oooooh, Officer, I’m sooo scared!
MERCEDES follows the other factory girls from Delgado’s back to work.
The POLICE OFFICERS begin to pack it in, gathering their gear and leaving in twos and threes. MICAELA comes from around a corner.
ZUNIGA
José, what are you now? The village stud? First Carmen gives you the eye, and now this girl comes to look for you again. She was here before.
JOSÉ
What girl?
He sees MICAELA and smiles broadly, putting the flower that CARMEN gave him into his pocket.
MICAELA
I was looking for you.
JOSÉ
And here I am. How are you?
ZUNIGA and other officers are off to one side, leaving JOSÉ and MICAELA center stage.
MICAELA
I’m good. I like working at the school. The hours are good, and the pay’s all right. I’m taking classes in the summer. Maybe I can get a degree and teach.
JOSÉ
Sounds good to me. What are you doing in this neighborhood?
MICAELA
I told your mother I was coming over here today to the new Lowe’s to buy a picture frame. She gave me a message for you.
JOSÉ
How is she?
MICAELA
She misses you. But José, she’s so happy. She’s finally been accepted into the senior citizen housing. One bedroom and one and a half baths. The building is beautiful, overlooking the park. She gave me this letter for you. She asked me to…
MICAELA blushes as she looks away.
JOSÉ
To what?
MICAELA
She kissed me and asked me to pass it on to you.
JOSÉ
Well, if she asked you to pass it on, you can’t keep it for yourself.…
MICAELA shyly kisses JOSÉ.
MICAELA
And here’s the letter. She was hoping you would call more often. I can understand that.
JOSÉ
I’m glad she’s moving, but I have so many good memories of that small apartment we lived in. We would sit in the kitchen, with the sun beaming through the fragile white curtains. All of life was before us then. There was nothing but hope and the promise of good things to come.
MICAELA
You think of your mother, your home.… You are so sweet, José. Maybe one day…
JOSÉ
What does she say in the letter?
MICAELA
(anxious to leave before he reads it)
I have to go. You can read it later.
JOSÉ
Stay a minute. I haven’t seen you in weeks.
MICAELA
I have to go. Really. I would… I would like to see more of you.
She starts to leave, pauses for a moment to take a last look at JOSÉ, then exits.
JOSÉ
(reading the letter)
“Dear Son, I hope this letter finds you well. I have sent it by Micaela, who has been so helpful to me. José, if you want, you can move into my old apartment, the one you loved so much as a child. It has two bedrooms, as you remember, big enough to start a family. I will be so glad when you marry. I know that once you marry, you will be more careful, even if you remain a policeman. I hope you find someone who will love you. Someone like Micaela. You know she loves you almost as much as I do. Your loving mother.”
I want to make my mother happy, to make her a grandmother and see the smile on her face as she plays with the children. And she’s right: Micaela does care a lot for me, and she’s a solid girl. Nothing flighty about her. Her working at the school is good, too.
There is the sound of fighting offstage, and a glass vase comes flying out of one of the factory’s windows.
ZUNIGA
What the—? Shea, Lane, go into that building to see what’s going on!
SHEA and LANE enter Delgado’s, guns drawn.
ZUNIGA
This place is a hellhole. Useless people doing useless things. Wasting their time.
TÍA SOFIA
All they have to spend is their time. So they do it freely.
ZUNIGA
What? You haven’t died yet? What are you waiting for?
TÍA SOFIA
For you to die first so I can pee on your grave!
ZUNIGA
If I ever get the chance to arrest you, you old hag, I’ll handcuff you to
a fire hydrant and leave you there!
TÍA SOFIA
Hey, how did you get to be so ugly? You take pills for that, or what?
ZUNIGA
Shut up!
TÍA SOFIA
Just tell me one thing and I’ll shut up. Did your father have a tail?
ZUNIGA reaches for his gun as TÍA SOFIA slams her door shut.
OFFICERS SHEA and LANE come out of Delgado’s with half of the factory workers, including FRASQUITA, all shouting about who started the fight. In the middle, held by SHEA and LANE, is a very angry CARMEN.
ZUNIGA
What happened?
OFFICER SHEA
A fight broke out between this one and another girl.
FRASQUITA
The other girl started it! She said that Carmen had a big mouth!
CARMEN
And all I said was that the flies like her mouth because her breath smells like—
ZUNIGA
I don’t want to hear this nonsense!
CARMEN
Neither do I! Let’s send out for pizza!
ZUNIGA
You keep your mouth shut. Shea, is this serious?
OFFICER SHEA
The other girl has a cut across her face. And this one had a knife.
ZUNIGA
(to CARMEN)
What did you do? Cut her?
CARMEN
(singing flightily)
Did I? Could I? I’m not talking!
Hands behind her back, CARMEN dances around ZUNIGA.
ZUNIGA
Don’t play with me, Carmen. Now tell me what happened in there.
CARMEN
(still singing)
Burn me! Torture me! I’m not talking! Tra la la, tra la la, tra la la la la la la la la!
ZUNIGA
José, handcuff her and take her in. We’ll show these people we’re not playing!
ZUNIGA and the other men start off. JOSÉ has handcuffed CARMEN, who looks over her shoulder at him.
CARMEN
The handcuffs are too tight!
JOSÉ
They’re not tight at all.
CARMEN
Not for you, of course. You’re a big, strong man, but I’m just a helpless woman. How tall are you, anyway? Seven feet? Look how strong your arms are, and how long. You can put one of your arms completely around my body!
She spins into his arms.
JOSÉ
Behave yourself! You brought this on yourself.
CARMEN
How can you do this to a fellow Italian?
JOSÉ
You’re not Italian, and neither am I.
CARMEN
How can you tell I’m not Italian?
JOSÉ
Your dark eyes tell me that you’re Latina. Your accent is Dominican, and your lips…
(stopping himself)
Well, you’re quite attractive.
CARMEN
Oh, Officer José, tell me what my lips say to you. Whisper it to me. But hold me close so I can hear you.
JOSÉ
Look, you’re going to jail! Don’t talk to me.
CARMEN
Oh, you’ve got me too excited. I need a drink. Something cool. I have a friend who owns a club.
JOSÉ
I told you to keep quiet.
CARMEN
Why are you so hard on me? Don’t you remember me? I’m the little gypsy girl who lifted her dress so you could see her legs, remember? I was in love with you, and you just glanced at me coldly because I was so ugly.
JOSÉ
(weakening)
You weren’t ugly.
CARMEN
And skinny.
JOSÉ
You were thin.
CARMEN
And now? Still too ugly? Still too thin? Wait—let me lift my skirt up.…
CARMEN touches the hem of her skirt but doesn’t lift it.
JOSÉ
Carmen!
CARMEN
We can meet at my friend’s club. You’ll love him. It has lots of corners. We can sit and look into each other’s eyes.
JOSÉ
Don’t talk to me like that. I’m a police officer!
CARMEN
Okay, and I’m just a prisoner. And I’m afraid, so I’ll sing to myself. I always sing to myself when I’m afraid. As I am now.
She hums “La Seguidilla.”
JOSÉ
(weakening more)
This isn’t right.
CARMEN
We can make it right!
JOSÉ
You don’t mean what you say! You’re just…
CARMEN
A girl trapped by a huge man who has her in his power. Whose heart is beating wildly as he towers over her! But instead of just feeling fear, she is beginning to have deeper feelings for him. I’m that little girl again in the old neighborhood. Not knowing if I can even go there again. Not knowing if that place even exists anymore.
JOSÉ
(weakening further)
Do you want that place to exist again?
CARMEN
I’m too embarrassed to say what I really want, José.
CARMEN dances in front of JOSÉ, handcuffed hands behind her, pushing them toward him. Finally, he unlocks them. CARMEN turns and takes JOSÉ’s face in her hands as if to kiss him, then pushes him away and runs. She stops at the far end of the stage.
JOSÉ
Don’t make fun of me, Carmen.
CARMEN
No, it’s my heart that’s making fun of me. Leading me into love again when I’m so afraid of it. I’m not laughing at you, José. I would never do that.
JOSÉ
I came here a shell, wondering about my career, and my life. Now you’ve found all the empty spaces and filled them.
CARMEN
If I escape, will you be too angry to ever see me again? Or will you wonder how I would feel if I were in your arms, the way I am wondering how it would be?
JOSÉ
Carmen… Carmen… You make me think too much. I am drunk with thoughts of you.
CARMEN
Lillas Pastia’s club. I’ll be waiting for you.
CARMEN rushes to JOSÉ, kisses him passionately, then runs off. JOSÉ is standing forlornly in the middle of the stage, holding his empty handcuffs. ZUNIGA appears and looks around for CARMEN. He stares at JOSÉ, hands uplifted in question. He sees JOSÉ’s shoulders droop and understands what has happened. Then he crosses the stage and stares directly into the JOSÉ’s face. JOSÉ turns slowly away, cringing. ZUNIGA turns to SHEA and LANE and motions them over.
ZUNIGA
This is what happens to weak men. He’s let that girl get away. Write him up. I’ll do the rest. He doesn’t deserve to be in our unit.
Embarrassed, SHEA and LANE walk away after ZUNIGA.
For a moment the stage is empty except for JOSÉ and some neighborhood types, who are motionless. Then an old man enters from stage right, pushing a cart. Perched on the cart is a portable radio that plays the “Destiny Theme.”
Scene 2
We are at Lillas Pastia’s social club. It is modest, with a roped-off area and a small, slightly raised stage. CARMEN is sitting at a table with MERCEDES and FRASQUITA. Several people are standing at the bar, most sipping small cups of coffee or tea.
FRASQUITA
Carmen, look at you! You’re glowing! Are you sick?
MERCEDES
(feeling CARMEN’s forehead)
She’s got the flu!
CARMEN
I feel fine!
FRASQUITA
You’re depressed. Tell me what’s on your mind. It’s better to get it off your chest.
CARMEN
What’s on my mind? I’m thinking about a certain police officer. Six feet tall… dark eyes…
MERCEDES
(alarmed)
Oh, my God! She’s in love.
FRASQUITA
With a policeman? Not that José? I don’t believ
e it.
CARMEN
Little scraggly mustache…
MERCEDES
Carmen, please tell me you are not in love with any man. Then tell me two times that you are not even thinking of being in love with a cop!
FRASQUITA
She’s thinking of it. Even though she knows that love doesn’t work these streets. When love has to pass through el barrio, it takes a taxi.
MERCEDES
And keeps its head down so it won’t even see us.
FRASQUITA
Then sneaks away without paying! How do you know you’re in love? It could be swine flu.
CARMEN
I just keep thinking about him, Frasquita. He’s like a tune I can’t get out of my head.
MERCEDES
Carmen, you of all people. You know better. He’ll forget your face and your eyes and your heart. All he’ll see is another poor Latina longing for a life she can’t have. Love is for people with bank accounts. And besides, if he felt that much for you, he’d be around here looking for you. When did you see him last?
CARMEN
They put him on loan to the tunnel authority. All day long he has to breathe car exhaust. It’s only temporary.
FRASQUITA
Temporary? They’re going to move the tunnel?
CARMEN
No, the assignment. His sergeant is mad because I got away.
MERCEDES
Frasquita’s right. Love isn’t for poor people, honey. You show me a man without a job or a kicking hustle, and I’ll show you a dude that’s mad at the world. We’re just sweet meat if a man can’t afford to get married. For us it’s just a quick kiss, a quick hug—
FRASQUITA
A quick bam-bam-bam—
MERCEDES
And a long, sad time to think about it later. You know too much to believe in fairy tales, Carmen.
CARMEN
My head knows who I am, Frasquita. My head tells me, “¡Vamos, chica!” But my heart says, “Hey, Carmencita, maybe this time it’ll work out.”
MERCEDES
The last time he saw you he arrested you!
CARMEN
And let me go! This time he will come and maybe he’ll put me up against the wall.
FRASQUITA
That he might do.
CARMEN sits on a table, hands between her knees.
CARMEN
He’ll run his hands over my body, looking for weapons, and I’ll tell him all the places he’s missing. Then he’ll notice that my heart is beating fast, and he’ll ask me what I have to fear if I’m telling him the truth. I’ll tell him I think I’m having a heart attack, and he’ll have to put his ear to my chest to listen to the rhythm.…
MERCEDES
She’s really in love.
CARMEN
Then he’ll see that I’m trembling and put his arms around me.