Carmen Libretto
English Translation

Characters:
DON JOSE, brigadier (tenor)
ESCAMILLO, toreador (baritone)
LE DANCAÏRE, smuggler (baritone)
THE REMENDADO, smuggler (tenor)
ZUNIGA, lieutenant (low)
MORALES, sergeant (baritone)
LILLAS PASTIA, cabaretier (spoken role)
A GUIDE (spoken role)
CARMEN, gypsy (mezzo-soprano)
MICAËLA, young peasant girl (soprano)
FRASQUITA, gypsy (soprano)
MERCEDES, gypsy (mezzo-soprano)

The action is located in Spain around 1820


No 1 - Prelude

FIRST ACT

A place in Seville. Right, the door of the tobacco factory. In the background, facing the public, practicable bridge crossing the stage in all its extent. From the stage we come to this bridge by a winding staircase that makes its revolution right over the door of the
tobacco factory. The underside of the bridge is passable. On the left, in the foreground, the guardhouse. In front of the guard-house, a little covered porch, raised by two or three steps; near the guardhouse, in a rack, the spears of the
dragons with their yellow and red banners.

No 2 - Scene and choir

At the end of the curtain, about fifteen soldiers (Dragons of the Almanza regiment) are grouped in front of the guardhouse.
Some sitting and smoking, others leaning on the balustrade of the gallery. Movement of passersby on the square. People in a hurry, busy, come, meet, greet, jostle, and so on.

CHOIR
On the square
Everyone passes,
Everyone comes, everyone goes;
Funny people than those people.
Funny people! Funny people!

MORALES
At the gate of the guardhouse,
To kill time,
We smoke, we talk, we look
Pass passersby.
In the square, etc.

CHOIR
In the square, etc.


For a few minutes Micaëla has entered. Blue skirt, mats falling on her shoulders, hesitant, embarrassed, she looks at the soldiers, advance, retreat, etc.

MORALES
to the soldiers
Look at this little girl
Who seems to want to talk to us.
See, see, she turns, she hesitates.

CHOIR
To help him, you have to go.

MORALES
at Micaëla
What are you looking for, the beautiful?

MICAËLA
Me! I'm looking for a brigadier.

MORALES
I'm here,
Here!

MICAËLA
My brigadier, to me, is called
Don Jose ... do you know him?

MORALES
Don José, we all know him.

MICAËLA
Really? Is he with you, please?

MORALES
He is not a brigadier in our company.

MICAËLA
sorry
So he is not here.

MORALES
No, my dear, he's not here,
But just now there will be.
Yes, just now there will be.
He will be there when the rising guard
Will replace the downward guard.

ALL
He will be there when the rising guard
Will replace the downward guard.

MORALES
But until he comes,
Do you want, the beautiful child,
Do you want to take the trouble
To enter our house for a moment?

MICAËLA
At your house!

CHOIR
At home.

MICAËLA
No, not not.
Thank you, soldiers.

MORALES
Enter without fear, cute,
I promise you we'll have
For your dear person
All the respect that will be necessary.

MICAËLA
I have no doubt about it;
However I will come back,
I'll come back, it's more cautious.
Laughing again at the sergeant's sentence.
I will come back when the rising guard
Will replace the downward guard.

MORALES and THE CHORUS
surrounding Micaëla
We must stay, because the rising guard
Will replace the downward guard.

MORALES
You will stay!

MICAËLA
seeking to disengage
Not! Not!


MORALES and THE CHORUS
You will stay, stay, stay.
Yes you will stay, you will stay.

MICAËLA
Not! Not! No! No! No! No!
Goodbye, gentlemen soldiers.


She escapes and runs away.

MORALES
The bird flies away,
We console ourselves.
Let's take up our hobby,
And let's watch people go by.


CHOIR
In the square, etc.



No 2 a - Moral couplets

The movement of passers-by that had ceased during the scene of Micaëla resumed with some animation. Among the people who come and go, an old gentleman giving his arm to a young lady ... The old gentleman would like to continue his walk, but the young lady does everything she can to keep him in the square. She seems moved, worried. She looks to the right, to the left. She's waiting for someone and that someone is not coming. - This pantomime must fit exactly with the next verse.

MORALES
Warning! Hush! Let us be silent!
Here comes an old husband,
Suspicious eye, jealous mine!
He holds his young wife on the arm;
The lover, no doubt, is not far off;
He will come out of some corner.
At this moment a young man enters the square quickly.
Ah! Ah! Ah! Ah!
Here it is.
Let's see how it will work.


The second verse continues and adapts faithfully to the scene mimed by the three characters. The young man approaches the old gentleman and the young lady, greets and exchanges a few words in a low voice, etc.

MORALES
imitating the eager salute of the young man.
Find you here, what happiness!
Taking the bald look of the old husband.
I am your servant.
Picking up the air of the young man.
He greets, he speaks with grace.
Then the air of the old husband.
The old husband makes a face;
imitating the smiling mines of the lady
But very encouragingly
The lady welcomes the gallant.
The young man at this moment draws from his pocket a note which he shows to the lady.
Ah! Ah! Ah! Ah!
Here it is.
Let's see how it will work.
The husband, the wife and the gallant are all three very slowly a little tour in the square. The young man trying to hand his sweet note to the lady.

MORALES
They make a few steps together;
Our lover, raising his arm,
Show the husband something,
And the husband still morose
Look in the air ... The trick is done,
Because the lady took the ticket.
The young man with one hand shows something in the air to the old gentleman, and on the other hand passes the note to the lady.
Ah! Ah! Ah! Ah!
There you go,
We see how it will turn out.

ALL
laughing
Ah! Ah! Ah! Ah!
There you go,
We see how it will turn out.



No 3 - Children's choir

In the distance, far away, there is a military march, bugles and fifes. It's the rising guard coming. The old gentleman and the young man exchange a cordial handshake. Respectful greeting from the young man to the lady. An officer leaves the station. The soldiers of the station will take their spears and line up in front of the guardhouse. Passers-by on the right form a
group to attend the parade. The military march is getting closer, closer ... The rising guard finally opens
coming from the left and crosses the bridge. Two clarions and two fifes first. Then a bunch of little kids trying to take long strides to walk in the footsteps of the dragons. - As small as possible children.
Behind the children, Lieutenant Zuniga and Brigadier Don José, then the dragons with their spears.

CHORUS OF KIDS
With rising guard
We arrive, here we are
Sounds, dazzling trumpet,
Ta ta ta ta ta ta ta ta;
We walk with our heads up
Like little soldiers,
Marking without fault,
One ... two ... marking the pace.
Shoulders back
And the chest outside,
Arms this way
Falling all along the body;
With rising guard
We are here, here we are!
Sounds, dazzling trumpet,
Ta ta ta ta ta ta ta ta.


The rising guard will rank to the right in front of the downward guard. As soon as the little kids who have stopped right in front of the curious have finished singing, the officers greet each other with the sword and start talking in a low voice. Sentinels are raised.



Melodrama

MORALES
in Don José
There is a pretty girl who came to ask you.
She said she would come back


JOSÉ
A pretty girl?

MORALES
Yes, and nicely dressed, a blue skirt, mats falling on the shoulders ...

JOSÉ
It is Micaëla.
It can only be Micaëla.


MORALES
She did not say her name.

The sentries are relieved. Clarion ringtones. The descending guard passes in front of the rising guard. - The boys in troop take back behind the bugles and fife of the guard down the place they occupied behind the drums and
fifties of the rising guard.

CHORUS OF KIDS
And the downward guard
Go home and leave.
Sounds, dazzling trumpet,
Ta ta ta, ta ta ta ta.
We walk with our heads up
Like little soldiers,
Marking without fault,
One ... two ... marking the pace.
Your ta, ta ta ta, etc.


Soldiers, kids, and curious go away from the bottom; choir fifes and bugles are decreasing. The officer of the rising guard, meanwhile, silently passes the inspection of his men. When the choir of the kids and the fife stopped being heard, the lieutenant said.
Introduce Spears ... High Spears ... Break the ranks.
The dragons will all drop their spears into the rack and then return to the guardhouse. Don Jose and Zuniga remain alone on stage.

Talking dialogue

ZUNIGA
Tell me, brigadier?

JOSÉ
elevating
My lieutenant.


ZUNIGA
I have only been in the regiment for two days, and never have I come to Seville. What is this big building?

JOSÉ
It's the tobacco factory ...

ZUNIGA
Are women working there?

JOSÉ
Yes, my lieutenant. They are not there now; just now, after their dinner; they will come back. And I tell you that then there will be people to see them go.

ZUNIGA
They are a lot?

JOSÉ
Well, they are four or five hundred who roll cigars in a big room ...

ZUNIGA
It must be curious.

JOSÉ
Yes, but men can not enter this room without permission ...

ZUNIGA
Ah!

JOSÉ
Because, when it's hot, these workers put themselves at ease, especially young people.

ZUNIGA
There are young people?

JOSÉ
Yes, my lieutenant.

ZUNIGA
And pretty?

JOSÉ
laughing
I suppose so ... But to tell you the truth, and although I have been on guard here several times already, I am not sure because I have never looked at them much ...

ZUNIGA
Come on!

JOSÉ
What do you want? ... These Andalusians scare me. I'm not done with their manners, always taunting ... never a word of reason ...

ZUNIGA
And then we have a weakness for the blue skirts and the mats falling on the shoulders ...


JOSÉ
laughing
Ah! My lieutenant heard what Moralès was saying to me ...

ZUNIGA
Yes

JOSÉ
I will not deny it ... the blue skirt, the mats, it's the costume of Navarre ... it reminds me of the country.

ZUNIGA
Are you Navarre?

JOSÉ
And old christian. Don José Lizzarabengoa, that's my name ... They wanted me to be a church, and they made me study. But I did not take advantage of it, I loved playing on the palm too much ... One day, when I had won, a guy from Alava wanted to quarrel with me; I still had the advantage, but it forced me to leave the country. I became a soldier! I no longer had my father; my mother followed me and came to live ten leagues from Seville ... with little Micaela ... she is an orphan whom my mother has collected, and who did not want to part with her.


ZUNIGA
And how old is she, little Micaëla?

JOSÉ
Seventeen years…

ZUNIGA
It was necessary to say that right now ... I understand now why you can not tell me if the workers of the manufacture are pretty or ugly ...


The bell of the manufacture is heard.

JOSÉ
Here is the bell that rings, my lieutenant, and you will be able to judge for yourself ... As for me I'm going to make a chain to attach my lapel pin.


No 4 - Chorus of the cigarières

The place is filled with young people who come to stand on the passage of cigarières. The soldiers leave the station. Don José sits down on a chair, and remains indifferent to all these comings and goings, working on his lapel pin.

CHOIR
The bell rang, us, workers
We come here to watch the return;
And we will follow you, brunettes cigarières,
By whispering words of love.


At this moment the cigarieres appear, the cigarette on the lips. They pass under the bridge and descend slowly on stage.

CHOIR
See them ... Impudent glances,
Coquette Mine
Smoking all with teeth
Cigarette.

THE CIGARS
In the air, we follow eyes
Smoke,
Who towards the heavens
Mounted,
Monte scented.
It goes up nicely
In the head;
Slowly
It makes you happy.
The sweet talk of lovers
It's smoke;
Their transports and their oaths
It's smoke.
Yes it's smoke,
It's smoke.

YOUNG PEOPLE
to the cigarières
Without doing the cruel,
Listen to us, the beautiful ones
We love you,
What we idolize.

THE CIGARS
In the air,
We follow the smoke,
Smoke.
In the air, we follow eyes
Smoke
Who goes up turning to the heavens!
Smoke! Smoke!

CHOIR
But we do not see Carmencita.

CIGARETERS and YOUNG PEOPLE
Here it is,
Here it is,
This is Carmencita.

Between Carmen. Absolutely the suit and entry indicated by Merimee. She has a bunch of cassia in her bodice and a cassia flower in the corner of her mouth.
Three or four young men enter with Carmen. They follow her, surround her, speak to her. She's mincing and cackling with them. Don José raises his head. He looks at Carmen, then goes back to work quietly on his lapel pin.

YOUNG PEOPLE
entered with Carmen
Carmen, on your steps, we are all in a hurry;
Carmen, be nice, at least answer us
And tell us what day you will love us.
Carmen, tell us what day you will love us!

CARMEN
watching them
When I love you, my faith, I do not know.
Maybe never, maybe tomorrow;
But not today, that's for sure.


No 5 - Habanera

CARMEN
love is a rebellious bird
That no one can tame,
And it is in vain that it is called
If he agrees to refuse.
Nothing works; threat or prayer,
One speaks well, the other is silent;
And that's the other one I prefer,
He did not say anything, but I like him.
Love is Bohemian child,
He never, never knew a law;
If you do not love me, I love you;
If I love you,
Beware!
The bird that you thought surprised
Battled the wing and flew away
Love is far away, you can wait for it
You do not expect him anymore ... he is here
All around you, fast, fast,
He comes, goes, then comes back
You think you're holding him, he's avoiding you,
You think you're avoiding him, he's holding you.
Love is Bohemian child,
He never knew a law;
If you do not love me, I love you;
If I love you,
Beware!


No 6 - Scene

YOUNG PEOPLE.
Carmen, on your steps, we are all in a hurry;
Carmen, be nice, at least answer us!
Answer us! Answer us!
O Carmen! Be nice, at least answer us!


Moment of silence The young men surround Carmen, who looks at them one after the other, leaves the circle that they form around her and goes straight to Don José, who is always busy with his
pin.

CARMEN
Eh! my friend, what are you doing here? ...

JOSÉ
I make a chain with brass wire, a chain to attach my lapel pin.


CARMEN
laughing
Your pin, really! Your pin, pin of my soul ...


She tears off the cassie flower from her bodice and throws it to Don Jose. He gets up suddenly. The cassia flower fell at his feet. Sparkle of general laughter.


CHOIR
Love is Bohemian child,
He never, never knew a law,
If you do not love me, I love you!
If I love you, take care of yourself!


The bell of the manufactory rings a second time.
Output of the workers and young people. Carmen runs out first and she enters the factory. The young people go out to the right and to the left. Zuniga, who during this scene was chatting with two or three workers, leaves them and returns to the post after the soldiers have returned. Don José remains alone.

Monologue

JOSÉ
What does that mean, these ways? What effrontery! ...
Smiling.
All because I was not paying attention to her! So, following the use of women and cats who do not come when we call them and come when we do not call them, she came ...
He looks at the cassie flower on the ground at his feet. He picks it up.
With what address she gave it to me, this flower ... there, just between the two eyes ... it made me the effect of a bullet that happened to me ...
He breathes the fragrance of the flower.
How strong! ... Certainly if there are witches, this girl is one.

Between Micaëla.



Talking dialogue

MICAËLA
Mr. Brigadier?

JOSÉ
hastily hiding the cassia flower
What? ... What is it? ... Micaëla! …It's you…


MICAËLA
It's me!

JOSÉ
And you come from there?

MICAËLA
And I come from there ...
It's your mother who sends me ...



No 7 - Duo

JOSÉ
Tell me about my mother!
Tell me about my mother!

MICAËLA
I bring from him, faithful messenger,
This letter.

JOSÉ
looking at the letter
A letter.

MICAËLA
And then some money
she gives him a small purse
To add to your treatment,
And

JOSÉ
And?

MICAËLA
And? ... I really do not dare,
And then ... another thing
Who is better than money and who,
For a good son,
Will probably have more price.

JOSÉ
This other thing, what is it?
Speak so.

MICAËLA
Yes, I will speak;
What I was given,
I will give it to you.
Your mother with me came out of the chapel,
And that's when kissing me,
You go, she told me, go to the city:
The road is not long,
Once in Seville,
You will look for my son,
My José, my child
And you will tell him that his mother
Dream day and night to the absent
That she regrets and hopes,
May she forgive and wait;
All this, is not it? cute,
From me you will tell him,
And this kiss that I give you
From me you will return it to him.


JOSÉ
very touched
A kiss from my mother?

MICAËLA
A kiss for his son.

JOSÉ
A kiss from my mother?

MICAËLA
A kiss for his son!
Jose, I return it to you, as I promised.


Micaëla goes up a bit on tiptoe and gives Don Jose a kiss very frank, well motherly. Don José very moved leaves it to do. He looks at her in the eyes. - A moment of silence.

JOSÉ
continuing to look at Micaëla
My mother, I see her
Yes, I see my village again!
O memories of old,
Sweet memories of the country!
Sweet memories of the country!
O cherished memories!
You fill my heart
Strength and courage.
O cherished memories!
My mother, I see her, I see my village again!

MICAËLA
His mother, he sees her again!
He's seeing his village again!
O old memories!
Memories of the country!
You fill his heart
Strength and courage.
O cherished memories!
His mother, he sees her again, he sees his village again!


JOSÉ
eyes fixed on the manufacture
Who knows what demon
I was going to be prey!
Even from afar,
My mother defends me,
And that kiss she sends me,
This kiss she sends me
Spread the danger and save his child.

MICAËLA
What demon, what danger?
I do not understand very well.
What does that mean?

JOSÉ
Nothing! Nothing!
Let's talk about you, the messenger
You are going back to the country ...

MICAËLA
Yes, tonight,
Tomorrow I will see your mother.

JOSÉ
You'll see it! Well, you'll tell him:
That his son loves and reveres her,
And that he repents today.
He wants his mother there
Be happy with him!
All this, is not it? cute,
From me you will tell him;
And this kiss that I give you,
From me you will return it to him.


He kisses her.

MICAËLA
Yes, I promise you
From his son
Jose, I will return it
As I promised.

JOSÉ
My mother, I see her! etc.

MICAËLA
His mother, he sees her again! etc.


Talking dialogue

JOSÉ
Wait a little now ... I'll read his letter ...

MICAËLA
I'll wait, Mr. Brigadier, I'll wait ...

JOSÉ
kissing the letter before starting to read

Ah!
reading

MICAËLA
interrupting
It's better that I'm not here! ...


JOSÉ
Why is that?…

MICAËLA
troubled
I just remembered that your mother has given me some small purchases: I'll take care of it right away.

JOSÉ
Wait a minute, I'm done ...

MICAËLA
You will end when I'm gone ...

JOSÉ
But the answer?

MICAËLA
I will come back to take it before my departure and I will take it to your mother ... Goodbye!


JOSÉ
Micaela!

MICAËLA
No, no ... I'll come back, I like it better ... I'll come back, I'll come back ...
She goes out.

JOSÉ
reading
There is no wiser, no more kind ... there is none especially who loves you more ... and if you wanted ... 'Yes, my mother, yes, I will do what you wish ... I will marry Micaelah, and as for this gypsy, with her flowers that bewitch ...


At the moment when he is going to tear off the flowers of his jacket, great rumor in the interior of the manufacture. - Between Zuniga followed by the soldiers.



No 8 - Chorus

ZUNIGA
What is going on there?

The workers leave quickly and in disorder.

CHORUS OF CIGARS
Help! Do not you hear?
Help, the soldiers!

FIRST GROUP OF WOMEN
It's Carmencita.

SECOND GROUP OF WOMEN
No, no, it's not her.

FIRST GROUP
It's Carmencita.

SECOND GROUP
No, no, it's not her! Not at all!

FIRST GROUP
It's her! If done, if it is it!
She carried the first shots.

ALL THE WOMEN
surrounding the lieutenant
Do not listen to them, sir, listen to us,
Listen to us, sir, listen to us!

FIRST GROUP
they pull the officer on their side
Manuelita said
And repeated aloud
That she would buy without fail
A donkey that pleased him.

SECOND GROUP
same game
So the Carmencita
Railleuse to her ordinary,
Said: A donkey, what for?
A broom will suffice you.

FIRST GROUP
Manuelita riposta
And said to his comrade:
For some walk
My donkey will serve you.

SECOND GROUP
And that day you will be able
Just be proud;
Two lackeys will follow behind
T'emouchant with an arm.

ALL THE WOMEN
On it both
Got caught with hair.

ZUNIGA
Hell, all that talk.
in Don José
Take, José, two men with you
And see what's causing this fuss.

FIRST GROUP
It's Carmencita!

SECOND GROUP
No, no it's not her!

FIRST GROUP
If done, if it is it!

SECOND GROUP
Not at all!

FIRST GROUP
She bore the first shots!

ZUNIGA
Hola!
Take away all those women.

ALL THE WOMEN
Sir!
Sir!
Do not listen to them! Sir, listen to us!

FIRST GROUP
It was Carmencita who carried the first blows!

SECOND GROUP
It was Manuelita who carried the first blows!

FIRST GROUP
The Carmencita!


SECOND GROUP
Manuelita!

FIRST GROUP
Yes! Yes! Yes! Yes!
She bore the first shots!
It's Carmencita!

SECOND GROUP
No! No! No! No!
She bore the first shots!
It's Manuelita!


The soldiers manage finally to repel the cigarières. The women are kept at a distance around the square by a hedge of dragons. Carmen appears on the door of the factory, brought by Don José and followed by two dragons.


Talking dialogue

ZUNIGA
Come on, brigadier ... Now that we have some silence ... what did you find in there?

JOSÉ
I first found three hundred women, screaming, screaming, gesturing, making a noise not to hear God thunder ... On one side there was one, the four irons in the air, who cried: Confession! Confession! ... I'm dead ... She had on her face an X that had just been marked in two stab wounds ... in front of the wounded I saw ...
He stops on a look from Carmen.

ZUNIGA
Well?

JOSÉ
I saw miss ...

ZUNIGA
Miss Carmencita?

JOSÉ
Yes, my lieutenant

ZUNIGA
And what was she saying, Miss Carmencita?

JOSÉ
She said nothing, my lieutenant, she clenched her teeth and rolled her eyes like a chameleon.

CARMEN
I had been provoked ... I only defended myself ... Mr. Brigadier will tell you ...
to José
Is it not, Sir Brigadier?

JOSÉ
after a moment of hesitation
All I could understand in the midst of the noise was that a discussion had arisen between these two ladies, and that, following this discussion, Mademoiselle, with the knife with which she cut the ends of the cigars, had begun to draw crosses of St. Andrew on the face of his comrade.
Zuniga looks at Carmen; The latter, after a glance at Don Josee and a very slight shrug, became impassive again.
The case seemed clear to me. I prayed miss to follow me ... She first made a movement like to resist ... then she went
resigned ... and followed me, sweet as a sheep!

ZUNIGA
And the injury of the other woman?

JOSÉ
Very light, my lieutenant, two scars on the skin.


ZUNIGA
to Carmen
Well! The beautiful, did you hear the brigadier? ...
to José
I do not need to ask you if you have told the truth.

JOSÉ
Navarre faith, my lieutenant!
Carmen turns around abruptly and looks at José again.


ZUNIGA
to Carmen
Well! ... You heard? ... Do you have something to answer? ... Speak, I'm waiting ...


No 9 - Song and melodrama

Carmen, instead of answering, begins to hum.

CARMEN
Tra la la la la la la
Cut me, burn me,
I will not tell you anything,
Tra la la la la la la
I brave everything, fire, iron
And the sky itself.

ZUNIGA
These are not songs that I ask you, it's an answer.

CARMEN
Tra la la la la la la
My secret I keep it and I keep it well:
Tra la la la la la la
I love another and die saying that I love him.

ZUNIGA
Ah! Ah! We take it on that tone ...
to José
What is certain, is not it, that there were stabbings, and that it was she who gave them.

At this moment five or six women on the right succeed in forcing the line of the sentries and rush on the stage shouting: Yes, yes, it is it! One of these women is near Carmen. This one raises the hand and wants to throw on the woman. Don José stops Carmen. The soldiers dismiss the women, and repel them this time quite out of the scene. Some sentinels continue to stay in sight keeping the approaches to the square.

ZUNIGA
to Carmen
Eh! Eh! You have a decided hand.
to the soldiers
Find me a rope.

Moment of silence during which Carmen starts humming in the most impertinent way while looking at the officer.

A SOLDIER
bringing a rope
There, my lieutenant.

ZUNIGA
in Don José
Take and tie these two pretty hands.
Carmen, without showing the slightest resistance, stretches both of her hands to Don Jose.
It's a shame really, because she's nice ... But as nice as you are, you'll go take a walk in prison. You will be able to sing your bohemian songs. The key ring will tell you what he thinks.
Carmen's hands are tied, she is made to sit on a stool in front of the guardhouse. She remains motionless, her eyes on the ground.
I will write the order.
in Don José
It's you who will drive it ...

He goes out.
A moment of silence. Carmen looks up and looks at Don Jose. He turns away, walks a few steps, then returns to Carmen who always looks at him.


Talking dialogue

CARMEN
Where will you drive me? ...

JOSÉ
In prison, my poor child ...

CARMEN
Alas! what will become of me? Lord officer, have pity on me ... You are so kind ...
Jose does not answer, goes away and returns, always under the look of Carmen.
This rope, as you tightened it, this rope ...
I have broken wrists.

JOSÉ
approaching Carmen
If it hurts you, I can loosen it ... The lieutenant told me to tie your hands ... he did not tell me ...
He loosens the rope.

CARMEN
low
Let me escape, I'll give you a piece of the lachi bar, a little stone that will make you love all women.

JOSÉ
away from
We are not here to say nonsense ... We must go to the prison. It's the instruction, and there are no remedies.


Silence.

CARMEN
Earlier you said: Navarre's faith ... are you Provinces? ...

JOSÉ
I'm from Elizondo ...

CARMEN
And me from Etchalar ...


JOSÉ
stopping
On etxalar! ... at four o'clock Elizondo, Etchalar.


CARMEN
Yes, that's where I was born ... I was taken by gypsies to Seville. I was working at the factory to earn enough to return to Navarre, near my poor mother who has only me for support ... I was insulted because I'm not from this country of rogues, merchants rotten oranges, and these naughty people came up against me because I told them that all their Jacques of Seville with their knives would not scare a guy from home with his blue beret and his maquila. Comrade, my friend, will you not do anything for a countryman?


JOSÉ
Are you from Navarre?

CARMEN
Without a doubt.


JOSÉ
Come on then ... there is not a word of truth ... your eyes alone, your mouth, your complexion ... Everything tells you bohemian ...

CARMEN
Bohemian, do you think?


JOSÉ
I'm sure…

CARMEN
By the way, I'm very good to give myself the trouble to lie ... Yes, I'm a bohemian, but you will not do less what I ask you ... You'll do it because you love me ...


JOSÉ
Me!

CARMEN
Eh! yes, you love me ... do not tell me no, I know it! Your regards, the way you speak to me. And that flower that you kept. Oh! You can throw it now ... it will do nothing. She had enough time on your heart; the charm operated ...

JOSÉ
with anger
Do not talk to me anymore, you hear, I forbid you to talk to me ...

CARMEN
That's fine, lord officer, that's fine. You forbid me to speak, I will not speak again.

No 10 - Séguedille and duo

CARMEN
Near the ramparts of Seville,
At my friend Lillas Pastia's,
I will dance the seguid
And drink Manzanilla!
I'll go to my friend Lillas Pastia's house.
Yes, but all alone is bored,
And the real pleasures are two.
So to keep me company,
I will take my lover
My lover! ... he is at odds
I kicked him out yesterday.
My poor heart very consolable,
My heart is free as the air.
I have gallants at the dozen,
But they are not to my liking;
Here is the end of the week,
Who wants to love me I will love him.
Who wants my soul ... she is to take.
You arrive at the right moment,
I do not have time to wait,
Because with my new lover
Near the walls of Seville.
At my friend Lillas Pastia's,
I will dance the seguid
And drink Manzanilla.
Yes, I will go to my friend's house
Lillas Pastia!


JOSÉ
Shut up, I told you not to talk to me.


CARMEN
I do not speak to you ... I sing for myself,
And I think ... it's not forbidden to think,
I think of some officer who loves me,
And that in turn, yes that to my turn
I could love!


JOSÉ
Carmen!

CARMEN
My officer is not a captain,
Not even a lieutenant,
He is only brigadier.
But that's enough for a gypsy,
And I deign to be satisfied with it!

JOSÉ
loosening the rope that holds Carmen's hands
Carmen, I'm like a drunk man,
If I give in, if I surrender,
Your promise, you will hold it.
Ah! If I love you, Carmen,
Carmen, you will love me.

CARMEN
Yes…

JOSÉ
At Lillas Pastia.

CARMEN
We will dance the seguid
By drinking manzanilla.


JOSÉ
You promise!
Carmen! You promise!

CARMEN
Ah! Near the ramparts of Seville
At my friend Lillas Pastia's,
We will dance the seguid
And drink of Manzanilla.
Tra la la la la la la la la la!


JOSÉ
The lieutenant! ... be careful.


Carmen will be back on her stool, hands behind her back. Enter Zuniga.


No 11 - Final

ZUNIGA
Here is the order, leave and make good custody ...

CARMEN
down to José
On the way I will push you, I will push you
As hard as I can
Let yourself be overthrown ... the rest is watching me!


She stands between the two dragons. Jose next to her.
The women and the bourgeois during this time came back on stage always kept at a distance by the dragons.
Carmen crosses the scene from left to right going towards the bridge ...

CARMEN
Love is Bohemian child,
He never knew a law;
If you do not love me, I love you,
If I love you, take care of yourself.


Arriving at the entrance to the bridge on the right, Carmen pushes Jose who lets himself overthrow. Confusion, disorder, Carmen runs away. Arrived in the middle of the bridge, she stops for a moment, throws her rope over the parapet of the bridge and runs away while on the stage, with loud bursts of laughter, the cigarette-makers surround the lieutenant.

Intermission


SECOND ACT

The tavern of Lillas Pastia. Tables on the right and left. Carmen, Mercedes, Frasquita, Lieutenant Zuniga, Morales and a lieutenant. It's the end of a dinner. The table is messy. Officers and gypsies scrape guitar in a corner of the tavern and two gypsies in the middle of the stage dance.
Carmen is sitting watching the gypsy girls dance, the lieutenant speaks to her low, but she pays no attention to him. She gets up suddenly and begins to sing.


No 12 - Bohemian song

CARMEN
The rods sistrums tinkled
With a metallic luster.
And on this strange music
The zingarellas were rising.
Basque drums went their train.
And the crazy guitars
Squeaked under stubborn hands,
Same song, same chorus.
Tra la la la la, Tra la la la la la.


On this chorus, gypsies dance.

CARMEN, FRASQUITA and MERCEDES
Tra la la la, Tra la la la la.

CARMEN
The rings of copper and silver
Shine on the dark skin;
Orange or red zebra
The stuffs floated in the wind:
The singing dance was getting married
At first indecisive and timid.
More lively then and faster,
It went up, up, up!
Tra la la la la la, Tra la la la la la la la.

CARMEN, FRASQUITA and MERCEDES
Tra la la la, Tra la la la la.

CARMEN
Bohemians with a twist,
Their instruments were raging,
And this dazzling fuss,
Bewitched the zingaras!
Under the rhythm of the song,
Ardent, crazy, feverish,
They indulged, intoxicated,
Take it by the whirlpool!
Tra la la la la, Tra la la la la la.

CARMEN, FRASQUITA and MERCEDES
Tra la la la, Tra la la la la.

Very fast, very violent dance movement. Carmen herself dances and comes, with the last notes of the orchestra, falling panting on a bench in the tavern. After the dance, Lillas Pastia starts to turn around the officers with an embarrassed air.


Talking dialogue


ZUNIGA
You have something to tell us, Master Lillas Pastia?

PASTIA
My God, gentlemen ...

MORALÈS
Speak, let's see ...

PASTIA
It is getting late ... and I am, more than anyone, obliged to observe the regulations. Mr. Corrégidor being quite ill-disposed towards me ... I do not know why he is ill disposed ...


ZUNIGA
I know it very well, me. This is because your inn is the regular meeting place for all smugglers in the province.

PASTIA
Whether for this reason or for another, I have to be careful ... but, I repeat, it is getting late.

MORALÈS
That means you're putting us out! ...

PASTIA
Oh! no, gentlemen officers ... oh! no ... I'm just pointing out that my hostel should be closed for ten minutes ...

ZUNIGA
God knows what's going on in your hostel once it's closed ...

PASTIA
Oh! my lieutenant ...

ZUNIGA
Finally, before the call, we still have time to spend an hour at the theater ... you will come with us, will not you, the beautiful ones?


Pastia gestures to the gypsies to refuse.

FRASQUITA
No, gentlemen, no, we stay here.

ZUNIGA
How, you will not come

MERCÉDÈS
It's impossible ...

MORALÈS
Mercedes!

MERCÉDÈS
I am sorry …

MORALÈS
Frasquita! ...

FRASQUITA
I'm sorry…

ZUNIGA
But you, Carmen, I'm sure you will not refuse ...

CARMEN
That's what deceives you, my lieutenant ... I refuse and even more clearly than two if it's possible ...


While the lieutenant speaks to Carmen, Morales and the two other lieutenants try to bend Frasquita and Mercedes.

ZUNIGA
You want me?

CARMEN
Why would you like it?

ZUNIGA
Because a month ago, I had the cruelty to send you to prison ...

CARMEN
as if she did not remember
In jail?

ZUNIGA
I was on duty, I could not do otherwise.

CARMEN
same game
At the prison ... I do not remember going to prison ...

ZUNIGA
I know from heaven that you did not go there ... the brigadier who was in charge of driving you having thought fit to let you escape ... and to be degraded and imprisoned for that ...

CARMEN
serious
Degrade and imprison? ...

ZUNIGA
My God yes ... we did not want to admit that such a small hand was strong enough to overthrow a man ...

CARMEN
Oh!

ZUNIGA
It did not seem natural ...

CARMEN
And this poor boy has become a simple soldier again?

ZUNIGA
Yes ... and he spent a month in prison ...

CARMEN
But he came out?

ZUNIGA
Since yesterday only!

CARMEN
snapping his castanets
All is well, since it came out, everything is fine.

ZUNIGA
At the right time, you consoles quickly ...

CARMEN
apart
And I'm right ...
top
If you believe me, you will do like me, you want to take us, we do not want to follow you ... you will console ...

MORALÈS
It will be necessary.

The scene is interrupted by a chorus sung in the wings.


No 13 - Chorus

CHOIR
Vivat! Vivat the bullfighter!
Vivat! Vivat Escamillo!
Never fearless man
Did not have a better shot
With a faster hand
Defeat the bull!
Vivat! Vivat! Vivat!

ZUNIGA
What is that?

MERCÉDÈS
A torchlight walk ...

MORALÈS
And who are we walking?

FRASQUITA
I recognize him ... it's Escamillo ... a bullfighter who made his mark at the last races of Granada and who promises to equal the glory of Montes and Pepe Illo ...

ZUNIGA
Pardieu, we must bring him here ... we will drink in his honor!

MORALÈS
That's it, I'll invite him.
He goes to the window.
Mr. Bullfighter ... do you want to make friends with us here? You will find people who love all those who, like you, have the address and the courage ...
Leaving the window
He comes …


PASTIA
supplicant
Gentlemen, I told you ...

ZUNIGA
Have the goodness to leave us alone, Master Lillas Pastia, and bring us something to drink ...

CHOIR
Vivat! Vivat the bullfighter!
Vivat! Vivat Escamillo!
Vivat! Vivat! Vivat!


Escamillo appears.

Talking dialogue

ZUNIGA
These ladies and we thank you for accepting our invitation; we did not want to let you go without drinking with you to the great art of bullfighting.

ESCAMILLO
Distinguished officers, thank you.

No 14 - Couplets

ESCAMILLO
Your toast ... I can return it to you
Señors, Señors, because with the soldiers
Yes bullfighters can hear each other,
For fun they have fights.
The circus is full, it's a holiday,
The circus is full from top to bottom.
The spectators losing their heads,
The spectators are calling out loudly:
Apostrophes, shouting and noise
Pushed to fury.
Because it's the day of courage,
It's the party of the court people.
Let's go on guard! Come on! Come on! Ah!
Toreador, on guard,
Toreador, toreador,
And think well, yes think fighting
A black eye is watching you
And that love is waiting for you.
Toreador, love,
Love is waiting for you!

ALL
Toreador on guard,
Toreador, Toreador
In battle, think that a black eye is watching you
And that love is waiting for you
Toreador, love, love is waiting for you!

ESCAMILLO
All at once silence is made;
We are silent. Ah what's going on?
No more screams; it's the moment
The bull springs by leaping out of the toril ...
He rushes, he enters, he knocks, a horse rolls
Driving a picador.
Ah bravo toro !, yells the crowd.
The bull goes ... he comes ... he comes and knocks!
By shaking his banderillas,
Full of fury, he runs!
The circus is full of blood;
We escape, we cross the gates;
It's your turn now.
Let's go on guard! Come on! Come on! Ah!
Toreador, on guard!
Toreador, toreador!
And think well, yes think fighting
A black eye is watching you
And that love is waiting for you.
Toreador, love is waiting for you!

ALL
Toreador on guard!
Toreador! Toreador!
In battle, think that a black eye is looking at you,
And that love is waiting for you.
Toreador, love, love is waiting for you!


MERCÉDÈS
Love!

ESCAMILLO
Love!

FRASQUITA
Love!

ESCAMILLO
Love!

CARMEN
Love!

ESCAMILLO
Love!

ALL
Toreador, Toreador!
Love is waiting for you!


We drink, we exchange handshakes with the toreador.


Talking dialogue

PASTIA
Officers, please.

ZUNIGA
It's good, it's good, we're leaving.

Officers begin to prepare to leave. - Escamillo is near Carmen.

ESCAMILLO
Tell me your name, and the first time I hit the bull, it will be your name that I will pronounce.

CARMEN
My name is Carmencita.

ESCAMILLO
The Carmencita?

CARMEN
Carmen, Carmencita, as you wish.

ESCAMILLO
Well! Carmen or Carmencita, if I thought of loving you and being loved by you, what would you say to me?

CARMEN
I would answer that you can love me at your ease, but as to be loved by me for the moment, do not think!

ESCAMILLO
Ah!

CARMEN
It's like that.

ESCAMILLO
I'll wait then and I'll just hope ...

CARMEN
It is not forbidden to wait and it is always nice to hope.

MORALÈS
in Frasquita and Mercedès
You do not come decidedly?


MERCEDES AND FRASQUITA
on a new sign of Pastia
But no but no …

MORALÈS
in Zuniga
Bad campaign, lieutenant.

ZUNIGA
Bah! The battle is not lost yet ...
Down to Carmen
Listen to me, Carmen, since you do not want to come with us, it's me who in an hour will come back here.

CARMEN
Right here?

ZUNIGA
Yes, in an hour ... after the call.

CARMEN
I do not advise you to come back ...

ZUNIGA
laughing
I will come back anyway.
top
We leave with you, bullfighter, and we will join the procession that accompanies you.


ESCAMILLO
It is a great honor for me, I will try not to show myself unworthy when I fight before your eyes.


Everyone leaves, except Carmen, Frasquita, Mercedes and Lillas Pastia.

FRASQUITA
in Pastia
Why were you so eager to send them away and why did you wave to us not to follow them?

PASTIA
The Dancaïre and the Remendado have just arrived ... they have to talk to you about your business, the affairs of Egypt.

CARMEN
The Dancaïre and the Remendado?

PASTIA
opening a door and calling
Yes, here they are ... hold ...

Enter the Dancaïre and the Remendado. Pastia closes the doors, puts the shutters, etc.

FRASQUITA
Well, the news?

THE DANCAÏRE
Not too bad, the news; we arrive from Gibraltar ...

THE REMENDADO
Nice city, Gibraltar! There are Englishmen, many Englishmen, pretty men, the English; a little cold, but distinguished.

THE DANCAÏRE
Remendado!

THE REMENDADO
Boss?

THE DANCAÏRE
putting his hand on his knife

You understand?


THE REMENDADO
Perfectly, boss ...

THE DANCAÏRE
Shut up, then. We arrive from Gibraltar, we have arranged, with a skipper, the embarkation of English goods. We will wait for them near the coast, we will hide some of them in the mountains and we will pass the rest. All our comrades have been warned ... they are here,
hidden, but it's all three of you that we need ... you're going with us ...

CARMEN
laughing
To do what? To help you carry bales? ...

THE REMENDADO
Oh! No ... bring bales to ladies ... it would not be distinguished.

THE DANCAÏRE
threatening
Remendado?

THE REMENDADO
Yes Boss.

THE DANCAÏRE
We will not bring you bales, but we need you for something else.


No 15 - Quintette

THE DANCAÏRE
We have a business in mind.

MERCEDES and FRASQUITA
Is she good, tell us?

THE DANCAÏRE
She is admirable, my dear
But we need you.

THE REMENDADO
Yes, we need you!

CARMEN
From U.S?


THE DANCAÏRE
From you!

FRASQUITA
From U.S?

THE REMENDADO
From you!

MERCÉDÈS
From U.S?

FRASQUITA, MERCEDES and CARMEN
What! Do you need us?

THE REMENDADO and THE DANCAÏRE
Yes, we need you!
Because we humbly admit it,
And respectfully,
Yes we humbly admit it:
When it comes to deception,
Deception, thievery,
He is always good, on my faith,
To have women with you,
And without them,
My all beautiful,
We never do anything good.

FRASQUITA, MERCEDES and CARMEN
What! Without us ever nothing
Good?

DANCAÏRE and REMENDADO
Are not you of this opinion?

FRASQUITA, MERCEDES and CARMEN
If done, I am of this opinion.
If really I am of this opinion.


ALL FIVE
When it comes to deception,
Deception, thievery
He is always good on my faith
To have women with you.
And without them, the beautiful ones,
We never do anything good.

THE DANCAÏRE
It says then, you will leave.

MERCEDES and FRASQUITA
When you want.

THE REMENDADO
But right now.

CARMEN
Ah! Allow, allow.
at Mercedes and Frasquita
Please leave, leave.
But I'm not traveling;
I'm not leaving ... I'm not leaving.

THE REMENDADO and THE DANCAÏRE
Carmen, my love, you will come,
And you will not have the courage
To leave us in embarrassment.

CARMEN
I'm not leaving, I'm not leaving.

FRASQUITA and MERCEDES
Ah! My Carmen, you will come!

THE DANCAÏRE
But at least the reason, Carmen will you say it?

FRASQUJTA, MERCÉDÈS, DANCAÏRE and REMENDADO
The reason! The reason! The reason! The reason!

CARMEN
I will certainly say it.

THE DANCARUS, THE REMENDADO, FRASQUITA and MERCEDES
Let's see! Let's see! Let's see! Let's see!

CARMEN
The reason is that right now ...

DANCAÏRE and REMENDADO
Well?

FRASQUITA and MERCEDES
Well?


CARMEN
I am in love.

DANCAÏRE and REMENDADO
What did she say? What did she say?

FRASQUITA and MERCEDES
She says she's in love!

DANCAÏRE, REMENDADO, FRASQUITA and MERCEDES
In love! In love!

THE DANCAÏRE
Come on, Carmen, be serious.

CARMEN
In love with losing the spirit.

DANCAÏRE and REMENDADO
The thing certainly surprises us,
But it's not the first day
Where you will know, my darling.
To walk in front of duty and love.

CARMEN
My friends, I would be very comfortable
To be able to go with you tonight,
But this time, do not displease yourself,
It will be necessary that the love passes before the duty.

THE DANCAÏRE
This is not your last word?

CARMEN
Absolutely.

THE REMENDADO
You have to let yourself be softened.

EVERY FOUR
You have to come, Carmen, you have to come.
For our business,
It's necessary,
Because between us ...

CARMEN
As for that, I admit it with you.


ALL FIVE
When it comes to deception,
Deception, thievery, etc.

Talking dialogue

THE DANCAÏRE
Enough of it; I told you to come, and you'll come ... I'm the boss ...

CARMEN
How do you say that?

THE DANCAÏRE
I tell you that I am the leader ...

CARMEN
And you think I'll obey you?

THE DANCAÏRE
furious
Carmen! ...

CARMEN
very calm
Well!

THE REMENDADO
jumping between Dancaïre and Carmen
I beg you ... people so distinguished ...

THE DANCAÏRE
kicking the Remendado avoids.
Catch that, you ...

THE REMENDADO
straightening
Boss

THE DANCAÏRE
What is it?

THE REMENDADO
Nothing, boss!

THE DANCAÏRE
In love ... that's not a reason.

THE REMENDADO
The fact is that it is not one ... I too am in love and that does not prevent me from making myself useful.


CARMEN
Leave without me ... I'll join you tomorrow, but for tonight I'm staying ...


FRASQUITA
I have never seen you like that; who are you waiting for?

MERCÉDÈS
This soldier who was in prison?

CARMEN
Yes

FRASQUITA
And to whom, a fortnight ago, the jailer handed you a piece of bread in which there was a piece of gold and a file?

CARMEN
going back to the window
Yes.

THE DANCAÏRE
He used this file?

CARMEN
No.

THE DANCAÏRE
You clearly see! Your soldier will have been afraid of being punished more severely than he was; Tonight he'll be afraid again ... you'll have to open the shutters and see if he's coming, I'll bet he will not come.

CARMEN
Do not bet, you'll lose ...


No 16 - Song

JOSÉ
the voice far away
Stop!
Who's there?
Almanza Dragon ...

CARMEN
Listen! Here it is!


JOSÉ
Where are you going,
Almanza Dragon!
I'm going to do
Bite the dust
To my opponent.
If so,
Pass my friend.
Case of honor,
Court case,
For us everything is there.
Almanza Dragon!


Carmen, the Dancaire, the Remendado, Mercedes and Frasquita, by the half-open shutters, watch Don Jose come.



Talking dialogue

MERCÉDÈS
It's a dragon, my faith.

FRASQUITA
And a beautiful dragon.

THE DANCAÏRE
to Carmen
Well, since you only want to come tomorrow, do you know at least what you should do?

CARMEN
What should I do?

THE DANCAÏRE
You should decide your dragon to come with you and join us.

CARMEN
Ah! ... if it could! ... but do not think it's nonsense. . . he is too stupid.

THE DANCAÏRE
Why do you like it since you agree yourself ...

CARMEN
Because he is a pretty boy, and I like him.


THE REMENDADO
with felicity
The boss does not understand that, him ... it is enough to be pretty boy to please women ...

THE DANCAÏRE
Wait a minute, wait a bit ...

The Remendado fled and went out. The Dancaïre pursues him and goes out in turn, dragging Mercédès and Frasquita who try to calm him down.

JOSÉ
the voice much closer
Stop!
Who's there?
Almanza Dragon!
Where are you going,
Almanza Dragon?
Accurate and faithful, I go where my name is
The love of my beautiful.
If so,
Pass my friend,
Case of honor,
Matter of heart,
For us everything is there.
Almanza Dragon!

CARMEN
Finally ... here you are ... It's very happy!

JOSÉ
Only two hours ago I got out of prison.

CARMEN
Who prevented you from going out earlier? I had sent you a file and a piece of gold ... with the file it was necessary to saw the biggest bar of your prison ... with the gold coin it was necessary, at the first dealer to come, change your uniform for a bourgeois dress.

JOSÉ
Indeed, all this was possible.

CARMEN
Why did not you do it?

JOSÉ
What do you want? I still have my honor as a soldier, and deserting would seem to me a great crime. Oh! I'm not less grateful ... You sent me a file and a piece of gold ... The file will serve me to sharpen my spear and I keep it as a souvenir of you. Handing him the gold coin.
As for money ...

CARMEN
Well, he kept it ... It's great ...
Shouting and striking
Hola! ... Lillas Pastia, hello! ... we will eat everything, you treat me ... Hola! Hola!


Between Pastia

PASTIA
preventing him from screaming
Take care ...

CARMEN
throwing him the coin
Here, grab ... and bring us candied fruits; bring us sweets, bring us oranges, bring us Manzanilla ... bring us all you have, everything, everything ...

PASTIA
Right away, Miss Carmencita.


CARMEN
to José
You want me then and you regret having been put in jail for my beautiful eyes?

JOSÉ
As for that no, for example.

CARMEN
Really?


JOSÉ
They put me in prison, they took away my rank, but I do not care.

CARMEN
Because you love me?

JOSÉ
Yes, because I love you, because I adore you.

CARMEN
putting both his hands in José's hands
I pay my debts ... it's our law to us gypsies ... I pay my debts, I pay my debts ...


Return Lillas Pastia bringing on a tray oranges, candies, candied fruits, Manzanilla.

CARMEN
Put it all here ... one shot, do not be afraid ...
Pastia obeys and half of the objects roll on the floor.
It does not matter, we'll pick it all up ourselves.
Save now, save yourself, save yourself.
Pastia goes out.
Get there and eat everything! Of all! Of all!


She is sitting; Don José sits in front of her.

JOSÉ
You eat candies like a child of six ...

CARMEN
It's because I love them ... Your lieutenant was here just now, along with other officers, he made us dance La Romalis ...

JOSÉ
You danced?

CARMEN
Yes; and when I danced, your lieutenant allowed himself to tell me that he adored me ...


JOSÉ
Carmen!

CARMEN
What do you have? ... Would you be jealous, by chance?

JOSÉ
But certainly, I'm jealous ...

CARMEN
Ah well! ... Canari, go! . You are a real canary of dress and character ... come on, do not be angry ... why are you jealous? Because I danced
just now for these officers ... Well, if you want, I'll dance for you now, for you alone.

JOSÉ
If I want it, I think I want it ...

CARMEN
Where are my castanets? What did I do with my castanets?
laughing
Is it you who took them to me, my castanets?

JOSÉ
But no!

CARMEN
tenderly
But if, but if ... I'm sure it's you ... ah bah! Here are some castanets.

She breaks a plate, with two pieces of earthenware is castanets and tries them ...
Ah! It will never be worth my castanets ... Where are they?

JOSÉ
finding the castanets on the table on the right
Here, here they are.

CARMEN
laughing
Ah! You see ... it was you who took them ...

JOSÉ
Ah! That I love you, Carmen, that I love you!

CARMEN
I hope so.

No 17 - Duo

CARMEN
I will dance in your honor
And you will see, Lord,
How do I know how to accompany my dance,
Put yourself there, Don José, I start.
La la la la la la la la la la ...

She sits Don José in a corner of the theater. Little dance. Carmen half-heartedly hums an air she accompanies with her castanets. Don José devours her eyes. In the distance, far away, there are bugles that sound like retreat. Don José is listening. He thinks he hears the bugles, but Carmen's castanets slam loudly. Don Jose approaches Carmen, takes his arm, and forces him to stop.

JOSÉ
Wait a minute, Carmen, just a moment, stop.

CARMEN
And why, please?

JOSÉ
It seems to me, over there ...
Yes, it's our bugles that sound the retreat.
Do not you hear them?

CARMEN
Bravo! Bravo! I could do it ...
He is melancholy
To dance without orchestra. And long live the music that falls from the sky!
Lalalalala lalalalala …


She resumes her song which rhythms on the retreat sounded outside by the bugles. Carmen starts dancing again and Don José goes back to
watch Carmen. The retreat is approaching ... approaching ... approaching ... passing under the windows of the inn ... then move away ...
The sound of the bugles is weakening. Don José's new effort to tear himself away from this contemplation of Carmen ... He takes her arm
and still forces him to stop.

JOSÉ
You did not understand me ... Carmen, it's retirement ...
I have to go back to the neighborhood for the call.


The sound of retirement ceases suddenly.


CARMEN
looking at Don Jose, who is putting back his bagpiper and fastening the belt with his sword.
The neighborhood! For the call!
Ah! I was really stupid!
I bent over backwards and I was paying
To amuse monsieur, I sang ... I danced.
I believe, God forgive me,
What more, I loved him
Your ta ta ta is the bugle that rings!
He leaves! He left!
Go away, canary.
With fury, sending him his shako on the fly.
Take your shako, your saber, your giberna.
And go away, my boy,
Go away,
Return to your barracks.

JOSÉ
It's wrong of you, Carmen, to make fun of me;
I suffer from leaving ... because never,
Never woman,
Never woman before you
No, never, never woman before you
So deeply had not troubled my soul.


CARMEN
He is suffering from
Because never before me
As deeply
Had not troubled his soul!
Your ta ta ta, my God ... it's the retreat.
Ta ta ta, I'll be late,
O my God, O my God, this is the retreat!
I will be late. He loses his head.
He runs, and that's his love.

JOSÉ
So you do not believe
To my love?

CARMEN
But no!

JOSÉ
Well! You will hear me.

CARMEN
I do not want to hear anything ...

JOSÉ
You will hear me!

CARMEN
You will make you wait!
No! No! No! No!


JOSÉ
violently
You will hear me! Yes, you will hear me!
I want it, Carmen, you'll hear me!


With his left hand he seized Carmen's arm abruptly; With his right hand, he is going to search under his uniform jacket for the cassie flower which Carmen threw to him in the first act. He shows this flower to Carmen.

JOSÉ
The flower you had thrown at me
In my prison I had stayed,
Withered and dry, this flower
Always kept its sweet smell;
And for hours,
On my eyes closing my eyelids
From this smell I would get drunk
And in the night I saw you.
I began to curse you
To hate you, to tell me:
Why must destiny
Put it there on my way?
Then I blamed myself for blasphemy
And I did not feel in myself
Only one desire, one hope,
To see you again, O Carmen, yes, see you again! ...
Because you had only to appear,
What to take a look at me
To take hold of all my being,
O my Carmen.
And I was a thing of you.
Carmen, I love you!

CARMEN
No, you do not love me.

JOSÉ
What are you saying?

CARMEN
No, you do not love me, no!
Because if you loved me,
Over there, you would follow me there.

JOSÉ
Carmen!

CARMEN
Yes! Over there, in the mountains ...

JOSÉ
Carmen!

CARMEN
Over there, you would follow me there,
On your horse you would take me,
And as a brave man through the countryside,
In hock, you would take me away.
Over there, in the mountains ...

JOSÉ
Carmen!

CARMEN
Over there, you would follow me there.
You would follow me, if you loved me.
You do not depend on anyone,
No officer to whom you must obey,
And point of retirement that rings
To tell the lover that it's time to leave.
The open sky, the wandering life,
For country the universe, and for law your will,
And especially the intoxicating thing,
Freedom! Freedom!

JOSÉ
My God!

CARMEN
Over there, in the mountains ...

JOSÉ
Carmen!

CARMEN
Over there, if you loved me ...

JOSÉ
Shut up!

CARMEN
Over there, you would follow me there!
On your horse you would take me,
And as a brave man through the countryside,
Yes, you would take me away
If you loved me!

JOSÉ
Ah! Carmen, alas, shut up! Shut up!
My God!
Alas! Alas! Pity! Carmen!
Pity!
Oh my God! Alas!

CARMEN
Yes, is not it?
Over there, you will follow me there.
Over there, you will follow me there.
You love me and you will follow me.
Over there, take me away!

JOSÉ
Ah! Shut up! Shut up!
Ripping off Carmen's arms.
No, I do not want to listen to you anymore
To leave my flag ... to desert
It's shame, it's infamy,
I do not want it!

CARMEN
Well, go!

JOSÉ
Carmen, please.

CARMEN
No, I do not love you anymore, go! I hate you!

JOSÉ
Listening! Carmen!

CARMEN
Farewell! But goodbye for ever.

JOSÉ
Well, be it! Farewell, goodbye for ever.

CARMEN
Go away!

JOSÉ
Carmen! Farewell, goodbye forever!

CARMEN
Farewell!

He goes running to the door ... At the moment he gets there, we hit ... Don José stops. Silence. We hit again.


No 18 - Final

ZUNIGA
Hola! Carmen! Hola! Hola!

JOSÉ
Who hits? Who is there?

CARMEN
Shut up! ... Shut up!

ZUNIGA
blowing the door.
I open myself and go in.
He enters and sees Don Jose. To Carmen.
Ah! Ah! Fi the beautiful,
The choice is not happy; it is misaligned
to take the soldier when we have the officer.
in Don José
Come on! Decamped.

JOSÉ
No.

ZUNIGA
If done, you will leave.

JOSÉ
I will not leave.

ZUNIGA
the striking
Funny!

JOSÉ
jumping on his sword
Thunder! It will rain blows.

Zuniga draws halfway.

CARMEN
throwing themselves between them
To hell with the jealous!
appellant
To me! To me!

The Dancaïre, the Remendado and the gypsies appear on all sides. Carmen with a gesture shows Zuniga to the gypsies; the Dancaïre and the Remendado throw themselves upon him, disarm him.

CARMEN
Beautiful officer, beautiful officer, love
You're playing a pretty ugly trick now
You arrive very badly and we are forced,
Not wanting to be denounced,
To keep you at least for an hour.

DANCAÏRE and REMENDADO
My dear sir, my dear sir,
We will please leave this house.
Will you come with us?
Will you come with us?

CARMEN
It's a walk.

DANCAÏRE and REMENDADO
Do you consent? Do you consent?
Answer comrade!

ZUNIGA
Certainly,
Especially since your argument
Is one of those to whom
We can not resist.
But beware of you later.

THE DANCAÏRE
with philosophy
War is war.
In the meantime, my officer,
Go ahead without being asked.

THE REMENDADO and THE CHOIR
Go ahead without being asked.

The officer leaves, taken by four gypsies, pistol in hand.

CARMEN
in Don José
Are you here now?

JOSÉ
It must be so.

CARMEN
Ah! The word is not gallant,
But no matter, go, you'll do it
When will you see
How beautiful is the wandering life
For country the universe,
For your will,
And especially the intoxicating thing:
Freedom! Freedom!

FRASQUITA, MERCÉDÈS, CARMEN and WOMEN
Follow us through the countryside,
Come with us to the mountain,
Follow us and you'll do it, you'll do it
When you see, there,
How beautiful is the wandering life
For country the universe;
And for law his will!
And especially the intoxicating thing:
Freedom!

THE REMENDADO, THE DANCAÏRE and THE MEN
Friend, follow us in the countryside,
Come with us to the mountains, etc.

JOSÉ
Ah!

ALL
The open sky, the wandering life,
For countries all the universe
For your will,
And especially the intoxicating thing:
Freedom! Freedom!

Intermission

THIRD ACT

The curtain rises on rocks ... picturesque site and
wild ... Complete loneliness and dark night. Musical prelude.
After a few moments, a smuggler appears at the top of the rocks, then another, then two others, then twenty others here and there, descending and climbing rocks. Men carry big bales on their shoulders.


No 19 - Sextet and choir

CHOIR
Listening, listening, companion, listening,
Fortune is there, there,
But take care during the journey,
Be careful to take a wrong step.

FRASQUITA, MERCEDES, CARMEN, JOSÉ, THE REMENDADO and THE DANCAÏRE
Our job is good, but to do it you have to
Have a strong soul,
And the danger, the danger is at the top,
He is at the bottom, he is at the top,
It is everywhere that matters!
We go before us, without worrying about the torrent,
Without worry of the storm,
Without worrying about the soldier, who is waiting for us
And we watch for the passage.
Without worry, we go forward!
Listening, companion, listening,
Fortune is there, over there ...
But take care during the journey,
Be careful to take a wrong step.
Be careful! Be careful!


Talking dialogue

THE DANCAÏRE
Halt! We will stop here ... those who are sleepy will be able to sleep for half an hour ...

THE REMENDADO
extending with voluptuousness
Ah!

THE DANCAÏRE
I am going to see if there is a way to bring the goods into the city ... a breach was made in the wall and we could go through there; unfortunately we put a sentry to keep this gap.

JOSÉ
Lillas Pastia let us know that tonight this sentry would be a man of ours ...

THE DANCAÏRE
Yes, but Lillas Pastia could be wrong ... the sentry he wants to say could be changed ... Before going further I do not find it bad to make sure myself ...
appellant
Remendado!

THE REMENDADO
waking up
Hey?

THE DANCAÏRE
Stand up, you'll come with me ...

THE REMENDADO
But, boss ...

THE DANCAÏRE
What is it?

THE REMENDADO
elevating
Here, boss, that's it! ...

THE DANCAÏRE
Come on, go ahead.

THE REMENDADO
And I dreamed that I could sleep ... It was a dream, alas! It was a dream! ...


He goes out followed by Dancaïre.


During the scene between Carmen and José, some
gypsies light a fire near which Mercedes and Frasquita come to sit, the others roll in their coats, lie down and fall asleep.

JOSÉ
Let's see, Carmen ... if I spoke to you too hard, I'll tell you
ask for forgiveness, let's make peace.

CARMEN
No.

JOSÉ
You do not love me anymore, then?

CARMEN
What is certain is that I love you much less than before ... and if you continue to do
that way, I will end up not loving you at all ... I do not want to be tormented or especially commanded. What I want is to be free and do what I like.

JOSÉ
Are you the devil, Carmen?

CARMEN
Yes. What are you looking at, what are you thinking?

JOSÉ
I think that over there ... seven or eight leagues from here at most, there is a village, and in this village a good
old woman who believes that I am still an honest man ...

CARMEN
A good old woman?

JOSÉ
Yes; my mother.

CARMEN
Your mother ... Well there, true, you would not hurt to go
find her, because you're definitely not ready to live
with us ... dog and wolf are not long
household ...

JOSÉ
Carmen ...

CARMEN
Not to mention that the job is not without danger for those who, like you, refuse to hide when they hear gunshots ... many of ours have left their skin, your turn will come.

JOSÉ
And yours too ... if you talk to me again to separate and situate do not lead you with me as I want you to behave ...

CARMEN
You would kill me, maybe?
José does not answer.
At the right time ... I saw several times in the cards that we had to finish together.
Slamming his castanets.
Bah! Arrive that plants ...

JOSÉ
Are you the devil, Carmen? ...

CARMEN
But yes, I already told you ...


She turns her back on Jose and goes to sit near Mercedes and Frasquita. - After a moment of indecision, José moves away and goes to lie on the rocks. - During the last replicas of
the scene, Mercedes and Frasquita spread cards
in front of them.


No 20 - Trio

MERCÉDÈS
Mingle!

FRASQUITA
Mingle!

MERCÉDÈS
Coupons!


FRASQUITA
Coupons.

MERCÉDÈS
Well, that's it.

FRASQUITA
Well, that's it.

MERCÉDÈS
Three cards here ...

FRASQUITA
Three cards here ...

MERCÉDÈS
Four there!

FRASQUITA
Four there.

MERCEDES and FRASQUITA
And now, talk, my beautiful,
From the future give us news;
Tell us who will betray us,
Tell us who will love us.
Speak, speak!
Speak, speak!
Tell us who will betray us,
Tell us who will love us.

FRASQUITA
Speak! Speak!

MERCÉDÈS
Speak! Speak!

FRASQUITA
Me, I see a young lover
Who loves me can not be more.

MERCÉDÈS
Mine is very rich and very old
But he's talking about marriage.

FRASQUITA
He's camping me on his horse,
And in the mountains he trains me.


MERCÉDÈS
In an almost royal castle,
Mine installs me as a sovereign.

FRASQUITA
Love never ending,
Everyday new follies.

MERCÉDÈS
Gold as long as I can hold,
Diamonds ... precious stones.

FRASQUITA
Mine becomes a famous chef,
One hundred men are following him.

MERCÉDÈS
Mine, will I believe my eyes
Yes ... he is dying! Ah, I'm a widow
And I inherit.

FRASQUITA and MERCEDES
Speak again, speak, my beautiful,
From the future give us news;
Tell us who will betray us,
Tell us who will love us.
Speak again! Speak again!


They begin to consult the maps again.

MERCÉDÈS
Fortune!

FRASQUITA
Love!

Carmen from the beginning of the next scene stares at the game of Mercedes and Frasquita.

CARMEN
Let's see, that I try in my turn.
She starts to turn the cards.
Tile, sting ... death!
I read it ... me first.
Showing Don José asleep.
Then him ... for both of them death.
In a low voice, while continuing to mix the cards.

In vain to avoid bitter answers,
In vain will you mix,
It is useless, the cards are sincere
And will not lie.
In the book from above,
If your page is happy,
Millet and cut without fear,
The map under your fingers
Will turn happy
Announcing happiness.
But if you have to die, if the word fearsome
Is written by lot,
Repeat twenty times
The ruthless card
Repeat: death!
Yes, if you have to die,
Repeat twenty times
The ruthless card
Repeat: death.
Again! Again! Always death.

FRASQUITA and MERCEDES
Speak again
Speak, my beautiful,
From the future give us news;
Tell us who will betray us,
Tell us who will love us.
Fortune! Love!

CARMEN
Again! Again!
The despair!
Death, death. Again!
The death. Always death.

MERCÉDÈS
Fortune!


FRASQUITA
Love!

CARMEN
Always death!

THE THREE OF THEM
Again! Again! Again! Again!

Enter the Dancaïre and the Remendado.


Talking dialogue

CARMEN
Well?

THE DANCAÏRE
Well, I was right not to trust Lillas Pastia's information; we did not find his sentry, but on the other hand we saw three customs officers who kept the breach and who kept it well, I assure you.

CARMEN
Do you know their names to these customs officers?

THE REMENDADO
Certainly we know their names; who is who
would we know customs officers if we did not know them? There was Eusebio, Perez and Bartolomé.

FRASQUITA
Eusebio ...

MERCÉDÈS
Perez ...

CARMEN
And Bartolome ...
laughing
Do not be afraid, Dancaïre, we answer for your three customs officers ...

JOSÉ
furious
Carmen!

THE DANCAÏRE
Ah! you, you'll leave us alone with your jealousy ... the day comes and we have no time to lose ... On the way, children.
We start taking the bales.
As for you ...
addressing José
I entrust to you the guard of the goods that we do not take away ... You will place yourself there, on this height ... you will be there perfectly to see if we are followed ... in the case where you would see somebody one, I allow you to spend your anger on the indiscreet. - Here we are?

THE REMENDADO
Yes Boss.

THE DANCAÏRE
On the way then ...
Women's
But you do not flatter yourself, you really answer me of these three customs?

CARMEN
Do not be afraid, Dancaïre.


No 21 - Ensemble Piece

FRASQUITA, MERCEDES and CARMEN
As for the customs officer it's our business,
Just like any other he likes to please,
He likes to make the gallant.
Ah! Let us go ahead.

CARMEN, MERCÉDÈS, FRASQUITA and WOMEN
As for the customs officer it's our business.
Just like any other he likes to please.
He likes to make the gallant,
Ah! Let us go ahead.

ALL
He likes to please!

MERCÉDÈS
The customs officer will be nice!

ALL
He is gallant!

CARMEN
The customs officer will be charming!


ALL
He likes to please!

FRASQUITA
The customs officer will be gallant!

MERCÉDÈS
Yes the customs officer will be even enterprising!

ALL
Yes, the customs officer is our business!
Just like any other he likes to please,
He likes to make the gallant.
Let us go forward!

FRASQUITA, MERCEDES and CARMEN
It's no longer a battle,
No, it's just
To let oneself be caught
And listen to a compliment.
If you have to go to the smile,
What do you want? we will smile,
And in advance I can say,
Smuggling will pass.

CHOIR
And in advance I can say
Smuggling will pass!

FRASQUITA, MERCEDES and CARMEN
Forward! Let's walk! Come on! Forward!
The customs officer is our business! etc.


Everyone is coming out. Jose stops the march and goes out, examining the rifle of his carbine; a little before he leaves, we see a man pass his head over the rock. It's a guide.


Talking dialogue

GUIDE
He advances with caution, then makes a sign to Micaëla that we do not see yet.
Here we are.


MICAËLA
incoming
It's here?

GUIDE
Yes, ugly place, is not it, and not reassuring at all?

MICAËLA
I do not see anyone.

GUIDE
They have just left but they will come back soon, because they did not take away all their goods ... I know their habits ... Take care ... one of them must be a sentinel somewhere and if we were seen ...


MICAËLA
I hope it will be noticed ... since I came here just to talk to ... to talk to one of these smugglers ...

GUIDE
Well, you can boast of having courage ... just now when we found ourselves in the middle of this wild bull flock led by the famous Escamillo, you did not shake ... And now come face these gypsies

MICAËLA
I'm not easy to scare.

GUIDE
You say that because I am close to you, but if you were alone.

MICAËLA
I would not be afraid, I assure you.

GUIDE
So true?

MICAËLA
So true ...

GUIDE
naively
So I'll ask you to leave. -
I agreed to serve you as a guide because you paid me well; but now that you have arrived ... if it does not matter to you, I will go and wait for you there, where you took me. . . at the inn, which is at the bottom of the mountain.

MICAËLA
That's it, go wait for me!

GUIDE
You are definitely staying?

MICAËLA
Yes, I stay!

GUIDE
May all the saints of heaven help you then, but it's a funny idea that you have there.

No 22 - Air

MICAËLA
I say that nothing frightens me,
I say alas that I answer for myself,
But no matter how brave I am,
At the back of the yard, I'm dying of terror
Alone, in this wild place
Alone, I'm afraid,
But I'm wrong to be afraid,
You will give me courage,
You will protect me, Lord.
I'm going to see this woman up close
Including the accursed devices
Ended up doing an infamous
Of the one I once loved;
She is dangerous, she is beautiful,
But I do not want to be afraid,
No, no, I do not want to be afraid!
I will speak loudly in front of her,
Ah! Lord ... you will protect me.
Ah! I say nothing frightens me, etc.

Protect me! O Lord!
Give me courage!
Protect me! O Lord!
Protect me! Lord!


Talking dialogue

MICAËLA
But ... I'm not mistaken ... a hundred feet from here ... on this rock, it's Don José.
appellant
José, José!
With terror.
But what does he do? ... He does not look at me ... he's arming his rifle, he's adjusting ... he's firing ...
We hear a shot.
Ah! My God, I have presumed too much of my courage ...
afraid ... I'm scared.

She disappears behind the rocks. At the same moment Escamzllo holding his hat in his hand.

ESCAMILLO
looking at his hat
A few lines down ... and it is not me who, at the next race, would have had the pleasure of fighting the bulls that I am driving.


JOSÉ
his knife in his hand
Who are you? Answer.


ESCAMILLO
very calm
Hey ... gently!


No 23 - Duo

ESCAMILLO
I am Escamillo,
Torero of Granada.

JOSÉ
Escamillo!

ESCAMILLO
It's me.


JOSÉ
putting his knife back on his belt.
I know your name,
You're welcome; but really, comrade,
You could stay there.

ESCAMILLO
I do not say no,
But I'm in love, my dear, to madness,
And that one would be a poor companion
Who, to see his loves,
Would not risk his life.

JOSÉ
Which one do you like here?

ESCAMILLO
Exactly.
It's a zingara, my dear.

JOSÉ
Her name is?

ESCAMILLO
Carmen.

JOSÉ
Carmen!

ESCAMILLO
Carmen! Yes my dear.
She had for lover
A soldier who once
Deserted for her.

JOSÉ
Carmen!

ESCAMILLO
They adored each other,
But it's over, I think.
Carmen's loves
Do not last six months.

JOSÉ
You like it though ...


ESCAMILLO
I love it.
I like it, yes, my dear
I am crazy in love with her!

JOSÉ
But to take away our Bohemian girls,
Do you know that you have to pay?

ESCAMILLO
Either, we will pay.

JOSÉ
And that the price is paid by navaja shots.

ESCAMILLO
surprised
A shot of navaja?

JOSÉ
Do you understand?

ESCAMILLO
The speech is very clear.
This deserter, this beautiful soldier she loves
Or at least that she liked,
So it's you?

JOSÉ
Yes, it's me.

ESCAMILLO
I am delighted, my dear, and the tour is complete.

Both of them, the navaja the hand, are draped in their coats.

JOSÉ
Finally my anger
Find who to talk to.
Yes, blood, I hope,
Will soon sink.

ESCAMILLO
What clumsiness;
I would really laugh!
Seeking the mistress
And find the lover.


JOSÉ and ESCAMILLO
Warn you
And watch over you.
Too bad for who's late
To ward off blows.
On guard, let's go!
Watch over you! Watch over you!


They warn themselves at a distance.

ESCAMILLO
I know her,
Your Navarrese Guard,
And I warn you as a friend,
That she is worthless ...
Without answering, Don José walks on Escamillo.
Comfortable.
I will have warned you at least.


fight; Escamillo very calm only seeks to defend himself.


JOSÉ
You spare me, cursed.

ESCAMILLO

At this knife game
I am too strong for you.


JOSÉ
Let's see that.


Fast and very strong engagement body to body. José is at the mercy of Escamillo who does not hit him.

ESCAMILLO
All beautiful.
Your life is mine, but in short
My job is to hit the bull,
No to break the man's court.


JOSÉ
Strike or die
This is not a game

ESCAMILLO
clearing
Either, but at least breathe a little.

JOSÉ
On guard!

JOSÉ and ESCAMILLO
Warn you
And watch over you!
Too bad for who's late
To ward off blows.
On guard, let's go!
Watch over you! Watch over you!


After the last set, restart the fight. Escamillo slips and falls. - Enter Carmen and the Dancaïre; Carmen stops Don José's arm. - The Remendado, Mercedes, Frasquita and the smugglers return during this time.


No 24 - Final

CARMEN
Hola! Hola! José! ...

ESCAMILLO
getting up
True, my soul is happy
Whether it's you, Carmen,
That saved my life.
As for you, good soldier,
We are sleeve
And we will play the beautiful
The day you want
Resume the fight.

THE DANCAÏRE
It's good, it's good, no more quarrel,
We are going to leave.
in Escamillo
And you ... and you, the friend, good evening.

ESCAMILLO
Suffer at least
That before you say goodbye,
I invite you all to the races of Seville.
I intend to shine
My best,
And who loves me will come to it.
looking at Carmen
And who loves me will come!
to Don José who makes a threat gesture.
Friend, stay calm, I said everything,
Yes, I said everything and I have here only to say goodbye ...
Stage play. Don José wants to run on the bullfighter. Dancaïre and Remendado hold him back. Escamillo leaves very slowly.

JOSÉ
to Carmen
Beware,
Carmen ... I'm tired of suffering ...


Carmen responds with a slight shrug and moves away from him.

THE DANCAÏRE
On the way ... on the way ...
We must go

ALL
On the way ... on the way ...
We must leave.

THE REMENDADO
Halt! ... Someone is there
Who is trying to hide.

He brings Micaëla.

CARMEN
A woman!


THE DANCAÏRE
Pardieu, the surprise
is happy.


JOSÉ
recognizing Micaëla
Micaela!

MICAËLA
Don José!

JOSÉ
Unhappy!
What are you doing here?

MICAËLA
Me, I come to get you.
There is the cottage
Where, ever praying,
A mother, your mother,
Cry alas on his child ...
She's crying and calling you
She cries and holds out her arms;
You will take pity on her, Jose,
Ah! Jose, you will follow me, you will follow me.

CARMEN
Go away! Go away! You will do well,
Our job is not worth you.


JOSÉ
to Carmen
You tell me to follow her?

CARMEN
Yes, you should leave.

JOSÉ
You tell me to follow her
So that you can run
After your new lover.
No really,
If it cost me my life,
No, I will not leave,
And the chain that binds us
We will bind until the death ...
If it cost me my life
No, no, no I will not leave!

MICAËLA
Listen to me, please
Your mother holds out her arms,
This chain that binds you,
José, you'll break it.
Alas, José!

ALL
It will cost you life,
José, if you do not go,
And the chain that binds you
Will break with your death.

JOSÉ
Leave me,
Because I am doomed!

ALL
Jose, take care!

JOSÉ
Ah! I hold you, damned girl, I hold you,
And I will force you
To submit to destiny
Who is dividing your lot to mine?
If it cost me my life,
No, no, no I will not leave!

ALL
Ah! Take care, take care Don José!

MICAËLA
A word still! ...
It will be the last.
Your mother, alas, your mother is dying,
And your mother
Would not want to die
Without having forgiven you.

JOSÉ
My mother ... she is dying ...


MICAËLA
Yes, Don José.

JOSÉ
Let's go ... Ah! Let's go!
to Carmen
Be happy, I'm leaving,
But we will meet again.


He leads Micaëla.

ESCAMILLO
far off
Toreador, on guard,
Toreador, Toreador
And think well, yes think fighting
A black eye is watching you
And that love is waiting for you.
Toreador, love is waiting for you.


Jose stops at the bottom in the rocks ... He hesitates, Carmen listens and leans on the rocks.

Intermission


FOURTH ACT


A place in Seville. At the back of the theater, the walls of old arenas. The entry of the circus is closed by one long velum.
It's the day of a bullfight. Great movement on the square. Merchants of water, oranges, fans etc.


No 25 - Chorus

CHOIR
Two cuartos,
Fans to fan,
Oranges to nibble,
The program with the details!
Some wine! Some water!
Cigarettes!
Two cuartos!
Look! Two cuartos!
Señoras and Caballeros.


During this first chorus entered the two officers of the second act, having in arms the two gypsies Mercedes and Frasquita.

ZUNIGA
Oranges, quickly.

SEVERAL MERCHANTS
rushing
Here is it.
Take, take, miss.

A MERCHANT
to the paying officer
Thank you, my officer, thank you.

OTHER MERCHANTS
These, señor, are more beautiful ...
Fans to fan!
Oranges to nibble!
The program with the details!
Some wine! Some water!
Cigarettes!

ZUNIGA
Hola! Fans.

A BOHEMIAN
rushing
Do you also want glasses?

CHOIR
Two cuartos,
Two cuartos,
See two cuartos,
Senoras and Caballeros!
Look! Look!


Talking dialogue

ZUNIGA
What did you do with Carmencita? I do not see her.

FRASQUITA
We will see her later ... Escamillo is here, the Carmeneita must not be far.

ZUNIGA
Ah! Is it Escamillo now? ...

MERCÉDÈS
She's crazy about it ...

FRASQUITA
And his former lover Jose, do we know what has become of him?


ZUNIGA
He reappeared in the village where his mother lived ... order was even given
stop him, but when the soldiers arrived, José was no longer there ...

MERCÉDÈS
So that he is free?

ZUNIGA
Yes for the moment.

FRASQUITA
Hm! I would not be quiet in Carmen's place, I would not be quiet at all.


We hear loud cries outside. . fanfares, etc.
This is the arrival of the Cuadrilla.


No 26 - Walking and choir

CHILDREN
Here they are! here they are!
Here is the quadrille!

CHOIR
Here they are! Here they are! Yes here they are!
Here is the quadrille!
The quadrille of the bullfighters,
On the spears the sun shines,
In the air toques and sombreros!
Here they are, here is the quadrille,
The quadrille of the bullfighters,
Here they are! Here they are! Here they are!


Parade of the Cuadrilla.
During this parade, the choir sings the next song.

CHILDREN and CHOIR
Here, leading to the square,
Here, first, walking in step,
The alguazil with nasty face,
Down! Down! Down! Down!
Down with the Alguazil! Down!
Down! Down! Down! Down!

CHOIR
entrance of chulos and banderilleros
And then, by the way,
Let's salute the bold chubs,
Bravo! Viva! Glory to courage.
Here are the bold chubs!
See the banderilleros,
See what a look of cranium!
Look! Look! Look!
What looks and what brilliance
Spark embroidery
From their fighting costume!
Here are the banderilleros!
Entry of picadors.
Another quadrille moves forward,
See the picadors! How beautiful they are!
As they go from the iron of their spear
Harass the flanks of the bulls.
The Espada! The Espada!

CHILDREN and CHOIR
Escamillo!

Finally appears Escamillo, having close to him radiant Carmen and in a suit
bright.

CHILDREN and CHOIR
Escamillo! Escamillo!
Escamillo! Escamillo!
It's the Espada, the thin blade,
Whoever comes to finish everything,
Who appears at the end of the drama
And who hits the last shot.
Long live Escamillo! Long live Escamillo!
Ah! Bravo!
Here they are! Here is the quadrille,
The quadrille of the bullfighters!
On the spears the sun shines.
In the air, in the air, in the air
toques and sombreros!
Long live Escamillo!
Bravo! Viva! Bravo! Bravo!


ESCAMILLO
to Carmen
If you love me, Carmen,
You can see it later
To be proud of me
If you love me! If you love me!


CARMEN
Ah! I love you, Escamillo,
I love you and I die
If I have ever loved someone
As much as you.

CARMEN and ESCAMILLO
Ah! I love you.
Yes I love you.

FOUR ALGUAZILS
Square! Square! Place at
lord alcade!

Short walk to the orchestra.
In this march the alcade preceded and followed by the alguazils is very slow at the bottom. Meanwhile Frasquita and Mercedes approach Carmen.

FRASQUITA
Carmen, good advice,
Do not stay here.

CARMEN
And why, please?

MERCEDES.
He's there.

CARMEN
Who?

MERCÉDÈS
Him,
Don Jose ... in the crowd he hides himself;
Viewing.

CARMEN
Yes I see it.

FRASQUITA
Be careful.

CARMEN
I am not a woman
To tremble before him ...
I'm waiting for him ... and I'm going to talk to him.


MERCÉDÈS
Carmen, believe me,
Be careful!

CARMEN
I fear nothing!

FRASQUITA
Be careful!

The alcalde entered the circus. Behind the alcalde, the procession of the quadrille resumes its march and enters the circus. The popular ski. The crowd retreating cleared Don Jose ... Carmen remains alone in the foreground. All
two look at each other as the crowd dissipates and the motive for the march diminishes and dies the orchestra. On the last notes, Carmen and Don José remain alone, in the presence of each other.

No 27 - Duet and final choir
CARMEN
It's you?

JOSÉ
It's me.

CARMEN
I had been warned
That you were not far,
That you had to come,
I had even been told
To fear for my life,
But I am brave
And did not want to run away.

JOSÉ
I do not threaten, I implore, I beg;
Our past, Carmen,
Our past I forget,
Yes, we are both
Start another life,
Far from here, under other skies.

CARMEN
You ask the impossible,
Carmen never lied,
His soul remains inflexible,
Between her and you, everything is over.
I have never lied;
Between us everything is finished.

JOSÉ
Carmen, There's still time,
Yes, it's time yet ...
O my Carmen, leave me
To save you, I adore you,
And save me with you.

CARMEN
No, I know it's time,
I know you will kill me.
But whether I live or die
No! No! No! I will not give in.

JOSÉ
Carmen! It's time again.
Yes, it's time yet ...
O my Carmen, let me save you,
I adore you!
Ah, let me save you
And save me with you,
O my Carmen, it's time yet ...
Ah! Let me save you, Carmen,
Ah, let me save you, you whom I adore!
And save me with you!

CARMEN
Why are you still busy
Of a court that is no longer yours?
No, this court is no longer yours.
In vain do you say I adore you!
You will not get anything, not anything from me,
Ah! It's in vain ...
You will not get anything from me!

JOSÉ
Do not you love me anymore?
Silence of Carmen and Don José repeat
Do not you love me anymore?

CARMEN
No, I do not love you anymore.

JOSÉ
But I, Carmen, I still love you;
Carmen, Carmen, I adore you.

CARMEN
What good is all this?
What superfluous words!

JOSÉ
Carmen, I love you, I adore you!
Well, if you have to, to please you,
I'll remain a bandit, whatever you want,
Everything, you hear me, everything,
You hear me ... everything.
But do not leave me,
O my Carmen.
Ah! Remember, remember the past!
We loved each other a little while ago!
Ah! Do not leave me, Carmen,
Oh, do not leave me!

CARMEN
Carmen will never give up,
She was born
And free she will die.

CHOIR
in the circus
Viva! Viva! The race is beautiful.
On the bloody sand
The bull, harassed
Rushes leaping
Viva! Bravo! Victory!


During this choir, silence of Carmen and Don Jose ..
Both listen ... Hearing the cries of Victory, victory, Carmen let out an Ah! of pride and joy ... Don José does not lose Carmen by sight ... The choir finished, Carmen takes a step on the side of the circus.

JOSÉ
standing in front of her
Where are you going?

CARMEN
Leave me.

JOSÉ
This man who is acclaimed,
This is your new lover!

CARMEN
wanting to pass
Leave me ... Leave me alone.

JOSÉ
On my soul,
You will not pass,
Carmen, it's me you'll follow!

CARMEN
Leave me, Don José! ...
I will not follow you.

JOSÉ
You'll find him, say ...
Do you love him?

CARMEN
I love him, I love him, and before death,
I will repeat that I love him.


CHOIR
in the circus
Viva! Bravo! Victory!
Struck right in the heart!
The bull falls!
Glory to the victorious Toreador!
Victory!

JOSÉ
So, the salvation of my soul,
I will have lost it so that you,
For you to go away, infamous!
In his arms, laugh at me.
No, by the blood, you will not go,
Carmen, it's me you'll follow!

CARMEN
No! No! Never!

JOSÉ
I am tired of threatening you.

CARMEN
Well! Hit me then
Or let me go.

CHOIR
in the circus

Victory!

JOSÉ
For the last time, demon,
Do you want to follow me?

CARMEN
No! No!
This ring once
You gave it to me.


She throws it on the fly.

JOSÉ
dagger in hand, advancing on Carmen.
Well, damned ...

Carmen backs off ... José pursues her ... Meanwhile, fanfares and choir in the circus.

CHOIR
in the circus
Toreador, on guard, Toreador, Toreador,
And think well, yes think fighting
A black eye is watching you
And that love is waiting for you
Toreador, love
Love is waiting for you!

JOSÉ

You can stop me
I killed her.

Escamillo appears on the steps of the circus ... José throws herself on Carmen's body.
Ah! Carmen! My beloved Carmen!