Carmen Read online

  ACKNOWLEDGMENTS

  The author would like to thank Kwame Brandt-Pierce for his modern take on Georges Bizet’s music; Daniel Burwasser, PhD, of New York City’s Talent Unlimited High School for the Performing Arts, for his advice on the scores; and Julio and Rob Guzman and Nico Medina for their help on the Spanish text.

  EGMONT

  we bring stories to life

  First published by Egmont USA, 2011

  443 Park Avenue South, Suite 806

  New York, NY 10016

  Copyright © Walter Dean Myers, 2011

  Based on the opera Carmen; composer: Georges Bizet;

  librettists: Henri Meilhac and Ludovic Halévy

  All rights reserved

  1 3 5 7 9 8 6 4 2

  www.egmontusa.com

  www.walterdeanmyers.net

  Library of Congress Cataloging-in-Publication Data

  Myers, Walter Dean

  Carmen: an urban adaptation/by Walter Dean Myers.

  p. cm.

  Summary: A policeman’s obsessive love for a tempestuous wig factory worker ends in tragedy in this updated version of Bizet’s Carmen, set in Spanish Harlem, and told in screenplay format.

  ISBN 978-1-60684-115-0 (hardcover)—

  ISBN 978-1-60684-199-0 (electronic book)—ISBN 978-1-60684-192-1 (lib. bdg.) [1. Love—Fiction. 2. Hispanic Americans—Fiction. 3. New York (N.Y.)—Fiction.]

  I. Bizet, Georges, 1838–1875. Carmen. II. Title.

  PZ7.M992Car 2011

  [Fic]—dc22 2011002491

  Printed in the United States of America

  All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, or otherwise, without the prior permission of the publisher and copyright owner.

  Contents

  I

  Cast of Characters

  II

  Carmen: The Story and Some Songs*

  ACT ONE

  Scene 1

  Scene 2

  ACT TWO

  Scene 1

  Scene 2

  *A musical symbol within the text points out which songs can be found in the back of the book.

  III

  Author’s Note: Why Another Carmen?

  IV

  About the Music and Songs

  Cast of Characters

  Carmen, 18, Factory Worker

  José, 21, Police Officer

  Escamillo, 28, Rapper Turned Filmmaker

  Micaela, 20, Teacher’s Aide

  Zuniga, 36, Police Sergeant

  Frasquita, 18, Carmen’s Best Friend

  Mercedes, 17, Carmen’s Friend

  Dancairo, 34, Racketeer

  Raimondo, 37, Racketeer

  Neighborhood Residents

  Geraldo, 43, Restaurant Owner

  Elena, 27

  Maria, 22

  Angel, 17

  Juan, 55

  Jimenez, 53

  Carlos, 18

  Tía Sofia, 67

  Gato, 18

  Manny, 18

  Officer Shea, 23, Police Officer

  Officer Lane, 24, Policer Officer

  Gordito, 19, Escamillo’s Assistant

  Teresa, 40, Fortune-teller

  Rami, 17, Computer Wizard

  Yoshiro, 17, Computer Wizard

  Act One

  Scene 1

  It is summer of the present time in Spanish Harlem. We hear the opening music as people go about their daily lives. To stage right, flags from the Dominican Republic, Puerto Rico, Cuba, and Mexico fly from a lamppost near a bench in a small square.

  At center stage, stairs lead to a well-worn factory building bearing a sign reading DELGADO’S WIGS. Next to the factory, stage left, is a walk-up apartment house. Next to that is a restaurant, Gallina’s.

  A brown-skinned woman is sitting in one of the apartment-house windows. Two men are playing dominoes on an overturned box, a street vendor is selling multicolored ices, and several young men are simply standing around, almost as if they are part of the scenery, when they aren’t eyeing some pretty women in short skirts and tight pants.

  GERALDO, the owner of Gallina’s, steps outside. Two neighborhood women, ELENA and MARIA, have been chatting out front.

  GERALDO

  Hey, chicas, I’m looking for a young man to help out around my shop. He’s got to be honest. No thieves!

  ELENA

  (to MARIA)

  He wants somebody to mind the store while he goes looking for young girls!

  GERALDO

  I don’t look for young girls. I just put myself where they can find me!

  MARIA

  Geraldo, you don’t need a young man; you need an old dog. That way you can be the boss and the dog can eat the terrible food you make.

  GERALDO

  Be serious, woman. A businessman on the way up needs an assistant. Somebody with energy, not like these boys around here.

  ELENA

  If you paid them a decent wage, they would have energy. You rob people without a gun, diablo viejo!

  GERALDO

  So what’s better, a little money or no money? You tell me that. If I pay one dollar an hour, it’s better than no dollars an hour. I’m a poor man trying to feed the good people in this neighborhood.

  MARIA

  In the restaurant, you’re a poor man, Geraldo. But you do all right with the poker games in the back room.

  SEVERAL OF THE RESIDENTS

  ALL RIGHT!

  GERALDO laughs.

  ELENA

  What’s the boy got to do?

  GERALDO

  (suddenly serious)

  He has to make enchiladas, corn dogs, hot dogs, chicken wings, and whatever else I say. And it all has to be gourmet.

  ELENA

  Geraldo, you are loco. Totally crazy.

  ANGEL, a young man who’s been hanging out nearby, sidles up to them.

  ANGEL

  (opening his jacket to reveal a row of watches)

  Hey, anybody want to buy a good watch? Cheap, man. Twenty-four-karat gold, real diamonds. Fifteen dollars.

  GERALDO

  I already have two watches. Both are five minutes fast.

  ANGEL

  These are five minutes slow, papi. That’s a sign. You can’t pass up one of these.

  JUAN, an older man, has been sitting on a bench nearby.

  JUAN

  What do you need two watches for? Around here nobody is in a hurry. If you got nothing to do, you only need one watch.

  JIMENEZ and CARLOS, the domino players, both stand up at once.

  JIMENEZ

  You can’t take a move back! Once your finger comes off the piece, you can’t take it back!

  CARLOS

  I didn’t take my finger off the piece. I had my finger on it, and you moved it to see what I was doing!

  JIMENEZ

  We’re playing for fifty cents! You can’t cover up your moves. You think I just fell off the cart and I’m going to let you cover up your moves?

  ELENA

  (to JIMENEZ)

  He can’t hear you. You have to holler into his good ear.

  JIMENEZ

  I said you can’t be covering up your moves!

  Suddenly, sirens and flashing lights signal the arrival of the police. No one seems alarmed, though they know enough to stay in place. CARLOS takes something from his pocket and tosses it into a nearby trash can.

  A team of street-duty POLICE OFFICERS, including OFFICERS SHEA and LANE, assembles quickly from either side of the stage. ZUNIGA, the police sergeant, directs his men around the stage, all facing the rear. Then, satisfied that the men are in place, he approaches the door of the apartment building next to Delgado’s and knocks bold
ly as the other officers aim their guns menacingly. TÍA SOFIA, a remarkably attractive older woman dressed in a housecoat and curlers, answers the door.

  ZUNIGA

  Police! Stand aside.

  TÍA SOFIA

  (defiantly)

  Do you have a search warrant? Let me see it!

  ZUNIGA

  (turning slightly)

  The warrant!

  The other officers look around to see who has brought the warrant, but, to their embarrassment, it is not found.

  ZUNIGA

  What the hell is wrong with you people? Keep your guns ready. I’ll call headquarters!

  ZUNIGA goes to one side and radios headquarters.

  The other officers relax.

  TÍA SOFIA

  (to the crowd)

  They come to search our place, but they don’t have a warrant! No warrant, no searching! Who do they think they are? This is America!

  There are cries of approval and general laughter from the street residents.

  JIMENEZ

  They watch too much television. That’s why they’re taking time out for a commercial.

  ZUNIGA

  Put your teeth in when you talk to me, lover boy.

  OFFICER SHEA

  (to ELENA)

  Why don’t you come home with me? You would look good on my sofa.

  ELENA

  (touching SHEA’s ears)

  Ah, still wet. I thought so. Come back when you’ve grown up, papi.

  The other OFFICERS laugh.

  MICAELA enters from stage right. She is wearing a blue plaid jumper, which is significantly less flamboyant than the outfits worn by the other women of the block. She looks at the women wearing tight pants and short skirts. Then she begins looking at the POLICE OFFICERS, obviously searching for someone.

  MICAELA

  (to SHEA)

  Do you know José? He’s on the force. Is he with you? Sometimes they call him DJ.

  ZUNIGA

  (who has overheard MICAELA)

  I know him. Sure. He’s not here yet. But he’ll be here soon. He’s bringing the warrant. You want to sit in the car with me? Get out of the hot sun?

  He tries to put his arm around MICAELA, who slips easily away.

  MICAELA

  No, it’s all right.

  ZUNIGA

  Hey, don’t fly away so soon, little bird.

  MICAELA

  I’ll come back after a while. You sure he’s coming here?

  ZUNIGA

  Any minute. This is a rough neighborhood. Come with me, and I’ll protect you. What’s your name?

  MICAELA

  Micaela. I’m a friend of José’s. Tell him his friend—the teacher’s aide—was looking for him. He’ll know who I am.

  She leaves, looking cautiously around the neighborhood as she does.

  ZUNIGA watches MICAELA go and then turns back toward the old lady in the doorway.

  ZUNIGA

  (to the OFFICERS, pointing to TÍA SOFIA)

  Keep an eye on that one!

  TÍA SOFIA

  (tossing the front of her dress up)

  And don’t forget to read me my rights!

  OFFICER LANE

  Look—here’s José now.

  ZUNIGA

  Men! Fall in! Get ready!

  The men get ready to enter the building as JOSÉ approaches. JOSÉ goes directly to ZUNIGA and whispers something in his ear that clearly disturbs the sergeant.

  ZUNIGA

  What do you mean, we have to go to the judge again? What happened to the warrant we had before? By the time we go through the whole process, they’ll have moved their operation to another building!

  JOSÉ

  What can I tell you?

  ZUNIGA

  I’ll call the captain. By the way, there was a girl looking for you. Okay-looking, not from around here, I think.

  JOSÉ

  Dark hair? Pretty?

  ZUNIGA

  Aren’t they all?

  TÍA SOFIA

  (calling from the doorway)

  Who’s the captain? Tell him Sofia says hello.

  ZUNIGA, on the side, gesticulates as he talks into the radio. We can’t hear his conversation but see that he is upset.

  ZUNIGA

  (angrily)

  The operation is off! Get the men out of here! How are we going to shut down anything with this stupid paperwork?

  A loud buzzing noise comes from the factory. Instantly the younger men in the area jump to their feet. One, MANNY, begins to brush off his jacket. Another, GATO, first pulls up his pants, then lowers them to just the right height to be cool.

  ZUNIGA

  What’s that? Their all-clear signal?

  OFFICER LANE

  Lunchtime at the factory!

  The door of Delgado’s opens, and the factory girls come out, strutting and chatting. Many are on cell phones, and most are speaking a combination of English and Spanish. Among the girls is FRASQUITA, who has a fair complexion and light brown eyes. She is wearing a tight blouse and even tighter jeans.

  As the girls strut, the boys hover around. Music begins and slowly the posturing changes into a formal dance. We see the boys, who were nondescript at first, slowly change into gentlemen, proud of their heritage and respectful of the women. Then we hear the music of “El Ritmo del Barrio.”

  The cops watch, putting away their guns as the lights transform the dingy buildings into glowing neighborhood edifices. ZUNIGA leans against a pole, eyeing the girls.

  As the dance ends…

  ZUNIGA

  Why don’t you young ladies come to the precinct with us? The afternoon is young, and we can dance. I have a few moves I can show you.

  OFFICER SHEA

  (to FRASQUITA)

  Hey, beautiful, you married, or you waiting for me?

  FRASQUITA

  Married? You need two things to get married. Do you know what they are?

  OFFICER SHEA

  (proudly)

  A wedding ring and a license!

  FRASQUITA

  No, white boy. A passport and a job. No passport and you can’t stay here. No job, and there’s no love. Not from this girl!

  OFFICER LANE

  (to SHEA)

  These girls are nice, but I heard they’ve got somebody special here. They call her Carmen. I don’t know what she looks like, but they say she’s hot.

  OFFICER SHEA

  Ya seen one, ya seen them all.

  Suddenly the door to Delgado’s opens again, and a stunning young woman commands the space of the doorway. It is CARMEN. She is dressed in a white blouse, a short bolero jacket, and a black skirt. Her mirrored sunglasses reflect the afternoon heat. A flower sticks out from under the jaunty cap she wears, but the most amazing thing about her is the smile she flashes ever so briefly.

  OFFICER LANE

  Wait—there she is! Oh, my God! Is she fine or what?

  CARMEN descends the factory’s three front steps like the diva she is. The boys form an open circle in front of her, and she takes her rightful place in its center. Among the boys are MANNY, GATO, and ANGEL.

  MANNY

  Carmen, I’m yours forever!

  GATO

  Carmen, it’s me who is in love with you. I’ve always been in love with you.

  ANGEL

  (sinking to his knees)

  You finally found me. Now tell these fools who you really love so they can die in peace.

  CARMEN

  Get off your knees, handsome. People will think you’re serious.

  GATO

  Serious enough to marry you this very moment, Carmen.

  FRASQUITA

  All they know is push-push, Carmen. They don’t know about real love.

  CARMEN

  They know about love, Frasquita. But they still think it’s for us, that love is going to come flying down this street. Love isn’t coming to this neighborhood.

  FRASQUITA

  Unless it finds its
way to flicker across the television screens or in the movies.

  CARMEN

  What are all of these cops here for?

  ANGEL

  They were going to raid Tía Sofia’s place, but they forgot the warrant. She ain’t letting nobody in without a warrant.

  CARMEN

  (looking at JOSÉ)

  Frasquita, I know that guy over there. The one with his hat off. We used to live on the same block when I was a kid.

  FRASQUITA

  He’s tall.

  One of the factory girls, MERCEDES, thin and chesty and working her high heels, comes over.

  MERCEDES

  What’s going down?

  FRASQUITA

  There was supposed to be a raid, but the cops blew it. Now they’re standing around, trying to figure out what to do. Carmen used to date the guy leaning against the car.

  MERCEDES

  You dated a cop?

  CARMEN

  I didn’t say I dated him. I said we used to live on the same block. He’s about four years older than me. I had a crush on him.

  FRASQUITA

  I was in love with an older guy once. I would have married him but his wife was my cousin, so…

  MERCEDES

  Anyway, you can’t be in love with a cop. Cops don’t have hearts. They got little tin badges inside where their hearts should be.

  CARMEN

  I was in love with him once. A little.

  FRASQUITA

  And what did he say when you told him?

  CARMEN

  I never told him. Maybe I should now.

  MERCEDES

  Hey, wait a minute. Do you know who that guy is? I saw his picture in the paper. He’s the one who shot that kid in the park. He could be weird. You don’t want to fall for a guy like that.

  CARMEN

  Girlfriend, I don’t “fall” for nobody. I’m not into love games anymore. I know what love is all about, and this girl is staying on the sidelines with her heart under lock and key.

  FRASQUITA

  Lock and key!

  CARMEN

  (sings “La Habanera”)

  Love is a bird that sweetly dreams,

  Soaring high in a clear blue sky.

  He wants to rest, to settle down,

  But summer comes and he has to fly.

  You call to me; I turn away,

  But I listen as sweet love sings.

  I want to go, I want to stay,

  While within me, my heart has wings.

  L’amour, L’amour, L’amour, L’amour…

  Latino boys have love so true,

  But in my heart I must always be free.