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There was another act to come, the third act, at the beginning of which the property man handed him the long, sharp, wicked-looking, bloodthirsty knife with which he was to fight Escamillo, and with which in the fourth act he was to kill Carmen.
José has returned to plead once more with Carmen, but her love has grown cold and she rejects him disdainfully. After a scene of bitter recrimination he kills her, while the shouts of the people inside the arena acclaim the triumph of Escamillo. 'Carmen' was coldly received at first.
The shouts of the people in the arena announce another victory for Escamillo. She cries out with joy. Don José springs at her like a tiger, and stabs her just as Escamillo emerges from the contest. Carmen is the largest and best-considered of all Bizet's works, and one of the best in the modern French repertory. The overture is short but very brilliant.
When the inn is closed, Escamillo and the soldiers depart, but Carmen waits with two of the gypsies, who are smugglers, for the arrival of Don José. They persuade her to induce him to join their band, and when the lieutenant, wild with passion for her, enters the apartment, she prevails upon him to remain in spite of the trumpet-call which summons him to duty.
While Don José is upbraiding Carmen, the faithful Michaela, who has been guided to the spot, begs him to accompany her, as his mother is dying. Duty prevails, and he follows her as Escamillo's taunting song is heard dying away in the distance. In the last act the drama hurries on to the tragic dénouement. It is a gala-day in Seville, for Escamillo is to fight.
Life without her on those nights would be a hollow mockery, the glance of any possible rival in her direction a desecration. Why, he even had to restrain himself to keep from doing actual damage to Philippi, who, though on the shady side of forty-five, still sang a most dashing Escamillo; nor was his jealousy less poignant because Philippi and Caravaggio were sworn enemies.
"Mademoiselle will accept my brougham?" A tall dark man had come forward. He was the Escamillo. She thanked him with a look. Some woman threw a cloak over Rosa's shoulders, and, the baritone on one side of her and myself on the other, we left the theatre. It seemed scarcely a moment since she had entered it confident and proud.
As the contrabandists finish their work and gradually leave the scene, Escamillo, who has been following Carmen, appears. His presence and his declarations as well arouse the jealousy of Don José. They rush at each other for mortal combat, but the smugglers separate them. Escamillo bides his time, invites them to the approaching bullfight at Seville, and departs.
Carmen is there in his company, though her gypsy friends have warned her Don José is searching for her. Amid great pomp Escamillo enters the arena, and Carmen is about to follow, when Don José appears and stops her. He appeals to her and tries to awaken the old love. She will not listen, and at last in a fit of wild rage hurls the ring he had given her at his feet.
In the second act Carmen has returned to her wandering gypsy life, and we find her with her companions in the cabaret of Lillas-Pastia, singing and dancing. Among the new arrivals is Escamillo, the victorious bull-fighter of Grenada, with whom Carmen is at once fascinated.
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