The Hunchback of Notre Dame: Musical script

The Hunchback of Notre Dame script

(Libretto)

THE HUNCHBACK OF NOTRE DAME
Character List
(in order of appearance)
DOM CLAUDE FROLLO, Archdeacon of Notre Dame Cathedral
JEHAN FROLLO, Claude’s reckless younger brother
FLORIKA, a Gypsy
FATHER DUPIN, a priest of Notre Dame and guardian of Claude and Jehan
QUASIMODO, the deformed bell-ringer of Notre Dame and Claude Frollo’s charge
CLOPIN TROUILLEFOU, King of the Gypsies
PHOEBUS DE MARTIN, Captain of the Cathedral Guard
FREDERIC CHARLUS, Lieutenant of the Cathedral Guard
ESMERALDA, a beautiful and free-spirited Gypsy
KING LOUIS XI, King of France, nicknamed the Prudent
OFFICIAL, an officer of the court of King Louis XI
MADAME, owner of a brothel and safe haven for Gypsies
SAINT APHRODISIUS, a stained-glass image that comes to life
CONGREGATION, an ensemble of storytellers who portray various GYPSIES,
GARGOYLES, STATUES, SOLDIERS, REVELERS, PARISHIONERS, PRIESTS,
PROSTITUTES and CITIZENS of Paris
CHOIR
CASTING NOTE
A congregation of storytellers narrates The Hunchback of Notre Dame. The designations
CONGREGANT, CONGREGANTS, and CONGREGATION are used when the
ensemble is narrating individually, in succession or groups, or in unison, respectively.
As the play progresses, the ensemble also takes on various roles within the tale, such
as GYPSIES, GARGOYLES, and SOLDIERS and moves fluidly among them. Lines or
lyrics in these generic roles should be assigned to ensemble members based on your
production’s unique cast and staging.
— i —The Hunchback of Notre Dame
Scenes and Musical Numbers
ACT ONE
P. BARE STAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
(#1) Olim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CONGREGATION, CHOIR . . . . . . . 1
(#2) The Bells of Notre Dame (Part 1) . . . . . . . . . . CONGREGATION, CHOIR . . . . . . . 1
(#2A) The Bells of Notre Dame (Part 2) . . . . . . . . . . . . . . . . . FROLLO, JEHAN,
CONGREGATION, CHOIR . . . . . . . 2
(#2B) The Bells of Notre Dame (Part 3) . JEHAN, CONGREGATION, CHOIR . . . . . . . 4
(#2C) The Bells of Notre Dame (Part 4) . . . . . . . . . FATHER DUPIN, FROLLO,
CONGREGATION, CHOIR . . . . . . . 5
(#2D) The Bells of Notre Dame (Part 5) FROLLO, CONGREGATION, CHOIR . . . . . . . 7
(#2E) The Bells of Notre Dame (Part 6) . . . . . . . . . CONGREGATION, CHOIR . . . . . . . 9
1. BELL TOWER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
(#2F) Fanfare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
(#3) Sanctuary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FROLLO, QUASIMODO . . . . . . 15
(#4) Out There . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .QUASIMODO . . . . . . 17
2. TOWN SQUARE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
(#5) Topsy Turvy (Part 1) . . . . . CLOPIN, QUASIMODO, REVELERS, CHOIR . . . . . . 19
(#6) Rest and Recreation . . . . . . . . PHOEBUS, FROLLO, CLOPIN, REVELERS,
SOLDIERS, CHOIR . . . . . . 21
(#7) Rhythm of the Tambourine . . . . . . . ESMERALDA, PHOEBUS, FROLLO,
QUASIMODO, CLOPIN . . . . . . 26
(#8) Topsy Turvy (Part 2) . . . . . CLOPIN, ESMERALDA, REVELERS, CHOIR . . . . . . 27
(#8A) The Harrowing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
(#9) Sanctuary II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FROLLO, QUASIMODO . . . . . . 33
3. INSIDE THE CATHEDRAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
(#9A) The Bells of Notre Dame (Reprise) . . . . . . . . . . . . . . . . . . ESMERALDA,
PARISHIONERS, CHOIR . . . . . . 35
(#10) God Help the Outcasts . . . . . . . ESMERALDA, PARISHIONERS, CHOIR . . . . . . 36
(#11) Transition to the Bell Tower . . . . . . . . . . . . . . . STATUES, GARGOYLES . . . . . . 39
4. BELL TOWER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
(#11 cont’d) Transition to the Bell Tower . . . . . . . . . STATUES, GARGOYLES . . . . . . 41
(#12) Top of the World . . . . . . . . . . . . . . . . . . . . . ESMERALDA, QUASIMODO,
STATUES, GARGOYLES . . . . . . 42
(#12A) How Dare You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
5. TAVERN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
(#13) Tavern Song (Thai Mol Piyas) . . . . . . GYPSIES, ESMERALDA, FROLLO . . . . . . 49
6. BELL TOWER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
(#14) Heaven’s Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . QUASIMODO . . . . . . 53
— ii —7. PRAYER STALLS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
(#15) Hellfire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FROLLO, PRIESTS, CHOIR . . . . . . 55
8. THE KING’S COURT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
9. STREETS OF PARIS / OUTSIDE A BROTHEL / BELL TOWER . . . . . . . . . . . . . . . . . . . . . . 58
(#16) Esmeralda (Act I Finale—Part 1) . . . . . . . . . . . . . . . . . . . . . . . . COMPANY . . . . . . 58
(#16A) Esmeralda (Act I Finale—Part 2) . . . . . . . . . . . . . . . . . . . . . . . COMPANY . . . . . . 61
ACT TWO
(#17) Entr’acte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHOIR . . . . . . 65
1. BELL TOWER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
(#17A) Agnus Dei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHOIR . . . . . . 66
(#18) Flight into Egypt . . . . . . . . . . . . . SAINT APHRODISIUS, QUASIMODO,
STATUES, GARGOYLES . . . . . . 68
(#18A) Esmeralda (Reprise) . . . . . . . . . . . . . . . . . . FROLLO, CONGREGATION . . . . . . 72
(#19) Rest and Recreation (Reprise) . . . . . . . . . . . . . . . . . . . . . . . . . . . PHOEBUS . . . . . . 74
2. STREETS OF PARIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
(#19 cont’d) Rest and Recreation (Reprise) . . . . . . . . . . . . . . . . . . QUASIMODO . . . . . . 75
(#20) The Court of Miracles . . . . . . . . . . . . . . . . . . . . . . . . . . . CLOPIN, GYPSIES . . . . . . 76
3. COURT OF MIRACLES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
(#20 cont’d) The Court of Miracles . . . . . . . . . . . . . . . . . . . . . CLOPIN, GYPSIES . . . . . . 77
(#21) In a Place of Miracles . . . . . . PHOEBUS, ESMERALDA, QUASIMODO,
CLOPIN, GYPSIES, CHOIR . . . . . . 80
(#22) The Bells of Notre Dame (Reprise II) . . . . . . CONGREGATION, CHOIR . . . . . . 83
4. PRISON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
(#22 cont’d) The Bells of Notre Dame (Reprise II) CONGREGATION, CHOIR . . . . . . 84
(#23) The Assault . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FROLLO . . . . . . 85
(#24) Someday . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ESMERALDA, PHOEBUS . . . . . . 88
5. BELL TOWER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
(#24A) While the City Slumbered . . . . . . . . . . . . . . CONGREGATION, CHOIR . . . . . . 90
(#25) Made of Stone . . . . . . . . . . . . . . QUASIMODO, STATUES, GARGOYLES . . . . . . 90
6. TOWN SQUARE / NOTRE DAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
(#25A) Judex Crederis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHOIR . . . . . . 93
(#25B) Kyrie Eleison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . COMPANY . . . . . . 93
7. BELL TOWER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
(#25C) Top of the World (Reprise) . . . . . . . . . . . . . . . . . ESMERALDA, CHOIR . . . . . . 98
(#25D) Esmeralda (Frollo Reprise) . . . . . . . . . . . . FROLLO, JEHAN, FLORIKA,
CONGREGATION, CHOIR . . . . . . 99
(#26) Finale Ultimo . . . . . . . . . . . . . . . QUASIMODO, STATUES, GARGOYLES . . . . . 100
E. TOWN SQUARE / BARE STAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
(#26 cont’d) Finale Ultimo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . COMPANY . . . . . 102
— iii —STANDARD ORCHESTRATION
The orchestration for The Hunchback of Notre Dame requires 14 players,
plus conductor, as follows:
Reed 1 Keyboard 1
Reed 2 Keyboard 2
Reed 3 Drums/Percussion
Horn Violin 1
Trumpet 1 Violin 2
Trumpet 2 Viola
Trombone Cello
— iv —ACT ONE
PROLOGUE: BARE STAGE
#1—Olim Congregation, Choir
(The sound of bells ringing. A CONGREGATION of storytellers gathers, intoning a
Latin chant.)
CONGREGATION MEN, CHOIR MEN
OLIM OLIM DEUS ACCELERE
HOC SAECULUM SPLENDIDUM
ACCELERE FIAT VENIRE OLIM
CONGREGATION, CHOIR
OLIM OLIM DEUS ACCELERE
HOC SAECULUM SPLENDIDUM
ACCELERE FIAT VENIRE OLIM ...
#2—The Bells of Notre Dame (Part 1) Congregation, Choir
(CONGREGATION, CHOIR)
AH AH AH
AH AH AH
AH AH AH AH AH AH
AH AH AH
AH AH AH
AH AH AH AH AH AH ...
CONGREGANT (CLOPIN)
MORNING IN PARIS, THE CITY AWAKES
TO THE BELLS OF NOTRE DAME
CONGREGANTS
THE FISHERMAN FISHES
THE BAKERMAN BAKES
TO THE BELLS OF NOTRE DAME
TO THE BIG BELLS AS LOUD AS THE THUNDER
TO THE LITTLE BELLS SOFT AS A PSALM
AND SOME SAY THE SOUL OF
THE CITY’S THE TOLL OF
T H E H U N C H B A C K O F N O T R E D A M E — 1 —CONGREGATION
THE BELLS
CONGREGATION, CHOIR
THE BELLS OF NOTRE DAME…
(The CONGREGATION begins to take on various characters in the story.)
FROLLO
Congregants. We gather here, in this vast symphony of stone, on the morning of the
Feast of Fools. Our streets will soon be filled with those unsavory elements—
criminals, foreigners, and Gypsies—who have infested our city and are on this one
day free to roam without being subject to arrest. Beware the temptations of those
less devout than we. We must fight the urge to indulge ourselves, for remember, we
are all born sinners…
#2A—The Bells of Notre Dame (Part 2) Frollo, Jehan, Congregation, Choir
CONGREGATION
LONG YEARS AGO, DID THIS STORY BEGIN
IN THIS PLACE CALLED NOTRE DAME
CONGREGANTS
TWO ORPHANED BROTHERS WERE BOTH TAKEN IN
BY THE GRACE OF NOTRE DAME...
CONGREGANT (FROLLO)
CLAUDE THE OLDER, WHO CARED FOR HIS BROTHER
— 2 — T H E H U N C H B A C K O F N O T R E D A M E
CONGREGANT
On the morning of January 6—
CONGREGATION
1482—
CONGREGANTS
The good citizens of Paris gathered at the Cathedral—
To listen to the sermon—
CONGREGANT (FROLLO)
Of Dom Claude Frollo—
CONGREGATION
Archdeacon of Notre Dame—
CONGREGANTS
Before whom the congregation trembled—
As he stalked beneath the lofty arches of the church.
CHOIR
AH
AH
OH
OHCONGREGANT (JEHAN)
YOUNG JEHAN, FULL OF BEAUTY AND CHARM
CONGREGANTS (FROLLO, JEHAN)
AND THEY LIVED AND THEY GREW
AND AWOKE TO THE MUSIC OF BELLS
CHOIR
AH AH AH
CONGREGATION, CHOIR
THE BELLS OF NOTRE DAME...
CHOIR
KYRIE ELEISON…
FROLLO
OH DEAR BROTHER, ‘NEATH THESE ARCHES AND THIS SACRED DOME
CHOIR
KYRIE ELIESON…
FROLLO
WE ARE BLESSED TO FIND OUR SANCTUARY AND OUR HOME…
JEHAN
Come with me, brother—I’m heading into town for a little fun!
FROLLO
Jehan, you must stay home and write out your catechism.
JEHAN
No. You must come with me to the bar.
FROLLO
I am not going to lie for you again if you stay out late.
JEHAN
(laughs and kisses FROLLO on the head)
Yes, you will! Brother, dear, you’re so good to me!
(JEHAN runs out.)
T H E H U N C H B A C K O F N O T R E D A M E — 3 —#2B—The Bells of Notre Dame (Part 3) Jehan, Congregation, Choir
CONGREGANTS
RIGHTEOUS CLAUDE FROLLO WAS EVER MORE DRAWN
LIKE A SON TO NOTRE DAME
CONGREGANT (JEHAN)
NOT LIKE HIS PROFLIGATE BROTHER, JEHAN
WHO’D HAVE NONE OF NOTRE DAME
CONGREGANT
THOUGH AS BROTHERS, THEY LOVED ONE ANOTHER
FROLLO WATCHED IN DESPAIR AND ALARM
CONGREGATION
AS JEHAN GREW MORE WILD
AND DEFIED AND DEFILED ALL THE LAWS
CONGREGATION, CHOIR
THE LAWS OF NOTRE DAME…
(FROLLO discovers JEHAN in their chambers.)
FROLLO
Jehan, where have you been? Why weren’t you at evening Mass?
JEHAN
It’s your birthday! We must celebrate. I’ve brought you a gift. She’s a friend of
mine…
(A beautiful Gypsy woman, FLORIKA, emerges.)
FROLLO
A Gypsy girl? In our room?
JEHAN
Florika... She is a beauty, isn’t she? This is my brother, Claude.
FLORIKA
Happy birthday, Claude.
(p
uts her arms around FROLLO, making him uncomfortable)
Don’t be shy. I can see you want to. I can see it in your eyes.
(embraces him tighter, laughs)
Oh—I can feel it too!
— 4 — T H E H U N C H B A C K O F N O T R E D A M EFROLLO
(humiliated, pushes FLORIKA away)
Stop!
FATHER DUPIN
(off)
Claude?
JEHAN
It’s Father Dupin. Help me hide her!
(FROLLO and JEHAN hide FLORIKA.)
FATHER DUPIN
What’s going on in here?
JEHAN
Nothing, Father.
FATHER DUPIN
Is it nothing, Claude?
FROLLO
(p
ause)
Tell him, Jehan.
(p
ause)
If you won’t, I will.
(JEHAN does nothing. FROLLO reveals FLORIKA.)
#2C—The Bells of Notre Dame (Part 4) Father Dupin, Frollo,
CHOIR
KYRIE ELEISON
FATHER DUPIN
YOU MUST LEAVE, JEHAN
THIS HOLY REFUGE WHERE YOU’VE DWELLED
CHOIR
KYRIE ELEISON
FROLLO
(shocked)
Leave? But, Father—
T H E H U N C H B A C K O F N O T R E D A M E — 5 —
Congregation, ChoirFATHER DUPIN
SORRY, CLAUDE, BUT I’VE NO CHOICE—
YOUR BROTHER IS EXPELLED!
(FATHER DUPIN exits.)
FROLLO
Jehan…
JEHAN
(tears in his eyes)
What did you think? That they wouldn’t send me away? Who do you think these
people are?
FROLLO
These people have given us a home, and comfort, and safety—
JEHAN
Comfort?! You call this comfort?! You call this safety?! Well, you can have it.
You’re welcome to it!
CONGREGANT (JEHAN)
And Jehan—
CONGREGANT (FLORIKA )
And the girl—
CONGREGANTS (JEHAN, FLORIKA)
Left.
(JEHAN and FLORIKA exit.)
CONGREGANT (FROLLO)
And Frollo didn’t hear from his brother for several years.
CONGREGATION
Meanwhile…
CONGREGANT
FROLLO ASCENDED UNCOMMONLY FAST
THROUGH THE RANKS OF
CONGREGATION
NOTRE DAME
CONGREGANT
TILL HE WAS NAMED THE ARCHDEACON AT LAST
AND GAVE THANKS
— 6 — T H E H U N C H B A C K O F N O T R E D A M ECONGREGATION
TO NOTRE DAME
CONGREGANT
AND THEN ONE DOLEFUL DAY BROUGHT A MESSAGE
CONGREGANT (FROLLO)
AND THE NAME THAT IT BORE WAS “JEHAN”
CONGREGANT
AND CONCEALING HIS FACE
FROLLO STOLE TO A PLACE FAR AWAY
CONGREGATION
AWAY FROM NOTRE DAME…
(FROLLO enters a Gypsy’s hideout.)
FROLLO
I... I was asked to come to this place. I’m Father Claude Frollo.
GYPSY
Ah, we’ve heard about you...
(The GYPSY shows FROLLO in. JEHAN is very sick, in bed.)
JEHAN
Hello, brother dear.
FROLLO
Jehan! Where have you been?
JEHAN
Traveling. Hounded from city to city. With my beautiful Florika…
FROLLO
That Gypsy girl? You’re with her?
#2D—The Bells of Notre Dame (Part 5) Frollo, Congregation, Choir
JEHAN
She died six weeks ago. The pox. Terrible thing, to watch her suffer…
FROLLO
Jehan, let me take you back. I’ll bring you home.
BROTHER DEAREST, COME WITH ME
WHERE WE WILL FIND THE REMEDY
AND NOTRE DAME ONCE MORE WILL BE
T H E H U N C H B A C K O F N O T R E D A M E — 7 —(FROLLO)
YOUR SANCTUARY
HEALING YOU WILL BE MY GOAL
NOT JUST YOUR BODY, BUT YOUR SOUL
WE’LL BE TOGETHER IN OUR HOLY
SANCTUARY—
JEHAN
Enough, Claude. Enough with your pieties. It’s too late for me, anyway. But if
you’ve truly discovered charity at this late date, there’s someone you can help.
(The GYPSY brings the baby to FROLLO.)
FROLLO
A baby…?! Yours?
(sees the baby’s deformed face)
A monster. It is God’s judgment on you. The wicked shall not go unpunished.
JEHAN
I should have known. I was a fool to think you would look after him.
FROLLO
Look after him? Me?
JEHAN
He has nobody else.
FROLLO
But he is a Gypsy child!
JEHAN
And mine. Take him, if you can find it in your heart.
(JEHAN dies.)
FROLLO
Jehan? Jehan!!!
(The baby cries. FROLLO takes the baby in his arms and brings him to Notre Dame.)
CONGREGATION MEN, CHOIR MEN
DIES IRAE
CONGREGATION WOMEN, CHOIR WOMEN
DIES IRAE
CONGREGATION MEN, CHOIR MEN
DIES ILLA
— 8 — T H E H U N C H B A C K O F N O T R E D A M ECONGREGATION WOMEN, CHOIR WOMEN
DIES ILLA
CONGREGATION, CHOIR
SOLVET SAECULUM IN FAVILLA
AH AH AH
AH AH AH
AH AH AH AH AH AH
KYRIE ELEISON
(Just outside the Cathedral, FROLLO contemplates throwing the baby into the river.)
CONGREGATION
AND THE SAINTS REGARDED FROLLO
FROM THEIR STONE FAÇADE
CHOIR
KYRIE ELEISON
CONGREGATION
AND HE FELT THEIR GAZE AS IF IT WERE THE EYES OF GOD
FROLLO
Oh Lord, you have sent me a test. This child is my cross to bear. I may not have
saved my brother, but I will save this—thing. But a monster like this must be kept
hidden.
SEE THIS LOATHSOME CREATURE
FROM WHOM LESSER MEN WOULD FLEE…
I WILL KEEP AND CARE FOR HIM
AND TEACH HIM AT MY KNEE
TO THINK LIKE ME…
#2E—The Bells of Notre Dame (Part 6) Congregation, Choir
CONGREGANTS
And Frollo gave the child a name—
A cruel name that means—
CONGREGATION
“Half-formed”—
FROLLO
Quasimodo.
T H E H U N C H B A C K O F N O T R E D A M E — 9 —CONGREGANT (CLOPIN)
NOW…
HERE IS A RIDDLE TO GUESS IF YOU CAN
SING THE BELLS OF NOTRE DAME
(A beautiful young man emerges from the CONGREGATION.)
CONGREGANT (QUASIMODO)
WHAT MAKES A MONSTER?
AND WHAT MAKES A MAN?
CONGREGATION, CHOIR
WHAT MAKES A MONSTER AND WHAT MAKES A MAN?
SING THE BELLS, BELLS, BELLS, BELLS
BELLS, BELLS, BELLS, BELLS…
(The young man transforms into the misshapen QUASIMODO.)
BELLS OF NOTRE DAME!
AH AH AH AH AH AH
FROLLO
Up!
(FROLLO gestures to the bells, QUASIMODO begins to ring them.)
CONGREGATION, CHOIR
AH AH AH AH AH AH
AH AH AH AH AH AH
— 1 0 — T H E H U N C H B A C K O F N O T R E D A M ESCENE ONE: BELL TOWER
(QUASIMODO jumps up and rings the bells, speaking to them.)
QUASIMODO
Marie! You’re in very good voice today! Jacqueline, we need to fix your clapper!
Go on, Gabrielle! Pour your flood of sound into the square! It’s a holiday! Sing!
My bells, sing till you are all quite out of breath!
(The bells toll as QUASIMODO looks outside.)
Morning, my little birdies!
(The CONGREGATION assumes the roles of various STATUES and GARGOYLES in
the bell tower, Quasimodo’s “friends.”)
GARGOYLE
Don’t you wish you could be like those birds and just fly away?
QUASIMODO
(laughs at the thought)
Me? No!
STATUE
But how wonderful it must be out there!
QUASIMODO
No, not for me!
GARGOYLES
Why not?
QUASIMODO
Too dangerous.
STATUE
The boy is right. Don’t encourage him.
GARGOYLE
Why shouldn’t we?
CONGREGANTS
For Quasimodo, the Cathedral was not only his home, but his universe.
It was peopled with figures of marble—
With kings and saints—
Monsters and demons.
The saints blessed him.
And the monsters protected him.
T H E H U N C H B A C K O F N O T R E D A M E — 1 1 —QUASIMODO
Today is the Feast of Fools!
STATUE
Quasimodo, why don’t you try going down there?
QUASIMODO
Yes, but… you know I’ve never gone outside.
GARGOYLE
You can leave anytime you want.
STATUE
Master won’t allow it.
QUASIMODO
Last year, he said, “Someday… maybe.”
GARGOYLE
He always says “someday”—never “today”!
STATUE
Besides, you shouldn’t have to ask for permission to go outside. Just put one foot in
front of the other…
QUASIMODO, STATUES & GARGOYLES
And sneak out!
QUASIMODO
I can’t!
FROLLO
(offstage)
Quasimodo...?
(enters carrying a basket with breakfast for QUASIMODO)
Good morning, Quasimodo.
QUASIMODO
Morning, master…
[NOTE: When QUASIMODO speaks to humans—as opposed to expressing his inner
thoughts to the STATUES and GARGOYLES—he speaks haltingly and with much
effort.]
FROLLO
Were you talking to someone?
QUASIMODO
N–no. Just my— friends.
— 1 2 — T H E H U N C H B A C K O F N O T R E D A M EFROLLO
Ah. Your friends. And what are your friends made of?
QUASIMODO
Stone.
FROLLO
And can stones talk back?
QUASIMODO
N–no…
FROLLO
That’s right. What kind of a conversation is that? It takes two people to
communicate, my boy.
(looks at QUASIMODO with a mix of disdain and affection)
And who is that other person for you?
QUASIMODO
You, master.
FROLLO
Right again.
(p
ulls a piece of bread from the basket and offers it to QUASIMODO)
Corpus Christi.
QUASIMODO
Amen.
FROLLO
(offers QUASIMODO wine from a small goblet)
Sanguis Christi.
QUASIMODO
Amen.
FROLLO
In nomine Patris et Filii et Spiritus Sancti.
(reaching into the basket)
I’ve brought you a special treat this morning. Strawberry?
(FROLLO holds one out. QUASIMODO goes to grab it.)
Ah, ah, ah. Self-control, Quasimodo. It’s important to master the art.
(QUASIMODO carefully takes the strawberry from FROLLO.)
And of manners, too.
T H E H U N C H B A C K O F N O T R E D A M E — 1 3 —QUASIMODO
Th–thank you, master.
(QUASIMODO devours the strawberry.)
FROLLO
Shall we tell today’s story?
QUASIMODO
(eagerly)
Yes, yes!
FROLLO
Stories from our home’s beautiful statues. And we were up to…
QUASIMODO
Flight into Egypt!
FROLLO
That’s right. And what do you remember about that story?
QUASIMODO
J–J–Joseph fled to Egypt—
FROLLO
With his wife Mary and…?
QUASIMODO
B–baby J–Jesus…
FROLLO
Yes, and who hid them? Who protected them?
QUASIMODO
Saint Aphro— Aphro—
FROLLO
Aphrodisius. Saint Aphrodisius—as I have hidden and protected you.
#2F—Fanfare
(A sound of trumpets and commotion is heard offstage. FROLLO sighs.)
(FROLLO)
Ah, well, I suppose I must stop stalling. Look at them down there… like horrible
vermin scuttling about. And all to see the Gypsies sing and dance!
QUASIMODO
Gypsies…? You told me Gypsies are not allowed to… sing and dance.
— 1 4 — T H E H U N C H B A C K O F N O T R E D A M EFROLLO
They aren’t, except on this one day. The Feast of Fools!
QUASIMODO
Feast of Fools!
FROLLO
This will be the last time, if I have anything to say about it.
QUASIMODO
Last time…?
FROLLO
I’ve petitioned the King to stop next year’s festival.
QUASIMODO
(to himself)
Then I can never go…
#3—Sanctuary Frollo, Quasimodo
FROLLO
Why our King allows the Gypsies here is beyond me!
THROUGH BORDERS POROUS AS A SIEVE
WE LET THEM COME AND LET THEM LIVE
IT’S ALMOST AS IF THEY WERE GIVEN
SANCTUARY
HOW IT FILLS ME WITH DISGUST
TO WALK AMONG THEM – YET I MUST
I LOATHE TO LEAVE YOU AND OUR TRUSTY
SANCTUARY...
QUASIMODO
(carefully)
What if… if I came with you… I’m strong. I could protect you.
FROLLO
(laughs)
You protect me?!
QUASIMODO
Yes, like the Saint—Saint Aphro—
FROLLO
Saint Aphrodisius.
T H E H U N C H B A C K O F N O T R E D A M E — 1 5 —(FROLLO)
(FROLLO laughs, and QUASIMODO is abashed.)
I’m sorry, my boy. I don’t mean to laugh at you. But the truth is, that’s what others
would do. And worse.
THE WORLD IS CRUEL
THE WORLD IS WICKED
IT’S I ALONE WHOM YOU CAN TRUST
IN THIS WHOLE CITY
I AM YOUR ONLY FRIEND
I WHO KEEP YOU, FEED YOU, TEACH YOU, DRESS YOU
I WHO LOOK UPON YOU WITHOUT FEAR
HOW CAN I PROTECT YOU, BOY, UNLESS YOU
ALWAYS STAY IN HERE
AWAY IN HERE…?
Remember what I taught you, Quasimodo…
(FROLLO)
Remember, Quasimodo—this is your sanctuary.
(FROLLO exits.)
— 1 6 — T H E H U N C H B A C K O F N O T R E D A M E
(FROLLO)
YOU ARE DEFORMED
AND YOU ARE UGLY
AND THESE ARE CRIMES FOR WHICH
THE WORLD SHOWS LITTLE PITY
YOU DO NOT COMPREHEND
OUT THERE THEY’LL REVILE YOU
AS A MONSTER
OUT THERE THEY WILL HATE
AND SCORN AND JEER
WHY INVITE THEIR CURSES
AND THEIR CONSTERNATION?
STAY IN HERE
BE FAITHFUL TO ME
GRATEFUL TO ME
DO AS I SAY
OBEY
AND STAY IN HERE…
QUASIMODO
I AM DEFORMED…
AND I AM UGLY
YOU’RE MY DEFENDER
I AM MONSTER…
ONLY MONSTER…
I’M FAITHFUL
I’M GRATEFUL
I’LL STAY IN HERE…#4—Out There Quasimodo
QUASIMODO
My sanctuary…
SAFE BEHIND THESE WINDOWS AND THESE PARAPETS OF STONE
GAZING AT THE PEOPLE DOWN BELOW ME
ALL MY LIFE, I WATCH THEM AS I HIDE UP HERE ALONE
HUNGRY FOR THE HISTORIES THEY SHOW ME
ALL MY LIFE, I MEMORIZE THEIR FACES
KNOWING THEM AS THEY WILL NEVER KNOW ME
ALL MY LIFE I WONDER HOW IT FEELS TO PASS A DAY
NOT ABOVE THEM
BUT PART OF THEM…
AND OUT THERE
LIVING IN THE SUN
GIVE ME ONE DAY OUT THERE
ALL I ASK IS ONE
TO HOLD FOREVER
OUT THERE
WHERE THEY ALL LIVE UNAWARE
WHAT I’D GIVE
WHAT I’D DARE
JUST TO LIVE ONE DAY OUT THERE
OUT THERE
AMONG THE MILLERS AND THE WEAVERS AND THEIR WIVES
THROUGH THE ROOFS AND GABLES I CAN SEE THEM
EV’RY DAY THEY SHOUT AND SCOLD AND GO ABOUT THEIR LIVES
HEEDLESS OF THE GIFT IT IS TO BE THEM
IF I WERE IN THEIR SKIN
I’D TREASURE EV’RY INSTANT
OUT THERE
STROLLING BY THE SEINE
TASTE A MORNING
OUT THERE
LIKE ORDINARY MEN
WHO FREELY WALK ABOUT THERE
JUST ONE DAY AND THEN, I SWEAR
T H E H U N C H B A C K O F N O T R E D A M E — 1 7 —(QUASIMODO)
I’LL BE CONTENT
WITH MY SHARE
WON’T RESENT
WON’T DESPAIR
OLD AND BENT
I WON’T CARE
I’LL HAVE SPENT
ONE DAY
OUT THERE!
— 1 8 — T H E H U N C H B A C K O F N O T R E D A M ESCENE TWO: TOWN SQUARE
(QUASIMODO stands at the door of Notre Dame… then steps outside. The
CONGREGATION enters and becomes a chorus of REVELERS—including Gypsies and
various citizens—for the Feast of Fools. QUASIMODO scrambles through the crowd.)
#5—Topsy Turvy (Part 1) Clopin, Quasimodo, Revelers, Choir
REVELERS, CHOIR
COME ONE, COME ALL
VARIOUS REVELERS
LEAVE YOUR LOOMS AND MILKING STOOLS
COOP THE HENS
AND PEN THE MULES
REVELERS, CHOIR
COME ONE, COME ALL
REVELER MEN
CLOSE THE CHURCHES AND THE SCHOOLS
REVELER WOMEN
IT’S THE DAY FOR BREAKING RULES
REVELERS, CHOIR
COME AND JOIN THE FEAST OF…
FOOLS!
QUASIMODO
OUT HERE...
REVELERS
SO EXCITING! COLORS, CROWDS AND SMELLS
QUASIMODO
OUT HERE
REVELERS
WHERE IT’S TWICE AS NOISY AS THE BELLS
QUASIMODO
SOMEHOW
I CAN WANDER THROUGH THIS HELTER-SKELTER
WITHOUT FEAR NOW
NO ONE SEES I’M HERE NOW
OUT HERE IN THE WORLD…
T H E H U N C H B A C K O F N O T R E D A M E — 1 9 —CONGREGANTS
As Quasimodo turned into the square—
He saw before him a ragged beggar—
Who approached a haughty-looking gentleman—
BEGGAR (CLOPIN)
(to the HAUGHTY GENTLEMAN)
Take pity, whatever you can spare—
HAUGHTY GENTLEMAN
Bah!
(As the HAUGHTY GENTLEMAN pushes him aside, the BEGGAR picks his pocket.)
GYPSY
(to BEGGAR)
First purse of the day!
BEGGAR (CLOPIN)
And plenty more to come!
(stands up, shedding his beggar’s rags)
Clopin Trouillefou, ladies and gents—
CONGREGANTS
King of the Gypsies—
CLOPIN
A wild boar among domestic swine! Gypsies, let’s get to work!
ONCE A YEAR WE THROW A PARTY HERE IN TOWN
ONCE A YEAR WE TURN ALL PARIS UPSIDE DOWN
EV’RY MAN’S A KING AND EV’RY KING’S A CLOWN
ONCE AGAIN IT’S TOPSY-TURVY DAY
IT’S THE DAY THE DEVIL IN US GETS RELEASED
IT’S A DAY WE MOCK THE PRIG AND SHOCK THE PRIEST
EV’RYTHING IS TOPSY TURVY AT THE FEAST OF FOOLS!
REVELERS
TOPSY TURVY
CLOPIN
BEAT THE DRUMS AND BLOW THE TRUMPETS
CLOPIN, REVELERS
TOPSY TURVY
JOIN THE BUMS AND THIEVES AND STRUMPETS
STREAMING IN FROM CHARTRES TO CALAIS
— 2 0 — T H E H U N C H B A C K O F N O T R E D A M ECLOPIN
SCURVY KNAVES ARE EXTRA SCURVY
ON THE SIXTH OF JANU-URVY
CLOPIN, REVELERS
ALL BECAUSE IT’S TOPSY-TURVY DAY!
HEY!
HEY!
CLOPIN
Soyons vilains!
(Dance break. A handsome soldier, PHOEBUS, enters.)
CONGREGANT (PHOEBUS)
Into this crowd strode a young cavalier—Captain Phoebus de Martin, at your service...
CONGREGANTS
Whose dashing manner—
And bold swagger—
Could not quite conceal a haunted look in his eyes.
PHOEBUS
New to Paris, just back from the front.
FEMALE CONGREGANT
One of those handsome fellows to whom all the girls take a liking—
PHOEBUS
Thank you, ladies. Might one of you enjoy showing me around?
FEMALE REVELER
Oh, Captain, we’re not those kind of girls.
PHOEBUS
I like all kinds of girls.
#6—Rest and Recreation Phoebus, Frollo, Clopin,
(PHOEBUS)
FOUR YEARS AT THE FRONT
GIVE A MAN A ZEST
FOR A LITTLE REST
AND RECREATION
FOR THE CHANCE TO HUNT
FOR THE SPICIEST
T H E H U N C H B A C K O F N O T R E D A M E — 2 1 —
Soldiers, Revelers, Choir(PHOEBUS)
IN THE WAY OF REST
AND RECREATION
GIVE ME YOUR GIRLS OF PLEASURE
YOUR GRAPES OF MERLOT
SHOW ME YOUR WARES AND MEASURE
ONE LARGE SAMPLE
SAMPLE ‘EM AT MY LEISURE
THIS THREE-DAY FURLOUGH
SHOULD BE AMPLE
I HAVE BORNE THE BRUNT
OF A SOLDIER’S TEST
NOW I’VE MADE MY WAY
WHERE I GET TO PLAY
AT REST AND RECREA—
(CLOPIN tries to steal something from PHOEBUS, but isn’t fast enough and faces
Phoebus’s sword.)
PHOEBUS
Sorry. You’re quick, but I’m quicker.
CLOPIN
I don’t want any trouble!
PHOEBUS
Neither do I… believe me!
(PHOEBUS flashes back to the battleground.)
PHOEBUS
FOUR YEARS AT THE FRONT
FOUR YEARS AT THE FRONT...
VARIOUS SOLDIER’S VOICES
CANNON FODDER LYING IN THE FIELD BELOW THE CASTLE
IS THIS THE THIRD WEEK
OR THE FOURTH WEEK
OF THE SIEGE?
THE AIR FILLED WITH THE STENCH
OF BODIES IN A TRENCH...
WHOEVER PAYS THE MOST, I CALL: “MY LIEGE…”
— 2 2 — T H E H U N C H B A C K O F N O T R E D A M ESOLDIERS’ VOICES
SUMMONED HERE TO PARIS NOW, I’M FAR AWAY FROM BATTLE
FROM CLOTTING BLOOD AND ROTTING WOUNDS
OF DEAD AND DYING MEN…
PHOEBUS, SOLDIERS’ VOICES
AND WHATEVER I DO
I’LL MAKE SURE THIS IS TRUE…
PHOEBUS
I WILL NEVER GO BACK AGAIN!
(shakes off the memory as a WOMAN catches his attention)
DARLING TO BE BLUNT
YOU ARE WITH THE BEST
THAT’S WHY I’VE BEEN BLESSED
WITH THIS PROMOTION
I’VE BEEN WORKING HARD
NOW I’M GONNA BE
CAPTAIN OF THE GUARD
AIN’T THAT A NOTION?
LIKE OTHER TRUE KNIGHTS
I’VE GOT AMBITION
BUT FOR A FEW NIGHTS
FUN IS MY MISSION
SO WHAT DO YOU SAY?
CARE TO SHARE A DAY
OF REST AND RECREATION!
(A GYPSY rushes in, chased by a GENTLEMAN.)
GENTLEMAN
Come back here!
PHOEBUS
(nabbing the GYPSY)
Hold on, what’s your rush?
GYPSY
I did nothing wrong!
PHOEBUS
No? Then why run from it so fast?
T H E H U N C H B A C K O F N O T R E D A M E — 2 3 —GYPSY
Take pity. I’m just a poor fellow.
PHOEBUS
That pity’d be as well placed as a feather on a pig’s ass!
(FROLLO enters, accompanied by FREDERIC.)
FROLLO
(overhearing)
My goodness, sir!
PHOEBUS
Oh! Beg pardon, Your Grace.
FROLLO
What’s going on here?
GENTLEMAN
This Gypsy picked my pocket.
FROLLO
Search him, Lieutenant.
(FREDERIC searches.)
FREDERIC
Nothing, Your Grace.
GENTLEMAN
They work in pairs. I couldn’t catch the other one.
FROLLO
Arrest him.
PHOEBUS
On what charge?
FROLLO
Plying his trade. If it were up to me, he wouldn’t be allowed on the streets at all. Or
he’d be hunted for sport, like the Gypsy dog he is. Take him away.
PHOEBUS
Archdeacon Frollo? I’m Captain Phoebus de Martin.
FROLLO
Captain!
— 2 4 — T H E H U N C H B A C K O F N O T R E D A M E(FROLLO)
(lightly)
Only just arrived and you’ve already caught a criminal. You waste no time.
Welcome to the Cathedral Guard.
PHOEBUS
I’m grateful for the opportunity to serve you, my lord.
FROLLO
Your early arrival is most auspicious. The pestilence of these Gypsies grows more
dangerous every day.
CAPTAIN, YOU AND I
HAVE A TASK WE SHARE
STOPPING THEM AND THEIR
PROLIFERATION
FROLLO, PHOEBUS
THERE IS NO TIME
FOR REST AND RECREATION
REVELERS, CHOIR
COME ONE, COME ALL
CLOPIN
HURRY, HURRY—HERE’S YOUR CHANCE
SEE THE MYSTERY AND ROMANCE
REVELERS, CHOIR
COME ONE, COME ALL
CLOPIN
SEE THE FINEST GIRL IN FRANCE
MAKE AN ENTRANCE TO ENTRANCE
DANCE LA ESMERALDA…
DANCE!
(ESMERALDA appears with colorful flowing scarves. She is striking, wild, beautiful.
The REVELERS cheer. QUASIMODO has appeared among the crowd and is
captivated by ESMERALDA as she dances on a platform. FROLLO and PHOEBUS
also watch.)
T H E H U N C H B A C K O F N O T R E D A M E — 2 5 —
(FROLLO)
PARIS LOOKS TO US
TO RID HER STREETS OF CRIME
THIS IS WAR AND THUS
PHOEBUS
TO US
TO RID HER STREETS
OF CRIME#7—Rhythm of the Tambourine Esmeralda, Phoebus, Frollo,
ESMERALDA
HEY, SOLDIER BOY
I SEE HOW YOU STARE
HEY, BUTCHER MAN
I SEE YOU ADMIRE
COME GATHER ‘ROUND
HEY, JACQUES AND PIERRE
COME SEE ME DANCE
TO THE RHYTHM OF THE TAMBOURINE
FLASH OF AN ANKLE
FLIP OF A SKIRT
FEEL THEM EXCITE
ENFLAME AND INSPIRE
COME SEE ME DANCE
HEY, WHAT CAN IT HURT?
IT’S JUST A DANCE
TO THE RHYTHM OF THE TAMBOURINE…
(As ESMERALDA dances, PHOEBUS, FROLLO, and QUASIMODO respond in
their private thoughts.)
PHOEBUS
THIS GIRL… WHO IS SHE?
FROLLO
THIS GIRL… WHO IS SHE?
QUASIMODO
THIS GIRL… WHO IS SHE?
FROLLO
SHE DANCES LIKE THE DEVIL HIMSELF—
PHOEBUS
SHE DANCES LIKE AN ANGEL—
QUASIMODO
AN ANGEL!
PHOEBUS
BUT WITH SUCH FIRE…
— 2 6 — T H E H U N C H B A C K O F N O T R E D A M E
Quasimodo, ClopinFROLLO
SUCH FIRE!
FROLLO, QUASIMODO, PHOEBUS
WHO IS SHE?
ESMERALDA
MEN OF PARIS
BEFORE WE GET OLD
COME FEEL THE HEAT
COME TASTE THE DESIRE
FEEL THEM WITHIN YOU
CRIMSON AND GOLD
GOLD LIKE THE COINS
YOU WILL TOSS INTO MY TAMBOURINE
WHEN I DANCE
TO THE RHYTHM OF THE TAMBOURINE!
(ESMERALDA’s dance ends with a flourish. The REVELERS cheer. CLOPIN finds
ESMERALDA.)
CLOPIN
WELCOME TO PARIS, ESMERALDA
AS I WAS TOLD, YOU COME WITH USEFUL TOOLS
YOU’LL THRIVE IN PARIS, ESMERALDA
LONG AS YOU LEARN TO FOLLOW OUR RULES
ESMERALDA
I’m afraid I’ve never been very good at following rules, monsieur.
CLOPIN
So I’ve heard. Just stay out of trouble. Otherwise you’ll find yourself on the way to
the next town.
GYPSY
(to CLOPIN)
We’re ready.
CLOPIN
(to ESMERALDA)
Make yourself useful. Line up the men!
#8—Topsy Turvy (Part 2) Clopin, Esmeralda, Revelers, Choir
T H E H U N C H B A C K O F N O T R E D A M E — 2 7 —CLOPIN
And now, ladies and gentlemen, the pièce de résistance!
HERE IT IS—THE MOMENT YOU’VE BEEN WAITING FOR
HERE IT IS—YOU KNOW EXACTLY WHAT’S IN STORE
NOW’S THE TIME WE LAUGH UNTIL OUR SIDES GET SORE
NOW’S THE TIME WE CROWN—
CLOPIN, ESMERALDA, REVELERS, CHOIR
THE KING OF FOOLS!
CLOPIN
You all remember last year’s king!
(A silly-looking REVELER sticks his head through the hole of a drop that depicts a king on
a throne. CLOPIN continues as ESMERALDA escorts other REVELERS to the stage.)
SO MAKE A FACE THAT’S HORRIBLE AND FRIGHTENING
MAKE A FACE AS GRUESOME AS A GARGOYLE’S WING
FOR THE FACE THAT’S UGLIEST WILL BE THE KING OF FOOLS!
Why?
ESMERALDA, REVELERS, CHOIR
TOPSY TURVY
(REVELERS make faces and file up to the stage to stick their faces through the drop.)
CLOPIN
UGLY FOLK, FORGET YOUR SHYNESS
ESMERALDA, REVELERS, CHOIR
TOPSY TURVY
CLOPIN
YOU COULD SOON BE CALLED “YOUR HIGHNESS!”
ESMERALDA, REVELERS, CHOIR
PUT YOUR FOULEST FEATURES ON DISPLAY
CLOPIN, ESMERALDA, REVELERS, CHOIR
BE THE KING OF TOPSY-TURVY DAY
(QUASIMODO has been watching nearby. ESMERALDA sees his face.)
ESMERALDA
Aren’t you going to join the competition?
(QUASIMODO turns and looks at ESMERALDA. She recoils for a moment.)
My God.
— 2 8 — T H E H U N C H B A C K O F N O T R E D A M EREVELERS, CHOIR
TOPSY TURVY
(ESMERALDA recovers and looks at QUASIMODO with simple acceptance.)
ESMERALDA
(lightly)
Well, wouldn’t you like to be crowned king for a day?
(QUASIMODO turns away.)
REVELERS, CHOIR
TOPSY TURVY
ESMERALDA
Why not take advantage of what you’ve got?
REVELERS, CHOIR
TOPSY TURVY
(QUASIMODO decides to stick his head through the drop. The REVELERS stop and
stare incredulously.)
VARIOUS REVELERS
My God! He’s hideous!
Is that a mask?
It’s his face!
Who is that?!
It must be the hunchback!
From the bell tower!
Archdeacon Frollo’s pet!
No wonder he keeps him hidden!
His secret friend!
(The REVELERS laugh mockingly at Frollo, who is visibly discomfited. CLOPIN
decides to save the situation.)
CLOPIN
Ladies and gentlemen, we’re in luck! We asked for the ugliest face in Paris, and we
found him—Quasimodo, the Hunchback of Notre Dame!
(Cheers, applause, laughter. CLOPIN claps the crown on QUASIMODO.)
EVERYBODY!
ESMERALDA, REVELERS, CHOIR
ONCE A YEAR WE THROW A PARTY HERE IN TOWN
CLOPIN
HAIL TO THE KING
T H E H U N C H B A C K O F N O T R E D A M E — 2 9 —ESMERALDA, REVELERS, CHOIR
ONCE A YEAR WE TURN ALL PARIS UPSIDE DOWN
CLOPIN
OH, WHAT A KING!
ESMERALDA, REVELERS, CHOIR
ONCE A YEAR THE UGLIEST WILL WEAR THE CROWN
CLOPIN
GIRLS, GIVE A KISS
ESMERALDA, REVELERS, CHOIR
ONCE A YEAR ON TOPSY-TURVY DAY
CLOPIN
WE’VE NEVER HAD A KING LIKE THIS!
ALL
AND IT’S THE DAY WE DO THE THINGS THAT WE DEPLORE
ON THE OTHER THREE-HUNDRED-AND-SIXTY-FOUR
ONCE A YEAR WE LOVE TO DROP IN
WHERE THE BEER IS NEVER STOPPIN’
FOR THE CHANCE TO POP SOME POPINJAY
AND CROWN A KING WHO PUTS THE “TOP” IN
TOPSY-TURVY DAY!
TOPSY TURVY!
MAD AND CRAZY
UPSY-DAISY
TOPSY-TURVY DAY! HEY!
(Much merriment. Then:)
REVELER
(making mischief)
You think he’s ugly now? Watch this!
#8A—The Harrowing
(The REVELER tosses a tomato at QUASIMODO, hitting him in the face. The
CROWD laughs.)
Now, that’s ugly!
(Other REVELERS laugh and begin to toss more fruit at QUASIMODO.)
— 3 0 — T H E H U N C H B A C K O F N O T R E D A M EVARIOUS REVELERS
Hail to the King!
Long live the King!
Bon appétit!
(More laughter. QUASIMODO, in a panic, tries to get away as FROLLO watches.)
CONGREGANTS
The crowd had never done this before, not in all the years of the Feast of Fools.
But they had never seen a creature so horrible—
And it drove them wild!
(The REVELERS shout and jeer, going into a frenzy.)
The hunchback was stripped of his doublet and his shirt—
And was bound and buckled—
A loud laugh burst from the mob when they beheld Quasimodo’s naked hump—
And his scaly and hairy shoulders.
VARIOUS REVELERS
Get him!
Beat him!
Whip him!
Tie him down!
(With his immense strength, QUASIMODO throws a MAN across the square. The
REVELERS jump upon and coil ropes around QUASIMODO. He struggles to break
free as they mock him.)
QUASIMODO
Agggghhh!!!
(looks toward FROLLO)
Master! Help me!!
(FROLLO watches, hiding his pain, impassive.)
PHOEBUS
Permission to stop this cruelty, Your Grace.
FROLLO
Not just yet, Captain. A lesson needs to be learned here.
(ESMERALDA makes her way through the crowd.)
ESMERALDA
No! Stop that!
(CLOPIN stops ESMERALDA.)
T H E H U N C H B A C K O F N O T R E D A M E — 3 1 —CLOPIN
What are you doing? Are you crazy?
ESMERALDA
Let go of me.
CLOPIN
I’m warning you, Esmeralda, this is no way to begin—
(ESMERALDA pulls away from CLOPIN.)
ESMERALDA
Stop!
(The REVELERS part as ESMERALDA approaches QUASIMODO. He looks at her
and pulls away.)
I’m sorry. Don’t be afraid.
QUASIMODO
(g
ently pleading)
Wa–ter… Wa–ter…
(A moment. ESMERALDA offers a ladle of water to QUASIMODO. He drinks.)
Thank… you…
(ESMERALDA cuts QUASIMODO’s ropes. He stares at her.)
ESMERALDA
Go. Please.
(QUASIMODO climbs off the stage, in shame.)
VARIOUS REVELERS
What are you doing?!
You’re ruining all our fun!
Dirty Gypsy!
Gypsy whore!
Get her! Don’t let her go!
(The REVELERS roar and start to attack ESMERALDA.)
CLOPIN
(to ESMERALDA)
I warned you, didn’t I?
(CLOPIN throws powder on the ground. He and ESMERALDA disappear in a cloud
of smoke.)
— 3 2 — T H E H U N C H B A C K O F N O T R E D A M EFROLLO
(to himself)
Witchcraft!
REVELER
(noticing QUASIMODO)
There he is!
(The REVELERS rush QUASIMODO.)
FROLLO
(takes charge of the situation and addresses the crowd)
Stop this at once! We must show kindness to this creature, as our Savior did when
he healed the lepers. Time to go home! The performance is over!
PHOEBUS
Fichez le camp!
#9—Sanctuary II Frollo, Quasimodo
(The REVELERS disband and begin to pack up. FROLLO looks at QUASIMODO
tenderly.)
FROLLO
SEE HOW IT’S CRUEL
SEE HOW IT’S WICKED
SEE HOW I SHELTERED YOU
FROM HAVING TO GO THROUGH THIS?
HOW COULD YOU DO THIS
TO ME?
QUASIMODO
Forgive, master. Won’t ever leave again.
FROLLO
NOW, BOY, YOU SEE
YOU DON’T BELONG WITH NORMAL MEN
YOU ARE HAPPY WHEN
YOU’RE IN YOUR SANCTUARY
QUASIMODO
SANCTUARY…
FROLLO
BACK TO YOUR SANCTUARY
T H E H U N C H B A C K O F N O T R E D A M E — 3 3 —FROLLO, QUASIMODO
NEVER TO COME OUT HERE
FROLLO
AGAIN.
(motions to PHOEBUS)
Take the boy inside.
(PHOEBUS starts to lead an embarrassed QUASIMODO back into the Cathedral, but
he rejects the escort and exits on his own. FROLLO notices one of Esmeralda’s scarves.
He bends down, picks it up. For a moment, he holds it close to his face.)
— 3 4 — T H E H U N C H B A C K O F N O T R E D A M ESCENE THREE: INSIDE THE CATHEDRAL
#9A—The Bells of Notre Dame (Reprise) Esmeralda, Congregation, Choir
CONGREGANT
SO THE POOR HUNCHBACK RETREATED BACK IN
THROUGH THE DOORS OF NOTRE DAME
(ESMERALDA enters.)
CONGREGANT
AND THERE FOLLOWED THE GYPSY GIRL WHO’D NEVER BEEN
THROUGH THE DOORS OF NOTRE DAME
CONGREGANT
AND EACH WINDOW AND PILLAR
AND ARCH SEEMED TO FILL HER WITH LIGHT...
(FROLLO has appeared.)
FROLLO
So, a Gypsy dares to enter this holy place.
ESMERALDA
Why not?
FROLLO
Because your kind aren’t allowed in here.
ESMERALDA
Why do you hate us so much? What did we ever do to you?
FROLLO
More than you know. What are you doing here?
ESMERALDA
I came here to find that boy. It was my fault he got up on the stage in the first place.
FROLLO
That boy isn’t your concern. He is my charge. God loves even a monster.
T H E H U N C H B A C K O F N O T R E D A M E — 3 5 —
CONGREGANT
AND SHE STOPPED AND BEHELD ALL THE BEAUTY
LIKE A BEGGAR RECEIVING AN ALM
CHOIR
AH
AH
ESMERALDA
THE LIGHT OF NOTRE DAME…
CHOIR
KYRIE ELEISONESMERALDA
He’s no less human than the rest of us.
FROLLO
Some of us are less human than others. In the moral sense.
ESMERALDA
Do you mean me?
FROLLO
You dance in public without shame or modesty.
ESMERALDA
I dance because I enjoy it. Others enjoy it, too, and give me money.
FROLLO
As they would a woman of ill repute! Do you also deny possessing black magic?
ESMERALDA
If I had the power of magic, why wouldn’t I use it to help myself and my people?
FROLLO
(stares at ESMERALDA, mesmerized)
You are clever. You twist the truth just as you twist your body in dance.
ESMERALDA
(looks at FROLLO, softening her tone)
Your Grace… there must be some charity inside you. If you’ve helped that boy, then
surely you can extend that kindness to others almost as unfortunate? How you
would wish others to treat you, could you not treat them?
FROLLO
(struck)
Our Lord Jesus himself said something very similar.
(g
estures)
You see Him on the cross there gazing down at us?
#10—God Help The Outcasts Esmeralda, Parishioners, Choir
(PARISHIONERS enter and light candles. Under FROLLO’s next lines:)
CHOIR
SALVE REGINA, MATER MISERICORDIAE
VITA, DULCEDO, ET SPES NOSTRA, SALVE
AD TE SUSPIRAMUS GEMENTES ET FLENTES
IN HAC LACRIMARUM VALLE…
— 3 6 — T H E H U N C H B A C K O F N O T R E D A M EFROLLO
Midday Mass is starting. I must go. My child, though your people are lost, there
may be something in you that can be saved. Stay, and perhaps you will see what
true beauty is. And we… we can continue this conversation afterwards.
(FROLLO bows and leaves ESMERALDA. Awestruck, a revelation dawning on her,
stares up at the crucifix.)
ESMERALDA
I DON’T KNOW IF YOU CAN HEAR ME
OR IF YOU’RE EVEN THERE
I DON’T KNOW IF YOU WOULD LISTEN
TO A GYPSY’S PRAYER
YES, I KNOW I’M JUST AN OUTCAST
I SHOULDN’T SPEAK TO YOU
STILL I SEE YOUR FACE AND WONDER
WERE YOU ONCE AN OUTCAST TOO?
GOD HELP THE OUTCASTS
HUNGRY FROM BIRTH
SHOW THEM THE MERCY
THEY DON’T FIND ON EARTH
GOD HELP MY PEOPLE
THEY LOOK TO YOU STILL
GOD HELP THE OUTCASTS
OR NOBODY WILL...
VARIOUS PARISHIONERS
I ASK FOR WEALTH
I ASK FOR FAME
I ASK FOR GLORY TO SHINE ON MY NAME
PARISHIONERS, CHOIR
I ASK FOR GOD AND HIS ANGELS TO BLESS ME
ESMERALDA
I ASK FOR NOTHING
I CAN GET BY
T H E H U N C H B A C K O F N O T R E D A M E — 3 7 —
PARISHIONER
I ASK FOR LOVE
TWO PARISHIONERS
I CAN POSSESS
PARISHIONERS
AH
I ASK FOR LOVE(PHOEBUS and FREDERIC enter and stop when they see ESMERALDA.)
(ESMERALDA)
BUT I KNOW SO MANY
LESS LUCKY THAN I
PHOEBUS
(to FREDERIC)
It’s all right. I’ll take care of it.
(FREDERIC nods and exits. PHOEBUS approaches ESMERALDA.)
I thought you disappeared in a puff of smoke.
ESMERALDA
Don’t believe everything you see.
(ESMERALDA attempts to exit.)
PHOEBUS
And where do you think you’re going?
(PHOEBUS reaches out, but ESMERALDA swiftly puts her knife to his throat.)
Calm down. Give me a chance to apologize.
ESMERALDA
For what?
PHOEBUS
This.
(PHOEBUS grabs ESMERALDA and forces her to release the knife.)
Still, I’m impressed. You fight almost as well as a man.
ESMERALDA
Funny, I was going to say the same thing about you.
(ESMERALDA elbows PHOEBUS in the lower gut and retrieves the knife, keeping her
distance. He buckles, then recovers.)
— 3 8 — T H E H U N C H B A C K O F N O T R E D A M E
ESMERALDA
PLEASE HELP MY PEOPLE
THE POOR AND DOWNTROD
I THOUGHT WE ALL WERE
THE CHILDREN OF GOD
GOD HELP THE OUTCASTS
CHILDREN OF GOD
CHILDREN OF GOD
PARISHONERS, CHOIR
AMEN
CHOIR
AH
AH
AHPHOEBUS
Look, it’s my job to protect this Cathedral.
ESMERALDA
From dirty Gypsies like me?
PHOEBUS
You said it, I didn’t. But I do have my orders to follow.
ESMERALDA
And if there’s one thing a good soldier knows, it’s how to follow orders.
PHOEBUS
(laughs)
Who said anything about my being a good soldier?
ESMERALDA
Are you saying you’re not?
PHOEBUS
I’m saying I have a job to do. It’s much better than the one it got me out of.
ESMERALDA
Burying your comrades in unmarked graves?
(PHOEBUS stares at ESMERALDA for a moment, then turns away.)
You can look me in the eye, you know. We don´t cast spells.
PHOEBUS
I know that.
(a beat)
Where are you from, anyway?
ESMERALDA
You’re asking a Gypsy? All I know is I’ve come from nothing. Just like you.
(QUASIMODO, who has been watching, inadvertently makes a noise then runs off.
ESMERALDA starts after him.)
#11—Transition to the Bell Tower Statues, Gargoyles
PHOEBUS
Where are you going?
ESMERALDA
To see that boy.
T H E H U N C H B A C K O F N O T R E D A M E — 3 9 —PHOEBUS
Why can’t you mind your own business?
ESMERALDA
It has to be somebody’s business.
(as she starts up to the bell tower)
Hello? Are you up there?
— 4 0 — T H E H U N C H B A C K O F N O T R E D A M ESCENE FOUR: BELL TOWER
(QUASIMODO runs to the bell tower.)
VARIOUS STATUES & GARGOYLES
QUASIMODO, QUICK!
YOU’VE GOT TO HIDE!
YOU’VE GOT TO RUN!
QUASIMODO,
MUSTN’T LET HER FIND YOU!
QUASIMODO
No! Mustn’t!
VARIOUS STATUES & GARGOYLES
FIND A PLACE AND QUICKLY
SO SHE CAN’T SEE WHERE YOU’VE GONE!
HERE SHE COMES—
I THINK SHE’S RIGHT BEHIND YOU!
QUASIMODO
Have to hide…
STATUES & GARGOYLES
THIS WAY!
STATUE
OVER THERE!
GARGOYLE
CLIMB UP HERE!
ESMERALDA
Hello?
GARGOYLES
THIS WAY!
STATUE
FIND A PLACE—
(ESMERALDA appears.)
STATUES & GARGOYLES
TOO LATE
ESMERALDA
Please don’t be afraid. I’m so sorry about what happened to you…
T H E H U N C H B A C K O F N O T R E D A M E — 4 1 —(QUASIMODO has turned away. ESMERALDA looks around.)
(ESMERALDA)
Ohh… What an amazing place… Are you alone up here?
(QUASIMODO doesn’t say anything. ESMERALDA approaches.)
Hello? Can you…
(turns QUASIMODO around to face her)
You can’t hear me, can you?
QUASIMODO
The bells…
(indicates his ears)
Can still hear a little. And read lips.
(From this point forward, ESMERALDA makes sure QUASIMODO can see her face
when she speaks.)
ESMERALDA
I thought I heard you, when I came up here…
QUASIMODO
Not me. Gargoyles.
ESMERALDA
The gargoyles? They talk to you?
QUASIMODO
Everything talks to me… Windows, statues, bells… My friends. No, that’s stupid!
ESMERALDA
No, it’s not. I like your friends. Have you lived here a long time?
QUASIMODO
Whole life.
ESMERALDA
Really?! It seems like a wonderful place to live.
QUASIMODO
Yes. But. In winter—cold.
(ESMERALDA laughs. This makes QUASIMODO smile. ESMERALDA tries to
move closer to him as he shows her his view of Paris.)
#12—Top of the World Esmeralda, Quasimodo, Statues, Gargoyles
— 4 2 — T H E H U N C H B A C K O F N O T R E D A M E(QUASIMODO)
Can see everything from up here. City gates. River Seine.
ESMERALDA
Yes. It sparkles in the light…
(looks down)
Small problem. I’m afraid of heights.
(ESMERALDA gets dizzy. QUASIMODO lifts her away from the edge.)
Thank you. You’re very strong.
QUASIMODO
(p
roudly)
Yes, I am.
ESMERALDA
Still, I’m glad I can get to… to see things down there.
(QUASIMODO looks away, tongue-tied.)
GAZING DOWN FROM THE TOP OF THE WORLD
SUDDENLY SEEING A DIFFERENT CITY
THINGS LOOK TINY AND FRIENDLY AND FAIR
SEEN FROM THE TOP OF THE WORLD
WHEN YOU LOOK FROM HIGH ABOVE
EVERYTHING SEEMS PRETTY
SEEING LIFE FROM THE TOP OF THE WORLD
NOTHING NEEDS FIGHTING AND NO ONE NEEDS PITY
THANKS FOR GIVING THIS MOMENT TO ME
WHEN JUST FOR A MOMENT THINGS STOP
HERE AT THE TOP OF THE WORLD…
VARIOUS STATUES & GARGOYLES
FOR ALL THESE YEARS
YOU’VE STAYED ALONE
AND FREE FROM DANGER
WE SHARED YOUR FEARS
IT WASN’T SAFE
TO TRUST A STRANGER
BUT MAYBE WE WERE WRONG HERE
COULD SHE BELONG HERE?
THIS GIRL APPEARS
T H E H U N C H B A C K O F N O T R E D A M E — 4 3 —(VARIOUS STATUES & GARGOYLES)
AND SHE IS KIND
AND WE’RE ADMITTING
WE’D GIVE THREE CHEERS
TO SEE YOU BOTH
FOREVER SITTING
STATUES & GARGOYLES
LOOK AT YOU SITTING
ON TOP OF THE WORLD…
ESMERALDA, STATUES & GARGOYLES
HERE AT THE TOP OF THE WORLD
VARIOUS STATUES & GARGOYLES
QUASIMODO, SAY SOMETHING
TAKE OUR ADVICE
BE BRAVE AND SAY SOMETHING
PLEASE DON’T THINK TWICE
STATUES & GARGOYLES
QUASIMODO, SAY SOME—
QUASIMODO
Esmeralda…
ESMERALDA
Yes?
QUASIMODO
(hesitantly)
I… I… IT’S NICE
THE TWO OF US SITTING…
— 4 4 — T H E H U N C H B A C K O F N O T R E D A M E
ESMERALDA
SEEING LIFE FROM THE
TOP OF THE WORLD
NOTHING NEEDS FIGHTING
AND NO ONE NEEDS PITY
THANKS FOR GIVING THIS
MOMENT TO ME
WHEN JUST FOR A MOMENT
THINGS STOP
HERE AT THE TOP OF THE WORLD
STATUES & GARGOYLES
THIS GIRL
APPEARS
AND SHE IS KIND
AND WE’RE ADMITTING
WE’D GIVE
THREE CHEERS
TO SEE YOU BOTH
FOREVER SITTING
LOOK AT YOU SITTING ON
TOP OF THE WORLDESMERALDA
THE TWO OF US SITTING…
STATUES & GARGOYLES
THE TWO OF YOU SITTING ...
QUASIMODO, ESMERALDA, STATUES & GARGOYLES
SITTING ON TOP OF THE WORLD
(ESMERALDA looks in QUASIMODO’s face. She kisses his cheek. After a moment
of pure bliss, QUASIMODO goes to ring the bells.)
QUASIMODO
Marie! Thibaut! Gabrielle! Francoise! Pasquier! Ring for her! Sing for Esmeralda!
ESMERALDA
So loud!
QUASIMODO
Yes?
ESMERALDA
Beautiful—but loud!
QUASIMODO
All in good voice today. Knew today was going to be a special day. And look—up
there—hot lead.
ESMERALDA
Hot lead?
QUASIMODO
I use to fix the bells—I show you. But careful—very, very hot—
(FROLLO appears.)
FROLLO
Quasimodo! What are you doing, ringing the bells at the wrong time? Since when
have you ever…
(sees ESMERALDA)
My child, I looked for you after Mass. I thought you had left ... But instead, I find
that my charge has distracted you! Quasimodo, you shouldn’t have.
ESMERALDA
It was my fault, Your Grace.
FROLLO
Ah. My son, don’t you have duties to perform?
T H E H U N C H B A C K O F N O T R E D A M E — 4 5 —QUASIMODO
(nervous)
Yes, master.
FROLLO
Don’t stray too far!
(QUASIMODO exits.)
Filling the boy’s head with dreams?
ESMERALDA
No. Just thoughts. Nothing wrong with thoughts, is there?
FROLLO
That depends. You can see how impressionable he is. Little more than a child.
ESMERALDA
Looking at him, I don’t see a child.
(FROLLO is drawn closer to ESMERALDA.)
FROLLO
But you are. In a way. You indicated a willingness to learn. A soul who wishes to
be saved is already halfway there. I could instruct you in the gospels, share with
you our Lord’s grace. You could come here every day. Or even better, perhaps you
could stay here.
ESMERALDA
Stay?
FROLLO
In the Cathedral. With me.
ESMERALDA
I don’t think that would be a good idea.
FROLLO
No?
ESMERALDA
I see the way you look at me.
(FROLLO stares at ESMERALDA, aghast. It’s as if a switch has been turned on in
him.)
FROLLO
How dare you!
— 4 6 — T H E H U N C H B A C K O F N O T R E D A M E#12A—How Dare You
(FROLLO)
Your soul is so unclean you can’t imagine goodness in others. I should have known
no Gypsy would truly want to be saved.
ESMERALDA
(cooler)
I don’t think I’m in need of saving.
FROLLO
(hardening)
Of course not. Your kind never do.
(calls down)
Captain!
(p
ause)
I could be a good friend to you. But I warn you: I could also be a terrible enemy.
PHOEBUS
(offstage)
Your Grace?
FROLLO
Escort this Gypsy out of the church. And see that she never sets foot here again. If
she does, she’ll be arrested.
(QUASIMODO enters as ESMERALDA exits.)
Quasimodo… that Gypsy girl—
QUASIMODO
She— was nice to me.
FROLLO
Was she? And what do you know about people and their feelings, my boy?
QUASIMODO
Feelings? I… nothing.
FROLLO
Quasimodo, do you ever have thoughts… impure thoughts?
QUASIMODO
Impure?
T H E H U N C H B A C K O F N O T R E D A M E — 4 7 —FROLLO
A boy like you, already grown in body… possessing those urges and ideas that come
to a young man… you must stop them. You must stop these feelings. You must not
follow in the footsteps of your father—
QUASIMODO
My father…
FROLLO
He was weak. And you have his corruption inside you. Listen to me, Quasimodo.
I’m warning you about this girl. She’s dangerous. She was put in our path for a
reason—to tempt us both. Promise me you won’t think of her again.
QUASIMODO
Won’t— think…?
FROLLO
Promise me.
QUASIMODO
I promise.
FROLLO
Good. So then, we’re well rid of her.
CONGREGATION
(whispers, repeating and overlapping)
Esmeralda… Esmeralda…
FROLLO
It is just the two of us, dear boy… you and I against the world.
QUASIMODO
Yes, master.
FROLLO
That’s a good boy. Now, sound the bells and send the city to sleep. Good night…
QUASIMODO
Good night, master.
(FROLLO exits. QUASIMODO looks out the windows.)
— 4 8 — T H E H U N C H B A C K O F N O T R E D A M ESCENE FIVE: TAVERN
CONGREGATION
(continuing)
Esmeralda… Esmeralda…
CONGREGANTS
But despite his admonition to Quasimodo, Frollo himself could not stop thinking
about her.
He began to walk the streets, night after night—
Unable to bring himself to return alone to his cold, dark chambers.
He barely knew what he was looking for.
But he could not resist.
CONGREGANT (FROLLO)
He thought he saw her everywhere…
GYPSY
ÁNDO BIRTO ZHAS [AHN-doh BEER-toh ZAHS—Into the tavern we go]
THAI MOL PIYAS [TAHY mohl pee-YAHS—And wine we drink]
CONGREGANT
Until one night, walking down an unknown alley…
#13—Tavern Song (Thai Mol Piyas) Gypsies, Esmeralda, Frollo
(FROLLO comes upon a tavern and hears singing GYPSIES, including CLOPIN and
ESMERALDA. FROLLO watches furtively from the shadows.)
T H E H U N C H B A C K O F N O T R E D A M E — 4 9 —
CONGREGANTS
He drew closer to the most unsavory part of the city…
Passing lovers embracing in the shadows…
GYPSY
AMARE LOVE DAS
[ah-MAH-reh LO-veh DAHS —
Our money we give]
THAI MOL PIYAS
CONGREGANT (FROLLO)
When he heard the sound of distant music
and laughter…
CONGREGANT
Coming from within a tavern called—
GYPSIES
ÁNDO BIRTO ZHAS
THAI MOL PIYAS
AMARE LOVE DAS
THAI MOL PIYASGYPSIES
La Pomme d’Eve!
THAI GILABA [TAHY ghee-LAH-bah—And sing]
THAI MOL PIYAS
IN THE DARK OF THE NIGHT
IN THE DEAD OF THE WINTER
GYPSIES
COME KEEP ME WARM UNTIL MORNING
(The GYPSIES dance.)
ÁNDO BIRTO ZHAS
THAI MOL PIYAS
AMARE LOVE DAS
THAI MOL PIYAS
ESMERALDA
WITH THE TASTE OF THE WINE
HOLD ME CLOSE WHILE WE’RE DANCING
GYPSIES
YOU’LL KEEP ME WARM UNTIL MORNING
(PHOEBUS and FREDERIC enter.)
CLOPIN
I’m sorry, but soldiers aren’t welcome here.
PHOEBUS
Relax. I’m just looking for a little rest and recreation. For my young friend Frederic
as well.
CLOPIN
Well, I’m sure we can arrange that.
PHOEBUS
Actually, I’m looking for someone in particular.
— 5 0 — T H E H U N C H B A C K O F N O T R E D A M E
GYPSY MEN
PLEASURE IS FLEETING
SO LIPS WILL BE MEETING
GYPSY WOMEN
ÁNDO BIRTO ZHAS
THAI MOL PIYAS
ESMERALDA, GYPSY WOMEN
WHEN I HEAR YOU SIGHING
WINTER IS DYING
GYPSY MEN
ÁNDO BIRTO ZHAS
THAI MOL PIYASCLOPIN
And why doesn’t that surprise me? But I’m afraid she’s already spoken for.
ESMERALDA
Oh, really, Clopin? Nobody speaks for me.
CLOPIN
I’m only looking out for your own welfare.
ESMERALDA
I can look out for myself.
(CLOPIN gives her a look, then leaves her.)
PHOEBUS
You lose friends easily, don’t you?
ESMERALDA
I have that way about me.
PHOEBUS
Too bad. It makes seeing you that much more difficult.
ESMERALDA
(surprised)
And does that disappoint you?
PHOEBUS
Does that surprise you?
ESMERALDA
Frankly, yes.
PHOEBUS
(laughs)
Me, too.
ESMERALDA
Well, now that you’ve found me, what are you going to do about it?
(PHOEBUS grabs her.)
PHOEBUS
I told you. I’m not as good as everybody likes to think.
(PHOEBUS kisses ESMERALDA. FROLLO watches as the GYPSIES sing and dance
around them.)
GYPSIES
IN THE DARK OF THE NIGHT…
T H E H U N C H B A C K O F N O T R E D A M E — 5 1 —FROLLO
BRAZEN, LEWD AND ODIOUS
THIS VILE, DEPRAVED DISPLAY…
GYPSIES
IN THE DEAD OF THE WINTER…
FROLLO
I CANNOT BEAR TO WATCH, AND YET
I CANNOT TURN AWAY…
GYPSIES
YOU’LL KEEP ME WARM UNTIL MORNING
(PHOEBUS and ESMERALDA break apart.)
PHOEBUS
Well, that was pleasant. For you, too?
ESMERALDA
I have to go.
PHOEBUS
Why?
ESMERALDA
You’re not the only one who needs to make a living.
PHOEBUS
Where can I find you?
(But ESMERALDA is gone. A GYPSY has wrapped her arms around FREDERIC.
PHOEBUS exits.)
GYPSIES
IN THE DARK OF THE NIGHT
IN THE DEAD OF THE WINTER
GYPSIES
COME KEEP ME WARM UNTIL MORNING
COME KEEP ME WARM UNTIL MORNING
COME KEEP ME WARM UNTIL MORNING
COME KEEP ME WARM UNTIL MORNING…
— 5 2 — T H E H U N C H B A C K O F N O T R E D A M E
GYPSY MEN
PLEASURE IS FLEETING
SO LIPS WILL BE MEETING
GYPSY WOMEN
ÁNDO BIRTO ZHAS
THAI MOL PIYASSCENE SIX: BELL TOWER
(Bells ring. QUASIMODO looks out over Paris as the STATUES and GARGOYLES
watch him.)
QUASIMODO
I see her!
STATUE
That isn’t her.
QUASIMODO
(disappointed)
You’re right… I keep thinking I see her everywhere.
GARGOYLE
You’re not supposed to think of her at all.
QUASIMODO
Can’t help it. I miss her.
GARGOYLE
Quasimodo, you can think about whoever you want.
QUASIMODO
But master says I must not!
STATUE
He can’t tell you what to think and not think!
#14—Heaven’s Light Quasimodo
GARGOYLE
Besides, you look out there every night.
QUASIMODO
But this is different. Everything is different now.
SO MANY TIMES OUT THERE
I’VE WATCHED A HAPPY PAIR
OF LOVERS WALKING IN THE NIGHT
THEY HAD A KIND OF GLOW AROUND THEM
IT ALMOST LOOKED LIKE HEAVEN’S LIGHT
I KNEW I’D NEVER KNOW
THAT WARM AND LOVING GLOW
THOUGH I MIGHT WISH WITH ALL MY MIGHT
T H E H U N C H B A C K O F N O T R E D A M E — 5 3 —(QUASIMODO)
NO FACE AS HIDEOUS AS MY FACE
WAS EVER MEANT FOR HEAVEN’S LIGHT
BUT SUDDENLY, AN ANGEL HAS SMILED AT ME
AND TOUCHED MY FACE WITHOUT A TRACE OF FRIGHT
I DARE TO DREAM THAT SHE
MIGHT EVEN CARE FOR ME
AND AS I RING THE BELLS TONIGHT
MY COLD DARK TOWER SEEMS SO BRIGHT
I SWEAR IT MUST BE HEAVEN’S LIGHT
— 5 4 — T H E H U N C H B A C K O F N O T R E D A M ESCENE SEVEN: PRAYER STALLS
(PRIESTS enter the Cathedral for evening Mass.)
#15—Hellfire Frollo, Priests, Choir
PRIESTS, CHOIR MEN
CONFITEOR DEO OMNIPOTENTI
BEATAE MARIAE SEMPER VIRGINI
BEATO MICHAELI ARCHANGELO
SANCTIS APOSTOLIS
OMNIBUS SANCTIS
(FROLLO enters and kneels before the statue of the Virgin Mary, Notre Dame.)
FROLLO
BEATA MARIA
YOU KNOW I AM A RIGHTEOUS MAN
OF MY VIRTUE, I AM JUSTLY PROUD…
PRIESTS, CHOIR MEN
ET TIBI PATER…
FROLLO
BEATA MARIA
YOU KNOW I’M SO MUCH PURER THAN
THE COMMON, VULGAR, WEAK, LICENTIOUS CROWD…
PRIESTS, CHOIR MEN
QUIA PECCAVI NIMIS…
FROLLO
THEN TELL ME, MARIA
WHY I SEE HER DANCING THERE
WHY HER SMOLD’RING EYES STILL SCORCH MY SOUL…
PRIESTS, CHOIR MEN
COGITATIONE…
FROLLO
I FEEL HER, I SEE HER
THE SUN CAUGHT IN HER RAVEN HAIR
IS BLAZING IN ME OUT OF ALL CONTROL…
PRIESTS, CHOIR MEN
VERBO ET OPERE…
T H E H U N C H B A C K O F N O T R E D A M E — 5 5 —FROLLO
LIKE FIRE
HELLFIRE
THIS FIRE IN MY SKIN
THIS BURNING
DESIRE
IS TURNING ME TO SIN…
— 5 6 — T H E H U N C H B A C K O F N O T R E D A M E
FROLLO
IT’S NOT MY FAULT
I’M NOT TO BLAME
IT IS THE GYPSY GIRL
THE WITCH WHO SENT THIS FLAME
IT’S NOT MY FAULT
IF IN GOD’S PLAN
HE MADE THE DEVIL SO MUCH
STRONGER THAN A MAN
PROTECT ME, MARIA
DON’T LET THIS SIREN CAST HER SPELL
DON’T LET HER FIRE SEAR MY FLESH AND BONE
DESTROY ESMERALDA
AND LET HER TASTE THE FIRES OF HELL
OR ELSE LET HER BE MINE AND MINE ALONE ...
HELLFIRE
DARK FIRE
NOW GYPSY, IT’S YOUR TURN
CHOOSE ME OR
YOUR PYRE
BE MINE OR YOU WILL BURN...
GOD HAVE MERCY ON HER
GOD HAVE MERCY ON ME
BUT SHE WILL BE MINE
OR SHE WILL BURN!
PRIESTS, CHOIR MEN
MEA CULPA
MEA CULPA
MEA MAXIMA CULPA
MEA CULPA
MEA CULPA
MEA MAXIMA CULPA
PRIESTS, CHOIR
AH
AH AH
AH AH AH
AH
AH AH
AH AH
HELLFIRE
DARK FIRE
AH
CHOOSE ME OR
YOUR PYRE
AH
KYRIE ELEISON
KYRIE ELEISON
KYRIE ELEISON
AH AH
AH AH
AH AH AH AHSCENE EIGHT: THE KING’S COURT
(Frollo goes to the Bastille. KING LOUIS XI appears.)
CONGREGATION
On the very next morning—
CONGREGANT (KING LOUIS XI)
King Louis the Eleventh, nicknamed the Prudent—
CONGREGANTS
Received a visitor—
Who arrived—
Unannounced.
FROLLO
Your Majesty.
KING LOUIS XI
My astrologer told me I’d have an unexpected guest.
FROLLO
Your Majesty. There is a Gypsy witch who has been endangering our citizens with
her sorcery. She must be stopped. I need special powers to protect the people and
the Church.
KING LOUIS XI
Frollo, you are a good man. But you know how I hate to be overly hasty…
FROLLO
I do, Your Majesty. But I would be careful, lest the people think you are weak. And
the burghers around the city feel the need to get the upper hand.
KING LOUIS XI
Very well. Do what you feel you must. But be— well…
FROLLO, KING LOUIS XI
Prudent?
FROLLO
I assure you I will do only what’s necessary.
T H E H U N C H B A C K O F N O T R E D A M E — 5 7 —SCENE NINE: STREETS OF PARIS /
OUTSIDE A BROTHEL / BELL TOWER
(An OFFICIAL of the court appears.)
#16—Esmeralda / Act I Finale (Part 1) Company
OFFICIAL
BY ROYAL EDICT, WARRANT OF ARREST:
THE GYPSY KNOWN AS ESMERALDA
BEING UNDER SUSPICION OF SORCERY, WITCHCRAFT
AND THE ARTS OF HELL
ANYONE FOUND HARBORING OR HELPING HER
WILL BE CHARGED AS WELL
(FROLLO approaches PHOEBUS.)
FROLLO
The King has ordered the Gypsy girl’s arrest. The Cathedral Guard shall join the
King’s soldiers to help find her.
PHOEBUS
The Cathedral Guard? But we have no military power!
FROLLO
We do now. By His Majesty’s own authority.
(PHOEBUS hesitates. FROLLO offers him a lit torch.)
I take it I can rely on you to deliver her to me?
PHOEBUS
(conflicted, accepts the torch)
Absolutely, Your Grace.
(SOLDIERS gather around PHOEBUS and FROLLO.)
FROLLO
HUNT DOWN THE GYPSY ESMERALDA
DON’T LET HER FLEE
AND VANISH IN THE NIGHT
THESE ARE THE FLAMES OF ESMERALDA
WHILE SHE IS FREE
YOUR TORCHES MUST BURN BRIGHT…
— 5 8 — T H E H U N C H B A C K O F N O T R E D A M EPHOEBUS, SOLDIERS, CHOIR MEN
HUNT DOWN THE GYPSY ESMERALDA
DON’T LET HER FLEE
AND VANISH IN THE NIGHT
THESE ARE THE FLAMES OF ESMERALDA
WHILE SHE IS FREE
OUR TORCHES WILL BURN BRIGHT…
(FROLLO approaches QUASIMODO in the bell tower.)
FROLLO
Have no fear, my boy… We will find her and capture her!
“THE WICKED SHALL NOT GO UNPUNISH-ED
THE HEART OF THE WICKED IS OF LITTLE WORTH
THE WICKED SHALL NOT GO UNPUNISH-ED...”
(FROLLO exits, and QUASIMODO looks anxiously over the city.)
CONGREGANT
ALL THROUGH THE CITY, AT MORE FEVERED PITCH
THAN THE BELLS OF NOTRE DAME…
PHOEBUS
Two gold pieces for the one who leads us to Esmeralda.
CONGREGANT
FROLLO’S MEN SOUGHT ESMERALDA, THE WITCH
WITH THE MIGHT OF NOTRE DAME…
PHOEBUS
Four gold pieces for the one who leads us to Esmeralda.
CONGREGANT
TILL AT LAST, THEY WERE TOLD OF A BROTHEL
CONGREGATION
WHERE THEY SOMETIMES HID GYPSIES FROM HARM…
CONGREGANT
BUT THE MADAM, THAT WHORE
DENIED IT AND SWORE BY THE SAINTS
CONGREGATION, CHOIR
THE SAINTS OF NOTRE DAME…
(Outside the brothel ESMERALDA hides in the shadows.)
T H E H U N C H B A C K O F N O T R E D A M E — 5 9 —SOLDIER
We’re looking for La Esmeralda.
(The SOLDIERS ransack the house.)
MADAM
Never heard of her. But maybe one of my girls can be of service?
(SOLDIERS bring out some of the PROSTITUTES. FROLLO arrives with
PHOEBUS close behind.)
Ah, Captain Phoebus! Nice to see you again!
(PHOEBUS, embarrassed in front of FROLLO, deflects the attention.)
FROLLO
(to the MADAM)
Is this your establishment?
MADAM
Yes. And a man like you shouldn’t be here sullying your pristine reputation.
(FREDERIC emerges from the house.)
FREDERIC
No one else is left, Your Grace.
FROLLO
Then she must be cleverly hidden.
(to the MADAM)
If you want your house to remain standing, give us the Gypsy girl.
MADAM
I know nothing of Gypsy girls.
FROLLO
Very well. We’ll set fire to it. And if, as you claim, it’s empty, it won’t matter if we
bar the door as well.
MADAM
(covering)
No! No, you mustn’t—
FROLLO
(looks at the lit torch in PHOEBUS’s hand)
A lesson must be learned here. Burn it.
(PHOEBUS stands frozen.)
— 6 0 — T H E H U N C H B A C K O F N O T R E D A M E(FROLLO)
Did you hear me, Captain?
CONGREGANT (PHOEBUS)
AND HE HELD THE TORCH
THAT CRACKLED LIKE THE GYPSY’S VOICE…
FROLLO
Are you disobeying a direct order?
CONGREGANT (PHOEBUS)
AND HE KNEW THIS WAS THE MOMENT
HE MUST MAKE A CHOICE…
PHOEBUS
GOD HELP THE OUTCASTS
OR NOBODY WILL!
(PHOEBUS extinguishes the torch.)
#16A—Esmeralda / Act I Finale (Part 2) Company
FROLLO
COWARD! TRAITOR! GYPSY’S PAWN
YOU’RE RELIEVED OF YOUR PATROL
PHOEBUS
Consider it my highest honor.
FROLLO
KYRIE ELEISON
GOD HAVE MERCY ON YOUR SOUL
(to FREDERIC)
Lieutenant, you are now in charge. Arrest Captain Phoebus.
(ESMERALDA leaps out from the shadows.)
T H E H U N C H B A C K O F N O T R E D A M E — 6 1 —
FROLLO
(stares at PHOEBUS)
I knew it. She’s bewitched you, too.
You would throw away a
a promising career? Captain?
Carry out the order!
CHOIR WOMEN
GOD HELP THE OUTCASTS
THEY LOOK TO YOU STILL
GOD HELP THE OUTCASTS
OR NOBODY WILLESMERALDA
No!
FROLLO
You see?! There she is!
(The SOLDIERS attempt to apprehend ESMERALDA. PHOEBUS steps in their path.
A swordfight. FROLLO grabs ESMERALDA, knocking her down as her knife flies
away. PHOEBUS goes to her. Amid the commotion, FROLLO grabs the knife, stabs
PHOEBUS from behind, then drops the knife. PHOEBUS falls.)
ESMERALDA
Phoebus!!!
(ESMERALDA retrieves her knife to hold off FROLLO.)
FROLLO
The Gypsy has stabbed the Captain! Seize them both!
(The SOLDIERS go to seize ESMERALDA, but she and PHOEBUS disappear in a
puff of smoke.)
Witchcraft! You all saw that. We must find them! Find them if you have to burn
down all of Paris!
(CITIZENS rally and join the soliders.)
FROLLO, SOLDIERS, CITIZENS, CHOIR
HUNT DOWN THE GYPSY AND THE SOLDIER
DON’T LET THEM FLEE
AND VANISH IN THE NIGHT
WE’LL FIND THE GYPSY AND THE SOLDIER
WHILE THEY ARE FREE
OUR TORCHES WILL BURN BRIGHT!
(QUASIMODO watches anxiously from the bell tower.)
QUASIMODO
FIRE! FIRE! SMOKE AND FLAME
— 6 2 — T H E H U N C H B A C K O F N O T R E D A M E
FROLLO
GOOD PEOPLE OF PARIS
I’VE HEARD THE CALLING OF THE LORD
THE TIME HAS COME TO TAKE OUR CITY BACK
WE’LL SAVE OUR PARIS
EXPUNGE THIS HEATHEN GYPSY HORDE
BEFORE WE’RE OVERRUN, WE MUST ATTACK!
CHOIR
AH
AH
AH
AH
AH
AH(QUASIMODO)
ESMERALDA, WHERE ARE YOU?
IN THIS DARK, I CALL YOUR NAME
IS THAT ALL THAT I CAN DO?
(ESMERALDA appears with the injured PHOEBUS. He opens his eyes.)
PHOEBUS
Esmeralda…?
ESMERALDA
You should have minded your own business.
PHOEBUS
It had to be somebody’s business.
ESMERALDA
I need a place to hide you. Wait here.
(ESMERALDA exits.)
PHOEBUS
Esmeralda!
WHAT HAVE I DONE FOR ESMERALDA?
WHY DID I HEAR HER WORDS INSIDE MY HEAD?
AND STILL I THINK OF ESMERALDA
WITH MY CAREER AND BODY LEFT FOR DEAD…
QUASIMODO
OUT THERE SOMEWHERE SHE IS LOST…
PHOEBUS, FROLLO
SOMEWHERE SHE IS LOST…
QUASIMODO
ESMERALDA!
QUASIMODO, FROLLO, PHOEBUS,
SOLDIERS, CITIZENS, CHOIR
WHERE IS THE GIRL CALLED ESMERALDA?
THE FLAMES GROW TALL
AND SHARP AS FLEURS-DE-LIS
CHOIR
MISERICORDIA
QUASIMODO, FROLLO, PHOEBUS, SOLDIERS, CITIZENS
ALL PARIS BURNS FOR ESMERALDA
T H E H U N C H B A C K O F N O T R E D A M E — 6 3 —QUASIMODO, FROLLO, PHOEBUS
AND STILL IT ALL
COMES DOWN TO HER AND ME
CHOIR
ET DONA NOBIS PACEM
FROLLO
THE DEVIL DWELLS IN ESMERALDA
FROLLO
RESIST HIS CHARM...
QUASIMODO, CITIZENS
WAKE UP THE CITY AND SOUND THE ALARM!
FROLLO, SOLDIERS
WAKE UP THE CITY AND SOUND THE ALARM!
CHOIR
WAKE UP THE CITY AND SOUND THE ALARM!
(QUASIMODO wildly rings the bells.)
(CHOIR)
AH AH AH
AH AH AH
AH AH AH
AH AH AH!
(End of Act One.)
— 6 4 — T H E H U N C H B A C K O F N O T R E D A M E
QUASIMODO, PHOEBUS
OH, ESMERALDA, OH ESMERALDA
CHOIR
PACEM
FROLLO, CITIZENS, CLOPIN
THESE ARE THE FLAMES
OF ESMERALDA
THE NIGHT IS SINGING
OF ESMERALDA…
EVEN THE BELLS
OF
NOTRE DAME!
CHOIR
AH
DONA NOBIS PACEM
DONA NOBIS PACEM
DONA NOBIS PACEM
SING THE BELLS
SING THE BELLS
SING THE BELLS
SING THE BELLS
SING THE BELLS
OF NOTRE DAME!ACT TWO
#17—Entr’acte Choir
T H E H U N C H B A C K O F N O T R E D A M E — 6 5 —
CHOIR MEN
HUH HUH HUH HUH
HUH HUH HUH HUH
LIBERAME DOMINE
DE MORTE AETERNA
IN DIE ILLA TREMENDA
QUANDO CAELI MOVENDI
LIBERA ME DOMINE
DE MORTE AETERNA
LIBERA ME DOMINE
DE MORTE AETERNA
PUTABUM ME NUNQUAM
QUOD AURUM CALIDUM
PUTABUM ME NUNQUAM
QUOD AURUM CALIDUM
QUAMVIS TOTIS VIRIBIS VELEM
IURO LUCE CAELI
SALUTARIS, SALUTARIS HOSTIA
QUAE CAELI PANDIS OSTIUM
AH AH
IBI VIVA IN SOLE
DABIT ME UNUM DIEM
IBI DABIT ME
OLIM NOS SUADEBIMUS
FELIX ERIMUS IN CLARA DIES
USQUE HOC TEMPUS CUM NON
ESSET SOLE
VIVUNT IN SPE
NUNQUAM REDONO
VENIET OLIM MUTATIO
AMEN
CHOIR WOMEN
HUH HUH HUH HUH
HUH HUH
HUH HUH HUH HUH HUH
HUH HUH HUH HUH HUH
AH AH AH AH
SALUTARIS, SALUTARIS
LIBERA ME DOMINE
LIBERA ME DOMINE
DE MORTE ATERNA
PUTABUM ME NUNQUAM
QUOD AURUM CALIDUM
QUAMVIS TOTIS VIRIBIS VELEM
NUNC TURRIM VIDETUR SPLENDIDUM
IURO LUCE CAELI
AH AH
IBI VIVA IN SOLE
DABIT ME UNUM DIEM
IBI DABIT ME
OLIM NOS SUADEBIMUS,
FELIX ERIMUS IN CLARA DIES
USQUE CUM NON
ESSET SOLE
VIVUNT IN SPE
NUNQUAM REDONO
VENIET OLIM MUTATIO
AMENSCENE ONE: THE BELL TOWER
(A statue depicts Saint Aphrodisius. QUASIMODO stands beside it, looking down at
the town square.)
#17A—Agnus Dei Choir
CHOIR
AGNUS DEI
QUI TOLIS PECCATA MUNDI
AGNUS DEI
DONA NOBIS PACEM
(ESMERALDA enters.)
ESMERALDA
Quasimodo…
QUASIMODO
Esmeralda! You—you came back.
ESMERALDA
Yes. I need your help.
QUASIMODO
Anything.
ESMERALDA
This was the closest place I could think of to hide him.
(Two GYPSIES enter holding an unconscious PHOEBUS. QUASIMODO recoils.)
QUASIMODO
Why is he here?
(PHOEBUS groans.)
ESMERALDA
He’s been hurt, Quasimodo. He needs to recover. Can you keep him safely hidden
somewhere?
QUASIMODO
(afraid)
No… Master…
— 6 6 — T H E H U N C H B A C K O F N O T R E D A M EESMERALDA
(taking his hand)
Please, Quasimodo. Please help me.
QUASIMODO
(p
oints to a hiding place)
There.
(The GYPSIES place PHOEBUS and exit.)
ESMERALDA
Thank you. I promise it won’t be for long. When he’s stronger, send him to me.
QUASIMODO
Where?
ESMERALDA
To where we Gypsies hide. The Court of Miracles.
QUASIMODO
Court of Miracles?
ESMERALDA
Here.
(g
ives a talisman hanging from her neck to QUASIMODO)
When you wear this woven band, you hold the city in your hand...
(The GYPSIES run back in.)
GYPSY
Esmeralda, quickly!
ANOTHER GYPSY
Frollo and the Cathedral Guard will be back soon!
ESMERALDA
(kisses QUASIMODO’s cheek)
I must go now. And thank you.
(ESMERALDA and the GYPSIES exit.)
VARIOUS STATUES & GARGOYLES
How could you let her leave?
Go after her! Bring her back!
After her? No! Can’t!
You must!
She was right here—and you let her go!
T H E H U N C H B A C K O F N O T R E D A M E — 6 7 —QUASIMODO
I can never go out there again!
GARGOYLE
She’s in danger out there!
STATUE
You have to save her!
QUASIMODO
Save her? Me?
VARIOUS STATUES & GARGOYLES
What’s the matter? Are you afraid?
Of course he’s afraid! And he should be.
But that’s what makes you a hero—doing what you’re afraid of.
#18—Flight into Egypt Saint Aphrodisius, Quasimodo,
STATUE
(looking at the statue)
A hero… or a saint…
QUASIMODO
You mean like Saint… Saint…
(to the statue of Saint Aphrodisius)
What’s your name again?
SAINT APHRODISIUS
(coming to life)
SAINT APHRODISIUS, THE BISHOP OF BÉZIERS
I WAS BEHEADED BY A MOB IN PLACE SAINT-CYR
AND THOUGH I MADE A CHOICE I DID NOT KNOW WOULD BRING
MY GRISLY MARTYRING
I WOULDN’T CHANGE A THING
FOR I KEPT SAFE AND FREE
THE HOLY FAMILY
ON THEIR FLIGHT INTO EGYPT
LAND OF THE DATE AND PALM
I OFFERED SHELTER
TO HER WHO IS NOTRE DAME
IF THAT’S WHAT I COULD DO
THEN QUASIMODO, YOU CAN TOO…
— 6 8 — T H E H U N C H B A C K O F N O T R E D A M E
Statues, GargoylesQUASIMODO
But even if I could go out there—how can I find her?
SAINT APHRODISIUS
The amulet she gave you! “When you wear this woven band…”
QUASIMODO
(staring at it)
“You hold the city…”
GARGOYLES
But what is it? Just a web and a jewel…
It doesn’t mean anything!
SAINT APHRODISIUS
NO, IT MUST BE A CLUE
MADE WITH GUILE AND ART…
STATUES
AND SHE GAVE IT TO YOU
BECAUSE SHE KNOWS YOU’RE SMART!
THINK, QUASIMODO!
IS IT HOPELESS?
SAINT APHRODISIUS
OR—
CAN YOU SEE IN IT SOMETHING YOU’VE SEEN BEFORE?
QUASIMODO
(p
uzzling over the amulet)
Seen before? Wait—I know this!
LOOK AT THIS LINE—THAT’S A BRIDGE, THAT’S A STREET
AND THIS JEWEL—IT MUST SHOW WHERE WE’RE SUPPOSED TO MEET!
SAINT APHRODISIUS, STATUES & GARGOYLES
YOU’VE DONE IT, QUASIMODO! THIS WE’RE CERTAIN OF...
QUASIMODO
IT’S A MAP! IT’S A MAP!
Look—
IT’S THE CITY SEEN FROM ABOVE!
SAINT APHRODISIUS, STATUES & GARGOYLES
IT’S A MAP OF THE CITY FROM ABOVE!
T H E H U N C H B A C K O F N O T R E D A M E — 6 9 —QUASIMODO
I’ll do it! I’ll go out there while it’s dark. I’ll find Esmeralda and bring her back!
JUST LIKE THE ANGEL WHO WARNED JOSEPH HE MUST FLEE
I’LL SAVE ESMERALDA—HER ANGEL WILL BE ME
I’LL GIVE HER SANCTUARY, SOMEWHERE SAFE TO HIDE
PROTECTED AT MY SIDE
A LITTLE LIKE… A BRIDE
SAINT APHRODISIUS, STATUES & GARGOYLES
LIKE SAINTS IN STONE AND SONG
QUASIMODO
OUR WHOLE LIFE LONG…
(PHOEBUS groans and awakens.)
PHOEBUS
How did I get here?
QUASIMODO
The Gypsy girl.
PHOEBUS
Ah… Now I remember… Frollo…
(PHOEBUS tries to stand but sinks back down and groans.)
QUASIMODO
Need bandages.
(QUASIMODO fetches torn rags and wraps PHOEBUS’s shoulder.)
PHOEBUS
Ow!
QUASIMODO
Quiet.
— 7 0 — T H E H U N C H B A C K O F N O T R E D A M E
QUASIMODO
FOR HER I WILL BE STRONG
QUASIMODO, SAINT APHRODISIUS,
STATUES & GARGOYLES
AND (Y)OUR FLIGHT INTO EGYPT
MAY LAST (Y)OUR WHOLE LIFE LONG
YES, THAT FLIGHT INTO EGYPT
WILL LAST…
CHOIR
AH
AH
AH
AH
AHPHOEBUS
Sorry!
FROLLO
(offstage)
Quasimodo?
PHOEBUS
Who is that?
QUASIMODO
(shoves PHOEBUS out of sight)
Quiet!
(FROLLO enters.)
FROLLO
I heard something—was that you?
QUASIMODO
Yes, master.
FROLLO
Talking to someone?
QUASIMODO
Yes. My friend.
(QUASIMODO gestures to a statue.)
FROLLO
Ah… This has been quite an eventful day, hasn’t it?
QUASIMODO
Yes. Night, too.
FROLLO
Ah, the fires. Couldn’t be helped, I’m afraid. I’m glad you were up here, safe from
it all. I’m afraid I can’t stay very long—
(FROLLO begins to approach where PHOEBUS is hidden.)
QUASIMODO
(quickly distracting him)
Story…?
FROLLO
What?
T H E H U N C H B A C K O F N O T R E D A M E — 7 1 —QUASIMODO
Story? Saint Aph— Aphrodisius—
FROLLO
Ah. Good memory. But you seem distracted. Is there something troubling you, my
boy?
QUASIMODO
Troubling—? No. No.
FROLLO
You know I’m looking for Esmeralda, for her own good. If you have any idea where
she might be, it would be of great help to her—and to me…
#18A—Esmeralda (Reprise) Frollo, Congregation
(FROLLO)
Did she say anything to you when you spoke to her? Did she tell you where she
stays?
QUASIMODO
I… I…
FROLLO
Yes…?
CONGREGATION
AND THE HUNCHBACK LOOKED HIS MASTER
IN HIS PIERCING EYE…
FROLLO
Quasimodo…?
CONGREGATION
AND FOR THE VERY FIRST TIME IN HIS LIFE
STATUE
HE TOLD A LIE…
QUASIMODO
No. Don’t know. I swear.
FROLLO
Well. That’s the answer then. Relax, dear boy. I’m not angry at you.
I KNOW WHAT LITTLE CHOICE YOU HAD
YOU WERE SEDUCED, SEDUCED BY ESMERALDA
I KNOW YOU DON’T MEAN TO BE BAD
AND YOU FEEL GRATITUDE FOR ALL I’VE DONE
— 7 2 — T H E H U N C H B A C K O F N O T R E D A M E(FROLLO)
WHY, THERE ARE TIMES
I ALMOST THINK OF YOU
AS MY SON…
(FREDERIC enters.)
FREDERIC
Excuse me, Your Grace—
FROLLO
Don’t interrupt me here!
FREDERIC
Beg pardon, but I have good news. My men believe they have found the Gypsies’
hiding place.
FROLLO
The Court of Miracles?
FREDERIC
Yes, they call it so.
FROLLO
Well then, I’m afraid their miracles have run out. We will attack at dawn.
(As QUASIMODO takes this in, FROLLO turns to him.)
You see, my boy? Everything will be fine.
WE WILL FIND HER, NEVER FEAR
AND THEN I WILL REJOIN YOU HERE
TO CHEER HER CAPTURE IN OUR CHEERY
SANCTUARY
(FROLLO leaves. PHOEBUS stumbles out.)
PHOEBUS
I have to find Esmeralda. I have to warn her and the others...
QUASIMODO
You? No— I!
PHOEBUS
You? How can you possibly—you can hardly speak—
QUASIMODO
You can barely walk!
PHOEBUS
You don’t know where anything in this city is!
T H E H U N C H B A C K O F N O T R E D A M E — 7 3 —QUASIMODO
I see all. From up here. Besides—I know where she is. She gave me. It’s a map!
(QUASIMODO shows PHOEBUS the amulet.)
PHOEBUS
(g
rabs the amulet)
Give that to me.
QUASIMODO
(g
rabs the amulet back)
No! Esmeralda gave it to me!
PHOEBUS
(g
rabs the amulet)
Yes, but I need it to find her.
QUASIMODO
(g
rabs the amulet)
I will find her.
PHOEBUS
You? Don’t be ridiculous!
(PHOEBUS grabs the amulet.)
#19—Rest and Recreation (Reprise) Phoebus, Quasimodo
(PHOEBUS)
SOMETHING MUST BE DONE
SURELY YOU CAN SEE
REALISTIC’LY
WHO’S GOT THE KNACK HERE
CLEARLY, I’M THE ONE
WHO CAN SAVE THE DAY
YOU’D BE IN THE WAY
SO—
(QUASIMODO grabs the amulet and hurries out.)
Hey, come back here!
— 7 4 — T H E H U N C H B A C K O F N O T R E D A M ESCENE TWO: STREETS OF PARIS
CONGREGANT
And so Quasimodo—
CONGREGANT (PHOEBUS)
(limping after QUASIMODO)
And Phoebus—
CONGREGANTS
Furtively made their way through the darkening streets of Paris...
Though the hunchback felt a thrill of fear at once more setting foot outside Notre
Dame…
QUASIMODO
OUT HERE ONCE AGAIN BEYOND MY PARAPETS OF STONE
WISHING I WERE FEELING SO MUCH BRAVER
STEALING THROUGH THE TWISTED STREETS OF NIGHT TOWARD
THE UNKNOWN
STILL I MUST DO ANYTHING TO SAVE HER...
CONGREGANTS
Creeping past the ghostly fountains beside which beggars slept—
They ducked into the shadows to avoid being seen—
By a pair of women at their windows—
Holding candles, which sputtered in the gathering fog.
The curfew had sounded long ago, and the streets were becoming blacker and more
deserted every moment.
They could distinguish nothing of the mass of buildings—
Except the black roofs—
At strange acute angles—
And the labyrinth of alleys and bridges like a ball of thread tangled by a cat.
(QUASIMODO stops, looking at the amulet.)
PHOEBUS
I think you’ve got us lost.
QUASIMODO
No.
PHOEBUS
Where the hell are we?
QUASIMODO
Looks like cemetery.
T H E H U N C H B A C K O F N O T R E D A M E — 7 5 —PHOEBUS
Good God. You’ve taken us completely in the wrong direction.
QUASIMODO
What’s that?
PHOEBUS
I don’t hear anything.
(GYPSIES appear behind and grab them.)
PHOEBUS, QUASIMODO
Aggghhh!
(An entrance to an underground lair appears.)
#20—The Court of Miracles Clopin, Gypsies
CLOPIN
Welcome to the Court of Miracles! You’re very clever to have found our little
hideaway. Too bad you won’t live to talk about it.
(to the GYPSIES)
Get them inside!
— 7 6 — T H E H U N C H B A C K O F N O T R E D A M ESCENE THREE: THE COURT OF MIRACLES
(A vast underground chamber is filled with GYPSIES.)
CLOPIN
MAYBE YOU’VE HEARD OF A TERRIBLE PLACE
WHERE THE SCOUNDRELS OF PARIS COLLECT IN A LAIR
MAYBE YOU’VE HEARD OF THAT MYTHICAL PLACE
CALLED THE COURT OF MIRACLES—
GYPSIES
THE COURT OF MIRACLES
CLOPIN
BROTHER, YOU’RE THERE!
WHERE THE LAME CAN WALK…
(A LAME GYPSY miraculously walks!)
AND THE BLIND CAN SEE…
(A BLIND GYPSY miraculously sees!)
BUT THE DEAD DON’T TALK…
(QUASIMODO and PHOEBUS are led into the chamber, where they are bound and
gagged.)
SO YOU WON’T BE AROUND
TO REVEAL WHAT YOU’VE FOUND
WE HAVE A METHOD FOR SPIES AND INTRUDERS
NOT TERRIBLY DIFF’RENT FROM BEES IN A HIVE
HERE IN THE COURT OF MIRACLES
WHERE IT’S A MIRACLE IF YOU GET OUT ALIVE!
VARIOUS GYPSIES
The ugly hunchback! He’s bad luck!
He’s cursed!
Hang them both!
GYPSIES
Hang them!
GYPSY
String ‘em up!
(Nooses descend on PHOEBUS and QUASIMODO.)
T H E H U N C H B A C K O F N O T R E D A M E — 7 7 —CLOPIN
My apologies, gentlemen, for your imminent demise. Any last words?
(PHOEBUS and QUASIMODO try to speak through their gags.)
I thought not!
IT’S ALWAYS SAD WHEN A LIFE’S AT ITS FINISH
I HAVE TO ADMIT TO A BIT OF A PANG
BUT WE MUST PROTECT AT ALL COST OUR SECRET
IT’S OUR LIVES OR YOURS—
CLOPIN, GYPSIES
SO YOU’RE GOING TO HANG!
(ESMERALDA appears.)
ESMERALDA
Stop! These men are my friends.
CLOPIN
(furious)
More than we are, apparently! How could you betray us like this?
ESMERALDA
I haven’t betrayed you!
CLOPIN
Oh, no? What would you call telling them our hiding place?! Esmeralda, I knew
you were trouble…
(ESMERALDA has pulled the gags off PHOEBUS and QUASIMODO.)
PHOEBUS
You should be grateful to her. We’ve come to warn you. Frollo knows your hiding
place. He plans on attacking at dawn.
(The GYPSIES begin to panic.)
CLOPIN
All right, all right, keep calm! How do you know this?
QUASIMODO
Master— told me…
CLOPIN
And why should we believe either of you? You’re Frollo’s slave and him—he’s a
soldier! And we don’t trust soldiers.
ESMERALDA
He’s not a soldier anymore.
— 7 8 — T H E H U N C H B A C K O F N O T R E D A M EPHOEBUS
I’m now as much an outcast as you.
GYPSIES
Clopin, if this is true—
We don’t have much time!
We need to get ready to leave!
(The GYPSIES hurry to collect their belongings.)
CLOPIN
I hoped this time we might have had a few years here. Yes! We must move quickly!
Yásha! [YAH-sha – Let’s go!] Esmeralda, go pack now.
PHOEBUS
Pack? You’re going with them?
CLOPIN
Of course. No matter what, we won’t leave one of our own behind.
ESMERALDA
Thank you, Clopin.
PHOEBUS
No, Esmeralda.
ESMERALDA
What else would you have me do?
PHOEBUS
Come with me.
ESMERALDA
Where?
PHOEBUS
I don’t know. We could start a life together.
(ESMERALDA looks at him.)
ESMERALDA
You really are a dreamer, aren’t you.
(ESMERALDA starts to move off.)
QUASIMODO
Esmeralda. I take you. I… keep safe.
ESMERALDA
(g
ently)
Quasimodo…
T H E H U N C H B A C K O F N O T R E D A M E — 7 9 —QUASIMODO
Maybe in crypts… I know all secrets…
ESMERALDA
Thank you, Quasimodo. But it would be too dangerous. Not just for me… for you
too.
PHOEBUS
Then if you won’t come with me, I’ll go with you.
QUASIMODO
You… go with her…?
ESMERALDA
You can’t do that, Phoebus.
PHOEBUS
Why not? There’s nothing for me here anymore. Maybe there never was.
ESMERALDA
But to become like one of us—
CLOPIN
(overhearing)
Are you crazy? You don’t know what you’d be facing.
PHOEBUS
Actually, I think I’ve gotten a pretty good idea over the last few weeks. But I don’t
care.
#21—In a Place of Miracles Phoebus, Esmeralda, Quasimodo,
(PHOEBUS)
HERE WE ARE
NEARLY STRANGERS
FROM TWO WORLDS THAT HAVE RARELY MET
BUT SOMEHOW
YOU HAVE MADE ME SOMEONE NEW
TRAV’LING FAR
ON A JOURNEY
THAT’S THE LONGEST I’VE TAKEN YET
NOW I’M ASKING IF YOU WILL LET ME
COME WITH YOU
THOUGH OUR LIVES ARE TATTERED AND TORN
ALL I’M FEELING NOW IS REBORN
— 8 0 — T H E H U N C H B A C K O F N O T R E D A M E
Clopin, Gypsies, Choir(PHOEBUS)
I MUST BE
IN A PLACE OF MIRACLES…
ESMERALDA
WHERE THE BLIND CAN SEE
ESMERALDA, PHOEBUS
IN A PLACE OF MIRACLES
PHOEBUS
A MIRACLE YOU’VE BROUGHT TO ME
ESMERALDA, PHOEBUS
THE SOLDIER AND THE GYPSY
LOCKED IN AN EMBRACE
IN A PLACE OF MIRACLES…
QUASIMODO
(watching, heartbroken)
I KNEW I’D NEVER KNOW
THAT WARM AND LOVING GLOW
THOUGH I MIGHT WISH WITH ALL MY MIGHT
NO FACE AS HIDEOUS AS MY FACE
WAS EVER MEANT FOR HEAVEN’S LIGHT…
(The GYPSIES have returned, carrying their small bundles. CLOPIN joins them.)
T H E H U N C H B A C K O F N O T R E D A M E — 8 1 —
ESMERALDA
ALL THIS TIME
I’VE BEEN CERTAIN
THAT MY LIFE WOULD BE SPENT ALONE
AND WHAT’S MORE
I PRETENDED NOT TO CARE…
PHOEBUS
BUT NOW I’M
HERE BESIDE YOU
PHOEBUS, ESMERALDA
NO MORE NEED FOR A HEART OF STONE
THOUGH WE SET OUT FOR LANDS UNKNOWN
THEY’RE LANDS WE’LL SHARE...
QUASIMODO
THIS TIME IT’S TIME I LEARNED
NO LOVE WILL BE RETURNED
TO ONE WHO’S BORN TO BE ALONE
WHO LOOKS BOTH
LAUGHABLE AND FRIGHT’NING…
AND NOW I KNOW THERE’LL BE
NO MIRACLES FOR ME
BETTER TO HAVE A HEART OF STONE
THAT HOLDS NO HOPE OF
HEAVEN’S LIGHT…CLOPIN, ESMERALDA, PHOEBUS, GYPSIES, CHOIR
WILL WE REACH A FRIENDLIER SHORE?
WILL WE FIND A HAVEN ONCE MORE
WHERE WE’LL BE
IN A PLACE OF MIRACLES?
GYPSIES, CHOIR
NOW WE LEAVE OUR HOME
FOR A PLACE OF MIRACLES…
CLOPIN
ROMANIES AGAIN MUST ROAM
COULD THERE BE A COUNTRY
KINDER TO OUR RACE?
CLOPIN, ESMERALDA, PHOEBUS, GYPSIES, CHOIR
IN A PLACE OF MIRACLES…?
QUASIMODO
WHERE’S MY PLACE OF MIRACLES…?
ESMERALDA, PHOEBUS
IN A PLACE...
ALL
… OF MIRACLES.
CHOIR
AH AH AH AH AH AH AH
(SOLDIERS enter, followed by FROLLO.)
FROLLO
Sorry to interrupt.
QUASIMODO
Master!
FROLLO
Congratulations, my boy. You led us right to them.
QUASIMODO
I…? But—
FROLLO
You didn’t really think our soldier here had found this place, did you?
(looks around)
And so I finally get to see the Court of Miracles.
— 8 2 — T H E H U N C H B A C K O F N O T R E D A M E(FROLLO)
(p
ause)
Not so impressive. Arrest the Gypsy and the traitor.
ESMERALDA
Spare Phoebus. Please. Take me.
PHOEBUS
No. Take me instead.
FROLLO
How noble you two are.
(to SOLDIERS)
Take them both away. And round up the rest of these Gypsies and bring them to the
Bastille.
CLOPIN
(defiantly thrusts fist in the air)
Zorale sam! [ZOH-rah-leh SAHM—Strong we are!]
(CLOPIN escapes. FROLLO doesn’t flinch.)
SOLIDER
My lord!
FROLLO
It’s all right. We’ll find him.
GYPSY
You’ll never catch him. Clopin’ll be halfway out of the city in no time.
FROLLO
Proceed.
(ESMERALDA and PHOEBUS are led off. FROLLO stares at QUASIMODO.)
My boy. I’m very disappointed in you.
#22—The Bells of Notre Dame (Reprise II) Congregation, Choir
(FROLLO)
(turns to the remaining SOLDIERS)
Take him back to the bell tower. And make sure he cannot leave it.
(QUASIMODO is taken away.)
T H E H U N C H B A C K O F N O T R E D A M E — 8 3 —SCENE FOUR: PRISON
CONGREGANTS
JUSTICE IN PARIS WAS OFTEN DISPLAYED
IN THE SQUARE AT NOTRE DAME
NOW AS THE WOOD FOR A PYRE WAS LAID
IN THE SQUARE AT NOTRE DAME
THERE CAME SOME THERE WHO SOUGHT ENTERTAINMENT
AND SOME WHO WISHED ALL GYPSIES HARM
CONGREGATION, CHOIR
FOR THE RUMOR WAS GROWING:
A GYPSY WAS GOING TO BURN
AT DAWN AT NOTRE DAME…
(ESMERALDA is locked in her cell. FROLLO enters.)
FROLLO
My dear. Do you feel as uncomfortable as you look?
ESMERALDA
I wouldn’t give you the pleasure.
FROLLO
It brings me no pleasure. I would much rather set you free.
ESMERALDA
Then why don’t you?
FROLLO
Because for that, I would need you to make me a promise. You see, I still want to
help you. I still believe your soul can be saved.
ESMERALDA
Not in the way you would save it. I’d rather die.
FROLLO
And what about Phoebus, your Sun God? Would you rather he die, as well?
ESMERALDA
(scared)
No…
FROLLO
His fate lies in your hands.
ESMERALDA
Why me? I don’t understand. Why me, of all people…?
— 8 4 — T H E H U N C H B A C K O F N O T R E D A M EFROLLO
(simply)
I don’t know why. I wish I knew. Sometimes we are drawn to the very things that
repel us…
ESMERALDA
You truly are a monster.
FROLLO
No. No, indeed, Esmeralda. If these last few weeks have shown me anything… it is
that my curse is I’m truly human.
#23—The Assault Frollo
(FROLLO)
Take pity on me. I have deserted myself! You don’t know what my love for you is!
It is fire. It is hot lead.
GYPSY WITCH, YOU ROUSE IN ME
THE FOOLISH WISH TO SET YOU FREE
AND TAKE YOU SOMEWHERE I CAN BE
YOUR SANCTUARY
I WILL SAVE YOU, SORCERESS
AND RAISE YOU UP TO HOLINESS
FOREVER WE WILL SHARE A BLESSED
SANCTUARY…
(FROLLO assaults ESMERALDA.)
ESMERALDA
Stop it. Stop! Demon! Help!
FROLLO
(overlapping)
Love me! For pity’s sake!
(ESMERALDA scratches FROLLO’s face and throws him off. FREDERIC enters.
FROLLO controls himself and stares at her.)
Very well then. Captain!
FREDERIC
Your Grace?
FROLLO
Is the prisoner there?
T H E H U N C H B A C K O F N O T R E D A M E — 8 5 —FREDERIC
Yes, Your Grace.
FROLLO
Bring him in.
(FREDERIC fetches PHOEBUS as FROLLO entreats ESMERALDA.)
Perhaps, my dear, this will help you think over my offer. Exchange your last words
to one another. Unless, of course, you change your mind.
(to FREDERIC)
Don’t let them stay together too long.
FREDERIC
Yes, Your Grace.
(FROLLO exits, followed by FREDERIC. ESMERALDA pulls herself up.)
PHOEBUS
(reaching for an embrace)
Esmeralda!
ESMERALDA
(turning away)
Please, don’t.
PHOEBUS
What’s the matter?
ESMERALDA
(composing herself)
Give me a moment.
PHOEBUS
Frollo—what has he done to you?!
ESMERALDA
He’s offered to set me free.
PHOEBUS
That’s wonderful!
ESMERALDA
If I give myself up to him.
PHOEBUS
Esmeralda, you must do it. Do anything you can to save yourself.
— 8 6 — T H E H U N C H B A C K O F N O T R E D A M EESMERALDA
That’s not what I’d call saving myself. But it would save you.
PHOEBUS
Me?
ESMERALDA
That would be part of the bargain. He’ll spare you if I…
PHOEBUS
(shudders)
I don’t care what happens to me. But do it for yourself.
ESMERALDA
(stoic)
Never.
PHOEBUS
Esmeralda…
(FREDERIC enters.)
FREDERIC
Captain, you must go.
PHOEBUS
Frederic. My friend. Couldn’t you… if I offered you what little I’ve saved…
FREDERIC
Keep your money, Captain. I’ll come back at dawn.
(FREDERIC leaves. PHOEBUS is distraught.)
PHOEBUS
We have so little time left to say goodbye.
ESMERALDA
So let’s say it while we have the chance.
PHOEBUS
I’ve known soldiers not half as brave as you.
ESMERALDA
I don’t feel very brave, but— if there really is this Heaven you so believe in, maybe
we’ll be able to watch from it together ... when all this is gone and the world’s a
better place.
T H E H U N C H B A C K O F N O T R E D A M E — 8 7 —#24—Someday Esmeralda, Phoebus
(ESMERALDA)
I USED TO BELIEVE
IN THE DAYS I WAS NAÏVE
THAT I’D LIVE TO SEE
A DAY OF JUSTICE DAWN
AND THOUGH I WILL DIE
LONG BEFORE THAT MORNING COMES
I’LL DIE WHILE BELIEVING STILL
IT WILL COME WHEN I AM GONE
SOMEDAY
WHEN WE ARE WISER
WHEN THE WORLD’S OLDER
WHEN WE HAVE LEARNED
I PRAY SOMEDAY WE MAY YET LIVE
TO LIVE AND LET LIVE
(ESMERALDA falters. PHOEBUS comforts her.)
PHOEBUS
…WHEN THE WORLD’S OLDER
WHEN THINGS HAVE CHANGED...
ESMERALDA, PHOEBUS
SOMEDAY
THESE DREAMS WILL ALL BE REAL
TILL THEN WE’LL
WISH UPON THE MOON
CHANGE WILL COME…
— 8 8 — T H E H U N C H B A C K O F N O T R E D A M E
ESMERALDA
SOMEDAY
LIFE WILL BE FAIRER
NEED WILL BE RARER
GREED WILL NOT PAY
GOD SPEED
THIS BRIGHT MILLENNIUM
ON ITS WAY
LET IT COME SOME…
PHOEBUS
LIFE WILL BE FAIRER
NEED WILL BE RARER
GREED WILL NOT PAY
GOD SPEED
THIS BRIGHT MILLENNIUM
LET IT COME SOMEDAY…PHOEBUS
ONE DAY…
ESMERALDA
SOMEDAY…
ESMERALDA, PHOEBUS
SOON…
(ESMERALDA and PHOEBUS kiss and lie down together for the night.)
T H E H U N C H B A C K O F N O T R E D A M E — 8 9 —SCENE FIVE: BELL TOWER
(QUASIMODO is held captive in the tower by a thick rope tied to his ankle.)
#24A—While the City Slumbered Congregation, Choir
CHOIR
KYRIE ELEISON…
CONGREGANTS
WHILE THE CITY SLUMBERED, QUASIMODO SAT AWAKE
AS THE NIGHT CREPT PITILESSLY ONWARD
NOT ONE WORD HE UTTERED, NOT ONE MOVEMENT DID HE MAKE
CONGREGATION
AWAITING THE INEXORABLE DAWN
CHOIR
KYRIE ELEISON…
VARIOUS STATUES & GARGOYLES
Quasimodo, you must try to free yourself!
Don’t you see what’s going on down there?
They’re building a pyre.
The girl needs your help.
QUASIMODO
Quiet! Go away.
STATUE
You’re the only one who can save her now.
QUASIMODO
You know what happens when I try to help. I only make things worse.
#25—Made of Stone Quasimodo, Statues, Gargoyles
STATUES & GARGOYLES
You don’t believe that.
QUASIMODO
How do you know what I believe?
WHAT DO YOU KNOW OF ME?
WHAT DO YOU KNOW OF ALL THE THINGS I FEEL?
YOU’RE ONLY MADE OF STONE
— 9 0 — T H E H U N C H B A C K O F N O T R E D A M E(QUASIMODO)
WHO IS IT THAT YOU SEE
INSTEAD OF SEEING WHAT I AM FOR REAL—
THIS TWISTED FLESH AND BONE?
GARGOYLE
But Quasimodo, it wasn’t your fault—
QUASIMODO
YOU’RE A LIAR!
WITH EV’RY NEW EXCUSE YOU TRY OUT
YOU ONLY MAKE ME WANT TO CRY OUT:
“WOULD THAT I WERE
MADE OF STONE LIKE YOU…”
STATUES & GARGOYLE
You don’t mean that.
Just take some time to—
QUASIMODO
YOU GIVE SUCH GOOD ADVICE
SO WHY HAS NOT ONE SINGLE WORD YOU’VE SAID
BEEN ANY HELP AT ALL?
STATUES & GARGOYLES
Quasimodo—
QUASIMODO
AND YOU WHO SOUND SO NICE
THE MORE YOUR DREAMS AND FANCIES FILL MY HEAD
THE FARTHER THAT I FALL
SHUT MY BRAIN DOWN!
IF I WERE SENSELESS, I’D PREFER IT
ANOTHER GARGOYLE ON THIS TURRET
SPITTING RAIN DOWN
TO THE STONES BELOW
I’VE WASTED MY FAITH
BELIEVING IN SAINTS OF PLASTER
BUT THE ONLY ONE WORTH BELIEVING IN
WAS MY MASTER
HE’S THE ONE WHO NEVER LIED
HE TOLD ME IT WAS CRUEL OUTSIDE
T H E H U N C H B A C K O F N O T R E D A M E — 9 1 —(QUASIMODO)
HE TOLD ME HOW I HAD TO HIDE
HIS WORDS WERE COLD AS STONE
BUT THEY WERE TRUE
NOT LIKE YOU
TAKE ALL THE DREAMS YOU’VE SOWN
TAKE ALL YOUR LIES
AND LEAVE ME ALONE!
STATUE
ALL RIGHT, QUASIMODO
WE’LL LEAVE YOU ALONE
GARGOYLE
ALL RIGHT, QUASIMODO
WE’LL TROUBLE YOU NO LONGER
STATUE
YOU’RE RIGHT, QUASIMODO
WE’RE ONLY MADE OF STONE
STATUES & GARGOYLES
WE JUST THOUGHT THAT YOU WERE MADE
OF SOMETHING STRONGER…
(The STATUES and GARGOYLES exit.)
QUASIMODO
AND NOW I’M ON MY OWN
NEVER AGAIN TO WONDER WHAT’S “OUT THERE”
LET IT REMAIN UNKNOWN
AND MY ONE HUMAN EYE
WILL EVERMORE BE DRY
UNTIL THE DAY I DIE
AS IF I
WERE MADE OF STONE!
— 9 2 — T H E H U N C H B A C K O F N O T R E D A M ESCENE SIX: TOWN SQUARE / NOTRE DAME
#25A—Judex Crederis Choir
(Below in the square of Notre Dame, ESMERALDA is bound to a wooden stake.
A crowd of CITIZENS assembles. PHOEBUS, still captive, is forced to look on,
FREDERIC at his side. FROLLO appears.)
CHOIR
JUDEX CREDERIS
ESSE VENTURUS
IN TE DOMINE SPERAVI
NON CONFUNDAR
IN AETERNUM
SALVUM FAC POPULUM TUUM
JUDEX CREDERIS
FROLLO
The prisoner has been found guilty of entering the city of Paris illegally, guilty of
stabbing a soldier of the Church, and guilty of the crime of witchcraft. The sentence
is death.
#25B—Kyrie Eleison Company
CHOIR
KYRIE ELEISON…
FROLLO
(turns to ESMERALDA)
I will give you this opportunity to recant and save yourself.
(whispers)
Think of what I have offered. What is your answer?
(ESMERALDA she spits in FROLLO’s face.)
CHOIR
LIBERA ME DOMINE
FROLLO
(wipes his face and turns to the crowd)
For the justice of the realm and for the salvation of Paris, it is my sacred duty to send
this unholy demon back to hell.
T H E H U N C H B A C K O F N O T R E D A M E — 9 3 —(In the bell tower, QUASIMODO sits, still motionless as stone, and observes.
A SOLDIER approaches with a torch. FROLLO grabs it to light the fire himself.)
QUASIMODO
Esmeralda!
CHOIR
LIBERA ME DOMINE
DE MORTE AETERNA
CONGREGANT
And at that moment Quasimodo decided—
CHOIR
IN DIE ILLA TREMENDA
QUANDO COELI
MOVENDI SUNT
CONGREGATION
He could remain stone no longer.
(During the following, QUASIMODO frees himself from his bonds and makes his way
along the parapet.)
CHOIR
COELI ET TERRA
CONGREGANT
He broke free of the rope!
CHOIR
DUM VENERIS JUDICARE
CONGREGANT
He tied it to the pillars!
CHOIR
SAECULUM PER IGNEM
CONGREGANT
He slid down the façade like a drop of rain—
CONGREGATION
Down a pane of glass!
CONGREGANT
And climbed the balustrade!
— 9 4 — T H E H U N C H B A C K O F N O T R E D A M ECHOIR
O SALUTARIS, SALUTARIS HOSTIA
QUAE CAELI PANDIS OSTIUM
BELLA PREMUNT HOSTILIA
DA ROBUR PER AUXILIUM
SIT SEMPITERNA GLORIA
SIT SEMPITERNA GLORIA
SIT SEMPITERNA GLORIA
GLORIA
(On the pyre… smoke begins to engulf ESMERALDA and she loses consciousness.)
QUASIMODO
Nooooo!
CHOIR
GLORIA!
(QUASIMODO jumps, swings from a parapet to the pyre, and frees ESMERALDA.
He hoists her over his shoulders.)
SEMPER SANCTUS!
QUASIMODO
Sanctuary!
CHOIR
SANCTUS!
QUASIMODO
Sanctuary!
CHOIR
IN EXCELSIS!
FROLLO
Captain! Seize the Cathedral.
(FREDERIC leaves PHOEBUS and approaches FROLLO.)
FREDERIC
But sir, the laws of sanctuary—
FROLLO
I am the Archdeacon of this Cathedral! I negate the laws of sanctuary! Open those
doors!
(FREDERIC and SOLDIERS run to the doors, but can’t open them.)
Ram them through, if you must!
T H E H U N C H B A C K O F N O T R E D A M E — 9 5 —CONGREGANTS
As the soldiers attempted to ram open the church doors, they suddenly saw—
Quasimodo hurl giant stones and wooden beams—
SOLDIERS
Watch out!!!
CHOIR
DIES IRAE
DIES IRAE
FROLLO
Use them to break down the doors!
CHOIR
DIES IRAE
DIES ILLA
CONGREGANTS
As the soldiers pounded at the great doors—
A figure suddenly appeared where Captain Phoebus was being held—
CONGREGANT (PHOEBUS)
And he was set free—
CONGREGANT (CLOPIN)
By the heroic Clopin!
CONGREGANTS
And together they rallied the people to fight!
CONGREGANTS
The people fought the soldiers—
But could not hold them back—
With one final blow—
— 9 6 — T H E H U N C H B A C K O F N O T R E D A M E
PHOEBUS
HEAR ME
PEOPLE OF PARIS
HOW MUCH OPPRESSION
WILL YOU ALLOW?
SOMEDAY
YOUR PATIENCE WILL FIN’LLY BREAK
WHY NOT MAKE
SOMEDAY COME RIGHT NOW?
CHOIR, CLOPIN, CITIZENS
OLIM DEUS ACCELERE
HOC SAECULUM, SPLENDIDUM
ACCELERE FIAT VENIRE OLIMCONGREGATION
They knocked down the doors—
QUASIMODO
OH SAINTS AND MONSTERS
SHOW YOUR POWER
HELP ME TO SEND THIS RAGING SHOWER
RAINING FIRE ON THE STONE BELOW…
(QUASIMODO releases molten lead from the bell tower, dispersing the SOLDIERS.)
STATUES & GARGOYLES, CHOIR
AH AH AH
AH AH AH
AH AH AH
AH AH AH
T H E H U N C H B A C K O F N O T R E D A M E — 9 7 —
CONGREGANTS
And Quasimodo ran back and forth—
Trying to find a way to stop them!
CONGREGATION
Until—
CONGREGANT
He came upon the great vats of molten lead
sitting up on the roof.
SOLDIER
My God! Look! Up there! He’s way up there!
QUASIMODO
COME ALL YOU SAINTS OF STONE
ALL YOU GUARDIANS AND GARGOYLES
BLAZE THE FIRE
IN THE NIGHT
RAISE THE FIRE
NOW AND LIGHT
THESE VATS OF LEAD
STEAMING, BOILING
STREAMS OF LEAD
BURNING LEAD AND LET
THE FLAMES GROW
HIGHER
CHOIR
MORS STUPEBIT ET NATURA
CUM RESURGET CREATURA
JUDICANTI RESPONSURA
AH
STATUES & GARGOYLES, CHOIR
SAINTS OF STONE
BLAZE THE FIRE
RAISE THE FIRE
LIGHT THE LEAD
STREAMS OF LEAD
LET THE FLAMES GROW
HIGHER
(QUASIMODO appears on the roof of the bell tower, the STATUES and GARGOYLES at his side.)SCENE SEVEN: BELL TOWER
#25C—Top of the World (Reprise) Esmeralda, Choir
(ESMERALDA lies in a corner. QUASIMODO approaches and cradles her.)
QUASIMODO
We’ve done it, Esmeralda! Beaten them back! Esmeralda, you are home.
ESMERALDA
(opening her eyes, weakly)
Home…
HERE AGAIN AT THE TOP OF THE WORLD
TWO FRIENDS ENJOYING THIS BEAUTIFUL MORNING
IN MY EYES, YOU ARE BEAUTIFUL TOO
SHARING THE TOP OF THE WORLD…
QUASIMODO
Can stay inside here forever.
ESMERALDA
(smiling)
I don’t think forever… You are such a good friend, Quasimodo.
(ESMERALDA dies.)
QUASIMODO
Yes. Your friend… Esmeralda… Esmeralda, wake up!
(FROLLO enters.)
FROLLO
Now we can finally go back to the way things were.
— 9 8 — T H E H U N C H B A C K O F N O T R E D A M E
CHOIR WOMEN
OOO-OOO
OOO-OOO
OOO-OOO
OOO-OOO
FROLLO
Is she dead?
QUASIMODO
Because of you!
FROLLO
It was my duty.
QUASIMODO
Duty?QUASIMODO
No… never go back.
#25D—Esmeralda (Frollo Reprise) Frollo, Jehan, Florika,
FROLLO
We will. You’ll see.
AT LAST WE’RE FREE OF ESMERALDA
NOW THAT SHE’S GONE, HER POISON DIES WITH HER
NOW THAT WE’RE FREE OF ESMERALDA
WE CAN GO ON, AS CLOSE AS ONCE WE WERE
HERE IN OUR SANCTUARY
SANCTUARY...
QUASIMODO
Sanctuary…? No sanctuary—without her…
FROLLO
It was her choice, Quasimodo. I could have helped her. Even… loved her…
QUASIMODO
Love… What do you know of love? Who have you ever loved?
FROLLO
I loved my brother… I tried to teach him.
QUASIMODO
You teach him…?
FROLLO
Yes, as I tried to teach you! But he was wicked! Weak!
QUASIMODO
No. You are the weak one… You the wicked one. And the wicked shall not go
unpunished!
(QUASIMODO grabs FROLLO and backs him up towards the parapet. The GHOSTS
of JEHAN and FLORIKA appear.)
JEHAN’S GHOST
“THE WICKED SHALL NOT GO UNPUNISH-ED…”
FLORIKA’S GHOST
“THE HEART OF THE WICKED IS OF LITTLE WORTH…”
T H E H U N C H B A C K O F N O T R E D A M E — 9 9 —
Congregation, ChoirFROLLO
Let go of me, Quasimodo.
CONGREGATION, CHOIR
“THE WICKED SHALL NOT GO UNPUNISH-ED”
“THE WICKED SHALL NOT GO UNPUNISH-ED”
“THE WICKED SHALL NOT GO UNPUNISH-ED”
FROLLO
Quasimodo, let go…
CHOIR, CONGREGATION MEN
SOLVET SAECULUM IN FAVILLA
TESTE DAVID CUM SYBILLA
QUANTUS TREMOR EST FUTURUS
QUANDO JUDEX EST VENTURUS…
QUASIMODO
I told you, master—I am very strong!
FROLLO
You don’t want to hurt me—
STATUES & GARGOYLES
(whispered)
Yes, you do.
FROLLO
Damnation!
(FROLLO falls to his death. QUASIMODO looks down at FROLLO then turns to
look at ESMERALDA.)
#26—Finale Ultimo Company
QUASIMODO
There lie all that I have ever loved…
(QUASIMODO howls in grief. PHOEBUS runs in.)
— 1 0 0 — T H E H U N C H B A C K O F N O T R E D A M E
CONGREGANTS
Quasimodo raised his two huge hands—
And with a great bellow threw his master—
Over the edge of the roof—
CONGREGATION
Into the abyss below!
CHOIR
AH AH AH
AH AH AH
AH AH AH
AH AH AHPHOEBUS
Esmeralda…
QUASIMODO
Gone. Both—gone…
(PHOEBUS bends down and kisses ESMERALDA. He tries to pick her up but is too
weak. He breaks down and sobs. QUASIMODO puts his arm around PHOEBUS.
The STATUES and GARGOYLES look on.)
VARIOUS STATUES & GARGOYLES
THE WORLD IS CRUEL
THE WORLD IS UGLY
BUT THERE ARE TIMES
AND THERE ARE PEOPLE
WHEN THE WORLD IS NOT
STATUES & GARGOYLES
AND AT ITS CRUELEST
IT’S STILL THE ONLY WORLD WE’VE GOT
LIGHT AND DARK
FOUL AND FAIR
QUASIMODO
OUT THERE…
(QUASIMODO lifts ESMERALDA and carries her out of the bell tower.)
T H E H U N C H B A C K O F N O T R E D A M E — 1 0 1 —EPILOGUE: TOWN SQUARE / BARE STAGE
(QUASIMODO exits the Cathedral and brings ESMERALDA into the square.
At first, the crowd of CITIZENS recoils. But then, one by one, they approach
QUASIMODO with compassion.)
CONGREGATION, CHOIR
LET IT COME
ONE DAY…
QUASIMODO
SOMEDAY
CONGREGATION, CHOIR
SOON…
(The CONGREGATION of storytellers assembles, and we return to the bare stage of
the prologue.)
CONGREGANT (QUASIMODO)
Years later, in the crypts below Notre Dame, there were discovered two skeletons,
one of which held the other in its embrace. The first was a woman with a woven
band around her neck. The other was a man whose spinal column was crooked.
When they tried to detach the skeleton which he held in his arms, he crumbled to
dust.
CONGREGANT (CLOPIN)
MORNING IN PARIS, A NEW DAY APPEARS
SING THE BELLS OF NOTRE DAME
ENDING THE TALE OF YOUR POOR BALLADEERS
AND THE BELLS OF NOTRE DAME
— 1 0 2 — T H E H U N C H B A C K O F N O T R E D A M E
CHOIR
OO...
OO...
CONGREGATION, CHOIR
SOMEDAY
LIFE WILL BE KINDER
LOVE WILL BE BLINDER
SOME NEW AFTERNOON
GOD SPEED
THIS BRIGHT MILLENNIUM
HOPE LIVES ON
WISH UPON THE MOON
FLORIKA’S GHOST
OLIM DEUS ACCELERE
HOC SAECULUM SPLENDIDUM
OLIM DEUS ACCELERE
HOC SAECULUM SPLENDIDUM
ACCELERE FIAT VENIRE OLIMCONGREGANTS
AND WE WISH WE COULD LEAVE YOU A MORAL
LIKE A TRINKET YOU HOLD IN YOUR PALM
ALL
WHAT MAKES A MONSTER AND WHAT MAKES A MAN?
CHOIR
SING THE BELLS, BELLS, BELLS, BELLS…
ALL
BELLS OF NOTRE DAME!
AH AH AH
AH AH AH
AH AH AH AH AH AH
AH AH AH
AH AH AH
(THE END.)
T H E H U N C H B A C K O F N O T R E D A M E — 1 0 3 —
CONGREGATION
BUT HERE IS A RIDDLE TO GUESS IF YOU CAN
SING THE BELLS OF NOTRE DAME
CHOIR
AH
AH
CHOIR
BELLS, BELLS
BELLS, BELLS
BELLS, BELLS
BELLS, BELLS
CONGREGATION
WHATEVER THEIR PITCH
YOU CAN FEEL THEM BEWITCH YOU
THE RICH AND THE RITUAL
KNELLS OF THE
Last Update:July, 07th 2025

The Hunchback of Notre Dame Lyrics: Song List

Olim
The Bells of Notre Dame
Out There
Topsy Turvy, Pt. 1
Rest and Recreation
Rhythm of the Tambourine
Topsy Turvy, Pt. 2
Into Notre Dame
God Help the Outcasts
Top of the World
Tavern Song
Heaven's Light
Hellfire
Esmeralda
Entr'acte
Flight into Egypt
The Court of Miracles
In a Place of Miracles
Justice in Paris
Someday
While the City Slumbered
Made of Stone
Finale/Finale Ultimo

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The Hunchback of Notre Dame: Musical script

The Hunchback of Notre Dame script

The Hunchback of Notre Dame Lyrics: Song List

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