At the gypsy's hideout, the mysterious and well-guarded Court of Miracles...ah, screw it. They're all sitting out in the open. They ponder why Captain Jean-Claude hates them so. Melody's mother explains that he cannot control their spirits (i.e. freedom), so he fears them.
"They don't like us, 'cause we're different!" remarks one of the gypsies. Way to dumb it down, guys.
Jean-Claude, Pierre, and the Baron (who is sleeping at this point and mumbling about food, because that's his entire character) continue searching and exchange some more Abbot and Castello banter, only this time it's not as funny and makes less sense. They hear the gypsy's music (and see some re-used stock animation), leading them right to the terrible hideout that isn't really a hideout at all because it's IN THE MIDDLE OF A PARK.
The gypsies run for it. Everyone urges Melody to seek sanctuary in Notre Dame, and they have to tell her, like, four or five times before she actually runs, followed by the stupid instruments. One complains about his legs...I think that was meant to be a joke, since he has no legs, but it comes off as lazy and stupid instead.
Melody pulls on one of the cathedral's doors for a scene that lasts just a bit too long. The bats watch and decide to let her in. The doors suddenly open, and one of the bats remarks that the door is magic. Wow, what an asspull. The doors close just as Jean-Claude arrives.
BAT 1: Hey, there's some bad guys outside! BAT 2: Yeah, let's let 'em in, too! BATS: ...not!
Wow, this was made in 2000 and that joke was probably already old.
Melody's mother noncholantly strolls over and is captured. She doesn't seem to mind, though. Pierre, being the Minion with an F in Evil, assures the mother that Melody is safe, and Quasimodo is kind, desptie his (not) scary appearance. The lack of subtlety is starting to hurt. Pierre then rambles on about how Quasimodo is Pierre's half-brother from a gypsy woman, and that Jean-Claude's eeeeeevil and gluttonous father worked Quasi to the bone, causing him to get a hunchback (not sure if it works that way, guys), and then banished him to the church. Jean-Claude is understandably pissed off, but does nothing to stop Pierre from telling the secrets (and spewing major exposition), other than yelling at him.
This is just getting lazy.
Inside Notre Dame, Esmeralda hears the bats' voices.
BAT 1: Take off those shoes! BAT 2: That girl's got ten toes! BAT 1: Groo-vay.
I guess they're foot fetishists or something. I don't know anymore.
BAT 1: Come and hang out with us! BAT 2: Get it? Hang? BAT 1: That was funny.
The bats offer the group some bugs to eat, and the German accordion whines about German food because stereotypes. The bells begin to sound and Melody dances to them. The bats invite them upstairs to meet the bellringer.
I'd like to point out that we're 15 minutes into this and Quasi has had maybe two minutes of screentime, tops. The bats fly out and make some more terrible jokes (what else is new?) and some rather decent big band music starts to play.
Quasimodo finally tells the bats to shut up, then hides from Melody. He gets all sad panda and tells them to leave—he's too ugly to look at. Quasi is finally coaxed out, and despite him looking normal, Melody still gasps in horror. Geez, girl, he warned you. This feels like that one Spongebob episode, only it's not being funny on purpose.
Despite the instruments trying to make him feel better, Quasi persists that he's "a freak." Melody assures him he's fine, and Quasi gives her a string of bells he made for her. Please don't let the bells talk...please don't let the bells talk...please don't let theCRAP THEY'RE ALIVE, TOO!
Quasi notices the bells giggling and remarks that everything comes to life around her, as if she's magical. Oh, so this isn't a normal thing in their world?
Cue the musical number.
A group of mice dance around the bats, and Melody and Quasi sing about how the sound of the bells make them happy when they look in each other's eyes or something. I'd rather they sing about birds suddenly appearing, but whatever. It sounds like a Broadway number from the 1940's, and it's not terrible, but not great, either. They also mention a telephone at one point, so there's that.
Suddenly, Melody hears her donkey outside and the ass tells her that her mother has been taken by Jean-Claude. For some reason, the donkey doesn't get to talk, despite everything else being able to. Furry Confusion rears its head, I see. There's another unnecessary scene where Melody can't open the door and they finally leave.
The donkey leads Melody and the instruments to a barn where her mother is. Inside, despite being a prisoner, she's happily dancing with some farm animals straight from a Silly Symphonies knock-off. Oh, and the instruments inform us that the mothers's name is Genevive.
The violin needs to sneeze, and everyone freaks out that he'll reveal their location, yet they're all speaking so loudly as it is. At long last, Jean-Claude shows up and grabs Melody. He puts her on a horse and rides off. Melody is not restrained in any way, I might add, and makes no effort to escape.
Then everyone is sad.
