Originally directed on Broadway by Michael Grandage
Based on the Disney film by Jennifer Lee and directed by Chris Buck and Jennifer Lee
Originally produced on Broadway by Disney Theatrical Group
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Music and Lyrics © 2013, 2018, 2019 Wonderland Music Company, Inc. (BMI) / Only For Now, Inc. (BMI), Administered by Seven Summits Music (BMI) / Five Hundred South Songs (SESAC) / Boosey & Hawkes Inc. (ASCAP). All rights reserved. Used by permission.
Script and all other Frozen materials © 2025 Disney. Unauthorized duplication is prohibited by law. (Last Revised—July 2025)
YOUNG ANNA—younger princess of Arendelle with youthful exuberance; fun-loving troublemaker; mesmerized by her sister’s magic
YOUNG ELSA—elder princess of Arendelle with magical powers; obedient daughter; protective sister
QUEEN IDUNA—Queen of Arendelle and child of the Northhuldra; strong and compassionate mother
KING AGNARR—King of Arendelle; warm-hearted and protective father
PABBIE—mystical shaman and patriarch of the Hidden Folk; Kristoff’s wise adoptive father
BULDA—spiritual matriarch of the Hidden Folk; Kristoff’s nurturing and vibrant adoptive mother
ANNA—Princess of Arendelle and Elsa’s younger sister; an eternal optimist who longs to be loved and to connect with other people
ELSA—future Queen of Arendelle and Anna’s older sister; born with magical powers, isolates herself from others out of fear
WESELTON—Duke from a neighboring kingdom; chauvinistic, impolite, and judgmental
HANS—Prince of the Southern Isles and youngest of thirteen brothers; charming and ambitious
KRISTOFF—hardworking ice harvester with a prickly exterior that hides a big heart
SVEN—Kristoff’s fiercely loyal reindeer best friend
OLAF—magical snowman with a childlike innocence
OAKEN—amiable salesperson and relentless advocate of hygge; cheerful and jolly
TOWNSPEOPLE—inhabitants of Arendelle, including BISHOP, GUARDS, HANDMAIDEN, and STAFF
HIDDEN FOLK—fantastical beings with magical powers and a deep connection to the land, including HIDDEN FOLK CHILD
FAMILY AND FRIENDS—Oaken’s loved ones who enjoy the warmth of the sauna
VOLUNTEERS—Townspeople who join Hans’s search party, including Weselton’s two LACKEYS
In the beautiful mountainous kingdom of Arendelle, the TOWNSPEOPLE introduce their beloved princesses, a mischievous and playful YOUNG ANNA and her older sister, a magically powerful YOUNG ELSA, along with their loving yet concerned parents, KING AGNARR and QUEEN IDUNA (Opening). The kingdom celebrates summer while Young Anna prods Young Elsa into using her magical powers to create ice and snow. Queen Iduna reminds them that Elsa’s magic must remain a secret.
Later that evening, the sisters build a toy snowman named Olaf (A Little Bit of You). In awe of Young Elsa’s beautiful magic, Young Anna pleads for more. Unfortunately, the magic gets unwieldy, and Young Elsa accidentally strikes Young Anna with her powers, rendering her unconscious. The King and Queen rush to help, and Queen Iduna calls on the HIDDEN FOLK to revive Young Anna (First Joik). PABBIE and BULDA, the mystical leaders of the Hidden Folk, remove the ice from Young Anna’s head as well as all memories of her sister’s magical powers. Fearful of the destructive potential of her magic, Young Elsa resolves to keep her powers hidden and learn to control them, isolating herself from everyone, including her sister (Northern Lights).
With no memory of the ice strike or that fateful evening, Young Anna wonders why her sister will no longer play with her (Do You Want to Build a Snowman?). As time passes, Young Elsa struggles to control her powers and her fear grows, while Young Anna yearns even more for her sister’s affection. The King and Queen leave the kingdom to search for answers but perish at sea. The princesses independently mourn their parents’ death, isolated from each other and the outside world as they grow up.
Time passes, and it is finally Coronation Day, when ELSA will be crowned queen and the castle gates will reopen for the first time in years. ANNA daydreams about how exciting it will be to have people back in the castle, while Elsa practices controlling her magic for the coronation (For the First Time in Forever). As guests arrive, Anna bumps into the charming Prince HANS, clumsily falling into the cart of KRISTOFF, a local ice harvester, and his reindeer, SVEN. After an awkward first meeting, Hans introduces himself as the youngest prince of a small, humble kingdom (Hans of the Southern Isles).
The BISHOP crowns Elsa, as she successfully conceals her magic during the ceremony and privately yearns for a closer relationship with Anna (Dangerous to Dream). At the Coronation Ball, the two sisters finally talk and laugh together, particularly at the expense of the arrogant Duke of WESELTON. Later, Anna finds Hans again. The two are instantly smitten (Love Is an Open Door) and decide to marry. The elated couple asks Elsa for her blessing of their marriage, but she refuses. As tensions rise, Elsa loses control of her powers, accidentally blasting the ballroom with sharp ice. The guests are shocked. Elsa flees and Anna runs out to find her, leaving Prince Hans in charge of Arendelle in her stead.
On the snowy mountainside, a frigid Anna comes upon mountain man Kristoff singing to Sven (Reindeer(s) Are Better Than People). Kristoff decides to help Anna find her sister, but
as they journey through the mountains, Kristoff and Anna’s clashing worldviews come to a head (What Do You Know About Love?). As they climb further up the North Mountain, they are startled when OLAF, a magical talking snowman, appears. Olaf eagerly joins the duo in their quest to bring back summer, fantasizing about warmer weather (In Summer).
Meanwhile, back at the castle, Hans has assumed leadership over Arendelle and vows to protect the nervous townspeople, including a suspicious Weselton (Hans of the Southern Isles—Reprise). Fearful for Anna’s safety, Hans organizes a search party of VOLUNTEERS to find her. Weselton and his LACKEYS join them, scheming to destroy the queen. Elsa, isolated in an ice palace of her own making, finally releases her fears and embraces her powers (Let It Go).
Deep in the mountains, Anna, Kristoff, Olaf, and Sven come across a trading post, where the friendly shopowner OAKEN shares his method for keeping spirits high in the relentless cold (Hygge). After supplying Anna with new winter attire, Oaken and his FAMILY AND FRIENDS send the travelers on their way (Hygge Encore).
Anna, Kristoff, Sven, and Olaf finally find Elsa in her ice palace, where she is amazed to see Olaf brought to life. Anna tries to convince her to return to Arendelle and tells Elsa there is nothing to fear, but Elsa remains frightened of her uncontrollable powers. She reveals to Anna the incident that almost killed her years ago and urges Anna to leave her alone (Let It Go – Reprise). Despite Anna’s pleading to be together, Elsa is determined to remain isolated to protect her (I Can’t Lose You). When Anna tells Elsa that her powers have set off an eternal winter everywhere, Elsa panics and accidentally strikes Anna again.
Elsa creates a snowy avalanche, sending Anna, Kristoff, Olaf, and Sven back down the mountain and away from her ice palace. At the foot of the mountain, Olaf’s body is jumbled and disconnected, leaving Anna and Kristoff to put the pieces back together again (Do You Want to Build a Snowman?—Reprise). They share a moment of connection but are interrupted when they notice Anna’s hair turning white from Elsa’s strike. Hopeful to reverse the effects of the magic strike, Kristoff calls on the family who raised him: Pabbie, Bulda, and the Hidden Folk (Kristoff Joik). Despite their protestations, the Hidden Folk are convinced that Kristoff and Anna make a great couple (Fixer Upper). When Anna collapses, Kristoff reveals that Anna has been struck in the heart by Elsa. Pabbie, Bulda, and the Hidden Folk attempt to revive her with their magic; meanwhile, Kristoff realizes his love for Anna (Kristoff Lullaby). Unable to draw the magic out, Pabbie and Bulda declare that only an act of true love will save Anna’s life. Kristoff sets off for Arendelle to unite Anna with Hans.
Back on the North Mountain, Hans continues to lead the search party through the increasingly fierce winter storm, nearing Elsa’s ice palace (End This Winter). Elsa hears the crowd approaching and contemplates her choices, ultimately surrendering to protect her sister and her people (Monster). Hans brings a captured Elsa back to the castle. Shortly after,
Kristoff arrives back in Arendelle with a weakening Anna, leaving her with a royal GUARD to find Hans (Kristoff Lullaby Tag). When Anna asks for her true love’s kiss, Hans denies her, revealing he feigned his love to seize control of Arendelle (King Hans). Hans leaves a shocked and betrayed Anna to freeze to death, but Olaf arrives, determined to help her survive and find her real love, Kristoff.
Hans tells the Kingdom of Arendelle that Anna has died at the hands of her sister, and he sentences Elsa to death. Hearing this news, a grief-stricken Elsa is overcome with emotion, conjures a massive blizzard, and breaks free to escape (Colder by the Minute). As the storm intensifies, Hans searches for Elsa, Kristoff searches for Anna, Anna searches for Kristoff, and Elsa runs from Hans. As Anna is about to reunite with Kristoff for her life-saving true love’s kiss, she sees Hans draw his sword over Elsa. Anna jumps in between them and freezes to solid ice as Hans’s sword strikes, having sacrificed her own life to save her sister’s. Elsa embraces Anna, devastated that she caused her sister’s death.
Suddenly, Anna returns to life. Her sacrifice for Elsa, an act of true love, thaws her frozen heart. With this realization, Elsa harnesses her love for Anna and the people of Arendelle to unfreeze the kingdom, returning it to summer. Anna sends the villainous Hans away and shares a kiss with Kristoff, as Elsa assumes her place as Queen of Arendelle. The kingdom celebrates and vows to fill the world with light and love (Finale).
Frozen traces its roots back to the Hans Christian Andersen story “The Snow Queen.” Originally published in Danish in 1844, this fairy tale tells the story of two friends, Kai and Gerda. Kai is lured away by an evil Snow Queen and Gerda sets out to find him, eventually melting his frozen heart and rescuing him from the Snow Queen. “The Snow Queen” is one of Andersen’s most beloved fairy tales.
“The Snow Queen” has received numerous adaptations in many mediums. In fact, Walt Disney first considered adapting “The Snow Queen” for the screen in the late 1930s and early 1940s as part of a biographical film of Hans Christian Andersen’s life, interspersed with animated segments depicting his most beloved stories.
While that project never came to fruition, the idea of adapting “The Snow Queen” into an animated film floated around the Walt Disney Company for decades. In the 1970s, a neverbuilt attraction was designed for Disneyland based on the story, and several animators took a stab at adapting it into an animated film over the years. At the time, no one was able to crack the story; they were repeatedly plagued by the challenge of a titular character who is the villain and has little agency.
In 2011, the idea of adapting “The Snow Queen” once again reemerged at Walt Disney Animation Studios. Robert Lopez and Kristen Anderson-Lopez, musical theater writers who had previously written songs for Finding Nemo: The Musical at Walt Disney World and the 2011 Disney film Winnie the Pooh, came on board to write songs for the film. To write the screenplay, the studio looked to Jennifer Lee, who was also working on Disney’s WreckIt Ralph. Lee would go on to co-direct the film with Chris Buck, who directed Tarzan®. Together, this team had a breakthrough, unlocking the story with one essential, brand-new element that changed the narrative: What if the central characters were sisters?
Frozen was released in movie theaters on November 27, 2013, and became a global phenomenon. Audiences were captivated by the story and music, and the film broke box office records, becoming the highest-grossing animated film at that time. Frozen received the Academy Award® for Best Animated Picture, and Elsa’s iconic “Let It Go” peaked at #5 on the Billboard “Hot 100” chart and won Robert Lopez and Kristen Anderson-Lopez the Academy Award® for Best Original Song.
In 2013, the team at Disney Theatrical Group, led by President & Producer Thomas Schumacher, began work on a stage adaptation, collaborating with the film’s creative team – Jennifer Lee, Robert Lopez, and Kristen Anderson-Lopez. Together, the three writers dug back into the story, deepening the bond between the sisters and delving further into the emotions and conflict within the story, adding 11 new songs to the existing 8 film songs. Michael Grandage, an acclaimed British director with extensive Shakespeare experience, was brought onto the project and immediately noticed the parallel themes between Frozen and
Shakespearean comedies. Under his direction, the stage version of Frozen sought to highlight the epic themes of the show, finding a balance between fairy tale and myth.
With choreography by Rob Ashford, music supervision and arrangements by Stephen Oremus, scenic and costume designs by Christopher Oram, lighting by Natasha Katz, puppet designs by Michael Curry, and orchestrations by Dave Metzger, Frozen had its world premiere in Colorado at the Denver Center for the Performing Arts in 2017 before opening at the St. James Theatre on Broadway on March 22, 2018. Starring Caissie Levy and Patti Murin as Elsa and Anna, respectively, Frozen received three Tony Award® nominations: for Best Musical, Best Book of a Musical, and Best Original Score. The show has gone on to be produced around the world, including in London’s West End, Germany, the Netherlands, Australia, Japan, and on a U.S. national tour. The show has also been adapted for licensing into a 60-minute version for middle school-aged performers (Frozen JR.) and a 30-minute version for elementary school-aged performers (Frozen KIDS). The West End production of the show was professionally filmed in January 2024.
In the 2013 animated film, King Agnarr and Queen Iduna travel with their young daughters to the Valley of the Living Rock after Young Elsa accidentally strikes Young Anna with her powers, knocking her unconscious. The King and Queen know of the mystical trolls and their ancient magical powers and hope the trolls can heal their young daughter. Later, it is revealed that Grand Pabbie, Bulda, and the trolls raised the orphaned Kristoff as their own. These benevolent creatures, animated to look like rocks, possess both a spiritual and comedic presence in the film. The magical crystals they wear are an extension of the aurora borealis.
For the stage adaptation of Frozen, the Hidden Folk take a different approach. The “huldefolk” or “hidden folk” are fantastical creatures inspired by the elfin huldufólk mythology from Iceland and the Faroe Islands, and the huldra in Scandinavian folklore. The Hidden Folk are mystical beings with a deep connection to the earth and its elements. While human in form, they have a connection to a higher plane, possessing extremely strong magical powers. This can inform their physicality and interactions with other characters. For example, in Act I Scene 2, Pabbie and Bulda enter the castle and are intuitively connected to and fascinated by the power in the room, from Queen Iduna who called them, to the magic affecting Young Anna, and ultimately to the unknown power of Young Elsa. To them, magic is natural: Mother Earth endowing a singular person with a gift. But Elsa’s magic is like nothing they have yet encountered. The Hidden Folk are a strong and vibrant community, residing in the mountains. Known to very few in Arendelle, Queen Iduna calls them to the castle after Young Elsa accidentally strikes Young Anna; she knows their call, as she was a child of the Northhuldra. The Hidden Folk are connected not just to Mother Earth, but to each other, believing in the power of family and love, which they celebrate.
Avoid all stereotypical depictions of these characters that may suggest a primitive or animalistic nature. Their dialogue, costumes, and portrayal can indicate their difference from the townspeople of Arendelle and emphasize their unique culture but should never feel like a caricature of any race or community.
A joik or yoik is a traditional form of song originated by the Sámi people, the indigenous people of northern Europe, including the northern Scandinavian region. Today, the Sámi people live across the far northern regions of Norway, Sweden, Finland, and Russia.
Joiking is a unique vocal style and one of the longest living music traditions in Europe, dating back centuries. The music is often interpreted not to be about a person or place but instead to evoke that person or place. It does not need to include words, but can weave a narrative through melody, rhythm, expressions, or gestures. The joik can also be called a “vuelie.” It is a practice of cultural expression and can be deeply personal or spiritual in nature.
Joiking appears in this production in a few places. In #1 Opening, the joik is sung by townspeople and is used as a call to the audience to gather for their story. It sets the tone for the piece. In #2A First Joik, Queen Iduna uses a joik to summon the Hidden Folk to the castle to heal Young Anna. The Queen is calling with the alarm of a mother, so it should be guttural and full-bodied, not proper or refined. The intensity of the moment should be conveyed in the joik. The Queen knows she must be in a spiritual place for the call to be effective; she repeats the call twice, as she is out of practice, if she has ever used the call at all. In #13C Kristoff Joik, Kristoff uses a joik to call the Hidden Folk. For Kristoff, the urgency is far less, but he does still need to dig deep and use his full body to reach them. The meaning of his call is “reveal yourselves” or “I need to see you.”
Use the Guide Vocal Recording as a reference for this musical material.
Since the film’s release, Olaf has become an iconic and beloved Disney character, exemplifying a relentless optimism and a pure, childlike wonder. The portrayal of this character – both in terms of the casting and the puppet design – is essential to telling the story of Frozen.
As young girls, the princesses build a toy snowman together during #2 A Little Bit of You, dreaming up the perfect companion that shares traits with each sister. It is not until later in the show that we meet Olaf as a fully living, breathing snowman. In Act I Scene 2, ensure your toy snowman is a small, inanimate prop, made from toys typically found in a childhood bedroom. Should you choose to make the toy lightly move at the end of the song,
its movement should be motivated by the snow Young Elsa conjures around it, not by its own abilities. Said another way, Young Elsa does not bring the toy to life; it moves only as a response to the mini snowstorm around it. Do not use the Olaf puppet that will appear later in the show in this moment. Your Olaf puppet and the actor playing Olaf should not appear on stage until Act I Scene 9.
When you costume your Olaf, consider the puppet theory of the “double event,” utilized in the Broadway production of The Lion King, directed by Julie Taymor. The “double event” occurs when the audience encounters both the traits of the puppet design that resemble the magical creature and the human emotions of the actor simultaneously, creating a singular, whole character. Both the human actor who plays the character and the puppet that represents the character are clearly visible to the audience. By not obstructing the actor’s face, and by costuming the actor as a cohesive part of the overall character, audiences can experience the full character: puppet and actor. Consider what your actor playing Olaf could wear that is not an actual snowman suit.
When creating your puppet, consider all the things the character must do in the story with regards to moving plot forward. He must lose his head and appear in pieces in #13B Do You Want to Build a Snowman? (Reprise); he must ignite a fire using matches and, later, appear to melt (Act II Scene 8); he must have a fully flexible head and arms for movement and dance during #10 In Summer and #14 Fixer Upper. For utmost humor, his nose should be detachable (to provide a fun moment for Sven to steal the carrot) and his eyes should blink to convey emotion. If you choose not to build your own Olaf, puppets are available to license.
While an instant favorite of kids in the audience, the actor playing Olaf should play the comedy for the adults; Olaf’s humor can reach audiences of all ages.
In the film, Sven is an animated reindeer who is Kristoff’s best friend. Communicating through grunts and a comedic physicality, this beloved character is goofy, loyal, and a source of great humor on screen. He is portrayed with big cartoon eyes and evocative facial features such as his nose, mouth, and ears.
In the Broadway production, the design for Sven diverged from the cartoon to resemble an actual reindeer. Sven was a “costume puppet,” meaning that the audience could not see the performer inside of the puppet. (This is altogether different from the portrayal of Olaf, which relies heavily on the human actor to convey the emotions and heart behind the loveable snowman.) Because Sven doesn’t speak, and because the human operator’s face and body were hidden, the puppet itself had to allow for advanced expression and physicality.
For your production and puppet design, consider all that Sven must do in the story. Sven frequently urges Kristoff to speak or act. He runs ahead of the gang, towards Elsa’s castle or towards the Hidden Folk. He might lay down on the side of the scene when he is not directly involved, both to offer your puppeteer a break and to center focus on Kristoff and Anna. In the Broadway production, Sven’s saddle carried props, such as Kristoff’s lute or the clothing that Anna borrows from Kristoff in order to climb the North Mountain.
Sven’s four legs should have full range of motion, as should his head, so he can express enthusiasm, confusion, dislike, attentiveness, and more. One concept to work on with your actor playing Sven is to determine what Sven’s physical reaction might be to certain key words, such as “ice,” “Kristoff,” or “carrot.” Presumably, Sven would have reactions the way a dog does hearing the word “walk” or “treat.”
Sven’s mouth must be able to open and close. Ideally, Sven’s eyes will open and close – so he can blink and lower his eyelids partially – and his ears could have range of motion as well. In your design, consider the ways in which a real reindeer moves.
Like all animals, Sven is intuitive to emotions and personalities. He loves Anna immediately because she exudes positivity and warmth. Sven is more wary of Olaf, the way a dog might be in a room with an unpredictable toddler, but ultimately, they get along. He is, of course, endlessly loyal to Kristoff.
All this said, subtlety is key here. Your Sven puppet will be big enough that the smallest gestures tend to read. For example, small ear twitches, the turn of a head, or his nose nudging Kristoff’s arm can help keep Sven animated whilst not stealing the scene.
The role of Weselton is typically performed with proper British dialect, also known as Standard English or RP, which illustrates he is from another kingdom. This proper and dignified accent helps emphasize Weselton’s pride in his own royal status and his uptight, rigid beliefs about the way a kingdom should be run.
Oaken’s accent resembles the Danish dialect and is meant to provide a contrast to all the characters we have met thus far in the show. Reference the Piano Vocal Score for the proper pronunciation of the word “hygge,” which all in the show should use. Oaken should sing and speak all “w” sounds as “v” sounds. For example, “wood” is “vood” or “word” is “vord.” He also has a very particular way of pronouncing any word that has the “oo” sound — such as “good” or “latitude.” All “oo” sounds are drawn out. Reference your Guide Vocal Recording for pronunciation support. Note that Oaken’s Family and Friends who join in on #12 Hygge do not have his accent and should sing as they otherwise do throughout the show. Oaken is the embodiment of hygge, so he should always have a smile on his face. This becomes a fun juxtaposition to play when he is mentioning something “not hygge.”
During the coronation, the Bishop speaks in Old Norse. The line occurs in Act I Scene 6 during #6 Dangerous to Dream and translates to: “As she holds the sacred objects and having been crowned on this sacred site, I present Queen Elsa of Arendelle.” The phonetic pronunciation is: “sehm hon HELLdrr IN-um HELL-gum AYG-num ok krund ee THES-um HELL-gah STAHTH, ehk the frahm FUR-ear U-thear.” Consult your Guide Vocal Recording as a reference for this pronunciation.
Like most Disney musicals, Frozen has its fair share of magical moments, which are critical to the storytelling. But not all moments call for high-tech stagecraft. Consider how Elsa’s magic grows throughout the show, increasing in scale and potency as her powers—and fears— expand. At the start of the show, Young Elsa enjoys using her magic to make her younger sister happy, so her magic should appear light and playful. When Young Elsa produces snow in #1 Opening and #2 A Little Bit of You, utilize low-tech, handmade tricks to show the novice, youthful powers she has yet to grow into. In the Broadway show, this was as simple as a handful of white confetti tossed purposefully by Young Elsa and propelled upwards by a burst of compressed air hidden in the set. It is not until the magic strike in their childhood bedroom that Young Elsa realizes her powers could ever be that strong or forceful. Later in the show, the magic can grow grander to include projections, falling snow, or jagged pieces of ice that appear from your floor or proscenium. In #11 Let It Go, Elsa begins reclaiming her magic, breaking the rules set by her parents and daring to explore her powers as she did when she was a child. The magic in this number should start small and then build throughout as her confidence grows.
From offstage, we hear the TOWNSPEOPLE of Arendelle. Their call gathers us.
#1—Opening
Townspeople, Young Anna, Young Elsa, King Agnarr, Queen Iduna
MALE TOWNSPEOPLE
NA NA NA HEIA NA
NA HI JA NA
NA HEIA HEIA NA JA
MALE TOWNSPEOPLE
NO A
HA NA HEI O NO A NA (HA HA JA)
NO A NO
NO A HEIA NO
NO A NO
NO A HEIA NO
NO A NO
FEMALE TOWNSPEOPLE
NA HA JA NA (HA HA JA)
NA JA
NA VA JA
NA JA
NA VA JA
NA JA
NA VA JA
TOWNSPEOPLE
BEWARE THE FROZEN HEART YOUNG ELSA and YOUNG ANNA appear.
YOUNG ANNA
DO YOU WANNA BUILD A SNOWMAN? COME ON! LET’S GO AND PLAY!
YOUNG ELSA
I COULD COVER THIS WHOLE PLACE IN SNOW! I’M NOT SUPPOSED TO, THOUGH
YOUNG ANNA
Yeah.
(really mischievous)
JUST DO IT ANYWAY! DO IT FOR YOUR SISTER!
ELSA, PLEASE
Oh please!
(YOUNG ANNA)
I CAN’T DO THE THINGS YOU DO!
YOUNG ELSA uses her magic to create light flurries of snow that fall around them.
(YOUNG ANNA)
(over-the-top delighted!)
That’s what I’m talkin’ about!
YOUNG ELSA
(smiling)
YOU REALLY WANNA BUILD A SNOWMAN?
You know I do!
YOUNG ANNA
YOUNG ELSA
Yes!!
(whispering conspiratorially)
WE’LL STAY UP LATE AND BUILD THAT SNOWMAN!
YOUNG ANNA
YOUNG ANNA & YOUNG ELSA
ME AND YOU!
They hug—sisters, best friends. The TOWNSPEOPLE appear, celebrating a summer festival. YOUNG ELSA and YOUNG ANNA don flower crowns for the festival.
NA NA HI JA NA
NA NA HI JA NA
ONCE THERE WAS A FAMILY BELOVED BY ALL:
A KING, A QUEEN, TWO PRINCESSES AND THE STORY STARTS WHEN THEY WERE SMALL
KING AGNARR and QUEEN IDUNA enter.
(playful)
Ladies, what have you been up to?
KING AGNARR
ELSA WAS A SPECIAL CHILD FROM HER FIRST FROZEN TEAR HER MAGIC FILLED HER PARENTS’ HEARTS WITH SO MUCH LOVE AND FEAR
YOUNG ELSA plays with her powers, exploring her abilities. QUEEN IDUNA hurries over, stern, concerned.
QUEEN IDUNA
(fearful, sharp)
Elsa, no! What did we say?
YOUNG ELSA (apologetic)
Magic must stay secret.
QUEEN IDUNA (softening)
There are just some things we can’t do in public.
YOUNG ANNA runs by, lifting her skirt like a parachute.
YOUNG ANNA
Like run naked in the breeze!
KING AGNARR & QUEEN IDUNA & YOUNG ELSA
Anna!
YOUNG ANNA walks among her parents and older sister, easing the tension.
YOUNG ANNA
LET THE SUN SHINE ON!
LET OUR HEARTS BE LIGHT
LIKE THIS PERFECT, HAPPY, SHINY SUMMER DAY!
QUEEN IDUNA & KING AGNARR
LET THE SUN SHINE ON
YOUNG ANNA
‘CAUSE IT’S ALL ALRIGHT
QUEEN IDUNA & KING AGNARR & YOUNG ELSA
TOGETHER WE CAN KEEP THE STORM AT BAY The GIRLS play a hand-clapping game as their parents look on.
YOUNG ANNA & YOUNG ELSA (clapping game)
ONE, TWO, THREE TOGETHER
CLAP TOGETHER, SNAP TOGETHER YOU AND ME TOGETHER KNEES TOGETHER, FREEZE TOGETHER! UP OR DOWN TOGETHER
PRINCESS CROWN TOGETHER ALWAYS BE TOGETHER YOU AND ME!
YOUNG ANNA and YOUNG ELSA run through the TOWNSPEOPLE, enjoying the festival.
ONCE THERE WAS A FAMILY WITH SECRETS TO KEEP AS RULERS IN A LAND WHERE RESPECT FOR THE CROWN RUNS DEEP
YOUNG ANNA (to YOUNG ELSA)
Freeze my butt!
KING AGNARR rushes to YOUNG ELSA to tell her not to use her magic, but she runs off into the celebration, chasing YOUNG ANNA.
MALE TOWNSPEOPLE AND SO THE ROYAL FAMILY IS EVER ON DISPLAY AND THE PEOPLE LOVE THE PRINCESSES AND WATCH THEM AS THEY PLAY
FEMALE TOWNSPEOPLE
YOUNG ANNA and YOUNG ELSA join the TOWNSPEOPLE in play and merriment.
ALL
LET THE SUN SHINE ON!
LET OUR LIVES BE FREE
LET THE PROMISE OF OUR LAND BE SURE AND STRONG
LET OUR HEARTS BE WARMED BY THIS FAMILY ALL THE WINTER LONG!
YOUNG ANNA and YOUNG ELSA rejoin KING AGNARR and QUEEN IDUNA, who instruct them to put on their best, formal, royal manners to greet the kingdom. YOUNG ELSA is obedient. YOUNG ANNA remains a little mischievous.
MALE TOWNSPEOPLE
NO A NO
NO A HEIA NO
NO A NO
NO A HEIA NO
NA VA JA NA VA
LET THE SUN SHINE ON OVER ARENDELLE!
FEMALE TOWNSPEOPLE
NA JA NA
VA JA NA
JA VA NA
NA VA JA NA VA
ALL
LET THE CROWN BE STRONG AND LET YOUR LOVE BE TRUE
BLESS OUR DAUGHTERS FAIR WHOM WE LOVE SO WELL! WE WILL LOOK TO YOU
The TOWNSPEOPLE exit as the set transitions to inside the castle.
KING AGNARR and QUEEN IDUNA tuck their daughters into bed. YOUNG ANNA rushes them through their nighttime routine.
QUEEN IDUNA
Come on, my loves. Time for bed.
KING AGNARR
… And that means actually sleeping, Anna. Okay?
YOUNG ANNA
I love sleeping.
QUEEN IDUNA
Does anyone need a bedtime story?
YOUNG ANNA
(before YOUNG ELSA can say yes)
No, please! We’re way too tired. Bye. I mean, good night! Love you. Thank you. (fake yawning)
You’re free to go!
KING AGNARR and QUEEN IDUNA exit. YOUNG ANNA waits as long as she can (which isn’t very long).
#1A—Elsa and Anna
(YOUNG ANNA)
They’re gone! It’s just us!
YOUNG ANNA runs over to Young Elsa’s bed, jumps on it.
We’re supposed to be sleeping—
YOUNG ELSA
YOUNG ANNA
We’re supposed to be building a snowman… ! Please! The sky’s awake, so I’m awake, so we have to play!
(with a smile)
Okay. Okay.
Really? YEEEEEEEESSSSSSSS!
YOUNG ANNA
YOUNG ANNA is so excited she can’t help but run circles around the room. Snowman. Snowman. Snowman!!!!!
YOUNG ELSA laughs at her sister’s boundless energy, then goes and gets their toy box.
Are you going to help or just run around?
YOUNG ANNA
Oh, right. Done running. Now helping.
YOUNG ELSA and YOUNG ANNA start to build a snowman out of the assorted items from their toy box.
You know, there’s a recipe to making a proper snowman.
YOUNG ANNA
Really?
Uh-huh.
YOUNG ELSA
A LITTLE BIT OF YOU
A LITTLE BIT OF ME
A PART THAT LOVES TO DREAM
YOUNG ANNA (catching on)
A PART THAT SWINGS FROM A TREE
A LITTLE LIKE ME
A LITTLE LIKE YOU
YOUNG ELSA
A PART THAT’S NICE
YOUNG ANNA A PART THAT’S NAUGHTY, TOO
YOUNG ANNA & YOUNG ELSA A LOYAL FRIEND WHO IS THERE NO MATTER WHAT
YOUNG ELSA
WITH A BIG, ROUND BELLY
YOUNG ANNA AND A BIG, BOUNCY BUTT!
The GIRLS assemble the body of the snowman.
YOUNG ANNA & YOUNG ELSA HE’LL LOVE WARM HUGS AND THE BRIGHT SUNLIGHT
YOUNG ANNA AND HE’LL REALLY LOVE THE SUMMER
YOUNG ELSA
But he’ll melt!
YOUNG ANNA
(defeated)
Yeah, you’re right. (gasps, an idea) SO WE’LL BUILD HIM BACK TOGETHER
YOUNG ELSA YES, TOGETHER, THAT’S THE KEY!
YOUNG ANNA & YOUNG ELSA
‘CAUSE HE’S A LITTLE BIT OF YOU AND ME
The GIRLS put the finishing touches on their toy snowman and sit back to admire him.
What do we call him?
YOUNG ELSA
Um… Olaf!
(funny voice)
Hi, I’m Olaf and I like warm hugs.
YOUNG ANNA
YOUNG ELSA
YOUNG ANNA hugs the toy snowman tightly.
YOUNG ANNA
I love you, Olaf.
YOUNG ELSA delights in her sister’s happiness.
YOUNG ELSA
Okay. Time for bed.
YOUNG ELSA puts the toy snowman away.
YOUNG ANNA
No! Time for more magic please and thank you.
YOUNG ELSA
Anna, you know I’m not supposed to even be doing this.
YOUNG ANNA
But your magic is the most beautiful, wonderful, perfectful thing in the whole wide world.
YOUNG ELSA desperately wants to believe it and loves her sister for saying it.
Do you really think so?
YOUNG ELSA
YOUNG ANNA
Yes! So, do it, please, before I burst from inside to outside!
YOUNG ELSA
(giggling)
Okay. Okay. Don’t burst.
YOUNG ELSA stands on her own bed, waving her arms as she uses her magic to create snow above her head. YOUNG ANNA looks on in glee as snow falls around her sister.
Whooooaaa...
YOUNG ANNA
YOUNG ELSA
A LITTLE BIT OF YOU
A LITTLE BIT OF ME
YOU DO THE MAGIC AND I GET TO SEE
YOUNG ANNA
YOUNG ANNA races over to her own bed, as YOUNG ELSA now makes flurries fall there too.
YOUNG ELSA
A LITTLE BIT OF FUN
YOUNG ANNA
LITTLE BIT OF FUN IN THE MIDDLE OF THE NIGHT
YOUNG ELSA
A LITTLE BIT OF MAGIC AND IT ALL TAKES FLIGHT!
YOUNG ANNA THIS IS SO AMAZING! MORE! MORE! MORE!
YOUNG ELSA
LA LA LA LA LA LA LA LA LA LA LA LA LA LA LA LA LA LA LA LA
YOUNG ELSA
LITTLE BIT OF YOU
YOUNG ANNA keeps jumping on the bed, as YOUNG ELSA freezes Young Anna’s bed.
YOUNG ANNA
MAGIC! MAGIC! DO IT, ELSA, DO IT MORE!
YOUNG ELSA
LITTLE BIT OF ME…
YOUNG ANNA jumps off her bed and runs to YOUNG ELSA, begging for more. YOUNG ELSA tries to conjure more magic for her sister. Meanwhile, YOUNG ANNA races back to her own bed, unseen by YOUNG ELSA.
ME! ME! ME! ME! ME! ME!
LITTLE BIT OF YOU, LITTLE BIT OF ME! YIPPEE!
YOUNG ELSA throws her magic at Young Anna’s bed. YOUNG ANNA lets out a scream as she is struck in the head. She collapses, unconscious. YOUNG ELSA stands in shock.
YOUNG ELSA
… Anna?
YOUNG ELSA runs to YOUNG ANNA, shaking her, lifting her limp body into her arms.
Anna! Mama! Papa!
(YOUNG ELSA)
Wake up, Anna. Please wake up. Help!
KING AGNARR and QUEEN IDUNA rush in, followed by household STAFF. YOUNG ELSA backs away from her sister, terrified by what she has done.
QUEEN IDUNA
Anna!
Elsa. What have you done?
KING AGNARR
YOUNG ELSA
I didn’t mean it.
KING AGNARR touches YOUNG ANNA’s forehead.
KING AGNARR
Her skin is ice.
KING AGNARR removes the bed cover and helps QUEEN IDUNA wrap YOUNG ANNA in it.
QUEEN IDUNA
(to KING AGNARR)
Send the servants away.
(firmly, to the STAFF)
Leave us.
KING AGNARR
Your Majesty?
QUEEN IDUNA
Now! Please!
The STAFF scurries out. QUEEN IDUNA rushes to the window and opens it.
KING AGNARR
What are you doing?
QUEEN IDUNA
We need the Hidden Folk of the Mountains.
KING AGNARR
What?
The Hidden Folk.
QUEEN IDUNA
KING AGNARR
… Quickly then. She’s freezing.
QUEEN IDUNA calls out the window into the night. KING AGNARR runs to YOUNG ANNA’s bed and lifts her, keeping her warm.
QUEEN IDUNA
GEE YATH KE
VOYA VOYA VOYA
KING AGNARR (panicked)
She’s getting colder!
QUEEN IDUNA
GEE YATH KE
VOYA VOYA VOYA
Voices of the HIDDEN FOLK respond to the call, as they appear from the darkness.
KEY DAH BOWAH
TAH
VOYA VOYA VOYA
HÜLDRA
KEY DAH BOWAH
VOYA VOYA VOYA
HÜLDRA
Bright eyes appear in the window. PABBIE, the shaman, and BULDA, a Hidden Folk woman, enter the room. PABBIE is instantly drawn to YOUNG ELSA, sensing her magic.
A Queen who knows our call?
I’m a child of the Northhuldra.
PABBIE
QUEEN IDUNA
BULDA
And now you’re a Queen. Good for you.
QUEEN IDUNA
Please, our daughter is hurt.
BULDA and PABBIE rush to YOUNG ANNA’s side. They examine her.
This is a magic strike.
PABBIE
YOUNG ELSA
I’m sorry. It was an accident.
PABBIE looks YOUNG ELSA over.
Born with the powers or cursed?
Born, and they’re getting stronger.
PABBIE
KING AGNARR
BULDA
This poor child will freeze to death unless the magic is right removed.
Can you remove it?
PABBIE
(contemplating Young Anna)
You’re lucky it was not her heart.
(getting an idea)
A heart is not so easily changed, but a head may be persuaded.
PABBIE lifts YOUNG ANNA in his arms, covering YOUNG ANNA’s forehead with his hands. The others look on.
GEE YATH KE
HÜLDRA HÜLDRA HÜLDRA
NOWA NA
PABBIE draws the magic from YOUNG ANNA’s head, releasing it into the air.
PABBIE & HIDDEN FOLK (an exhale)
HA
PABBIE
I removed all magic. Even the magic that fills her memories, to be safe. She will be all right.
QUEEN IDUNA
Thank you.
(goes to PABBIE, urgently)
Remove my magic, too. Please.
YOUNG ELSA
PABBIE
I’m sorry, Little Snow, that I cannot do. Your powers are part of you.
YOUNG ELSA
But I’m afraid of what I’ll do!
PABBIE
Close your eyes.
(PABBIE)
Tell me what you see.
PABBIE moves his hand over her face, conjuring a vision. YOUNG ELSA closes her eyes. He looks over her, tenderly. He feels parental and protective of her.
I see…
ARENDELLE
A WINTER NIGHT
PEOPLE STARE AT ME IN FRIGHT
ANGRY CROWDS, JAGGED ICE TERROR IN THEIR EYES
IT’S ALL BECAUSE OF ME
THEY LOOK MY WAY AND SEE A MONSTER
YOUNG ELSA opens her eyes, terrified of the vision she has seen.
PABBIE
(to YOUNG ELSA)
Then fear will be your enemy. (he turns to the KING)
And death its consequence.
(heeding his warning)
KING AGNARR
We will not let that happen. We’ll protect her.
KING AGNARR draws YOUNG ELSA to him. Protective, PABBIE has a hard time letting her go.
PABBIE
Good. Yes… I bid you well.
BULDA
Call on us anytime. We love children. Raised a few strays ourselves.
QUEEN IDUNA
Thank you.
BULDA and PABBIE climb out the window and disappear into the dark.
(QUEEN IDUNA)
(to KING AGNARR, about Young Elsa)
She can learn to control it, I’m sure.
KING AGNARR
(to QUEEN IDUNA)
Give me your gloves.
QUEEN IDUNA hands the KING her gloves. KING AGNARR kneels down in front of YOUNG ELSA and slips the adult gloves onto her little hands.
Put these on, Elsa. See if they help you keep it inside. We’ll close the gates, reduce the staff.
KING AGNARR closes the shutters.
We must limit her contact with people and keep her powers hidden from everyone, including Anna.
QUEEN IDUNA
What? No. They’re sisters. You can’t expect them to stay away from each other.
That gives KING AGNARR pause. YOUNG ELSA steps up, bravely, resigned.
YOUNG ELSA
MOTHER, IT’S HOW IT HAS TO BE WHAT’S BEST FOR HER IS BEST FOR ME FATHER, I’LL DO AS YOU SAY
KING AGNARR
WE’LL HELP YOU TO CONTROL IT
I KNOW WE’LL FIND A WAY
YOUNG ANNA stirs in her bed. Calls out.
Mommy?
YOUNG ANNA
(taking YOUNG ANNA in her arms)
ONLY UNTIL WE GET MORE ANSWERS AND THEN WE’LL FIND OUR WAY BACK
TO BE A FAMILY AGAIN
YOUNG ANNA looks lovingly at her sister, unaware of all that has transpired. YOUNG ELSA rushes off, away from her. QUEEN IDUNA guides YOUNG ANNA offstage in the opposite direction. The STAFF re-enters, holding luggage as they prepare to leave the castle. They say goodbye to KING AGNARR.
YOUNG ANNA enters, skipping through the hall. She glances out the window.
#3—Do You Want to Build a Snowman? Young Anna, Townspeople, Anna, Elsa
YOUNG ANNA It’s snowing!!!
All excited, YOUNG ANNA rushes to Young Elsa’s door. Elsa? She knocks.
DO YOU WANNA BUILD A SNOWMAN? COME ON, LET’S GO AND PLAY I NEVER SEE YOU ANYMORE COME OUT THE DOOR IT’S LIKE YOU’VE GONE AWAY
WE USED TO BE BEST BUDDIES AND NOW WE’RE NOT I WISH YOU WOULD TELL ME WHY
DO YOU WANNA BUILD A SNOWMAN? IT DOESN’T HAVE TO BE A SNOWMAN
We hear YOUNG ELSA through the door.
Go away, Anna.
YOUNG ELSA (O.S.)
YOUNG ANNA (disappointed)
OKAY, BYE…
The perspective shifts to inside Young Elsa’s bedroom. KING AGNARR is with YOUNG ELSA. YOUNG ELSA holds her gloved hands to her chest, guarded. She’s doing all she can to hold in her spirit, to not mess up.
YOUNG ELSA
I’m doing everything you said, Papa. The gloves are helping.
KING AGNARR
Good. But there will come a day when you’ll have to stand before your people without them. You must be prepared for everything, Elsa. Now, again…
Conceal it. Don’t feel it.
Don’t let it show.
KING AGNARR & YOUNG ELSA
Conceal it. Don’t feel it. Don’t let it show…
Back in the hallway, outside Young Elsa’s door. Time has passed. YOUNG ANNA rides up to the door on a bicycle. She knocks.
DO YOU WANNA BUILD A SNOWMAN? OR RIDE OUR BIKE AROUND THE HALLS?
YOUNG ANNA rides her bike around the corridors. I THINK SOME COMPANY IS OVERDUE I’VE STARTED TALKING TO THE PICTURES ON THE WALLS
YOUNG ANNA addresses a painting of Joan of Arc.
Hang in there, Joan.
IT GETS A LITTLE LONELY ALL THESE EMPTY ROOMS JUST WATCHING THE HOURS TICK BY
YOUNG ANNA makes the sound of a clock ticking as she bikes offstage. KING AGNARR and QUEEN IDUNA enter the hallway, trying to comfort a panicked YOUNG ELSA.
It’s getting stronger. I can’t laugh. I can’t cry. I can’t dream. I can’t live without it bursting out.
KING AGNARR
Breathe. Just breathe.
I can’t breathe! I can’t do anything!
QUEEN IDUNA
(to the KING)
This is too much for her. We shouldn’t go.
(to YOUNG ELSA)
Come here, my poor child.
QUEEN IDUNA goes to hug YOUNG ELSA, who backs away in fear.
YOUNG ELSA
No! Don’t touch me! I don’t want to hurt you. (pacing)
Conceal it. Don’t feel it. Conceal it. Don’t feel it. Conceal it, don’t—
YOUNG ELSA stops as she sees YOUNG ANNA enter, carrying the toy snowman they made long ago. The girls look at one another, distant, curious.
HANDMAIDENS enter with traveling cloaks for the KING and QUEEN and start to dress them.
QUEEN IDUNA stands with YOUNG ANNA.
QUEEN IDUNA
Anna. It’s time.
YOUNG ANNA hugs her mother.
YOUNG ANNA
I’m going to miss you.
QUEEN IDUNA
We’ll only be away a couple of weeks, my sunshine.
In a separate hallway, YOUNG ELSA stands at a formal distance from KING AGNARR.
Please, do you have to go?
YOUNG ELSA
KING AGNARR
There are answers out there, Elsa, to help you, to help all of us.
I can’t do this here on my own.
(to YOUNG ELSA)
You can. And you must. I’m proud of you. He makes like he wants to hug her but knows better. He bows. She curtseys.
I’ll try not to let you down, Father.
The PARENTS cross away from their daughters to each other. YOUNG ELSA and YOUNG ANNA look around, not seeing each other or anyone else. They are both so alone. They exit.
The castle darkens, grows cold.
The sounds of a storm are heard. The KING and QUEEN are lifted by the ensemble and carried out.
The BISHOP appears through the darkness. The young PRINCESSES re-enter, in mourning clothes.
In the name of our King and Queen, lost at sea: Arendelle shall honor their ways until our young Queen comes of age. May they rest in peace.
Elsa?
The BISHOP exits, as YOUNG ANNA and YOUNG ELSA look on. YOUNG ELSA can’t hold it together. She flees. YOUNG ANNA calls after her.
Time passes. An older ANNA changes places with YOUNG ANNA and tries knocking on Elsa’s door one more time.
ANNA
Elsa?
PLEASE, I KNOW YOU’RE IN THERE
I’M JUST WOND’RING HOW YOU’VE BEEN
DO YOU MAYBE WANT TO TAKE A WALK OR SIT AND TALK OR LET ME IN?
ARE YOU READY FOR TOMORROW? IT’S YOUR BIG DAY IS THERE ANYTHING I CAN DO?
No answer. ANNA gives up and exits.
In the bedroom, we reveal an older ELSA, standing on the other side of the door, her windows covered in ice.
(to herself)
DO YOU WANNA BUILD A SNOWMAN?
#3A—A Queen Comes of Age
ELSA steps forward in contemplation. After, the BISHOP walks on, bows, and escorts her off to her coronation.
ANNA is asleep in bed, snoring, covered in blankets. We hear knocking at the door. Then, two HANDMAIDENS enter.
#3B—Coronation Day
HANDMAIDEN
Princess Anna? Princess Anna?! Princess Anna!
ANNA sits up with major bedhead.
Huh… ? Yeah?
HANDMAIDEN
Sorry to wake you, ma’am, but—
No, you didn’t. (yawning)
I’ve been awake for hours.
ANNA starts to fall asleep again.
HANDMAIDEN
We’re here to dress you, ma’am?
Dress me? For what?
HANDMAIDEN
Your sister’s coronation, ma’am.
(half asleep)
My sister’s cor-neration… (opens one eye enough to glimpse her coronation dress; bolts up, wide awake in excitement)
That’s right! It’s Coronation Day!
ANNA springs out of bed.
#4—For the First Time in Forever
Princess Anna! This dress isn’t going to wear itself!
ANNA disappears behind a dressing screen, pops up with perfect hair.
THE WINDOW IS OPEN! SO’S THAT DOOR!
I DIDN’T KNOW THEY DID THAT ANYMORE AND THERE’S TWO NICE LADIES HELPING ME GET DRESSED!
Thank you… Thanks!
FOR YEARS I’VE ROAMED THESE EMPTY HALLS WHY HAVE A BALLROOM WITH NO BALLS?
CORONATION DAY IS JUST THE BEST!
THERE’LL BE ACTUAL REAL LIVE PEOPLE IT’LL BE TOTALLY STRANGE BUT WOW, AM I SO READY FOR THIS CHANGE!
FOR THE FIRST TIME IN FOREVER THERE’LL BE MUSIC, THERE’LL BE LIGHT FOR THE FIRST TIME IN FOREVER I’LL BE DANCING THROUGH THE NIGHT
The HANDMAIDENS help ANNA into her dress.
DON’T KNOW IF I’M ELATED OR GASSY BUT I’M SOMEWHERE IN THAT ZONE ‘CAUSE FOR THE FIRST TIME IN FOREVER I WON’T BE ALONE
I can’t wait to meet everyone… (gasp) What if I meet the one?
ANNA moves to the hallway, filled with armor, busts, and paintings.
TONIGHT, IMAGINE ME GOWN AND ALL FETCHINGLY DRAPED AGAINST THE WALL THE PICTURE OF SOPHISTICATED GRACE
She addresses a suit of armor.
I SUDDENLY SEE HIM STANDING THERE A BEAUTIFUL STRANGER, TALL AND FAIR I WANNA STUFF SOME CHOCOLATE IN MY FACE!
BUT THEN WE LAUGH AND TALK ALL EVENING WHICH IS TOTALLY BIZARRE NOTHING LIKE THE LIFE I’VE LED SO FAR
FOR THE FIRST TIME IN FOREVER THERE’LL BE MAGIC, THERE’LL BE FUN FOR THE FIRST TIME IN FOREVER I COULD BE NOTICED BY SOMEONE
AND I KNOW IT IS TOTALLY CRAZY TO DREAM I’D FIND ROMANCE BUT FOR THE FIRST TIME IN FOREVER AT LEAST I’VE GOT A CHANCE!
ANNA exits. The armor, painting, and bust move away as the walls move in. ELSA enters carrying the orb and scepter.
DON’T LET THEM IN DON’T LET THEM SEE BE THE GOOD GIRL YOU ALWAYS HAVE TO BE
CONCEAL, DON’T FEEL PUT ON A SHOW MAKE ONE WRONG MOVE AND EVERYONE WILL KNOW The orb and scepter ice over.
ANNA re-enters, separate from her sister.
ELSA
BUT IT’S ONLY FOR TODAY
ANNA IT’S ONLY FOR TODAY!
TOWNSPEOPLE OO
IT’S AGONY TO WAIT
ANNA
IT’S AGONY TO WAIT!
ELSA
TELL THE GUARDS TO OPEN UP THE GATE!
ANNA THE GATE!
OO AH AH AH AH
The gates open. The day is bright. TOWNSPEOPLE enter the castle, for the first time in years, followed by the Duke of WESELTON and his two LACKEYS, Prince HANS, and finally KRISTOFF, pushing a cart of ice, and SVEN.
THE GATE THE GATE THE GATE!
ANNA FOR THE FIRST TIME IN FOREVER
I’M GETTING WHAT I’M DREAMING OF
A CHANCE TO LEAVE MY LONELY WORLD
A CHANCE TO FIND TRUE LOVE FOR THE FIRST TIME
ELSA
DON’T LET THEM IN DON’T LET THEM SEE BE THE GOOD GIRL YOU ALWAYS HAVE TO BE
CONCEAL CONCEAL, DON’T FEEL DON’T LET THEM KNOW
TOWNSPEOPLE & WESELTON FOR THE FIRST TIME IN FOREVER
TOWNSPEOPLE & WESELTON & HANS WE’RE NO LONGER SHUT OUTSIDE
TOWNSPEOPLE & WESELTON & HANS & KRISTOFF FOR THE FIRST TIME IN FOREVER THE GATES ARE OPEN WIDE
I KNOW IT ALL ENDS TOMORROW SO IT HAS TO BE TODAY!
‘CAUSE FOR THE FIRST TIME IN FOREVER FOR THE FIRST TIME IN FOREVER NOTHING’S IN MY WAY!
THE FIRST TIME, THE FIRST TIME THE FIRST TIME IN FOREVER TODAY!
ANNA slams into HANS. They tumble into Kristoff’s ice cart. KRISTOFF is shocked. They’re all over his beautiful ice. SVEN looks on.
ANNA (to HANS)
Oh, I’m sorry. So sorry…
HANS
Oh no. Are you okay?
KRISTOFF watches their awkward interaction.
I’m fine. How embarrassing. I—
ANNA
HANS
It’s perfectly fine. Hi.
ANNA
… Hi.
KRISTOFF (leaning in between them, smiling)
Hi… Can I ask you lovebirds something?
ANNA
Lovebirds? Ha. No. We’ve actually never met.
HANS
But we’re meeting now.
ANNA (smitten)
Yeah, we are.
That’s great. Do you like cold drinks?
KRISTOFF
HANS
Very much.
Jinx! They laugh.
ANNA Very much.
KRISTOFF
You know what makes them so special… ? Ice. HANS and ANNA nod, agreeing.
Nice. Clean. Ice.
They don’t get the hint. So, get off my ice!
HANS helps ANNA off the ice. SVEN sniffs HANS; his antlers butt him in an awkward place.
Come on, Sven.
(calling out)
Ice! Nice clean ice!
KRISTOFF and SVEN exit.
Goodness. That was awkward.
(to HANS)
Not that you’re awkward, but just because we’re—I’m awkward. You’re gorgeous. Wait, what?
HANS
Not nearly as pleasing on the eyes as you.
HANS is such a gentleman.
Me? Ha. Thank you.
(curtseying)
Oh, Princess Anna of Arendelle.
Princess? My Lady.
HANS falls to his knees.
ANNA
Oh, no. You don’t have to do that. I’m not that princess.
(helping HANS up to his feet)
No, my sister Elsa is the Queen. I’m not. No. I’m just me.
HANS
Just you?
ANNA
I mean, I’m not the heir, I’m just the spare. Not that I’m complaining. I’m not a complainer.
(feeling foolish)
Forget it. I’m not making any sense. See, I’ve lived a bit of a sheltered life.
HANS
Really?
ANNA
Yeah, so, I’m not so good with actual real live people. But I want to be…
HANS
… Good for you.
ANNA
And you’re looking at me like I’m crazy. (starting to walk away)
So, I’m going to go. Have a great day. Forget this ever happened.
ANNA turns to leave.
Wait.
ANNA turns back.
HANS
Don’t go.
YOU DON’T HAVE TO BE EMBARRASSED PRINCESS “OH, I’M JUST ME” ‘CAUSE I AM SOMEONE EVEN MORE EMBARRASSING TO BE
I’M ONLY THE THIRTEENTH SON OF A KING OF A VERY SMALL KINGDOM OF VERY SMALL ISLANDS TO THE SOUTH
AND NOBODY SINGS ABOUT THIS HUMBLE FACE OR MY LACK OF GRACE OR QUOTES WHAT COMES OUT OF MY MOUTH
Thank goodness.
I’VE JOURNEYED A LONG WAY TO SEE YOUR SISTER CROWNED TO HONOR AND TO BACK YOU YET HERE I GO AND SMACK YOU TO THE GROUND
PLEASE ACCEPT THE HUMBLEST OF APOLOGIES FROM A CLUMSY PRINCE WHO’S ONLY COME TO SERVE AND PLEASE WITH A LINE OF MEAN BIG BROTHERS THAT GOES ON FOR MILES! A MAN YOU WON’T SEE IN A STATUE OF BRONZE JUST HANS OF THE SOUTHERN ISLES
ANNA
(head over heels)
Hi, Hans of the Southern Isles.
HANS
Hi, Anna of Arendelle.
ANNA and HANS ogle each other like lovesick saps. Bells ring.
It’s time! The coronation is about to begin! There’s a flurry as TOWNSPEOPLE exit.
Oh my goodness. The coronation. I have to go. I’ll see you later?
Definitely.
ANNA gives HANS a sweet wave then rushes off. HANS watches after her dreamily, then exits. The bells ring out. Transition to:
ELSA stands stoically as she is ritualistically dressed for the first time in the Queen’s robes by her HANDMAIDENS. Inside the Cathedral, the TOWNSPEOPLE gather for the coronation, including the BISHOP, WESELTON, and HANS.
NA NA NA HEIA NA
NA HI JA NA
QUEEN ANOINTED
QUEEN ANOINTED
QUEEN ANOINTED
QUEEN ANOINTED OUR CHOSEN DAUGHTER WITH BLESSED CROWN OF GOLD
NORTHERN GLORY OUR GOLDEN SISTER THE HEIR TO KINGS OF OLD
LET OUR VOICE THIS SACRED HOUR SING PRAISE AND BRING TO LIGHT YOUR POWER BRING TO LIGHT YOUR POWER
NOBLE QUEEN OF OUR NORTHERN LANDS WE ARE IN YOUR HANDS
Lights change as we go into ELSA’s head.
(to TOWNSPEOPLE)
I CAN’T BE WHAT YOU EXPECT OF ME BUT I’M TRYING EVERY DAY WITH ALL I DO AND DO NOT SAY
HERE ON THE EDGE OF THE ABYSS KNOWING EVERYTHING IN MY WHOLE LIFE HAS LED TO THIS The TOWNSPEOPLE process to ELSA, bowing to their new Queen.
AND SO I PULL INSIDE MYSELF CLOSE THE WALLS, PUT UP MY GUARD I PRACTICE EVERY SINGLE DAY FOR THIS SO WHY IS IT SO HARD?
‘CAUSE I CAN’T SHOW YOU I’M NOT AS COLD AS I SEEM ELSA returns to her place in the coronation.
THERE ARE THINGS YOU CANNOT KNOW AND IT’S DANGEROUS TO DREAM ANNA rushes in late.
Sorry I’m late. ANNA takes her place in the ceremony. ELSA focuses on ANNA.
I KNOW I’LL NEVER SEE THAT SUNNY DAY WHEN THIS TRIAL IS FINALLY THROUGH AND IT COULD JUST BE ME AND YOU
I CAN’T DWELL ON WHAT WE’VE LOST AND HOW SECRECY AND SILENCE COMES AT SUCH A COST
I WISH I COULD TELL THE TRUTH SHOW YOU WHO’S BEHIND THE DOOR I WISH YOU KNEW WHAT ALL THIS PANTOMIME AND PAGEANTRY WAS FOR
I HAVE TO BE SO CAUTIOUS AND YOU’RE SO EXTREME WE’RE DIFFERENT, YOU AND I AND IT’S DANGEROUS TO DREAM
LOO LOO LOO LOO LOO LOO LOO
LOO LOO LOO LOO LOO LOO
LOO LOO
LOO LOO LOO LOO LOO LOO LOO
LOO LOO LOO LOO LOO LOO
LOO LOO
OOH / AH
OOH / AH
LOO LOO LOO / OOH
LOO LOO LOO LOO LOO / OOH
IT’S DANGEROUS TO WISH I COULD MAKE CHOICES OF MY OWN DANGEROUS TO EVEN HAVE THAT THOUGHT
The BISHOP brings the orb and scepter to ELSA. She reaches for them.
I’M DANGEROUS JUST STANDING HERE FOR EVERYONE TO SEE IF I LET GO OF RULES, WHO KNOWS HOW DANGEROUS I’D BE?
(soft)
Your majesty, the gloves.
This is it. ELSA must remove the gloves. She hands them to ANNA.
WHY RIGHT NOW WOULD I MAKE THIS MISTAKE? HOW COULD I LET MY CONCENTRATION BREAK?
ELSA holds the orb and scepter and faces her people.
Conceal… Don’t feel… Conceal…
Don’t feel… Conceal… Don’t feel…
Sem hon heldr inum helgum eignum ok krýnd í þessum helga stað ek té fram fyrir yðr… Queen Elsa of Arendelle!
ELSA has made it. She quickly drops the orb and scepter onto the pillow, slipping the gloves back on, protectively. Relief. She lights up. She tries to stay stoic but can’t help smiling.
QUEEN ANOINTED OUR CHOSEN DAUGHTER OUR BLESSED QUEEN BEHOLD! We transition to the castle ballroom.
A festive celebration. A smiling ELSA looks on at the dancing couples. Time slows as we go back into ELSA’s head.
ELSA
I CAN’T BELIEVE I’M STANDING HERE DID I REALLY MAKE IT THROUGH? FATHER, I DID IT! NOW WHAT DO I DO?
I CAN’T STOP SMILING HOW STRANGE! DOES THIS MEAN THAT THINGS ARE DIFFERENT? COULD THEY REALLY CHANGE? ELSA sees ANNA across the room.
ELSA AND COULD I OPEN UP THAT DOOR AND FINALLY SEE YOU FACE TO FACE?
I GUESS A QUEEN CAN CHANGE THE RULES BUT NOT THE REASONS THEY’RE IN PLACE
ELSA
AH AH AH AH AH OOH
I CAN’T BE WHAT YOU EXPECT OF ME AND I’M NOT WHAT I SEEM BUT I WOULD LOVE TO KNOW YOU IS IT DANGEROUS TO DREAM? ELSA, hesitant, dares to approach ANNA.
#6A—Coronation Ball
Hi. ANNA Hi me… ? Oh. Um. Hi.
TOWNSPEOPLE
You look beautiful.
ANNA
Thank you. You look beautifuller. I mean, not fuller. You don’t look fuller, but more beautiful… That’s Mother’s dress, isn’t it? It fits you perfectly.
ELSA
You think so? Thank you. Are you having a good time?
ANNA
The best time.
I’d forgotten what a party felt like.
ELSA
ANNA
Yeah. It’s warmer than I remember, and what is that amazing smell?
ANNA & ELSA
(close their eyes and inhale)
… Chocolate.
They laugh. The BISHOP steps toward ELSA and ANNA, with WESELTON and his LACKEYS in tow.
Your Majesty, the Duke of Weaseltown.
WESELTON steps forward.
WESELTON
Weselton! The Duke of Weselton. Your Majesty, as your most profitable trading partner, it’s about time we met face to face. And lucky me, what a wonderful face you have. I mean, I’ve met some queens whose faces would choke a horse, and there’s no trading them in. What you get is what you get. But you… You are a model queen.
ELSA
… Thank you?
WESELTON
(extending a hand)
Dance with me.
(withdrawing)
Oh…
WESELTON
Come, let me tempt you with my tango.
ELSA clasps her gloved hands together, clearly not wanting to say yes.
ELSA
Thank you, but I don’t dance.
WESELTON (offended)
Excuse me?
ANNA covers for her.
ANNA
What she means is she can’t dance. She’s terrible. Worst I’ve ever seen, frankly. I wouldn’t want you to lose a toe.
(seeing his fancy shoes)
Or mess up those fantastic boots! Wow. What do they give you another two, three inches?
WESELTON
I’ve never heard of a queen who can’t dance.
ANNA
Well, I’ve heard, what you get is what you get.
WESELTON marches off into the crowd of partygoers, offended.
WESELTON (to himself)
There’s something severely wrong with those two.
ELSA (to ANNA)
Thank you… You are a model princess.
How kind of you. I take after my sister.
ANNA
ANNA and ELSA laugh, take hands, and lose themselves in the festivities.
Couples dance around them. Time passes. The SISTERS stand together, more comfortable and open.
This is nice, Elsa. Us talking.
Yeah, it is.
Maybe we could do it more often?
ELSA
ANNA
ELSA
I’d really like that, Anna.
ANNA (a rush of joy hits her)
And maybe… we could keep the gates open. Why should this joy have to be only for today?
ELSA
Keep the gates open?
ANNA
We could let life back in the castle. Let people back in the castle.
ELSA
Wait, no. We can’t just—
ANNA
Can’t we? Who’s stopping us? You’re the queen; you can do whatever you want.
ELSA
Well, then I’m stopping us.
ANNA
But why? I don’t understand—
ELSA
That’s right, you don’t.
(off ANNA’s hurt look)
I’m sorry. I…
No, I’m sorry. I—
ANNA
ELSA
Can you excuse me for a minute?
ELSA exits. ANNA stands there, alone, hurt. HANS spots her and crosses toward her with a smile.
Hello again.
Hans.
You look upset. Are you okay?
HANS
ANNA
HANS
ANNA
Long story… Do you want to get some air?
HANS
I thought you’d never ask.
As ANNA and HANS exit together, WESELTON leads the partygoers in his tango.
Outside and away from the celebration, ANNA and HANS stroll together.
(HANS)
I bet you were just the sweetest little girl.
ANNA
I was a tornado with pigtails… left way too much to my own devices. Truth is, I never knew why my parents ordered the gates shut, why the celebrations ended, or why Elsa stopped talking to me. All I ever knew was I missed my sister. I spent years trying to figure out what I did. I begged to know, to understand, but all my parents would say is: it’s for the best.
HANS
I hate when people say that. It’s like they are really saying: you don’t deserve to know the answer.
ANNA
That’s what it felt like.
HANS
I spent a lot of time alone as a kid, too.
ANNA
But you have twelve older brothers.
HANS
Yeah. But if they weren’t humiliating me, they were ignoring me. It’s not going to be like that when I have a family.
ANNA
You want a family?
HANS
Of course. Don’t you?
ANNA
Very much.
#6B—Anna and Hans
(ANNA)
And there will be nothing but love, and no one will ever be shut out.
HANS
Oh Anna, I could never shut you out.
Okay, can I just say something crazy?
I love crazy.
ANNA
ALL MY LIFE HAS BEEN A SERIES OF DOORS IN MY FACE AND THEN SUDDENLY I BUMP INTO YOU
HANS
I was thinking the same thing, because like…
I’VE BEEN SEARCHING MY WHOLE LIFE TO FIND MY OWN PLACE AND MAYBE IT’S THE PARTY TALKING OR THE CHOCOLATE FONDUE…
ANNA BUT WITH YOU…
HANS
BUT WITH YOU I FOUND MY PLACE
I SEE YOUR FACE
ANNA
ANNA & HANS
AND IT’S NOTHING LIKE I’VE EVER KNOWN BEFORE LOVE IS AN OPEN DOOR! LOVE IS AN OPEN
ANNA DOOR!
HANS DOOR!
ANNA & HANS LOVE IS AN OPEN DOOR!
ANNA WITH YOU!
HANS WITH YOU!
ANNA
WITH YOU!
WITH YOU!
HANS
ANNA & HANS
LOVE IS AN OPEN DOOR
I MEAN, IT’S CRAZY
HANS
ANNA What?
HANS WE FINISH EACH OTHER’S…
ANNA SANDWICHES!
HANS
That’s what I was gonna say!
ANNA
I’VE NEVER MET SOMEONE
ANNA & HANS
WHO THINKS SO MUCH LIKE ME
Jinx. Jinx again!
OUR MENTAL SYNCHRONIZATION CAN HAVE BUT ONE EXPLANATION:
HANS
YOU—
AND I—
ANNA
HANS WERE—
ANNA
JUST—
MEANT TO BE!
SAY GOODBYE
SAY GOODBYE
ANNA & HANS
ANNA
HANS
ANNA & HANS
TO THE PAIN OF THE PAST WE DON’T HAVE TO FEEL IT ANYMORE! LOVE IS AN OPEN DOOR! LOVE IS AN OPEN
ANNA DOOR!
HANS
DOOR!
ANNA & HANS
LIFE CAN BE SO MUCH MORE!
ANNA WITH YOU!
HANS WITH YOU!
ANNA WITH YOU!
HANS WITH YOU!
ANNA & HANS
LOVE IS AN OPEN… They dance.
Can I say something crazy? (kneeling) Will you marry me?
HANS
ANNA
Can I say something crazier? Yes!
HANS lifts ANNA into his arms and spins her around.
ANNA & HANS
LOVE IS AN OPEN DOOR!
LOVE IS AN OPEN DOOR! LIFE CAN BE SO MUCH MORE!
ANNA WITH YOU!
HANS WITH YOU!
ANNA WITH YOU!
HANS WITH YOU!
LOVE IS AN OPEN
LOVE IS AN OPEN
DOOR!
#7A—Back to the Ball
ANNA
ANNA & HANS
Back in the ballroom, ELSA moves through the crowd, tense, looking for ANNA.
ANNA and HANS re-enter, making their way through the crowd.
ANNA
Elsa? Elsa!
ELSA turns to ANNA, stoic and controlled once more. ANNA stiffens and does an awkward curtsey.
I mean… Your Majesty. We would like to ask you something.
ELSA
We?
Oh, Prince Hans of the Southern Isles.
What can I do for you, Prince Hans?
Well. Princess Anna and I… We—
ELSA
HANS
ANNA
We would like—
HANS your blessing—
ANNA of—
ANNA & HANS our marriage!
ELSA
Marriage… ?
Yes.
Forgive me, I’m confused.
ANNA
ELSA
ANNA
Well, we haven’t worked out all the details yet, of course. We’ll need a few days to plan the ceremony.
ELSA
That’s not what I—
ANNA
Of course we’ll have soup, roast, and ice cream, and then—wait. Would we live here?
ELSA
Here?
HANS Absolutely!
ELSA Absolutely not.
ANNA
Wait, what?
ELSA
May I speak with you alone please, Anna?
ANNA
(contemplates, chooses to hook arms with HANS)
No. Whatever you have to say, you can say to both of us.
ELSA
All right. You can’t marry a man you just met.
ANNA
You can if it’s true love.
What do you know about true love?
What do you know about me?
ELSA
ANNA
ELSA
(rattled)
You asked me for my blessing, but my answer is no. I’m sorry. Now, excuse me.
Your Majesty, if I may ease your—
ELSA
No, you may not. And I think you should go. The celebration is over. Close the gates.
ANNA
What? Elsa, no. No, wait!
ANNA grabs ELSA’s hand and accidentally pulls off Elsa’s glove. ELSA gasps, spins around and reaches for the glove in panic.
Give me my glove!
ELSA
ANNA
(holds the glove away from ELSA)
Elsa, please. Please. I can’t live like this anymore.
ELSA (beat, takes all she has not to get emotional)
Then leave.
ELSA sees ANNA’s hurt face; it’s too much. She can’t hold it in. She turns away from her sister.
What did I ever do to you?
Enough, Anna.
Why?! Why do you shut me out?!
ANNA
ELSA
ANNA
Please. I can’t do this here.
ELSA
ANNA
Why do you shut the world out? What are you so afraid of?!
I said, enough!
Ice shoots from ELSA’s hand. Ballroom guests gasp.
#7B—Elsa Flees
Panicked, ELSA backs away.
Sorcery.
Elsa?
I didn’t mean it. I’m sorry—
I knew there was something dubious going on here.
(seeing ELSA’s fear)
It’s okay, Elsa. It’s—
ANNA takes a step toward ELSA.
No. Don’t come near me. Stay away.
ELSA
WESELTON
Monster! She’s a monster!
ELSA flees.
Elsa!
(to HANS)
I’m going after her. Take care of Arendelle. (calling out)
I leave Prince Hans in charge!
Wait! I don’t want you getting hurt. How do you know you can trust her?
Because she’s my sister.
ANNA rushes off after ELSA. The party GUESTS scatter, racing through the hallways in fear.
ELSA re-enters, running away from the party and towards the mountains. Winded and panicked, ELSA reaches out to brace herself and her touch freezes the world around her. She collapses, scared and overwhelmed.
Sven, wait up, Sven! Come back!
Hearing the voice, ELSA gets up and runs away.
SVEN and KRISTOFF enter.
KRISTOFF
Sven, come on, it’s not your fault that we’re caught in a surprise, magical, summer blizzard, and no one will give us a room… or a barn… or even a fish hut.
KRISTOFF (AS SVEN)
Everybody said absolutely, completely no reindeer. What do they have against reindeer?
KRISTOFF
They’re just jealous… And you know why?
KRISTOFF (AS SVEN)
Why? Why? Why?
KRISTOFF
Because…
KRISTOFF whips out a lute.
#8—Reindeer(s) Are Better Than People Kristoff
KRISTOFF
REINDEERS ARE BETTER THAN PEOPLE
SVEN, DON’T YOU THINK THAT’S TRUE?
KRISTOFF (AS SVEN)
“YEAH, PEOPLE WILL BEAT YOU, AND CURSE YOU, AND CHEAT YOU EVERY ONE OF ‘EM’S BAD, EXCEPT YOU”
KRISTOFF
Thanks, buddy.
BUT PEOPLE SMELL BETTER THAN REINDEERS
SVEN, DON’T YOU THINK I’M RIGHT?
KRISTOFF (AS SVEN)
“THAT’S ONCE AGAIN TRUE, FOR ALL EXCEPT YOU”
You got me!
LET’S CALL IT A NIGHT
KRISTOFF
KRISTOFF (AS SVEN)
“GOOD NIGHT”
ANNA enters, shivering. Her dress is frozen and in shambles.
KRISTOFF
DON’T LET THE FROSTBITE BITE
ANNA
Nice duet.
KRISTOFF (genuinely shocked)
What are you doing out here?
ANNA (defensive)
What are you doing out here?
KRISTOFF
I live out here.
ANNA (shivering)
Oh. Well, I’m just looking for my sister.
ANNA gives SVEN a little scratch. He loves it.
KRISTOFF (playful)
You mean the sister who just ruined my ice business?
ANNA
No offense, but I think we have bigger problems than your ice business.
KRISTOFF
Fine. Don’t let me keep you from those bigger problems.
Fine.
Nice dress by the way.
ANNA
KRISTOFF
ANNA
Thank you. I like it.
ANNA shuffles in a few different directions, trying to figure out which way to go next.
KRISTOFF
I wouldn’t go that way if I were you… Or that way. Hmm, what do you think, Sven?
KRISTOFF (AS SVEN)
Well, Kristoff, I think she’s gonna die on her own.
KRISTOFF
I don’t know; she’s made it this far. I, for one, am pretty impressed.
KRISTOFF (AS SVEN)
Still, maybe you should offer to help her.
KRISTOFF
I would, but I don’t think she’d take it.
How can you help me?
ANNA
KRISTOFF
Well, the storm came from the North Mountain, which is where I’m guessing you’ll find your sister. And to do that, you’ll need warmer clothes, which I’ve got, and climbing gear, which I’ve also got, and climbing skills, which I’ve also—
ANNA
Got. I get it. You’re hired.
Great… Let’s go, then.
KRISTOFF
#8A—You’re Hired
KRISTOFF hands ANNA some wooly pants.
ANNA rips off her dress. KRISTOFF turns away, embarrassed. He goes to the other side of SVEN to give her privacy.
KRISTOFF
So, tell me, what made the Queen go all ice-crazy?
ANNA
Oh, well, it was my fault. I got engaged, but then she freaked out because I’d only just met him, you know, that day. And she said she wouldn’t bless the marriage, so—
KRISTOFF
Wait. You got engaged to someone you just met?
ANNA
Yeah. Anyway, I got mad and so she got mad—
KRISTOFF
Hang on. You got engaged to someone you just met.
ANNA
Yes! Why is everyone so hung up on that?
KRISTOFF
Didn’t your parents ever warn you about strangers?
ANNA (backs away from KRISTOFF, suspiciously)
Yes, they did… But Hans is not a stranger.
#9—What Do You Know About Love? Anna, Kristoff
KRISTOFF
Okay. So, what’s his last name?
ANNA
… Of the Southern Isles.
Foot size?
… Foot size doesn’t matter.
KRISTOFF
ANNA
KRISTOFF
But knowing a man before you marry him kinda does.
ANNA (light, reassuring)
YOU’VE GOT OPINIONS ON MY LIFE AND MY RELATIONS BUT LET ME TELL YOU WHAT—
Okay, enlighten me.
KRISTOFF
ANNA
LOVE IS THE ONE THING THAT HAS ZERO COMPLICATIONS AND I CAN TRUST MY GUT
Okay, you frighten me.
KRISTOFF
ANNA
SOME PEOPLE KNOW THEIR HEARTS THE MINUTE TRUE LOVE STARTS
KRISTOFF
SOME PEOPLE READ A LOT OF BOOKS
ANNA
I like books.
SOME PEOPLE SIMPLY KNOW WHEN TRUE LOVE SAYS, “HELLO!”
KRISTOFF
SOME FOLKS ARE TAKEN IN BY PRINCELY LOOKS
ANNA & KRISTOFF
OH, WHAT DO YOU KNOW ABOUT LOVE? WHAT DO YOU KNOW ABOUT LOVE?
KRISTOFF
ALL I’M SAYIN’ IS WHEN YOU GO TO CLIMB A MOUNTAIN YOU DON’T JUST JUMP TO THE TOP
ANNA
If it’s true love, you can!
KRISTOFF
THERE’S SCALIN’ AND SCRAMBLIN’ AND TOO MANY STEPS FOR COUNTIN’ AND THE WORK DOESN’T STOP
Maybe for you.
ANNA
KRISTOFF
LOVE’S NOT AN EASY CLIMB YOU HAVE TO TAKE YOUR TIME
ANNA
WE GET A WHOLE LIFE, THAT’S THE PLAN
KRISTOFF
That’s not a plan.
LOVE’S NOT A THING YOU GET IT’S WORK AND TEARS AND SWEAT
ANNA
SO SAYS A SWEATY, SMELLY MOUNTAIN MAN
ANNA & KRISTOFF
OH, WHAT DO YOU KNOW ABOUT LOVE? WHAT DO YOU KNOW ABOUT ANYTHING? ANYTHING?
KRISTOFF
ANYONE WITH HALF A BRAIN WOULD’VE WORN SOME WINTER GEAR!
ANNA
ANYONE WITH HALF A LIFE WOULD HAVE ONE FRIEND WHO’S NOT A DEER!
I do!
KRISTOFF
ANY FOOL WHO JUMPS HEADLONG IS GONNA BANG THEIR HEAD
ANNA
ANY FOOL WHO DOESN’T JUMP RIGHT NOW IS PROBABLY GONNA END UP DEAD!
KRISTOFF jumps, ANNA slips, and KRISTOFF catches her. He holds her in his arms.
ANNA & KRISTOFF WHAT DO YOU KNOW ABOUT LOVE?
ANNA
Wow, you’re really strong.
ANNA & KRISTOFF WHAT DO YOU KNOW ABOUT LOVE?
KRISTOFF
I lift a lot of ice.
KRISTOFF and ANNA separate.
ANNA & KRISTOFF AT LEAST WE KNOW ONE THING THIS TRIP SHOULD BE INT’RESTING WHAT DO YOU KNOW ABOUT LOVE? WHAT DO YOU KNOW ABOUT LOVE?
ANNA and KRISTOFF exit, continuing their trek up the mountain. SVEN exits too, if he has not already raced ahead.
SVEN enters, followed by ANNA and KRISTOFF.
Wow. It’s so beautiful.
ANNA
KRISTOFF
Did you know your sister could do this?
ANNA
I didn’t know anything.
KRISTOFF
What are you going to do when you find her? What’s your plan?
ANNA
I’m going to talk to her.
Talk to her? That’s not a plan.
Sure it is.
KRISTOFF
ANNA
KRISTOFF
What makes you think she wants to talk to you or anybody?
ANNA pauses. KRISTOFF has a point. Just then, we hear a voice echo.
OLAF (O.S.)
(singing to himself)
A LITTLE BIT OF YOU…
What’s that? Did you hear that?
A LITTLE BIT OF ME…
I think it’s over there?
ANNA
OLAF (O.S.)
KRISTOFF
ANNA
I know that song. How do I know that song?
KRISTOFF
Where is it coming from?
OLAF appears between ANNA and KRISTOFF. They don’t yet see him.
Where’s what coming from?
Who said that?
OLAF
KRISTOFF
OLAF
Um, you said that?
ANNA
(to KRISTOFF)
Wait. Don’t move. Just listen.
ANNA and KRISTOFF freeze. OLAF freezes. KRISTOFF and ANNA slowly turn their heads to see OLAF standing between them frozen still.
(ANNA)
(regarding OLAF)
Was that there a minute ago?
OLAF
Shh. We’re supposed to be listening.
ANNA screams. KRISTOFF screams.
Okay. Let’s start this thing over. Hi everyone, I’m Olaf and I like warm hugs.
ANNA
Olaf?
OLAF
Yeah-huh.
ANNA
Olaf?
OLAF
Like I said, yeah-huh. And you’re Anna.
ANNA
How do you know my name?
OLAF
Because you gave me my big… bouncy…
ANNA Butt!
OLAF
That’s right. Don’t you remember?
ANNA
… I think I’m starting to.
OLAF
I’m a little like you. And a little like—
ANNA
Elsa… Olaf, did Elsa build you?
OLAF
Yeah. Why?
Do you know where she is?
ANNA
OLAF
Yeah. Why?
ANNA
Do you think you could show us the way?
Yeah. Why?
OLAF
KRISTOFF
I’ll tell you why. We need Elsa to bring back summer.
(shocked) Summer?
(sinking into wistfulness)
Oh, I don’t know why, but I’ve always loved the idea of summer, and sun, and all things hot.
KRISTOFF
Really? I’m guessing you don’t have much experience with heat.
Nope! But sometimes I like to close my eyes and imagine what it’d be like when summer does come.
A summer fantasy appears around OLAF.
BEES’LL BUZZ
KIDS’LL BLOW DANDELION FUZZ AND I’LL BE DOING WHATEVER SNOW DOES IN SUMMER
A DRINK IN MY HAND
MY SNOW UP AGAINST THE BURNING SAND PROB’LY GETTING GORGEOUSLY TANNED IN SUMMER
I’LL FINALLY SEE A SUMMER BREEZE
BLOW AWAY A WINTER STORM AND FIND OUT WHAT HAPPENS TO SOLID WATER WHEN IT GETS WARM
AND I CAN’T WAIT TO SEE WHAT MY BUDDIES ALL THINK OF ME JUST IMAGINE HOW MUCH COOLER I’LL BE IN SUMMER!
A dance break.
(OLAF)
DA DA DA DOO BA BA BA BA BA BA BOO
The hot and the cold are both so intense, Put ‘em together, it just makes sense!
RAT DA DAT DA DA DA DA DA DA DA DOO
Winter’s a good time to stay in and cuddle, But put me in summer and I’ll be a—happy snowman!
WHEN LIFE GETS ROUGH I LIKE TO HOLD ON TO MY DREAM OF RELAXING IN THE SUMMER SUN JUST LETTING OFF STEAM!
OH THE SKY WILL BE BLUE AND YOU GUYS’LL BE THERE TOO WHEN I FINALLY DO WHAT FROZEN THINGS DO IN SUMMER!
I’m gonna tell him.
KRISTOFF
ANNA
Don’t you dare!
OLAF IN SUMMER!
Now, come on! Let’s go bring back summer!
#10A—Covered in Snow
OLAF and SVEN exit. The summer fantasy fades. ANNA points to the horizon.
ANNA
Look. You can see Arendelle from here. It’s covered in snow.
KRISTOFF
Didn’t you know?
ANNA
No. When I left it was just flurries.
KRISTOFF
You have no idea what your sister is capable of, do you?
ANNA
No.
KRISTOFF
So what makes you think you’ll be able to get anywhere with her?
OLAF (O.S.)
This way, guys!
ANNA Olaf does.
KRISTOFF
A talking snowman? Okay. Tell that to a frozen Arendelle.
ANNA
If there’s one thing Arendelle can handle, it’s snow. ANNA and KRISTOFF exit.
WESELTON
I can’t handle all of this snow!
Two GUARDS carry blankets. WESELTON shivers, angrily. HANS moves through the courtyard distributing blankets to the TOWNSPEOPLE.
HANS
Blanket. Who needs a blanket?
WESELTON goes to grab one as HANS turns the other way. The castle is open. You’re welcome inside. There’s plenty of hot glugg.
Sir, has there been word of the Queen or Princess?
HANS
Not yet.
Do you think the Queen means to hurt us?
WESELTON steps up.
Of course she does!
WESELTON
WESELTON takes a blanket from HANS. And another.
HANS
No. Princess Anna has faith in the Queen, and I trust Anna’s judgment fully.
WESELTON
I bet your Princess Anna is in on this, too. Think about it: two women living alone behind locked gates in secrecy for over a decade. And then on Coronation Day, the Queen unleashes a deadly, dark magic on her own people.
The TOWNSPEOPLE gasp and talk anxiously.
HANS
You’re frightening them.
WESELTON
They should be frightened. Everyone knows nothing good can come from magic, especially in the hands of a woman.
HANS
Do not listen to this man’s ignorance.
WESELTON
I’m not a man. I’m a Duke!
HANS
Well, I am a Prince, who is in charge of Arendelle, and I will not hesitate to protect it from treason!
WESELTON
Treason?!
My Lord!
A TOWNSPERSON enters.
TOWNSPERSON (O.S.)
TOWNSPERSON
My Lord, this was found at the base of the North Mountain. He holds up Anna’s dress, frozen and in tatters.
HANS
Anna. (calling out)
Princess Anna is in trouble. Please, I need volunteers to go with me to find her!
WESELTON
It’s a trap.
HANS (to WESELTON)
Enough!
(to the TOWNSPEOPLE)
Please… What the Queen’s motivations are, I cannot say. But I can assure you Anna is pure and noble.
Why should we listen to you?!
HANS
I’M ONLY THE THIRTEENTH SON OF A KING NOR AM I YOUR LEADER, ONLY HER FIANCÉ BUT MY LOVE FOR HER HAS MADE SOMETHING CLEAR: WE CAN’T GIVE IN TO FEAR NOT HERE, NOT TODAY
WE CAN’T KNOW HOW THREATENING THE ROAD AHEAD WILL BE BUT PUT YOUR FAITH IN ANNA THE WAY THAT ANNA PUT HER FAITH IN ME
I CAN’T TELL YOU WHAT YOUR PRINCESS SEES IN ME BUT LET ME TELL YOU WHAT AN HONOR IT WOULD BE IF YOU COULD LET ME LEAD YOU THROUGH THIS TIME OF TRIALS YOU ASK FOR A LEADER, A SERVANT RESPONDS TRUST HANS OF THE SOUTHERN ISLES
TOWNSPERSON
But what of the cold?
TOWNSPERSON
What of the Queen?
What if she really is a monster?
TOWNSPERSON
HANS
Then she will be dealt with, and Anna and I will lead you back to summer!
MALE TOWNSPERSON
YOU’RE MORE THAN THE THIRTEENTH SON OF A KING
FEMALE TOWNSPERSON
WE’RE LUCKY YOU CAME ALONG IN OUR TIME OF NEED
MALE TOWNSPEOPLE
WE’LL NEVER GIVE IN TO FEAR OR TO TREASON
FEMALE TOWNSPEOPLE
LET’S LISTEN TO REASON
TOWNSPEOPLE AND FOLLOW HIS LEAD
HANS WHO WILL COME WITH ME?
WESELTON
My men and I, my lord!
YES, WESELTON ARISES AND OFFERS UP THE POWER OF HIS SWORD
HANS
I CALL TO YOUR KINGDOM
TOWNSPEOPLE
OUR KINGDOM RESPONDS TO HANS (TO HANS!) FOLLOW HANS (IT’S HANS!)
HANS & TOWNSPEOPLE PRINCE HANS OF THE SOUTHERN ISLES!
All bundled up, the volunteer TOWNSPEOPLE head off. HANS exits with the GUARDS to prepare for their journey.
WESELTON (to his LACKEYS)
Fools. Let them follow the boy to their own doom, while we prepare for the Queen. When we find her, we will put her in her place. It shouldn’t be too hard. After all, she is only one small girl.
WESELTON and his LACKEYS exit.
ELSA enters, alone, exhausted and all cried out.
#11—Let It Go
THE SNOW GLOWS WHITE ON THE MOUNTAIN TONIGHT NOT A FOOTPRINT TO BE SEEN A KINGDOM OF ISOLATION AND IT LOOKS LIKE I’M THE QUEEN
THE WIND IS HOWLING LIKE THIS SWIRLING STORM INSIDE COULDN’T KEEP IT IN HEAVEN KNOWS I TRIED
DON’T LET THEM IN DON’T LET THEM SEE BE THE GOOD GIRL YOU ALWAYS HAVE TO BE CONCEAL, DON’T FEEL DON’T LET THEM KNOW WELL, NOW THEY KNOW Snowflakes emanate from ELSA’s hands. LET IT GO, LET IT GO CAN’T HOLD IT BACK ANYMORE LET IT GO, LET IT GO TURN AWAY, AND SLAM THE DOOR I DON’T CARE WHAT THEY’RE GOING TO SAY LET THE STORM RAGE ON THE COLD NEVER BOTHERED ME ANYWAY
IT’S FUNNY HOW SOME DISTANCE MAKES EVERYTHING SEEM SMALL AND THE FEARS THAT ONCE CONTROLLED ME CAN’T GET TO ME AT ALL
IT’S TIME TO SEE WHAT I CAN DO TO TEST THE LIMITS AND BREAK THROUGH
NO RIGHT, NO WRONG NO RULES FOR ME
I’M FREE!
LET IT GO! LET IT GO!
I AM ONE WITH THE WIND AND SKY LET IT GO! LET IT GO! YOU’LL NEVER SEE ME CRY
HERE I STAND, AND HERE I’LL STAY LET THE STORM RAGE ON…
An ice palace emerges. We enter ELSA’s stormy vortex.
MY POWER FLURRIES THROUGH THE AIR INTO THE GROUND MY SOUL IS SPIRALING IN FROZEN FRACTALS ALL AROUND AND ONE THOUGHT CRYSTALLIZES LIKE AN ICY BLAST:
I’M NEVER GOING BACK THE PAST IS IN THE PAST!
ELSA
LET IT GO! LET IT GO! AND I’LL RISE LIKE THE BREAK OF DAWN LET IT GO! LET IT GO! THAT PERFECT GIRL IS GONE HERE I STAND IN THE LIGHT OF DAY LET THE STORM RAGE ON!
OH / HA HA HA…
AH / HA HA HA…
OH / HA HA HA…
AH / HA HA HA…
AH / HA HA HA…
AH ELSA
THE COLD NEVER BOTHERED ME ANYWAY!
TOWNSPEOPLE (O.S.)
OH AH
End of Act I.
#11A—Entr’acte
SCENE 1: WANDERING OAKEN’S TRADING POST AND SAUNA
ANNA, KRISTOFF, SVEN, and OLAF enter and approach a snow-covered cabin. KRISTOFF knocks on the door.
OAKEN is revealed in his shop, behind the merchandise counter. A sign reads “Wandering Oaken’s.” There’s a door to a sauna.
OAKEN
Hoo-hoo. Hello, man. Hello, lady. Hello, little boy in snowman costume! Today is lucky for you. Here at Wandering Oaken’s Trading Post and Sauna we are offering a Big Summer Blow-Out Sale. Half off our short shorts, open-toed foot clogs, and a balm of my own invention for the repelling of the rays of the sun. Yah?
Why am I not scared of the notion-ing of eternal winter caused by our newly-crowned and newly-exposed-to-be-magical queen, you are asking me with your eyes?
HERE IN ARENDELLE
THE WINTERS CAN BE… WELL…
LET’S JUST SAY IT’S NOT SO VERY GOOD BUT EVEN AT THIS LATITUDE
WE’LL KEEP A HAPPY ATTITUDE
UNTIL WE BURN OUR FINAL PIECE OF WOOD SEE, THERE’S A WORD WE LIVE BY TO KEEP OUR FEELINGS GREAT YOU DON’T HAVE THIS WORD IN ENGLISH BUT ALLOW ME TO GOOD TRANSLATE Hygge.
KRISTOFF & ANNA Hygge?
OAKEN
HYGGE MEANS COMFORTABLE
HYGGE MEANS COZY
HYGGE MEANS SITTING BY THE FIRE WITH YOUR CHEEKS ALL ROSY
HYGGE HYGGE HYGGE HYGGE HYGGE HYGGE
HYGGE HYGGE HYGGE HYGGE HYGGE HYGGE
HYGGELI HYGGELI HYGGELI HYGGELI HYGGELI HYGGELI I WILL TRANSLATE MORE
FINDING A SPIDER IN YOUR SHOE? NOT HYGGE!
HAVING AN ANNOYING THING TO DO? NOT HYGGE!
HYGGE’S NOT SCHEDULED
YOU CAN’T SAY WHEN IT STARTS OR ENDS MOST IMPORTANTLY, IT CAN’T BE HYGGE WITHOUT YOUR FAMILY AND FRIENDS!
OAKEN opens the door to the sauna, revealing his towel-clad FAMILY AND FRIENDS. They emerge, circling the newcomers.
OAKEN & FAMILY AND FRIENDS
OH, HYGGE HYGGE HYGGE HYGGE HYGGE HYGGE HYGGE HYGGE HYGGE HYGGE HYGGE HYGGE
OAKEN
HYGGELI HYGGELI HYGGELI
OAKEN & FAMILY AND FRIENDS
HYGGELI HYGGELI HYGGELI NOW IT’S TIME TO SWEAT
OAKEN
Thank you, family! Bye bye for now.
The towel-clad FAMILY AND FRIENDS exit by re-entering the sauna. OAKEN closes the door behind them.
We need supplies. And where are your carrots? I’m gonna need ‘em all.
OAKEN
I welcome you to our highly precious produce department. OAKEN offers up a measly supply of carrots.
And hi, sir. I mean, hoo-hoo?
Hoo-hoo.
OAKEN
ANNA
I was hoping you might have a slightly less smelly, more size-appropriate winter cloak or dress or something for climbing the North Mountain?
OAKEN
Something for climbing the North Mountain where many have frozen to death? Yah! I have exactly what you are needing. Hygge.
Hygge? What’s hygge?
KRISTOFF
Hygge is…
(seeing the price of the snow shoes)
not tripling the price of produce and winter gear in a crisis! This is criminal.
OAKEN
Hygge is also not insulting a shop owner when you are needing of his services.
ANNA
But what is hygge?
OAKEN
HYGGE IS ALCOHOL
HYGGE IS EATING
HYGGE IS GLUGG
AMAZING STUFF WHEN YOU ARE NEEDING HEATING
KRISTOFF reaches happily for the drink, but OAKEN pulls it back at the last second.
(OAKEN)
(to KRISTOFF)
HYGGE MEANS YOU’RE FRIENDLY YOU STOP WANTING TO BE RUDE
JOIN US FOR SOME SUPER DUPER HYGGE IN THE SAUNA IN THE NUDE!
OAKEN’S FAMILY AND FRIENDS emerge from the sauna once more.
FAMILY AND FRIENDS
OH, HYGGE HYGGE HYGGE HYGGE HYGGE HYGGE
OAKEN
(to KRISTOFF)
Don’t worry about your body, nothing we haven’t seen.
FAMILY AND FRIENDS
HYGGE HYGGE HYGGE HYGGE HYGGE HYGGE
OAKEN
Whip yourself with a branch and you will feel nice and clean!
FAMILY AND FRIENDS
HYGGELI HYGGELI HYGGELI
Go on, get in the sauna!
OAKEN
FAMILY AND FRIENDS
HYGGELI HYGGELI HYGGELI
Come on, you know you waunna!
NOW IT’S TIME TO DRINK!
OAKEN
OAKEN & FAMILY AND FRIENDS Ja!
OAKEN
A TOAST TO ALL OUR FAMILY AND FRIENDS TO HYGGE IN A STORM THAT NEVER ENDS SO LET IT KEEP ON GOING WE ALWAYS HAVE EACH OTHER THE GLUGG IS BREWED WE’RE HERE, WE’RE NUDE AND SO LET’S HAVE ANOTHER
OAKEN & MALE FAMILY AND FRIENDS
TOAST TO ALL OUR FAMILY AND FRIENDS TO HYGGE IN A STORM THAT NEVER ENDS SO LET IT KEEP ON GOING WE ALWAYS HAVE EACH OTHER THE GLUGG IS BREWED WE’RE HERE, WE’RE NUDE AND SO LET’S HAVE ANOTHER
OAKEN & FAMILY AND FRIENDS
TOAST TO ALL OUR FAMILY AND FRIENDS TO HYGGE IN A STORM THAT NEVER ENDS SO LET IT KEEP ON GOING WE ALWAYS HAVE EACH OTHER THE GLUGG IS BREWED WE’RE HERE, WE’RE NUDE AND SO LET’S HAVE ANOTHER
OAKEN & ANNA
TOAST TO ALL OUR FAMILY AND FRIENDS TO HYGGE IN A STORM THAT NEVER ENDS
OAKEN & ANNA & FAMILY AND FRIENDS SO LET IT KEEP ON GOING WE ALWAYS HAVE EACH OTHER THE GLUGG IS BREWED WE’RE HERE, WE’RE NUDE AND SO LET’S HAVE ANOTHER
FAMILY AND FRIENDS
TOAST TO ALL OUR FAMILY AND FRIENDS TO HYGGE IN A STORM THAT NEVER ENDS SO LET IT KEEP ON GOING WE ALWAYS HAVE EACH OTHER THE GLUGG IS BREWED WE’RE HERE, WE’RE NUDE AND SO—
OAKEN
THE GLUGG IS BREWED WE’RE HERE, WE’RE NUDE AND—
KRISTOFF
Excuse me!
(clears throat)
STARVING TO DEATH WITHIN A WEEK?
ANNA & OAKEN & FAMILY AND FRIENDS NOT HYGGE
KRISTOFF
A FUTURE THAT’S COLD AND DEAD AND BLEAK?
ANNA & OAKEN & FAMILY AND FRIENDS NOT HYGGE
(coming back to earth)
He’s right. We have to go.
WE HAVE AN URGENT JOB TO DO
OAKEN (saddened)
IF YOU CAN’T STAY HERE WITH US TO HYGGE
TAKE ALL THE HYGGE THAT YOU CAN WITH YOU!
OAKEN hands ANNA a new dress and winter cloak. She races into the sauna to put on her new clothes. OAKEN helps KRISTOFF, OLAF, and SVEN pack up the carrots and new supplies as they prepare to leave.
FAMILY AND FRIENDS
OH, HYGGE! HYGGE! HYGGE! GLÜGGE!
One more time!
OAKEN
FAMILY AND FRIENDS
HYGGE HYGGE HYGGE HYGGE HYGGE
HYGGE HYGGE HYGGE HYGGE HYGGE
#12A—Hygge Encore Oaken, Family and Friends
OAKEN & FAMILY AND FRIENDS
AH
HYGGE! HYGGE!
HYGGE! HYGGE!
JA!
OOH! AHH!
HYGGE!
EN! TU!
EN! TU! TRE! FIRE!
HYGGE HYGGE HYGGE HYGGE HYGGE
HYGGE HYGGE HYGGE HYGGE HYGGE
ANNA reenters in her new attire. Together, ANNA, KRISTOFF, OLAF, and SVEN bid OAKEN and the others goodbye and exit.
HYGGELI HYGGELI HYGGELI HYGGELI
HYGGELI HYGGELI WHOO!
OAKEN exits, followed by his FAMILY AND FRIENDS.
ANNA, KRISTOFF, OLAF, and SVEN enter, looking in wonder at what Elsa has created.
Whoa. Now this is ice.
KRISTOFF
OLAF (with wonder)
… Obviously.
ANNA (to KRISTOFF)
Maybe I should talk to her alone. Last time I introduced her to a guy, she froze everything.
KRISTOFF
But it’s a palace made of ice. Ice is my life.
ANNA
It’s so beautiful. I’ve never seen anything like it.
ELSA enters, stepping out of the shadows, amazed to see ANNA.
ELSA Anna.
ANNA
Elsa. Whoa, you look different… It’s a good different… And this place is incredible.
ELSA
Thank you. I never knew I could create something like this.
ELSA notices KRISTOFF.
ANNA
This is Kristoff and Sven. They helped me climb up here.
Hi!
OLAF steps forward.
OLAF
ELSA startles at the sight of him.
I’m Olaf and I like warm hugs.
ELSA
Olaf?
You built me. Remember that?
OLAF
And you’re alive?
Um… I think so.
ELSA kneels down, studies OLAF.
ELSA
OLAF
ANNA
He’s like the one we built as kids, remember?
ANNA kneels with her.
ELSA (delighted)
He’s a little bit of you and a little bit of me.
OLAF
And the resemblance is amazing.
ANNA
We were so close. We could be like that again.
ELSA (with regret)
No. I wish we could be close, more than anything I do, but we can’t.
(to KRISTOFF, OLAF, and SVEN)
Hey guys, can you give us a minute?
KRISTOFF, OLAF, and SVEN exit.
ANNA approaches ELSA.
I’m so sorry about what happened.
ELSA approaches ANNA.
ELSA
No. Please, you don’t have to apologize. It wasn’t your fault. You didn’t know.
ANNA
Did Mother and Father know?
… Yes.
So then… why didn’t I know?
How do you think you got this mark?
ELSA
ANNA
ELSA
ANNA
(touching the white streak in her hair)
Mother said I was born with it.
ELSA
No, I did that. I nearly killed you, Anna. You were six years old.
ANNA
… Well, I’m not a child anymore, Elsa.
ELSA
Neither am I, and my powers are a lot stronger than they were then. I’m okay here. Alone.
ELSA goes to leave.
Alone?
#12C—Let It Go (Reprise)
STANDING FROZEN IN THIS LIFE I’VE CHOSEN PLEASE DON’T FIND ME THE PAST IS ALL BEHIND ME LEAVE ME IN THE SNOW LET ME GO
No. Elsa, wait. Don’t go.
#13—I Can’t Lose You
I’m just trying to protect you. ANNA tries to stop ELSA.
You don’t have to protect me. I’m not afraid.
What do you want, Anna?
ANNA This.
JUST YOU AND I TALKING AND CHATTING AND TAKING UP SPACE AND YOU…
YOU LOOK SO AT PEACE WHICH I DID NOT PREDICT AFTER WHAT ALL TOOK PLACE
I’M SO SORRY I DIDN’T KNOW, I COULDN’T SEE I KNEW YOU WERE HIDING BUT SELFISHLY THOUGHT YOU WERE HIDING FROM ME THAT’S WHY I’VE COME ALL THIS WAY TO LOOK IN YOUR EYES AND SAY:
I CAN’T LOSE YOU NOT AGAIN
I CAN’T LOSE YOU LIKE THEN IF YOU COULD SEE YOURSELF THE WAY I DO THEN YOU’D SEE WHY I CAN’T LOSE YOU
ELSA
Wait.
I’M HAPPY YOU CAME BUT IT’S NOT SAFE TO STAY HERE AND TALK ANNA moves towards ELSA.
Don’t get close!
THIS IS ALL SO BRAND NEW LET ME FIRST LEARN TO CRAWL BEFORE I TRY TO WALK
I’M AT HOME HERE OUT IN THE COLD, UP IN THE AIR BUT IT ALL TURNS TO CHAOS NEAR PEOPLE I LOVE, AND WITH HOW MUCH I CARE PLEASE DON’T REMIND ME TO FEEL BELIEVE ME, THE DANGER IS REAL
ANNA & ELSA
I CAN’T LOSE YOU NOT AGAIN
I CAN’T LOSE YOU LIKE THEN
ELSA
YOU DON’T KNOW THE THINGS THAT I CAN DO KEEP YOUR DISTANCE ‘CAUSE
ANNA & ELSA
I CAN’T LOSE
ANNA
YOU HAVE TO LISTEN I’VE COME HERE TO TELL YOU THAT EV’RYTHING’S DIFF’RENT NOW THAT I UNDERSTAND
ELSA YOU
ELSA
I KNOW YOU MEAN WELL BUT THE AIR’S GETTING COLDER JUST LEAVE ME ALONE LET ME GET THIS IN HAND
ANNA BUT I’M HERE FOR YOU! WE CAN FIX THIS TOGETHER! FOR ONCE TRY TO TRUST ME I’M BEGGING YOU NOW
The storm builds around the castle.
ELSA
DON’T YOU SEE I’M THE STORM? AND YOU MAKE IT WORSE! I WOULD FIX IT, BUT I DON’T KNOW HOW!
ANNA & ELSA
I CAN’T LOSE YOU TRY TO SEE
ANNA WHY CAN’T YOU TURN TO ME?
I CAN’T LOSE YOU LIKE BEFORE WHY CAN’T YOU
ELSA
I’M TRYING TO TELL YOU THAT I CAN’T LOSE YOU LIKE BEFORE AS MUCH AS I WISH, I CAN’T
ANNA & ELSA
OPEN THAT DOOR IF YOU LOVED YOURSELF THE WAY I DO THEN YOU’D SEE WHY I CAN’T LOSE YOU!
The sound of the storm escalates.
ANNA gives ELSA a hug. It would seem ANNA has won. But then ELSA pulls away.
ELSA (urgently)
Goodbye, Anna.
ELSA starts to go.
Goodbye? What? No!
ANNA
You’ll never lose me, Anna, but you must leave me now.
But, what about the kingdom?!
(about to exit)
You’ll make a great queen.
You can’t just leave it frozen!
ELSA (stopping, turning back)
Frozen?
Didn’t you know? You sort of set off an eternal winter, everywhere.
What… ? No.
ELSA looks at her hands. She turns from ANNA panicked, as her powers start to intensify.
It’s okay. You can just unfreeze it.
I don’t know how.
We’ll figure it out together.
ANNA
ELSA
ANNA
ELSA
Stop saying together! Stop reaching out! I can’t control it!
You can. I know you can!
ELSA
I told you, I can’t!
An icy blast shoots out from ELSA’s hands. Some of the magic hits ANNA in the chest. She collapses to the ground. The storm increases around them.
Anna? Anna! Help!
ELSA keeps her distance as she calls for help, not wanting to make things worse. KRISTOFF rushes in, followed by OLAF and SVEN.
KRISTOFF
Anna! Are you okay?
ANNA shakes it off and stands up strong.
ANNA
I’m okay. I’m just cold. (to ELSA)
What’s happening to you?
ELSA
I can’t control it.
(to KRISTOFF)
Get her home.
ELSA uses her powers to push ANNA, KRISTOFF, SVEN, and OLAF out of the palace.
No, Elsa. Wait!
Go, now. Please!
Snow and ice overtake the stage as ANNA, KRISTOFF, OLAF, and SVEN exit.
AH AH
NA NA NA HEIA NA
NA HI JA NA Blackout.
KRISTOFF and ANNA lie on the ground. SVEN lays nearby. OLAF’s head lies a few feet away, detached from the rest of his body. ANNA rushes over and picks it up.
ANNA
Olaf! Oh no! Olaf! Speak to me. Say something. Anything!
OLAF’s eyes suddenly open and he gasps for breath.
OLAF
DO YOU WANNA BUILD A SNOWMAN?
(he coughs up a mouthful of snow)
I WOULD HELP YOU BUT, ALAS RIGHT NOW I’M RATHER INCOMPLETE WITHOUT MY TWIGS AND FEET AND, MOST IMPORTANTLY, MY AAAAA—BDOMEN
KRISTOFF and SVEN gather the missing pieces of OLAF.
ANNA
THOUGH EVERYTHING’S IN PIECES WE’VE GOT YOUR BACK
KRISTOFF
EVEN BETTER, WE GOT YOUR BUTT!
OLAF’s butt goes rolling by and into the wings.
KRISTOFF and ANNA throw OLAF’s head and abdomen and arms into the wings.
OLAF AHHHHHHHHH!
Silence. Then OLAF re-enters, whole!
SUCCESS! YOU’VE BUILT A SNOWMAN A HANDSOME, VIRILE, HUMBLE SNOWMAN
KRISTOFF and ANNA hug.
THANKS A…
As OLAF turns to direct his thank you to KRISTOFF and ANNA, he stops, noticing their hug.
(OLAF)
Oh, you’re hugging.
KRISTOFF and ANNA quickly separate. KRISTOFF puts his hand in his hair anxiously, but then cringes in pain.
ANNA
Oh no. Did you hurt your head? Are you okay?
ANNA examines KRISTOFF’S head, reaching towards him. Their hands touch.
KRISTOFF
(caught in her eyes)
I’m… I’m…
KRISTOFF clears his throat, forces himself to step away from ANNA.
I’m fine… I’ve got a thick skull.
OLAF
I don’t have a skull… or bones.
(after that sinks in)
So, what happens now? Seriously, things did not go well with Elsa. (to ANNA)
Is it just me or is our family a tad dysfunctional?
ANNA
I’m going back up there.
What?
Elsa needs me.
KRISTOFF
ANNA
KRISTOFF
She hit you with her powers and threw you out.
ANNA
She’s just afraid.
KRISTOFF
Well, that fear is freezing everything… And what’s going on with your hair?
ANNA
I just fell off a cliff. You should see your hair.
KRISTOFF
No, yours is turning white?
ANNA White? It’s what? Does it look bad?
KRISTOFF
… No.
You hesitated.
No, I didn’t.
You did hesitate.
OLAF
KRISTOFF
OLAF
KRISTOFF
Not in that way. Wait! It’s because your sister struck you, isn’t it… ? I know some friends who can help us. Well, they’re more like family… They took Sven and me in when we had no one. They’re great.
(qualifying)
Just do whatever they say, and you’ll be fine.
KRISTOFF calls to the HIDDEN FOLK, SVEN serious and knowing at his side. ANNA and OLAF look on, confused.
A bird flies by.
VOYA VOYA VOYA HÜLDRA
(to ANNA)
He’s crazy.
Lights shift as the HIDDEN FOLK answer the call.
KEY DAH BOWAH
TAH
VOYA VOYA VOYA HÜLDRA
The HIDDEN FOLK enter from the darkness.
KEY DAH BOWAH
VOYA VOYA VOYA HÜLDRA
(to ANNA)
Run! I’ll protect you! It’s been a short life but a good one!
BULDA suddenly appears and throws herself into KRISTOFF’s arms.
BULDA
Kristoff! Our Kristoff’s home! It’s been way too long. Let me see you, you look thin.
PABBIE steps up, delighted to see KRISTOFF.
KRISTOFF
I’m fine. I’ve just been busy. We have a problem.
KRISTOFF motions to ANNA.
A girl? Bulda, he’s gone and got a girl.
PABBIE
KRISTOFF
Oh. No. No.
BULDA
(to ANNA)
We know this doe. Kristoff, I never pegged you for picking a royal.
KRISTOFF
I didn’t. I’m not—
BULDA
Let’s see. Bright eyes. Working nose. Good teeth. Huh. I like her.
Thank you, I like you, too, but um—
ANNA
KRISTOFF
We’re not a couple. I’m just helping her. In fact, Pabbie, we need your—
PABBIE (interrupting)
Not a couple? Are you absolutely sure about that?
KRISTOFF Yes.
ANNA … Definitely… not a couple.
BULDA
Why? What’s wrong with my Kristoff? Did I nurture him too much, too little, too long?
ANNA
No, that’s not the issue. It’s nothing you did.
Well, then what is the issue?
PABBIE
BULDA
Why are you holding back from such a man?
IS IT THE GRUMPY WAY HE TALKS?
HIDDEN FOLK
VOYA VOYA VOYA
PABBIE
OR THE CLUMPY WAY HE WALKS?
HIDDEN FOLK
VOYA VOYA VOYA
HIDDEN FOLK CHILD
OR THE PEAR-SHAPED, SQUARE-SHAPED WEIRDNESS OF HIS FEET?
Hey!
HIDDEN FOLK 1
AND THOUGH WE KNOW HE WASHES WELL HE ALWAYS ENDS UP SORTA SMELLY
KRISTOFF
BULDA
BUT YOU’LL NEVER MEET A FELLA WHO’S AS SENSITIVE AND SWEET
Take that back.
KRISTOFF
PABBIE
SO HE’S A BIT OF A FIXER UPPER SO HE’S GOT A FEW FLAWS
BULDA
LIKE HIS PECULIAR BRAIN, DEAR
OLAF
HIS THING WITH THE REINDEER
BULDA & OLAF
THAT’S A LITTLE OUTSIDE OF NATURE’S LAWS
PABBIE
SO HE’S A BIT OF A FIXER UPPER
BULDA & PABBIE BUT THIS WE’RE CERTAIN OF:
BULDA
YOU CAN FIX THIS FIXER UPPER UP
BULDA & PABBIE
WITH A LITTLE BIT OF LOVE
KRISTOFF
Hey, can we stop talking about this? We have a real, actual problem here.
HIDDEN FOLK
NA NA NA HEIA NA
NA NA NA HEI JA
NAH HI JA NA
No, I don’t!
IS IT THE WAY THAT HE RUNS SCARED?
HIDDEN FOLK 2
OR THAT HE’S SOCIALLY IMPAIRED?
HIDDEN FOLK CHILD OR THAT HE ONLY LIKES TO TINKLE IN THE WOODS?
HIDDEN FOLK 3
IS HIS THICK AND CURLY BACK HAIR MAYBE THROWING YOU OFF TRACK THERE?
HIDDEN FOLK 4
OR THE WAY HE COVERS UP THAT HE’S THE HONEST GOODS?
BULDA & PABBIE & HIDDEN FOLK
SO HE’S A BIT OF A FIXER UPPER HE’S GOT A COUPLE OF BUGS
KRISTOFF
BULDA & PABBIE & HIDDEN FOLK
HIS ISOLATION IS CONFIRMATION OF HIS DESPERATION FOR HEALING HUGS
HE’S JUST A BIT OF A FIXER UPPER, BUT WE KNOW WHAT TO DO THE WAY TO FIX UP THIS FIXER UPPER IS TO FIX HIM UP WITH YOU
BULDA & PABBIE
WE AREN’T SAYING YOU CAN CHANGE HIM ‘CAUSE PEOPLE DON’T REALLY CHANGE
WE’RE ONLY SAYING THAT LOVE’S A FORCE THAT’S POWERFUL AND STRANGE HUMANS MAKE BAD CHOICES IF THEY’RE MAD OR SCARED OR STRESSED BUT THROW A LITTLE LOVE THEIR WAY
AND YOU’LL BRING OUT THEIR BEST!
HIDDEN FOLK
THROW A LITTLE LOVE THEIR WAY YOU’LL BRING OUT THEIR BEST!
BULDA & PABBIE & HIDDEN FOLK
TRUE LOVE BRINGS OUT THE BEST!
EVERYONE’S A BIT OF A FIXER UPPER THAT’S WHAT IT’S ALL ABOUT! FATHER, SISTER, BROTHER WE NEED EACH OTHER TO RAISE US UP AND ROUND US OUT!
EVERYONE’S A BIT OF A FIXER UPPER BUT WHEN PUSH COMES TO SHOVE—
THE ONLY FIXER UPPER FIXER THAT CAN FIX A FIXER UPPER IS—
BULDA & FEMALE HIDDEN FOLK
TRUE
TRUE TRUE TRUE, TRUE
PABBIE & MALE HIDDEN FOLK TRUE
TRUE
TRUE, TRUE
BULDA & PABBIE & HIDDEN FOLK LOVE!
KRISTOFF & HIDDEN FOLK HÜLDRA! Dance break.
BULDA & PABBIE & HIDDEN FOLK LOVE, TRUE LOVE LOVE, TRUE LOVE, TRUE LOVE LOVE, LOVE, TRUE LOVE!
EVERYONE’S A BIT OF A FIXER UPPER BUT VERY WORTHY OF… LOVE! LOVE!
TRUE LOVE!
TRUE LOVE!
ANNA and KRISTOFF are standing face to face.
ANNA suddenly collapses into KRISTOFF’s arms.
KRISTOFF
Anna!
PABBIE rushes to ANNA’s side.
PABBIE
What is this? Another magic strike?! Why did you not tell me?
KRISTOFF I tried!
PABBIE examines ANNA’s head but then makes the difficult discovery that the strike is in her heart.
PABBIE
Anna, your life is in danger. There is ice in your heart, put there by your sister. If not removed, to solid ice will you freeze, forever.
BULDA
But you can remove it readily. I’ve seen you before. Go ahead, Pabbie, draw the magic out.
PABBIE
If it was her head, I could. But the heart does not so easily let go of its pain.
KRISTOFF
Try, Pabbie, please.
PABBIE
I’ll do all I can.
GEE YATH KE
HÜLDRA HÜLDRA HÜLDRA
BULDA & HIDDEN FOLK WOMEN
PABBIE tries to draw the magic out. Everyone slows down. We go into KRISTOFF’s head.
KRISTOFF
WHAT IS THIS HOLLOW KIND OF HELPLESSNESS I’M FEELING? THIS TYPE OF TERROR IS NEW AND THE FACT THAT I CAN HARDLY BREATHE IS NOW REVEALING HOW MUCH I’VE CHANGED ‘CAUSE OF YOU
YOU LIGHT THE WORLD FOR ME YOU LIVE LIFE FEARLESSLY BRAVER THAN THE BRAVEST OF US DO
YOU TRUST, YOU HOPE, YOU DARE YOU CHOOSE TO FEEL AND CARE I THOUGHT THAT I WAS STRONG ‘TIL I BUMPED INTO YOU
WHAT DO I KNOW ABOUT LOVE? WHAT DO I KNOW ABOUT LOVE?
EVERYTHING I THOUGHT I DID YOU’VE GONE AND CHANGED IT, KID YOU’RE WHAT I KNOW ABOUT LOVE
We return to real time. PABBIE tries again, but then stops.
BULDA & HIDDEN FOLK WOMEN AH
PABBIE NOWA NOWA NOWA NOWA
I am sorry. It is no use. Only an act of true love can thaw a frozen heart.
BULDA
A true love’s kiss, perhaps?
KRISTOFF
A true love’s kiss. Anna, we’ve got to get you back to Hans.
ANNA Hans.
The HIDDEN FOLK bring out a travois. KRISTOFF and BULDA help ANNA onto it.
Olaf, Sven, come on!
KRISTOFF pulls the sled. As KRISTOFF, ANNA, OLAF, and SVEN exit, the world darkens.
HANS, WESELTON, LACKEYS, and other VOLUNTEERS enter and struggle to travel through the worsening weather.
#15A—End This Winter Volunteers, Weselton
HANS
Anna! Princess Anna!
END THIS WINTER!
VOLUNTEERS
WESELTON
The temperature’s dropping! At this rate, we won’t survive the night!
VOLUNTEERS
BRING BACK SUMMER!
HANS
Then we must climb faster! Princess Anna is depending on us!
VOLUNTEERS
KEEP YOUR STRENGTH UP!
LACKEY
I see something, in the distance. A castle. Of ice?!
WESELTON
(to his LACKEYS)
It’s the Queen. Prepare to fight.
VOLUNTEERS
END THIS WINTER!
BRING BACK SUMMER! KEEP YOUR GUARD UP!
WESELTON
KILL ON SIGHT! They exit, continuing their climb.
ELSA enters, pacing anxiously. She hears the sound of people in the distance. She panics.
(distant)
END THIS WINTER! BRING BACK SUMMER! KEEP YOUR GUARD UP!
IT’S FINALLY COME COME TO KNOCK DOWN MY DOOR I CAN’T HIDE THIS TIME LIKE I HID BEFORE
THE STORM IS AWAKE THE DANGER IS REAL MY TIME’S RUNNING OUT DON’T FEEL, DON’T FEEL
FEAR WILL BE YOUR ENEMY AND DEATH ITS CONSEQUENCE THAT’S WHAT THEY ONCE SAID TO ME AND IT’S STARTING TO MAKE SENSE
ALL THIS PAIN, ALL THIS FEAR BEGAN BECAUSE OF ME IS THE THING THEY SEE THE THING I HAVE TO BE?
A MONSTER WERE THEY RIGHT? HAS THE DARK IN ME FINALLY COME TO LIGHT?
AM I A MONSTER FULL OF RAGE? NOWHERE TO GO BUT ON A RAMPAGE? OR AM I JUST A MONSTER IN A CAGE? HANS and the VOLUNTEERS climb toward the palace.
END THIS WINTER! BRING BACK SUMMER!
KEEP YOUR GUARD UP!
NO HARM COMES TO HER!
END THIS WINTER! BRING BACK SUMMER!
KEEP YOUR GUARD UP!
WHAT DO I DO?
NO TIME FOR CRYING NOW I STARTED A STORM GOTTA STOP IT SOMEHOW
DO I KEEP ON RUNNING? HOW FAR DO I HAVE TO GO? AND WOULD THAT TAKE THE STORM AWAY OR ONLY MAKE IT GROW?
I’M MAKING MY WORLD COLDER HOW LONG CAN IT SURVIVE? IS EVERYONE IN DANGER AS LONG AS I’M ALIVE?
As ELSA moves through the palace, it becomes an icy prison she can’t escape. WAS I A MONSTER FROM THE START? HOW DID I END UP WITH THIS FROZEN HEART BRINGING DESTRUCTION TO THE STAGE CAUGHT IN A WAR THAT I NEVER MEANT TO WAGE? DO I KILL THE MONSTER… ?
FATHER, YOU KNOW WHAT’S BEST FOR ME IF I DIE, WILL THEY BE FREE? MOTHER, WHAT IF AFTER I’M GONE THE COLD GETS COLDER AND THE STORM RAGES ON?
NO!
I HAVE TO STAY ALIVE TO FIX WHAT I’VE DONE SAVE THE WORLD FROM MYSELF AND BRING BACK THE SUN
ELSA builds a cage of ice around herself.
AH ELSA
IF I’M A MONSTER AND IT’S TRUE THERE’S ONLY ONE THING THAT’S LEFT FOR ME TO DO BUT BEFORE I FADE TO WHITE I’LL DO ALL THAT I CAN TO MAKE THINGS RIGHT
END THIS WINTER! BRING BACK SUMMER! KEEP YOUR GUARD UP!
END THIS WINTER! BRING BACK SUMMER! KEEP YOUR GUARD UP!
I CANNOT BE A MONSTER ELSA knocks all the VOLUNTEERS down with her powers.
I WILL NOT BE A MONSTER She lowers the ice spikes, surrendering…
ELSA
NOT TONIGHT!
VOLUNTEERS MONSTER! MONSTER! MONSTER!
The wind picks up as HANS and the VOLUNTEERS bring a captured ELSA to the castle gate.
I surrender. Take me to Princess Anna.
#16A—Elsa Is Captured
Take the monster to trial!
That’s enough, Weaseltown.
It’s Weselton. And that is NOT enough. It’s getting colder by the second. Look at the Queen: even she shivers.
I’m not cold…
She’s scared. So back off.
(getting in WESELTON’s face)
And do not test me anymore. You will lose. (to the GUARDS)
Take her in.
(frightened, cowering)
… Why do you protect her?
For Anna.
ELSA
I need to see Anna.
HANS
You say she was safe when she left you?
ELSA
Yes.
HANS
And this mountain man with her?
ELSA
She said he’s helping her.
HANS
I pray he is. Bring her in.
HANS respectfully motions for ELSA to be taken into the castle before him. They all exit through the castle doors.
A moment later, KRISTOFF, ANNA, OLAF, and SVEN enter. KRISTOFF rushes to the castle door with ANNA in his arms.
KRISTOFF
Please! Help!
OLAF bangs on the door with his twiggy arms.
OLAF
Hurry! We’ve got a freezing princess out here!
KRISTOFF
Stay out of sight, Olaf. No time to explain you.
OLAF
Got it.
OLAF assumes the position of an inanimate snowman. The door opens, blocking OLAF from sight. A GUARD appears.
GUARD
Princess Anna. Thank you. I’ll take her from here.
KRISTOFF
You must get her warm and find Prince Hans, immediately. Her life depends on it.
The GUARD takes ANNA from KRISTOFF. As he does, OLAF slips through the door and into the castle unnoticed.
(KRISTOFF)
(to the GUARD)
Keep her safe.
The GUARD closes the gates on KRISTOFF, locking him out. KRISTOFF watches after her, worried. SVEN looks at him like, “Why are you letting her go?”
Stop looking at me like that, Sven.
(KRISTOFF) WHAT DO I KNOW ABOUT LOVE? WHAT DO I KNOW ABOUT LOVE? IT’S GOTTA BE LIKE THIS SHE NEEDS HER TRUE LOVE’S KISS AND WHAT DO I KNOW ABOUT LOVE? KRISTOFF and SVEN leave.
Inside the castle library, ANNA sits on a bench by the fire, wrapped in a blanket, shivering.
HANS bursts in and rushes to ANNA’s side. He takes her in his arms.
Anna.
Hans. Kiss me. You have to kiss me.
HANS
ANNA
HANS
What happened out there?
ANNA
Elsa struck me with her powers.
HANS
You said she’d never hurt you.
ANNA
I was wrong. She froze my heart and only an act of true love can save me.
HANS
A true love’s kiss.
ANNA nods, leans in for the kiss.
But instead, HANS stands, looks down at her pitifully, shaking his head.
Oh, Anna. If only there was someone out there who loved you.
ANNA
What… ? You said you did.
HANS
I lied. As thirteenth in line, I knew I’d have to marry into the throne. You were an obvious target, but who knew Elsa would make this so easy for me? You two have doomed each other… and made me the hero who just tried to help.
HANS puts out the fire in the fireplace. He then kneels before ANNA. He takes a ring off his finger.
(HANS)
It’s worked out well—
#16C—King Hans Hans
(HANS)
ONCE I KILL ELSA AND GIVE YOU THIS RING
He pushes the ring onto her finger then removes the blanket from ANNA’s shoulders.
I AM KING HANS OF ARENDELLE
ANNA
You’re no match for Elsa. You won’t get away with this.
HANS
Oh, I already have.
HANS takes the blanket and locks ANNA in the room, leaving her to die. She hears the door lock. All her strength and will drains from her.
ANNA
No.
She looks around the room, shocked and weak. ANNA shivers.
#17—Anna’s Vision
She looks up and sees her younger self playing with YOUNG ELSA on the other side of the room. The GIRLS giggle.
YOUNG ANNA Elsa?
ANNA reaches out toward them as… OLAF enters, having picked the lock of the door.
OLAF
Anna!
ANNA
Olaf?!
OLAF
Warm hug!
OLAF embraces a shivering ANNA.
Oh no. The fire’s out!
OLAF rushes past ANNA, grabs a match and re-lights the fire. The flames shoot up.
OLAF reaches a twig finger towards the fire. It catches on fire.
ANNA
Careful, Olaf!
OLAF
Whoa. So that’s heat. I love it! So where’s Hans? What happen— (realizing he is on fire)
Ooh! But don’t touch it!
OLAF blows out the small fire on his twig arm. So, where’s Hans? What happened to your kiss?
ANNA
I was wrong about him. It wasn’t true love. Please, Olaf, you can’t stay here. You’ll melt.
OLAF
I am not leaving here until we find some other act of true love to save you.
ANNA
I don’t even know what love is.
OLAF
That’s okay, I do.
#17A—Anna and Olaf
(OLAF)
Love is putting someone else’s needs before yours, you know, like how Kristoff brought you back here to Hans and left you forever.
ANNA
Kristoff loves me?
OLAF
Wow, you really don’t know anything about love, do you?
Next to the burning fire, OLAF starts to melt.
ANNA
Olaf, you’re melting!
OLAF
Some people are worth melting for.
Suddenly, a cold wind blows, bursting the window open!
Just maybe not right this second.
ANNA shivers as the wind hits her.
It’s okay. I’ve got it.
OLAF scurries to the window and struggles to close it.
We’re going to get through—Oh, wait. Look! It’s Kristoff and Sven, coming back this way! There’s your act of true love, right there, riding across the fjords like a valiant, pungent reindeer king! We’ve got to get you to Kristoff! Come on!
OLAF and ANNA exit through the castle door. Transition to an abstract space.
#18—Colder by the Minute
TOWNSPEOPLE
AND BORN OF COLD AND WINTER AIR THE STORM INSIDE HER GREW THE SKIES CLOSED IN THE WIND PICKED UP HER MIND GREW DARK THE COLD WIND BLEW
A few TOWNSPEOPLE and GUARDS huddle together downstage, freezing. HANS enters.
Princess Anna is dead.
AH OH
She was killed by Queen Elsa. The TOWNSPEOPLE gasp.
AH OH
HANS
TOWNSPEOPLE
HANS
TOWNSPEOPLE
HANS
At least we got to say our marriage vows… before she died in my arms.
WESELTON (scared)
That means you are in charge now. Please, save us from this monster.
HANS
Bring in the Queen.
ELSA enters, shackled, and led by two GUARDS.
I charge Queen Elsa of Arendelle with treason and sentence her to death. ELSA
What? No!
AH OH
AH OH
AH OH
AH OH
AH OH
In her fear, ELSA’s powers begin to take over.
NOTHING COULD CONTAIN THE TEMPEST IN HER BRAIN!
ELSA breaks free from her chains and disappears into the storm. HANS follows in pursuit.
AND THE STORM RAGED ON AND THEY WERE RAVAGED BY THE WRATH OF SNOW AND THE WIND BLEW FEAR AND THE STORM WOULD GROW COLDER BY THE MINUTE COLDER BY THE MINUTE
ANNA and KRISTOFF try to find each other as the storm engulfs them.
ANNA
KEEP WALKING, ANNA, DON’T STOP, DON’T REST HE’S OUT HERE SOMEWHERE I CAN FEEL THE ICE IN MY CHEST, IN MY HEART I DON’T CARE I’VE GOT TO REACH YOU THROUGH THE STORM SOMEHOW BECAUSE THE ONE THING THAT CAN SAVE ME NOW IS YOUR LOVE
KRISTOFF
ANNA!
TRUE LOVE!
ANNA
WHERE ARE YOU?
ANNA and KRISTOFF disappear into the storm.
COLDER BY THE MINUTE
COLDER BY THE MINUTE
ELSA
CAN’T RUN
CAN’T STOP
CAN’T BREATHE
CAN’T LIVE AND I CAN’T DIE
ELSA, LISTEN!
ELSA
CAN’T HOPE TO FIX THIS MESS YET SOMEHOW STILL I HAVE TO TRY
HANS
PLEASE SURRENDER!
ELSA
CONCEAL, DON’T FEEL
DON’T FEEL! GET BACK INTO THE CAGE HANS
END THIS WINTER!
ELSA
I’VE UNLEASHED A MONSTER I CANNOT STOP THE MONSTER!
HANS AND NO HARM WILL COME TO YOU!
AND THE NORTH WIND HOWLED AND THEY WERE TRAPPED WITHIN THE WALLS OF WHITE
ANNA
DON’T GIVE IN TO THE ICE
DON’T GIVE IN TO THE COLD TRUE LOVE!
I CAN’T!
ELSA!
KRISTOFF
ANNA IF YOU CAN HEAR MY VOICE HOLD ON, ANNA!
ELSA
HANS
TOWNSPEOPLE
AND THE STORM RAGED ON AND NATURE TORE THE WORLD APART AND ALL WAS LOST TO THE FROZEN HEART
ANNA
KRISTOFF…
ANNA…
MONSTER!
ELSA!
TOWNSPEOPLE
AH
KRISTOFF
ELSA
HANS
TOWNSPEOPLE
COLDER BY THE MINUTE
COLDER BY THE MINUTE
Fear is winning and taking over. Finally, HANS finds ELSA and corners her. We lose sight of KRISTOFF and ANNA in the storm.
HANS
Elsa… you can’t run from this!
ELSA
Where is my sister? Where is Anna?
Anna?! She returned from the mountain, weak and cold. You froze her heart.
ELSA (gasps)
No.
HANS
I tried to save her, but it was too late. Her skin was ice. Her hair turned white.
ELSA’s face sinks as she realizes what she has done. Your sister is dead… because of you.
ELSA drops to her knees and buries her face in her hands. The storm suddenly stops. Snow freezes midair, suspended in grief.
AND THE WIND BLEW SOFT AND IN HER GRIEF THE STORM STOOD STILL
ANNA, now able to see clearly, spots KRISTOFF, and starts to move towards him.
Kristoff.
ANNA
KRISTOFF
Anna.
HANS draws his sword, holds it over ELSA. ANNA looks away from KRISTOFF, seeing HANS about to strike her sister.
ANNA
Elsa?
ANNA makes her choice and turns towards ELSA instead.
ANNA throws herself between HANS’s sword and ELSA. ANNA freezes solid just as the sword strikes. The sword kicks back, knocking out HANS.
ELSA sits up, turns, sees that ANNA has frozen solid above her, protecting her from the blow.
#19—Finale
Anna?
ELSA
ANNA, NO
THIS IS WHAT I FEARED
THIS IS WHY I SHUT YOU OUT SO LONG AGO I’M SORRY
I’M SO SORRY
LOOK AT WHAT I’VE DONE TO YOU
ELSA breaks down. She hugs the frozen ANNA and cries. KRISTOFF and OLAF watch in shocked despair. SVEN steps up to KRISTOFF’s side. TOWNSPEOPLE bow their heads. All of Arendelle is joined in somber silence.
But then ANNA begins to thaw. She stirs in ELSA’s arms. She’s alive.
Wha—? Anna?
Elsa?… Are you okay?
ANNA
ELSA
Am I okay… ? Oh, Anna, you sacrificed yourself for me?
ANNA
I love you.
ELSA hugs her sister with all the gratitude and love she can. OLAF realizes what has happened. He is overjoyed.
OLAF
An act of true love will thaw a frozen heart.
ELSA
Love will thaw… Ha ha. Of course.
ELSA, having realized through ANNA that love is the key, reaches out to touch the proscenium. It begins to thaw, as does the rest of the world around them. The TOWNSPEOPLE watch in awe as ELSA restores their world.
NA NA NA HEIA NA
NA HI JA NA
NA HEIA HEIA NA JA
NO A
NA NA NA HEIA NA
NA HI JA NA
NA NA NA
NA HI JA NA
TOWNSPEOPLE
NA HEIA HEIA NA JA NO A
HA NA HEI O NO A NA
KRISTOFF
Anna. You’re amazing.
KRISTOFF & ANNA (in unison)
May I kiss you?
ANNA and KRISTOFF kiss.
HANS stirs, lightheaded, and tries to get to his feet. KRISTOFF steps towards him, prepared for a fight. But ANNA stops him.
ANNA
Uh uh uh. Let me handle this.
ANNA marches over to HANS.
HANS (confused)
Anna? But she froze your heart.
ANNA
The only frozen heart around here is yours.
ANNA turns away from HANS. But, not yet satisfied, she turns back and punches him right in the face. He goes down and, humiliated, slinks offstage.
ANNA crosses back to ELSA, who turns to her people.
(to TOWNSPEOPLE)
Is everyone all right?
WESELTON is taken aback by her generosity, power, and strength.
We are, Your Majesty. Rest assured. He drops to his knees before her.
One TOWNSPERSON bows to ELSA. KRISTOFF bows. The rest of the kingdom follows.
ELSA turns to ANNA. ANNA bows, too. ELSA takes her hand, inviting her to stand back up.
ELSA
THERE’S SO MUCH I’VE LONGED TO SAY
ANNA
THEN SAY IT ALL, BEGINNING WITH TODAY
ELSA
IT’S LIKE A DREAM I THOUGHT COULD NEVER BE
ANNA
Elsa.
YOU’RE FREE LET IT GO LET IT GO
SHOW US WHAT YOU CAN DO
ANNA & KRISTOFF & OLAF LET IT GO LET IT GO
ELSA (to ANNA)
THE MAGIC ONE IS YOU ‘CAUSE HERE WE STAND IN THE LIGHT OF DAY LET THE SUN SHINE ON
ELSA
I TAKE THIS WARMTH WITHIN AND SEND IT UP ABOVE
ELSA & ANNA
GOODBYE TO DARK AND FEAR
LET’S FILL THIS WORLD WITH LIGHT AND LOVE!
ELSA & ANNA & KRISTOFF & OLAF AND HERE, SURROUNDED BY A FAMILY AT LAST
NA OOH
NA NA HEIA
NA (NA) HEIA
LIGHT AND LOVE!
(NA HEIA) NA HEI
(NA HI JA NA) NA NA
WE’RE NEVER GOING BACK THE PAST IS IN THE PAST! (PAST IS IN THE PAST!) LET IT GO! LET IT GO! AND WE’LL RISE LIKE THE BREAK OF DAWN LET IT GO! LET IT GO! THE FEAR AND COLD ARE GONE HERE WE STAND IN THE LIGHT OF DAY LET OUR TRUE LOVE GROW! LET IT GO!
End of Show.