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"Redemption In The Wings"
by Fred Passmore
copyright 2009
Last updated: 10-15-09.

Here is a Christmas play with no lines to memorize! One that all ages can be a part of: children, teens, adults and even seniors. You'll have an easier time recruiting cast members when they hear there are no lines to learn. NOTE: If you have not done "The Christmas Family" yet. I would suggest doing it first. It also is narrated, but it is only 40 minutes long. It would be good to do that one first, then move up to this longer 75-minute play next time. It's up to you, of course: but that's my thinking on it. If you HAVE done "The Christmas Family" already, then this new one is the one to do this year.

Story synopsis: Christmas is nearing, and the play being rehearsed for the guests of a homeless shelter is looming as a disaster. Plaguing the director are problems she feels ill equipped to handle: the demanding actress playing Mary is a Hollywood diva sentenced to community service; the actor playing Gabriel is nowhere to be found; and an old man at the shelter who wants to play a part harbors a secret and painful connection to the director's past. Add to this stolen decorations and the lack of funds for the Christmas dinner, and our struggling director feels it will take a miracle to make it all happen. Little does she know that the mysterious visitor standing in the wings may bring just that. During the course of the script, there are four sequences where they present the Biblical Christmas story scenes to their guests. This is a play-within-a-play. The play, when done along with the CD, is close to 75 minutes long.

(Note: If you only wish to present a short Christmas play in four scenes, use only the "Christmas Play" sections and you will have four narrated scenes that your kids can act out. The total time then will be about 25 minutes. You can print out JUST those scenes by going to this page. The same soundtrack is used, but only certain tracks.

Characters:

The Director is: Charlotte Vickers, approximate age: in the 30's to 40's age range. Can be played by someone younger if need be, according to your cast. Charlotte plays the part of Mary in their Christmas play sequences.
The Diva is: Brianna McIntyre, a hollywood actress, in the mid 20's age range. Can be played by younger actress if needed.
The Diva's Bodyguard is: Lenny and is a young man in his mid 20's.
The Angel is: called Nate and in his mid-20's or 30's. He also plays the part of the angel in their Christmas play sequences. It is not revealed that he is a real angel until the end, although many hints are given; but don't let the audience in on the secret in your promotional material or printed credits. Let them figure it out for themselves..
The Handyman is: Owen is played to be in his 60's or older, according to your available cast. Owen then plays the part of Joseph in their Christmas Play sequences.
Derelict Is: Old Johnny (Jonathan Ayers) in the mid-60 age range. Johnny plays the part of Simeon in their Christmas play.
The Shy Girl is: Sophie Conners, 6 to 8 year-old range, according to your available cast.
The Shy Girl's father is: Franklin Conners in his 30's
Seamstress: adult female, perhaps in 30's or 40's. Preferably though, this part should be a older senior. She can play the part of the elderly Anna in the Christmas play sequence, if you wish.
Cook is: a female, not age specific but adult preferred.
The Fast Decoration Team: 8 young people or teens, equally balanced between male and female..
Newspaper reporter: non-age or gender specific.
Extras: There can be as many extras of various ages as you wish, populating the stage as helpers that are putting things up in place during the scenes of preparation, doing various things that indicate the busy-ness of the place. They can also double as Biblical sequence extras by donning robes.
OPTIONAL: Someone can play the Lord in the final scene if desired, but it was written so that although the characters see Him, we do not.

Biblical Play sequences: The Shepherds can be kids or teens, or young adults, it is your choice and according to your cast. The thing about the "play" sequences is that you don't have to reach for exact character types or ages, but can be done as most churches would do a typical Christmas play: with whoever is available and willing. Younger actors in beards and robes will work fine for those parts.

Note: When it comes to the casting the character of Owen, the handyman, keep in mind that there is a sequence at the very end where he does a short jig with the broom, and he is joined by the angel whom he can no longer see, or isn't supposed to at any rate. The actor playing Owen will need to be comfortable doing dance steps. You will need to have he and the actor playing Nate perform to choreographed steps during that scene, so that they move together. The angel is mirroring Owen's moves in time to the music, so working out the choreography should be given to someone talented in this area. A "square-dance" kind of music is playing for that scene. If done correctly is can be a very entertaining and humorous part of the scene.

Costumes: Robes for all the characters in the "Christmas Play" scenes; the actors in the "behind the scenes" parts wear casual clothing and when they need to act in the "Christmas Play" parts they put on the robes over their clothes. (Here is a site that makes authentic Biblical costumes to order.) Sandals should replace shoes as far possible in these scenes, or just have them barefoot if need be. Owen, the handyman, should either wear overalls or jeans and a flannel shirt. Old Johnny should be dressed in old clothes and a battered old hat to show his "homeless person" status.

Costuming idea; use battery operated white christmas lights under the white robe of the angel during the "Christmas play" sequences. Preferably the new LED lights, which are bright with no heat... but a string of white battery-operated lights will work just fine. They will light up the white robe from within and give a neat look to the angel.

Setting: The stage is supposed to be where a homeless shelter is giving a performance of a Christmas play for their guests. So, the set is in the background and the action takes place in front of it during the "behind the scenes" sequences, then when they are performing the "Christmas play" scenes, they use the same stage. Off to one side we is where the "stage wing" action happens, and there is a small table with refreshments and urn for hot chocolate for the actors, with some chairs for them to sit in when preparing or between scenes. Everything that is supposed to happen "off-stage" happens on this side "stage wing" area. Another small table is there with costumes where the seamstress sits and works on the robes, and hands them out to the actors as needed. There can be extras during the scene preparations that come in and do things in the background to prepare for the next "Christmas play" sequence.

One of the advantages of this "play within a play" concept is that much of the preparation is done in the open, in the background, as the actors in the foreground deal with their various problems in the script. The whole point is that the audience is seeing "behind the scenes" of a play presentation, so there is no need to hide the stage setup or other preparations. When each "Christmas play" sequence is done, the actors and extras behave as if the curtain has been drawn and they go about their business right there. This gives a real freedom and less tension to have everything perfect before beginning.

Background Set idea: since the various scenes take place in different places, a painted backdrop is suggested for each one, rather than actual sets. A stone wall with windows and wooden furniture for Mary's house in Play Scene #1; an outdoor nighttime backdrop for the shepherds in Play Scene #2; the manger stall for the nativity in Play Scene #3; and columns and pillars for the Temple in Play Scene #4. They are changed out by extras during each "behind the scenes" part before that "Christmas Play" scene begins, in full view as the action takes place on the stage in front by our main characters. You will find tips and ideas for painted backdrops like thoise needed at this site. It will give you construction hints and scene ideas that will help in this. If you prefer not to use backdrops, you can simply create a rustic cattle stall scene and use it during the manger play part, and leave it there for the others.

Props:

There are not many props needed. But, you will need...

• a small artificial Christmas tree with a box containing the garland and lights, for the "high-speed decoration" scene in the script.
• Charlotte keeps a clipboard close, for her script pages. The person playing this role can have the actual script on the clipboard as a "cheat sheet."
• Owen the handyman will need a broom and pocket New Testament. He could have a handerkerchief hanging out of a pocket to use to wipe his eyes at some of the emotional scenes.
• Brianna McIntyre will need a checkbook and pen for the last act.
• Sophie Conners, the little girl, also has a pocket New Testament which she gives to Brianna at the end. She also carries a small notepad and pen which she attempts to give to Brianna for an autograph.
• Old Johhny carries a wallet and folded up letter in his pocket.

PERFORMANCE NOTES: All of the action takes place with very little audible sound from the players. They semi-mime everything, talking, laughing, anything that is done, all nearly silently, as the Narrator tells the story. It's like watching a film with the sound turned down low, as a voice-over narrator tells what is happening. All of the sound and dialog comes from the CD. The CD also includes the background music and sound effects. Approximate time of the play is 80 minutes.

Now, you can make some natural sounds as you perform; background talking between the extras can go on; but all at a very LOW volume. It should compliment the CD playing, not distract from it or override it.

In every case, the "Actions" description is given in the script just before the narration that describes it. But you DO the actions AS the narrator tells it, in synchronization. You act out the motions described, as he is telling it. This takes knowing your moves, and rehearsing with the CD; so that you are doing it in-synch with it as it is told, not lagging behind it and reacting to it.

There are some small actions mentioned in the narrative that are not laid out in the "actions" parts; just do what it being described however it is revealed. Use your acting ability to come up with little additional things to fill in... and hit the points as they come. Be creative! Since you don't have to learn dialog, you can concentrate on your acting through what you are doing visually, as the narrative provides the dialog. Don't let the action onstage come to a complete standstill during the narration; if nothing is particularly directed for you to do through the narration or script, invent some little bits of business to do that are in keeping with the narrative events. Then when it's time to do what the narrative is saying, you can easily move into it.

When the narrator is telling of dialog that your character is saying, you do not have to lip-sync it. Just act as if talking at the same time he is telling in general what was said. After all, the audience is hearing the narrator tell the story, and they are only seeing you as part of a flashback, in their imaginations. So, silently and naturally mouth the words that approximate what the narrator relates that your character is saying. You want it to look natural and mostly match what they know you are saying; keep it real so that if your lips are read it will make sense.

Note: This play is intended to be performed to the pre-recorded soundtrack. There is nearly constant music mixed in with the narration to properly portray each scene, and doing it without the CD will result in a far less effective or moving performance than it was intended to be.

"Redemption In The Wings"
by Fred Passmore
copyright 2009

Please note: the Prolog starts out like an ordinary Christmas play. But events quickly go horribly wrong, and they realise that were watching a rehearsal, and that it wasn't a real accident. It is a joke pulled on the audience, that leads them into a very different kind of play with a bit of humor and building on their preconceived expectations, or even against them. So as you read, keep that in mind, the script is not your usual Nativity Play once you get past the Prolog. Also, the prolog contains the only two lines of spoken dialog in the play.

PROLOG:

Begin Track #`1: (Sounds like an old scratchy record, with old-fashioned Christmas music.)

Actions during the next part of the narration: From the side of the stage, the actors playing Joseph and Mary (Brianna McIntyre and Lenny) come out and sit in the straw. Mary tenderly cradles her baby (obviously a doll) and then places it in the manger, covering him up with swaddling clothes. Her smile is beautiful as she gazes at the child.

Soundtrack opening narrator: Christmas... what a blessed time of the year. A time for gifts and giving. And there has never been a greater gift given by anyone than the one that God gave to the world on the first Christmas... that of his only begotten son.

Actions during the next part of the narration: The children or young men playing the shepherds begin to make their way down the aisle of the church. They walk down the aisle in single file, looking this way and that, seeking the nativity scene described, acting as talking quietly to each other.

Narrator: (For this particular sequence only; not the same voice as the Nate narration.) And who do you think he sent His angels to, to tell of the arrival of this wonderful gift? You might expect it was a king, or some other important person, but no... it was a some humble shepherds out in the fields keeping watch over their flocks of sheep. An angel had appeared to them to tell them of the birth of the Messiah, and where he could be found. And with the sounds of the Heavenly choir still echoing in their ears and hearts, they set off to find Him. They hurried to Bethlehem, and after looking all over, they finally found the stable... and Mary, and Joseph, and the baby lying in a manger just as they had been told. As they carefully and humbly neared the manger... (THE RECORD SKIPS) ...and so they went on their way, rejoicing and praising God, and telling everyone what they had seen and (THE RECORD GETS STUCK AND REPEATS.)

Actions: The Shepherd actors, confused and thrown off by the stuck record, look around uncertainly as they near the manger. The first one stops, not knowing what to do, and the one behind him stops, but the one in the back, still looking around, runs into the one in the middle and knocks him over, falling into the first one. He falls over also, directly onto the manger, spilling out the doll that represents the baby Jesus. (THE NEEDLE IS KNOCKED OFF THE LP, SCRATCHING ACROSS IT WITH A HORRIBLE NOISE.) Mary jumps up, dismayed, and the poor shepherd quickly picks up the doll by an arm and awkwardly tries to put it back in the manger, as if trying to cover up the accident.

Brianna as Mary: (Throwing her arms up in the air in exasperation and disgust.) LIVE DIALOG: That's IT! I've had it. I can't work with such amatuers and unprofessionals! When you get real actors, call me. Lenny! (She claps her hands and motions.) Let's get out of here.

Actions: Lenny instantly doffs his robe hood and puts on a pair of cool sunglasses. He looks around, and begins backing up behind her as he follows her out, watching everyone carefully. The Director, Charlotte Vickers, hurries onstage with a clipboard in hand and starts to follow her off, but the bodyguard raises a hand sharply and warns her "stay back" as he hustles the girl off-stage and out of sight. Stymied, Charlotte freezes, looking around at the stricken shepherds, two of which point in accusation at the last one who had tripped them all up. He raises his hands helplessly and shrugs his shoulders at her, and she slumps in defeat. Pointing offstage, she sends the three shepherds away.

Charlotte: (With a look toward the ceiling.) LIVE DIALOG: If this play comes together in time for Christmas, it will be a miracle!

Actions: Charlotte resignedly walks offstage as the lights dim and the background music ends..

Begin Track # 2: Full-sounding music, in direct contrast to the tinny, scratchy music heard earlier, comes up and begins the first act.

Act 1

Actions during the next part of the narration: The stage remains empty for a moment more, then the character of Nate walks out, wearing a coat with his hands in his pockets. He stops in the middle of the stage and looks around. He is not speaking, but his words are being heard through the narrative. He moves around the stage area, hands still in his pockets, stopping here and there to gaze at various areas as if they are invoking memories. about mid-way through, people begin coming on one at a time, carrying various items and busying themselves with getting ready.

Narrator: (This is the Nate character narrating now.) And that's how it all began. Not a very promising start, to be sure.... but then, most miraculous situations often begin as what you would call disastrous. What we just saw happened nearly two weeks ago, during the rehearsals for the Christmas play. Now, the perfomance is date upon them, and they seem no closer to making it happen now than then. It's especially busy this particular holiday season, here at the "Refuge In The Rock," a shelter for people that are temporarily displaced by various kinds of hardships. Some might call it a homeless shelter... but the people that work or volunteer here call it a ministry. It's the evening of the play now, and everyone is arriving to prepare for the presentation of the play... ready or not.

Actions during the next part of the narration: As the lights come up again, Nate moves over to the side of the stage to make room for the activity starting to take place. He turns and watches the various people as they come in; first, Charlotte comes onto the stage, followed by her crew of workers. She has her clipboard again, and as each person playing a helper come onstage, they come to her. She checks the clipboard and then points them in a direction, telling them what needs to be done. The Seamstress character comes out with some costumes over her arm, and Charlotte sends her to a table where she begins separating the garments for the actors to wear. She also makes some repairs to them as the action goes on.

Narrator: There's a lot of activity that goes on behind the scenes in any kind of production like this, something we seldom see. But this time, I'm going to be pulling back the curtains, as it were, to give you a glimpse of the unseen work and the unsung workers that labor to bless others. The lady obviously in charge is Charlotte Vickers, who holds the position -among others- of the Directory of Activities. She's been at the shelter for many years, but this is the fullest she's ever seen it. She knows that being without a home is bad any time, but infinitely worse on Christmas. So she's determined to present, with the Lord's help, an unforgettable Christmas play for the familes that have come to them for shelter, food and comfort.

Actions during the next part of the narration: The Janitor, Owen, comes onstage to banjo Christmas music, sweeping and swaying as he does, as if hearing music no-one else can. He does a little dance with the broom now and then as he sweeps. He always has a slight smile playing about his lips and a twinkle in his eye. He moves in and out among the various people on the stage, sweeping without getting in anyone's way, but managing to cover all the floor by coming back to a spot when someone has moved.

Narrator: The older gentleman dancing with his partner the broom is Owen, the shelter's janitor and handyman. He always has a song in his heart and kind words on his lips for all. If Charlotte is the head of the shelter, then Owen is it's heart, ready to lend a hand and a shoulder to the guests, who often just want someone to listen to them. Owen is a wise man, and anyone talking to him will come away with feeling encouraged. He's a man after my own heart.. and the Lord's.

Actions during the next part of the narration: As Charlotte is talking to someone, she catches Owen's eye and motions for him to come over to her. Owen puts the broom aside and moves to stand beside her, waiting for her to finish with the person. As soon as they leave, she turns to him with a smile and they speak. Owen appears apologetic as he explains the situation, and as he finishes she puts a hand to her head as if feeling a headache coming on.

Narrator: Wondering why the Christmas tree for the stage wasn't up yet, Charlotte asked Owen what the delay might be. Reluctantly, Owen related to Charlotte that he'd "run into a slight hitch," as he termed it. "Sorry to have ta tell ya this, Miss Charlotte," he said; "but some varmit done got in an stole the Christmas tree and decorations" Typically, he tried to downplay the crime, saying that someone must have been really desperate to steal a tree but everyone's hit hard this year.

Actions during the next part of the narration: As Charlotte lifts her hands and wonders what they are going to do, Nate leaves the sidelines and approaches the two of them. Owen is trying to placate her and settle down, with his hands patting the air down in front of him. Upon seeing Nate, Charlotte holds up a hand to the janitor as if she doesn't want their troubles overheard by the guests, and turns to face the stranger. Owen nods at the approaching man and excuses himself with a touch to his forehead toward Charlotte, walking off stage. Nate shakes hands with Charlotte and they stand speaking back and forth as the narrative indicates.

Narrator: I had been waiting and watching from the wings long enough... it was time to get involved. Moving over to introduce myself to the shelter's director, I told her my name was Nate, and that I had been sent by headquarters to lend a hand. Her face changed from wondering to relieved, all too happy to accept any kind of help. She loosened up and told me that I was a gift from heaven since they were short-handed this year, with not enough staff or budget to deal with the needs of the many people coming in for help. Walking together to the edge of the stage area, she told me of the hardship that many were experiencing due to the economy and loss of homes and jobs. I asked her what they needed, and her reply was "a miracle," as she half-laughed. She wondered what I could do, and I said anything they needed. So, she pointed me in the direction of some of the volunteers putting up the stage set, and off I went.

Actions during the next part of the narration: Nate assists the extras on the stage in various things they are doing to put up the set and backdrop. He keeps on eye on things from the sidelines, though. Just then, the "diva" Brianna McIntyre storms onto the stage, her bodyguard in tow. Upon spying the diva's approach, Charlotte faces away from her and her eyes roll up in an expession of impatience. The star rapidly stalks up to Charlotte, who sighs and turns to face her.

Narrator: Now, it's unfortunately an accurate axiom that "it never rains but it pours," and another ugly thundercloud was looming on Charlotte's horizon; this time bringing a storm in the form of the "Diva" as she was known behind her back. Her name was Brianna McIntyre, a budding young Hollywood TV star here to serve her sentence of public service for repeated DUI's. She was also known as a "drama queen" and she was certainly living down to her reputation now.

Actions during the next part of the narration: As her bodyguard Lenny watches all around, the Diva gets up close to Charlotte's face and begins pointing offstage in the direction from which she came and making angry motions, holding up her costume robe and shaking it. The rest of the cast and crew stop their work and watch the confrontation with interest. They exchanged heated conversation back and forth during the narrative as indicated. Eventually Charlotte flips a page back on her clipboard, holding the page up for the girl to see. She indicates it as she stresses a point, to which the Diva responds by turning silent and sulky.

Narrator: It was made known to everyone, quite loudly, that the problem area was the Diva's dressing room, which was supposed to be private. It seems she had come in to do her makeup when she found it occupied by several other cast members getting ready; and this was completely unacceptable for a star of her calibre. She demanded a private dressing room immediately. Charlotte refused to cater to her, and made it clear there was no more room, and she'd have to make do. Her final words were a reminder that a quick call to her probation officer could get her taken to jail if Charlotte reported that she was being uncooperative. Well, this warning seemed to snap her back to reality and she backed off for the time being.

Actions during the next part of the narration: The crisis averted for now, Lenny begins to coax the diva offstage as the cast and crew got back to work. Charlotte, standing with her arms crossed, watches her go and shakes her head. She looks at Nate still beside here and nods her thanks, to which he nods a welcome in return. Just then a reporter hurries onto the stage and stops Brianna, taking her photo several times, to which she responds by smiling and posing in several different ways. The "shy child," Sophia Conners, has come onstage holding her father's hand, and is trying to get closer to McIntyre. Her father, Franklin, is gently keeping her back. She pulls down on her father's arm, and he kneels down for her to whisper in his ear. He quietly replies something back to her as they watch the activity going on.

Narrator: Having a so-called "star" around was disruptive in more ways than one; the press were getting wind of her presence now and starting to show up at the worst times. As she preened and vogued for the camera, I noticed a small fan who had made her way into the room to get a closer look at her favorite TV show star. Her name was Sophie Conners, and the experience of losing her home and having to live among strangers had caused her to retreat into a space of her own that she only allowed her father Franklin into. Her desire to meet McIntyre was unusual for her and one that Franklin was anxious to grant her.

Actions during the next part of the narration: Work has once again come to a stand-still as everyone watches the interview. Charlotte, looking around at them with disbelieving eyes, "shoos" them back to their work with a pointed finger at her watch; but they are slow to move. The little girl, dragging her father closer, gingerly holds up an autograph booklet toward the starlet, but Lenny puts out a hand to keep her away during the interview, which is continuing as the reporter questions the actress and holds up a microphone to record her answers.

Narrator: This represented an important step for her, as she usually only communicated with her father, and would talk with no-one unless through him. Perhaps this would help her come out of her shell, getting a small kindness from a stranger she felt she knew through TV. Our oblivious Miss McIntyre was telling the reporter how she was volunteering her time and talent to help the less fortunate, by acting in their holiday production.

Actions during the next part of the narration: The reporter wraps the interview and leaves. Lenny is looking in another direction at the time, as Franklin picks up his little girl and brings her up to the starlet. Suddenly confronted by the two, McIntyre simply looks at them. Sophie whispers something in her father's ear, and then he repeats it to the woman as the girl holds out a piece of paper.

Narrator: I have to admit I was holding my breath as Sophie whispered her wish into her father's ear and then he related her request to the actress. It would take such a small thing to make this underpriviledged girl happy. Had McIntyre learned anything about concern for others or was it all just P.R.?

Actions during the next part of the narration: Looking at the girl and her father as if they were something distasteful, McIntyre slowly reaches around and pokes her distracted bodyguard in the arm. He snaps to, noticing the invasion of her space, and he jumps between them as though they had a knife, shielding her with his body. Addressing the air, McIntyre airs her complaints loudly as Lenny grabs the threatening pen and paper from Sophie's outstretched hand, trying to make up for his lapse by tearing it up and throwing the paper on the floor.

Narrator: No such luck. I could only watch helplessly, like everyone else, as a tragedy played out in intimate terms before us. Addressing Lenny, the Diva reminded him and everyone within earshot that she never signed autographs. Furthermore, would the director please inform her staff to keep away such bothersome people so that she can concentrate on her starring role as the "Mother of God."

Actions during the next part of the narration: Pushing back Sophie and her father, he protectively hustles his employer away from the crowd, leaving the child in tears... which she tries to hide by putting her face down in her father's neck. Franklin carries his daughter away from the scene and offtstage, his face showing his sorrow at his daughter's tears. Righteous indignation wells up in Charlotte's expression, and she stomps over to block the Diva's protected retreat. She glares at Lenny to such an extent that he pauses fearfully, causing McIntyre behind him to slap his shoulder angrily at the hestitation. But the bodyguard stepped to the side to allow the director to confront her.

Narrator: Well, this was the proverbial straw, and as Franklin hurried his crushed daughter away from the scene, Charlotte's simmering anger burst into a righteous flame that shot out through her flashing eyes. Even Lenny was shaken as she parked herself in their path of retreat, and he moved aside to let his bosslady deal with what was coming her way. It's one thing, Charlotte fumed, to step on everyone else's feelings and to show no consideration for the staff... but to rudely insult a child -who has emotional problems- who only wanted some small personal momento? A diva like herself deserved no special treatment, she deserved no fans, and she certainly did not deserve the honor of playing one of the most humble and submitted women in the Bible. For once the pampered diva was speechless as the truth hit home.

Actions during the next part of the narration: As McIntyre's head is bowed, Charlotte takes the costume robe out of the girls' hands and drapes it over her arm. She walks a few steps away then turns back to finish her statement. As she does, McIntyre's face shows her disbelief and growing indignation. As Charlotte dismisses her and walks away, she begins (going through the motions of) yelling and jabbing her finger threateningly. Lenny tries to shush her, getting a punch in the chest for his trouble, and then he physically picks her up and carries her offstage, as she all the while kicks and screams (in a silent miming action, of course... we hear nothing but what the narrative describes.)

Narrator: Taking the robe from the chastised TV idol, Charlotte pronounced the verdict: guilty of gross negligance toward her fellow human beings. The punishment: exile from the stage, and hard labor in the kitchen, cooking and washing the dishes for the duration of her time spent here. As looks of shared satisfaction spread among the gathered staff, the speechlessness wore off and the starlet began spewing a stream of insults and unseemly language that made the adults cover the younger ears around them. Amid the blue language, it was made clear that she'd rather serve jail time than stoop to waiting on the bums and lowlife that were in the shelter. Embarrassed for her, Lenny carried her out of the room to protect her from more public humiliation and from further damaging her image and career.

Actions during the next part of the narration: After the star and her bodyguard have left, Owen walks over to Charlotte as she shakes her head over the whole scene. They exchange a conversation as the narration dictates.

Narrator: Owen told the stressed director that his heart had been done good by her taking down Miss Diva several notches; but he wondered if some might think it was a mistake, since her name in the paper could bring in more people and result in extra publicity for the shelter. Charlotte agreed that might have been the case, but the Lord doesn't need famous people, just submitted ones. Owen heartily agreed to that, and asked her who was going to play Mary now. She held up the robe and replied that she would have to do it herself. And Joseph, he wondered? She looked up and him and thanked him for volunteering. Nodding, he said he had some good news, if she wanted some. Reminding her of the missing tree problem, he said that they were interrupted before, and he didn't get to tell her he had a plan in the works. Unknown to her, he had sent out some of the teens staying at the shelter with their families to buy a tree with some money that an anonymous donor had slipped in his pocket earlier.

Actions during the next part of the narration: Looking offstage, Owen motions to some as-yet-unseen youth, who respond by running in with a tree held up over their heads, followed by others carrying a big box overflowing with tinsel and garland. The director can only stare in happy amazement as Owen pulls her to the side to make room for them to pass with their load.

Narrator:

When, what to her wondering eyes should appear,
But a group of young people, bringing good cheer!

More rapid than eagles Owen's helpers they came,
And he whistled, and shouted, and called them by name!

"Now Justin! Now, Chloe! Now, Jordan and Aaron!
On, Toby! On, Hannah! On, Lucas and Karen!
Get that tree up there, right next to the wall!
Now decorate! Decorate! Decorate all!"

Soundtrack note: A 60-second upbeat Caribbean-styled version of "O Christmas Tree" accompanies their high-speed decorating which they do in conga-beat moves to the music, and they finish just as the music does. This will take some rehearsal to make it happen that fast, but it will be hilarious seeing it done... and the teens will absolutely love doing it!

Actions during the music: Setting down the tree in its place, stand already attached, they begin to all decorate the tree with the lights, tinsel and garland in double-quick time, handing the strings and ropes to each other to wrap around the tree with rehearsed coordination, moving to the music. The tree is plugged in to coincide with the music's end.

Narrator: As tousled locks before the hair dryer fly,
When they feel the hot breezes, poof up nice and high,
So up to the tree-top the tinsel they flung,
as all the bright lights and baubles were hung.

Actions during the next part of the narration: As the music ends, Charlotte and the rest of the cast and stage helpers applaude them as they all present the tree with a flourish. Then with the work done, the young people line up and turn sharply to one side like soldiers.. Owen, grinning broadly, hurries to one end of the line, then mimes a loud whistle with two fingers between his lips...and with double-time marching steps he leads them quickly offstage.

Narrator:

They spoke not a word, when they'd finished their work,
but they lined up like soldiers, then turned with a jerk.
Owen sprang to their lead and gave them a whistle,
And away they all flew like a self-guided missile.
But I heard him exclaim, as they jogged out of sight,
"Happy Christmas to all, and to all a good night!"

Actions during the next part of the narration: Still smiling at the scene, Charlotte glances at her watch and then looks back at it with concern. She begins looking around for someone, moving to ask first one then the other a question, to which they shake their heads and lift their shoulders and hands in "I don't know" motions.

Narrator: It was back to work once again for everyone, as the time drew closer still for the play to begin. But not all of the cast had shown up yet and Charlotte was just now missing an important actor. The young man that had been rehearsing in the role of the angel was nowhere to be found, and as the director want from person to person inquiring about him, no-one had heard from him. Unfortunately, that left her without an actor to play the important part of the angel in the play.

Actions during the music: With her chin on her hand, Charlotte is deep in thought as she considers what to do next. Bowing her head, she sends up a quick prayer; and as she prays, Nate moves over to stand beside her and look down at her, waiting.

Actions during the next part of the narration: When she finishes praying she looks, up, wiping her eyes as she sees him. She stands after a moment and draws him aside as they speak back and forth. Then once the part is settled she leads him over to the seamstress and picks up a white robe. She turns him around and holds the robe against his back and shoulders to see how it might fit. She then hands the robe to him, and picks up the robe she had taken from the banished actress. They both head offstage to dress quickly.

Narrator: Asking her pardon for interrupting, I told her I had finished helping with the stage setup, and I wondered if there was anything else I could do to be of assistance. A light seemed to go on in her eyes as she looked at me with a dawning awareness. "You're an angel," she said. "I am?" I replied. "You could be one, couldn't you?" she wondered as she stood. I told her I didn't understand, and she said she did, now. She asked me again if I could be an angel... for just one night. With a grin, I told her I could be anything they needed. Nodding, she then took me by my arm and told me in no uncertain terms that I was an angel since that's what they needed most at that moment. She wondered if I had had any experience in that area. "As an angel?" I asked. "As an actor," she replied, and I assured her I had assumed many different roles and guises over the years. Satisfied, she handed me the robe and turned to get hers. Curtain time was approaching. Ready or not, Act One of the play was about to begin, and everyone in the cast prepared to present it with a prayer in their hearts.

Christmas Play Scene One Begins

Part One: The Annunciation

Actions during the next part of the narration: Mary comes into the room, carrying a basket.

Narrator: (A different person than the Nate narrator's voice.) The events that we celebrate at Christmas didn't start on that day, no... the first revelation and promise of the birth of the Lord Jesus Christ went as far back as Adam and Eve. And the birth of Jesus on that silent night was no surprise to those involved... they had known about it nine months earlier. So if you are to begin anywhere to tell the story, it must be when the announcement was made that Jesus, the promised One, was now nigh unto coming into the world.

Now, a promise is only as good as the person making it. When we make promises, regardless of how good the intentions, we can't alway keep them. His promises are sure, and His plans were made from the beginning to come to pass at just the right time. God was going to take on humanity... by becoming a human the way all of us do.. as a baby. And in so doing, forever become a part of the human family.. and for all eternity, identify himself with us. One of the most wonderful things about God's plans and promises is that they involve us. And a humble Jewish girl was about to become an important part of God's plan of redemption. Her name was Mary, and she wasn't a member of the royal family that now ruled Jerusalem, but a poor girl, engaged to a simple Galilean carpenter named Joseph. One day, as she went out her chores in her town of Nazareth, the most significant thing that ever happened in her life came to pass. Without warning, she was suddenly confronted by her destiny as an angel came into the room.

Actions during the next part of the narration: The angel Gabriel, played by Nate, comes into the room behind Mary without her knowing it. He speaks, startling her, and she spins around to look at him with shock.

Narrator: Now, when the supernatural suddenly intrudes on your life, it can be a downright terrifying experience. And when Mary heard the words, "Greetings, you who are highly favored! The Lord is with you!" let me tell you, she was shocked and scared. Turning to see who was speaking, Mary was frightened by this stranger who had suddenly appeared in her room. And as he continued by saying "blessed are you among women," although the words were kind and reassuring, comforted was not a word she would have chosen to describe her emotions at that moment. Sensing that this was an angelic visitation and not merely a human intruder bent on harming her, Mary was still greatly troubled at his words and wondered what kind of greeting this might be. Even the most comforting words, when spoken by an unexpected Heavenly visitor, can be unnerving. But the angel said to her, "Do not be afraid, Mary, you have found favor with God."

Actions: Mary, shielding her eyes at first, drops to a kneeling position on the floor lookling up at the angel.

His words, sinking in, at least calmed the fears that naturally come with a confrontation with a messenger from God himself. And as she sank to her knees, overcome with the power and glory that accompanies a being straight from the Throne, the angel nevertheless added to her perplexed state of mind with his next statement. "You will be with child and give birth to a son," he told her, "and you are to give him the name Jesus." This simple statement, delivered under the unusual circumstances by this most unusual person, was enough to puzzle anyone, but even more so one that was yet to be married. But the most amazing words were still to come, as the angel continued, "He will be great and will be called the Son of the Most High, and the Lord God will give him the throne of his ancestor David. And He will reign over the house of Jacob forever, and His kingdom will have no end."

Actions: Mary slips down to a seated postion, her legs under her, as this news overwhelms her. She looks thoughtful as she considers it all.

It's safe to say that no woman in the history of the world had ever had such a momentous announcement made to her... her child was to be the son of God, the prophesied Messiah that would rule upon David's throne, forever! With the weight of this incredible privilege and responsibility laid upon her, the one simple question that came to her mind was the down-to-earth practicality of such an event.

"How can this be," Mary replied, "seeing that I have no husband?"

The angel answered and said to her, "The Holy Spirit will come upon you, and the power of the Most High will overshadow you; and for that reason the holy Child shall be called the Son of God."

While some women might have run screaming from the room when confronted with such words, Mary was humbled and honored. But perfectly natural questions began to surface in her mind. What would her family, and her fiancee, think about her being with child before she was married? Would anyone believe her story? It seemed quite unbelieveable even to her.

But the angel wasn't finished. He informed her that her relative, Elizabeth, had conceived a son in her old age. She who was said to be barren was in her sixth month. Mary was not alone in her sudden emergence into the world of miracles; and if such a miracle had already happened for Elizabeth, then she could be certain that her miracle would occur just as surely.

As if knowing her thoughts, the angel looked on her kindly with a smile. "Nothing," he assured her, "is impossible with respect to any of God's promises."

As these words kindled a fire in her heart, Mary found a deeper faith in God... a faith that was more than merely a hopeful wish that things would turn out well. If God had selected her from among all the maidens in the nation of Israel for this singular role, surely He would work out all the problems it could present. So, she accepted it bravely, and spoke the words that we even now honor her for.

Looking at the angel with a peaceful expression, Mary said, "Truly I am the Lord's servant. Let everything you have said happen to me." Pleased with her response, the angel nodded in acknowledgement.

Actions: Mary bows her head in worship to the Lord, and the angel backs out of the room.

As the words of the Angel echoed in her mind, and Mary's heart was filled with praise and wonder over the Lord's grace at including her in his plan for coming of the savior of the world. A prophetic scripture she had heard from her childhood, concerning the coming of the Jesus into the world, now rang in her heart: "You did not want sacrifices and offerings, but you prepared a body for me..Then I said, 'See, I have come to do your will, O God.'

With a fresh awareness of the reality of the things that heretofore she had only been taught about, Mary rose with haste and went to go visit Elizabeth. She knew that when they saw each other, there would be much to talk about. One of her concerns had been how Joseph, the carpenter to which she had been betrothed for years, would handle the news. But she decided to trust God for that as well and leave it in His hands.

END PLAY SCENE ONE.

Act 2

Actions during the next part of the narration: Some of the cast members high-five each other as Charlotte gives them a smiling "thumbs-up." Charlotte and Nate are talking together when they are approached by the shelter's cook. She is distraught by something and her face is troubled as she speaks rapidly. Holding up a hand to slow her down, Charlotte motions to some chairs on the side of the stage.

Narrator: (Back to Nate's narration.) Well, the first act had gone very well, and the crowd seemed to really be enjoying it. The play was broken up into several acts to be presented at various intervals during the evening, with other activities in between. This gave the cast a chance to prepare for the next act and catch their breath. But for Charlotte, now pulling double duty as the director and an actor, the load gave her little chance to relax. She had barely come offstage from her performance when she was met by the shelter's cook... with a look that meant more was brewing in the kitchen than hot coffee and cocoa. Seeing that she had something important on her mind, Charlotte invited the cook to sit with them and tell her the problem. I excused myself and walked over to the seamstress to give her a hand, all the while keeping an eye on the proceedings.

Actions during the next part of the narration: They turn the chairs facing each other and sit down, and the cook begins to complain with frustrated hand motions.

Narrator: It seemed that the new help in the kitchen, the diva, was causing more work than helping. She knew nothing about cooking or washing dishes, and was making her bodyguard work while she bossed everyone and talked on her cell phone. On top of that, there was not enough food to go around to have a decent Christmas dinner.

Actions during the next part of the narration: Charlotte, after listening to her tearful complaints, stands and gives her a reassuring hug. The lady seems encouraged and smiles a little.

Narrator: Due to the many people that had lost their jobs and homes in the past year, there was a larger crowd of people seeking help at the shelter. But the budget had shrunk, and giving by their donors was down due to the poor economy. But Charlotte, giving the hard-working cook a hug, reassured her that God would come through somehow. And to try to put up with the diva as long as she could... maybe she would learn some humility yet amid the soapsuds and baking powder.

Actions during the next part of the narration: As they are preparing for the next scene, and the shepherds are coming in to get dressed and the set rearranged, a man, who looks older than he is, comes in. He seems nervous and is looking around at the activity as if unsure whether he should be there. He starts toward Charlotte, but when someone else hurries up to her with question, he hesitates. He waits uncertainly a moment as they discuss something, then begins to turn away as if chickening out. But Charlotte, turning around, catches sight of him and calls to him. He stops, turning back around sheepishly, and meets her as she approaches him with a smile. He is crumpling his old hat in his hands as he begins to speak, only occasionally looking up at her as he does. He has the manner of a man beaten down by life and not used to being paid attention to. Looking down at his hands, he expresses his doubts to her and she listens sympathetically.

Narrator: Do you see that poor old fellow over there in the shadows, wanting to approach? He's easy to overlook, as many have done so for so long. His name is Jonathan Ayers, but to the few that know him at the shelter he is simply "Old Johnny." Life has been one failure and disappointment after another for him, and a series of self-destructive choices and patterns in his life led to the loss of a family, career and self-respect. He recently came to the shelter for help, and soon after he began pitching in to lend a hand. When the parts for the Christmas play were being cast, he wanted to be involved, as acting had been a secret dream he had harbored all his life. Not one to deny a chance to live out a dream, Charlotte gave him the part of Simeon in the story. During the rehearsals he had done fine, but now, looking out at the crowd, he recognized some faces of people that knew him and the life he had lived. Feelings of unworthiness and guilt had overcome him, and he was ashamed to go out in front of them and act spiritual in the Biblical part of a Godly man.

Actions during the next part of the narration: You can tell from Charlotte's expression that her heart is nearly broken as she listens to the old man's fears and shame. Her pity for him is evident as she puts a hand on his shoulder and leads him over to the edge of the stage to look out at the crowd from behind the "curtain." She talks to him gently as his eyes rove the audience, her hand still on his shoulder. Her words seem to make him feel better, as he smiles a little and nods to himself. He expresses to her that he understands with a look.

Narrator: Leading him to the edge of the stage, Charlotte pulled back the curtain a little so that they could peek out at the crowd. "Do you see those people?" she asked. "Seeing you serving the Lord and blessing others, overcoming your past, is inspiring to them. If the Lord can save and use someone that has been in the same situation they have, and worse, then it gives them hope."

Actions during the next part of the narration: Moving away from the curtain, Charlotte leads the old man to the chairs and they sit down to continue the conversation.

Narrator: Since most of the preparations for the play had been done now, it was only a matter of waiting til it was time for the next act. So, Charlotte took the time to learn more about Old Johnny, asking him about his background and where he came from. He explained that this was actually his hometown, to which he recently returned. His wandering had taken him to many cities over the decades, but his excesses had caused a disease that was now taking his life, and he had wanted to come home before dying. Saddened by this news, Charlotte wondered if he had any family, and he told her that he did, but left them many years ago. She asked about children who might be able to take him in and take care of him, and he told her that he had a daughter... but he doubted she wanted anything to do with him. Charlotte told Old Johnny that he should contact his daughter and let her know he is alive, and leave that decision up to her. Charlotte's advice was not to let doubt and fears keep him from a possible reconciliation.

Actions during the next part of the narration: Seeing the director's interest in him, the old man opens up to her. Taking out his wallet, he goes through the photos in it and pulls out one, which he regards affectionately as he tells her about his daughter. She listens attentively, but as Johnny relates about the dolls, Charlotte gets a strange look in her eyes and seems to be remembering something.

Narrator: Taking out a beaten-up old wallet, he flipped through several old photos until he came to one that made his eyes light up. Taking it out and looking at it, he began to tell her about his daughter, whom he had last seen when she was five. She was a caring child, and one of the oddest things she did was to bring home worn-out and broken dolls from the neigborhood garage sales, and bandage them up, and give them a home in her playhouse in the back yard.

Actions during the next part of the narration: Charlotte, who has gotten a faraway look in her eyes, seems to no longer be listening as he talks. When he hands her the photo, she takes it as though still distracted, holding it but not quite looking at it. Noticing her distraction, he repeats his question, indicating the picture, at which she is still staring. Finally looking at the photo, her eyes show recognition and shock. She then stands, handing the photo back to him, and walking off in a daze.

Narrator: Proudly, he handed her the photo and asked her if she had ever seen such a beautiful child. Holding the picture in nerveless fingers, hardly seeing it, Charlotte seemed a million miles away. When she finally allowed hersefl to look at the photo, she realised she had seen such a child before. That child, in fact. Standing to leave, she quietly said that she had just remembered something and he would have to excuse her.

Actions during the next part of the narration: Johnny puts the photo back in his wallet, and uncertainly leaves the stage. Charlotte has walked off a short distance, and seems in shock. Noticing this, Nate leaves off with his helping the costume seamstress, and walks over to her. Taking her by the elbow, he takes her over to the table and pours her a cup of hot chocolate. They sit down, and she sips it as she tell him the story.

Narrator: I asked her what was wrong, commenting that she looked as if she had just seen a ghost. In a voice shaking with emotion, she replied that she had... a ghost from the past that had come back to haunt her. Leading her to the refreshment table, I poured her a cup of calming hot chocolate and encouraged her to tell me what had happened. Her eyes looking back through the years, she explained that she just found out that their guest, "Old Johnny," as he was known to all, was her father, who left when she was just a small child. I replied that this should be a happy occasion, but that only made her upset as she revealed that she had always resented him for not being there. With bitterness, she said she can't allow him to be part of the play now, and they'll have to find someone else for the part.

Actions during the next part of the narration: Nate stands in front of Charlotte to confront her with her own words, but she turns away as she snaps back at him, holding her arms across her. SHe dismisses him curtly and they leave the stage as the next act begins.

Narrator: I told her that I had overheard some wise words given in advice once... to the effect that we should not let doubt and fears keep him from a possible reconciliation. Unreceptive to having her own words quoted back to her, she stood angrily and said that whoever said that must have been really foolish, to offer such trite advice. Besides, it was time to begin the next act, and there was no time to deal with it now.

Christmas Play Scene Two Begins

Second part: The angels tell the shepherds.

Narrator: (Now back to the Biblical Story narrator's voice, not Nate's.) And so, as word spread about the imminent birth of the Messiah, the people of Jerusalem, especially the wise High Priest and learned scholars, rejoiced and prepared to receive Jesus with open hearts and arms. Yes, trumpets sounded and joy filled the entire city as the long-awaited Jesus was born and laid in the best golden cradle money could afford. (Music and cheers on record slows down and stops.) Um... well... we know that's not quite how it all went down, no... sorry to say. But, that's how it would have happened if the story was written by men. In reality, the actual events were quite different.

Actions during the next part of the narration: The shepherds come onto the stage, walking with their staffs and talking as they go. They decide to sit down awhile, and they gather in a semi-circle, sitting the ground and reclining back. One of them points to the sky and rest look at the spot with interest, as they talk amongst themselves as to what the new star might mean. One of them, the youngest, has a couple of sticks which he drums lightly on his knees or any available surface, as a habit. This is a visual reference to the "Little Drummer Boy" song.

Narrator: The Lord seems to take great delight in doing things completely differently than we might expect, anticipate or even think he should. But, as He has said, His ways are as far above ours as heaven is above the earth. And so, quite contrary to expectation, the announcement of the Messiah's birth was made to some of the most obscure and uninfluential men you could imagine... shepherds. You heard right. Shepherds, out in the fields, not far away from Bethlehem, watching over their flock by night. They weren't out there just because they enjoyed camping out under the night skies with the brilliant stars as a canopy; even though they were wondering about the bright new star that had just appeared. No, they were on the watch for predators that might endanger their flock. Wolves, jackals and lions were always on the hunt for a tender sheep. But, all was quiet except for the occasional howl as the jackals kept their distance, frustrated by their fear to come any closer.

Actions during the next part of the narration: One of the shepherds rises, straining his eyes in the darkness, as if listening closely to something. The others look at him and wonder what he is doing.

Narrator: One of the men, named Ruben, seemed to sense something in the air of that peaceful night, as all was calm. Listen, he told them... do you hear what I hear?

Now, it was safe to say that the shepherds were more than a little taken aback by the sudden appearance of a man who glowed with his own light. Terrified is more like it!

Actions during the next part of the narration: The angel comes upon them from the opposite direction they had been looking, and one of them sees him first, with his eyes wide in fear. The others are looking around to find the source of the light shining all around them. The one spying the angel shakes the shoulder of the one nearest him, turning him in the direction he is looking and pointing, getting the attention of the others who then also look, spinning and staring, then all drop to their knees in awe. Several of them cover their faces on the ground, until the angel speaks.

Narrator: As the heavenly glory of the Shekinah light illuminated the fields all around them, emanating from the stately being before them, the shepherds tremble for their very lives. They knew all too well that an appearance of the Angel of the Lord could mean judgement and death. But their fears were soothed as the angel reassured them. "Don't be afraid! Behold, I bring you news of great joy, which is for all men."

As they shaken shepherds realised they weren't about to die, their apprehension turned to awe and wonder. Good news? What kind of news would be relayed to them, of all people, way out here in the wilderness? Their angelic visitor continued, "Unto you is born this day, in the city of David, a Savior... which is Christ the Lord."

The shepherds looked at each other with shock. This... was the announcement which all Israel had been waiting for, for generations! The Messiah, the Son of the Most High, now born in the nearby city that was King David's home town! The news was almost to great a joy to bear. Then the angel gave them details on where to find this hoped-for Deliver, eternal heir to David's throne. "And this shall be a sign unto you; Ye shall find the babe wrapped in swaddling clothes, lying in a manger."

And with that, the skies were suddenly filled with a mightly host of angelic beings, all giving praises to the Most High, and saying "Glory to God in the highest, and on earth peace, good will toward men." Now, if the effect of one angel appearing was shocking, the impact of a multitude of them must have been overwhelmingly stunning. This was a sight seldom seen by man, and they knew their lives would never be the same. The brilliant clothes of the angels shimmered like the sun on the water as they were whipped by the wind, and their faces glowed with the glory of heaven as their voices raised in exhaltation of God. As the thundering voices of the angles echoed off into the hills and faded away with them, and the heavens were once again only lit up by the stars, they looked at each other to make sure they had not been dreaming. They said to one another, "Let's go right now, to Bethlehem, to see this thing which has come to pass, which the Lord has made known to us!" And don't you know they hurried as fast as they could go? As one mind, they set off to find this new-born King who would rule the world by first ruling in hearts of men.

Actions: The shepherds excitedly hurry offstage to look for the baby.

END PLAY SCENE TWO.

Act 3

Actions during the next part of the narration: As Charlotte comes back onto the stage, she is greeted by the excited kids playing the shepherds, eager for her approval. She hugs them all, listening to their spirited chatter, and she tells them what a great job they are all doing. Nate and Owen come onstage, talking awith each other bout the scene to come. As the kids run off, they notice that Charlotte is left standing alone, lost in thought and looking down. In response to Owen's question, Nate leans toward him to whisper to him about the situation. He shows surprise at the news, then nods in understanding, and they move to her, standing on either side as if in support. Owen speaks to her first, then Nate, as she considers what they are saying with a doubtful expression.

Narrator: (Back to Nate's narration.) As Charlotte hugged and congratulated the youth that had put so much into their performance, worrying thoughts swarmed like angry bees in her mind, and their was little that I, as a stranger, could do to lessen their sting. Owen, though, she had known for many years... and he stepped up to bat. If he could turn back the hands of time, he confided, he would love to have found his father and get to know him. for years, he knew where he was and could have contacted him, but he waited too late. Now he would give anything to be able to go to him and make things right, even if it was within his own heart. The Bible says not to withhold good from another when it is in our power to give it, and forgiveness is the greatest good any of us can offer, especially to those of our kinfolk; either natural family or through the Lord's family.

That prompted me to bring up the story of Joseph from the Old Testament. Although betrayed by his brothers and sold into slavery, when their positions were reversed and he was in power, he did not withhold his identity or forgiveness from them, when he easily could have. His revelation of kinship with them restored the relationships destroyed years ago by horrible wrongs. Likewise, if we withhold forgiveness, it can hinder our effectiveness in the Lord's work. I had some things to do before the next scene, so I left her with that thought.

Actions during the next part of the narration: As Nate goes to the side of the stage to continue his work, Franklin Conners comes onto the stage with his little girl Sophie, moving to speak to Charlotte. As before, Sophia whispers to her father and he speaks to Charlotte for her. Kneeling down to her level, the Director tries to tell her the situation. After speaking back and forth this way several times, the girl kneels down and begins to pray. Everyone around also bows their head as she does so.

Narrator: As I got busy with final minor adjustments, Franklin and Sophie came in looking for Miss McIntyre, better known as our Diva. Wanting to let her down gently, Charlotte explained that Brianna was very busy helping. Regretfully, she told the little girl that she probably shouldn't try to see her any more. Sophie, through her father as always, explained that she wanted to forgive her, and pray for her. Charlotte, touched by this, told her to keep praying, for she truly needed it. Taking Charlotte at her word, she began to pray. Now, everyone had become used to Sophie communicating through her father... but when she prayed, she spoke directy with her Heavenly Father. Praying for Brianna McIntyre to come to know Jesus, so that she would be happy, she also prayed for the people at the shelter, and for the money to come in for the dinner they needed.

Actions during the music for this scene: As the song "We Thank You" plays, we see Sophie praying, and everyone else prays and worships the Lord in their own way. It's obvious that a spirit of praise and thanksgiving is spreading among the people. Lenny, the Diva's bodyguard, comes in quietly from the side and watches the scene.

Actions during the next part of the narration: As the girl finishes praying, Lenny, the Diva's bodyguard, comes in from where he had been watching in the shadows. He asks to speak to the Director, who takes a moment to do so. He is still wearing his sunglasses as he looks around, as if he is sneaking away to do this and doesn't want someone to know.

Narrator: A wonderful thing had happened as the little girl's prayer rose to her Heavenly Father. The peace of Heaven seemed to spread to each person in the room as if a fragrant scent was emanating from some unseen flower. As each person roused themselves out of the reverie, the spirit of the season was reigning supreme over the worries and troubles that came with their efforts to spread it to others. Just then Charlotte became aware of someone waiting to speak with her; and of all people, it was Lenny, the diva's protective yet abused bodyguard. Bracing herself for a conveyed message of the star's dissatisfaction, his attitude and words were a real surprise. Sophie is led to the side of the stage by her father, and they watch the following scene as lenny comes for help.

Actions during the next part of the narration: As he admits to wanting what they have, he removes his glasses and wipes his eyes, breaking down. Charlotte comforts him as he puts his face in her shoulder. Catching the eye of Owen, who is smiling as he watches, she motions to him as Lenny sobs. Owen comes over and puts a hand on Lenny's shoulder, which has the effect of making him cry even harder. Owen takes out his handkercheif and offers it to him to dab his eyes.

Narrator: Having slipped away from his employer while she took one of her many breaks, Lenny had heard Sophie's prayer and been affected by it, even as he had been waiting to come for advice from the Director. He seemed distressed, and Charlotte, setting aside her previous impression of him as a bully and tough guy, listened as he opened up to her. It seems that besides being tired of being verbally abused, he had seen and heard things since being at the shelter that he had never known about. The idea that there was more to life than money was one lesson sinking in, especially since he had seen that success and money had not made Miss McIntyre happy, but contributed to her misery. He wanted the peace and joy that he had seen in the lives of the staff there, and he was considering quitting his job as her bodyguard if that's what it took.

Actions during the next part of the narration AND SONG PARTS: Owen pulls up a chair beside Lenny and takes out a pocket New Testament, which he opens to a verse which he shows the bodyguard. He flips pages after reading one verse, then another, to the intently listening and nodding Lenny. Charlotte contributes to the witnessing with a word here and there. Lenny then bows his head with them and his lips are moving as he follows their leading in the sinner's prayer. Unnoticed by any of them, Brianna McIntyre comes onto the side of the stage as if looking for Lenny, When she spies him praying, she withdraws behind a part of the stage set or some other area, and peeks around to watch. She witnesses her bodyguard's salvation, to which she is at first amazed, then affected. As the song ends and Lenny looks up, she leaves the stage quietly so that she will not be seen.

Narrator: Owen, as quick with a pocket New Testament as he was with a dustrag and polish, shared the Bread of Life with the man's hungry soul.

As the truth reached his heart, Lenny opened it up to receive the savior as his own, and a new life began as his name was written in the Lamb's Book of Life. I could almost hear the angels around the throne rejoicing, as was I, watching the miracle that never grows old to me.

Actions during the next part of the narration: Lenny stands up, wiping his eyes, as Owen shakes his hand and he hugs Charlotte. He is smiling now, something we have not seen before, and does not put his sunglesses back on. After they talk for a moment, he leaves with a a lighter stride. Charlotte and Owen watch him go, and lean toward each other exchanging their words in low tones. At Owen's parting words, Charlotte looks at him with a sharp look, then lowers her head slightly as they hit home. She is thoughtful as she motions for everyone to take their places and prepare for the curtain to raise and the next act to begin.

Narrator: As the bodyguard rose to live his new life, he told them that he was going right that moment to quit his job waching over that selfish and prideful girl. But Charlotte advised him to remain in the position, saying he could do much good now, and perhaps seeing the change in his life, would desire it for herself. Agreeing to the wisdom in that, he left to go back to the kitchen, with a new spring in his step. Charlotte thanked Owen for coming to help, because she didn't feel expecially useful right then. Watching him go, Owen remarked to the director that forgiveness is a wonderful thing to find. He hoped that he always remembered that if we didn't forgive others as well, that our own relationship with the Lord would have a crimp in the hose. Even from where I was discretely watching I could see that what he had said hit her where she lived, and that the wheels were turning. But it was past time for the curtain to raise on the next act, and she directed everyone to take their places for it.

Christmas Play Scene Three Begins: the Nativity Scene

Actions during the next part of the narration: After a few moments, the band of shepherds come onstage, stopping to talk amongst themselves several times as the looked in various directions. They stop a passerby and inquire of him, and he knows nothing, shrugging. But finally they come upon the entrance to the stable, and when they see it is occupied, they become joyful. Joseph, however, tries to keep them out uintil they tell him whatthey have seen and heard. The rest of the actions are as the narrtor dictates.

Narrator: (Now back to the Biblical Story narrator's voice, not Nate's.) The shepherds that kept their flocks just outside of Bethelem, according to Jewish tradition, watched over special flocks that provided the lambs for the Temple sacrifices. Worth noting also, is that shepherds were fitting to be told first is because that Jesus was the be known as The Good Shepheard, who himself would be come the sacrificial lamb.. All the patriarchs, like Abraham, Isaac and Jacob, and on, were shepherds. And don't forget that Long David was a shepherd in his youth. As they hurried into town, they words of the angels guided them. They had been told to look for a particular sign; they would find the babe wrapped in swaddling clothes, lying in a manger." Well, that last little detail was one that made absolutely sure that they couldn't possibly mistake some other baby for the one they were looking for. No other newborn baby in the entire country would be laid in a cattle feeding trough, which was only found in a cattle stall or animal corral! And that ruled out having to look in all the houses and inns, which were full of people. No, it narrowed it down to the stables and sheds, where there would be no other people. The Lord made it easy for them to find the holy family and to know the infant savior when they found Him. When the came to a cattle stall that was occupied by people, they felt they were on the right track. Gathering around the entrance, they deluged poor Joseph with questions. Now, you know Joseph had determined to take care of Mary and the baby, and he wasn't about to let a band of shepherds pile in the stall with the new mother and child. He was about to lay hands on the leader and help him out when they slowed down and explained that an angel had told them to come. Well, that made a difference! Joseph knew that when an angel told you something, you obeyed, and he could hardly keep them out. Permitting them in, they beheld what the heavenly visitor had told them to look for... a baby, laid in a manger, wrapped in swaddling clothes.

Actions during the next part of the narration: The shepherds kneel before the manger as Mary and Joseph look on. They gaze in awe, and some bow their face to the ground, as others raise their hamds up in praise.

Now, there had been plenty of babies born that were unusual in some way, and many were destined to live great lives. But none had been born like this one. This was God incarnate, who had always existed. And now He was he was born, in a human body, for the express purpose of dying... for the sins of all mankind. This tiny Baby would grow up to be the Good Shepherd, who laid down His life for the sheep. As they looked on his face, they realised that for the first time, God was now part of the kinship of mankind... and was the only one that could bring man into kinship with God. The shepherds, bowing before the baby and offering their worship, were the first of those that would bow the knee before him. But little did they realise that one day, every knee would bow and every tongue confess that Jesus Christ is Lord. Every person that ever lived during the course of history would one day bow before him... willingly, in life, or at the final judgement.

Actions during the next part of the narration: The shepherds withdraw quietly to the outside of the stable. Talking in hushed tones to each other, they discuss what to do next. Once they decide, they walk off to the side, where they encounter several people which they share the news with. The passersby look interested, but ultimately shrug their shoulders and move on. Mary stands unsteadily, and with Joseph's help, walks to the stable entrance to watch them go. She looks back at the baby, and the departing men, then up at the sky. Joseph, hugging her, points to the new star, which causes Mary to have a thoughtful expression. Finally, she lets Joseph help her back in to the side of the manger, and lay down in the hay.

Narrator: When the band of men had seen the babe, and felt they should go for Mary's sake, they reluctantly withdrew from the stable. Once outside, they all seemed to be talking at once. Foremost on their minds what what to do next. Surely, spreading the word about what they had seen and heard would be the best thing... but who should they start with? The priests in the town? Should they go to Jerusalem and proclaim it to the temple worshippers? How about the King? Herod should know about the birth of the new king. But how would he accept it? The thought of bearing such news to Herod caused them to think again. He would not be happy to hear about anyone that might threaten his rule, and might try to silence them. No, couldn't do that... and besides, who would listen to them? Would anyone believe that they had been told such important news, and not the religious leaders? They would be ridiculed and thrown out as insulting the priests bu even suggesting such a thing. Eventually, they settled for telling anyone they came into contact with, and headed back to their flocks with joy in their hearts. On the way out of town, the encountered some people, and they shared the exciting news, even telling them where to find the Child. But curious as it all sounded, no-one bothered to go see for themselves. It was too hard to believe. But Mary, thinking about the visit by the shepherds, considered that it was just one more strange and miraculous event in a life that had been full of them since being visited by the angel herself nearly nine months before. She had a feeling, as she looked at the newborn, that as He got older, there would be many more wonderful miracles. Perhaps one day she would be able to understand why the King of the Universe should have been born in a stable instead of a nice inn. But they were doing the best they could, and where the hand of God led them, they would follow, even if they didn't understand.

END PLAY SCENE THREE.

Begin Act 4.

Actions during the next part of the narration: Charlotte and Owen, still in costume, rise from the set and brush off any hay strands. Owen smiles at her in congratulation for the scene, to which she respond back with a tired smile. Nate returns, and he moves to Charlotte, who holds up a hand to prevent any questions.

Narrator: (Back to Nate's narration.) The evening's efforts had been draining and tiring, but worth it. As I headed over to discuss some final points of the last act, Charlotte held up a hand and said not to worry about it; she had decided she was going to cancel the last act and end it as it was. Glancing at Owen, I could tell he was distressed over this development, and I certainly couldn't stand by and see this come to such a sad conclusion. When I asked why, she explained that she couldn't act with Old Johhny, whom she now knew to be her runaway father, as if nothing had ever happened. She admitted that she was still struggling with her bitterness over her father's abandoning her and his family; a feeling which she had thought long forgotten. So, she planned on telling him that the play is over and that due to a shortage of space and food, he must move on.

Actions during the next part of the narration: Charlotte, unwilling to listen, gets up with a frustrated attitude and walks to the front of the stage. Nate also stands and comes up behind her on one side, continuing to press his point. The Director's face shows her feelings at what he is saying, though Nate can't see it. The pain of the truth, and denial of what she needs to do, plays in her eyes as her hands clasp together nervously. At Nate's last line, she shows irritation, and turns her head back toward his direction. She watches with knitted eyebrows as he walks away, then worry as she turns back to the front and she gets a faraway look. She goes to sit down again, and leans over with her hand on her forehead, partially covering her eyes.

Narrator: I pointed out that only hiding the symptoms would do nothing to deal with the cause, which was the bitterness in her heart. She admitted that it was something she had to deal with, but later. There was too much to work through to let the play proceed now. So having said that, she asked Owen to go find Old Johnny and ask him to come see her. At the very least, she reasoned, she would tell him the disappointing news personally. I murmured that such an act might bring more satisfaction to her than consolation to him. I could tell from her sharp look that I had angered her, but sometimes the truth stings, and few people react to a sting with a smile.

Actions during the next part of the narration: Owen comes onstage, with Old Johnny following. He is wearing his costume robe, but not the beard, if one is used. Owen gets Charlotte's attention, as she had been sitting with her eyes closed and her head in her hand as if deep in thought or emotional turmoil. She wearily motions for Old Johnny to sit down, and takes a breath to give him the bad news. But he is upset himself, and before she can say anything he begins sobbing. He takes an old piece of paper out of his pocket and unfolds it.

Narrator: As I left her to think about what I said, I passed Owen bringing in Old Johnny, with an expression like a kind warden leading a repentant but convicted man to his execution. With an apologetic expression, he presented him to Charlotte, then left shaking his head in sadness. This was one conversation he didn't care to partake in, tender-hearted fellow that he was. Just as Charlotte was about to lay it on him, Old Johnny suddenly broke down. "Miss Vickers," he said, "I need you to do something for me." Taking a well-worn piece of paper from his pocket, he told her he needed her help. Explaining, he said that he knew that he had hurt people in the past, and couldn't bring himself to go to them to ask forgiveness. But he had written a letter to his daughter that he wished Charlotte would deliver for him, and he asked her to read it and see if it was worth doing.

Actions during the next part of the narration: Charlotte takes the letter, but after looking at it briefly, hands it back with her comment. The old man, the letter in hand, then reads it to her. As she listens, her face reveals the impact the words are having on her heart. She is obviously being touched by them as he goes on. She even turns her head to hide her reaction and tears.

Narrator: It was with obvious reluctance that she took the letter from his hand, and cast her eyes on it the way one might curiously take in an accident scene. Handing it back to him, she told him that there was something splashed on it and she couldn't make out all the handwritten words. Johnny nodded, and explained that the stains on it were from his tears, dropping onto it as he agonized over it for many days. So, he began to read it to her, never realising he was actually reading it to the one to which it was addressed.

"Dear Daughter... I know that nothing I can say can make up for the years that we have lost since I left you and your mother, so I won't even try to explain why. I have no excuse. This letter is only to say how sorry I am for not being there when you needed me. At one time I felt that asking for forgiveness was a useless wish, but something has happened to change my mind. You see, I felt that same way about the Lord, against whom I had sinned for my whole life. I believed I could never be forgiven, so I strayed even further and fell into the lowest depths a man could go. That kind of lifestyle has it's own punishment and consequences, and because of this I don't have long to live now.

For the last few years, I've felt the Lord dealing with me to get right with Him, but I didn't think I could, as low down as I had lived. And I couldn't accept the Lord's forgiveness until I finally realised... that very unworthiness was why I needed forgiveness, and why it was offered. It wasn't something I could ever earn or be worthy of, but I could accept it... and I did. Now, I'm asking that you can find it in your heart to also forgive me before I die. I don't want to leave this earth knowing that you hold ill will in your heart against me.

It's not worth keeping bitterness in your heart and life for so long. So, if not for my sake, then grant me your release for your own sake, and the Lord's. I'm staying at the "Refuge In The Rock" shelter downtown. Even if you can't bring yourself to come see me, please let me know in some small way, that you do forgive me. Please hurry, I feel that I don't have long left. Even now I sometimes seem to sense an angel at my shoulder, waiting to take me home.

Your father, Jonathan Ayers."

Narrator: Shaken to the core by what she had heard, Charlotte began to realise that if the Lord forgave him and her own self of such a big debt of sin, she cannot withhold her forgiveness of what in comparison is a small one. I could tell she wasn't yet at the point of opening up to him, but she was near. She told him, struggling to keep her emotions in check, that the letter was just fine. She promised she would deliver it to the address given, and she knew that it would make a difference. As Old Johnny left, Charlotte composed herself and called for everyone to prepare for the curtain to open for the last act.

Christmas Play Scene Four Begins: The Temple Scene

Actions during the next part of the narration: Some extras in Biblical robes come onto the stage, moving back and forth and talking to each other here and there. Joseph and Mary walk onto the scene, with the baby in Mary's arms. Joseph is carrying a covered cage containing the doves. People here and there stop to look at the baby, which they proudly pause to allow as they talk back and forth. Simeon, who has been there in the background, spies the family and slowly begins to move toward them, waiting for the others to clear away. When Mary and Joseph turn to go into the temple, they are confronted by Simeon who is gazing at the baby with a loving expression. The rest of the actions are described in the narration.

Narrator: (Now back to the Biblical Story narrator's voice, not Nate's.) It's very often true that God is doing amazing and significant things in plain sight among many people, but only those spiritually in tune with his word and spirit are even aware of it. One of the best examples of this is when Jesus was on this earth. He was the very incarnation of God, in humanity's fragile form... but only a few around him knew this.

After the forty days required by the law of Moses for the ceremonial purification of both Mary and Joseph after Jesus was born, they brought him to the temple in Jerusalem to present him to the Lord. For it was written in the law of the Lord, "Every firstborn male is to be consecrated to the Lord." They kept the law also with their sacrifice of a pair of doves, which was a provision made for the poor, who could not afford a lamb. So, as they came into the court for the ceremony, they were, as proud parents have always done, stopping to show admiring people the baby. But of the people there oohing and aahing over the child, one was different in his appreciation. They were seeing the baby with their natural eyes, but he was looking with eyes of faith. His name was Simeon, and according to the Bible he was a righteous and devout man, with the Holy Spirit upon him. The Spirit of God had revealed to him that he would not die before he saw the Christ who was coming, and as he was fervently anticipating and waiting for the Messiah to come, this was not only comforting but exciting to him.

He had been moved by the Spirit to go into the Temple courts, and as he gazed upon Mary and Joseph with the baby, that same Spirit whispered to him that this was the one. Wonder and joy played across his face as he soaked in the vision before him, and as he took the child, who was to be the Father's perfect sacrifice for sin, he began to praise God, saying: "Sovereign Lord, as you have promised, you now dismiss your servant in peace. For my eyes have seen your salvation, which you have prepared in the sight of all people, a light for revelation to the Gentiles and for glory to your people Israel."

Now, although you might think that Mary and Joseph should be getting used to unusual things happening in association with the baby, they still marveled at this pronouncement, looking at each other with amazement. Simeon then blessed them, and said to Mary more words to wonder at and ponder in her heart. However, they were not entirely comforting. "This child is destined to cause the falling and rising of many in Israel, and to be a sign that will be spoken against, so that the thoughts of many hearts will be revealed. And a sword will pierce your own soul too." A shadow seemed to fall across Mary's countenance as she heard these prophetic words spoken. What kind of sorrow would come to her from this child? And why would be be spoken against? But she pushed the worry aside as she remember who this child was, and who had sent him. Whatever the future held, it was in God's hands and according to his good plan.

Actions during the next part of the narration: Anna, moving toward the family, recognizes the baby also, and takes him in her arms, eyes full of tears as she holds him and looks up to Heaven in thanksgiving.

But there was still someone else waiting to see the promised One that they she carried. As Simeon moved aside, his eyes bright with tears of fullfilled happiness, an elderly woman came up with the same light of recognition in her eyes. Eighty-four years old, Anna was a widow and prophetess who spent practically all of her time in the temple, praying, and fasting and worshipping God. She too knew that the Messiah was near, and when she laid eyes on Him, her heart knew him at once. Again looking at each other with shared wonder, Mary and Joseph were touched with a humble awe as Anna thanked God for his unspeakable gift, in the form of the infant she now held.

Actions during the next part of the narration: Anna returns the baby, and stands beside Simeon as they watch them go into the temple. They discuss it between themselves, then part. Anna moves from person to person telling them what she has seen.

With an understandable reluctance, Anna returned the baby to Mary, but stood with Simeon as the holy family went into the temple for the Presentation of the Firstborn ceremony and offering. All of their hopes went with them, as thanksgiving reigned in their hearts over the miracle of having seen the Messiah, who would redeem the world. Anna, still praising God, at once began spreading the word about what she had seen to others in the temple that she knew were also awaiting the redemption of Israel. Isn't that what happens to each one of us, as we discover the savior for ourselves and place our faith in Him? Our hearts are filled with thankfulness, and we want to spread the word.

Actions during the next part of the narration: The various cast members who played parts in the Christmas sequences, still in costume, begin to come back onstage, slowly and reverently. As each one does, they gather in staggered lines with spaces between each person so that all are visible from the front to the back. When the narrator leads in prayer, they all bow they heads. Brianna McIntyre comes into view from the side of the stage, watching, and also bows her head during the prayer.She eases away before the narration concludes.

Narrator: Jesus revealed God to us through himself, and when we accept his sacrifice through faith, we become a part of God's family. If you have celebrated his birth through the various kinds of Christmas celebrations and traditions, but have never invited Him in, you will never know the true joy of the season, or benefit by his revelation of kinship. But if you are still alive, there is hope. Believe the testimony of all those that knew him as Messiah, back then and now. Believe what the Bible says about him, and what he says about himself. You can trust all these testimonies, and accept him as your savior right now. In the privacy of your own thoughts, call out to him. He will hear you! Express to him, in your own words, that you want to know him. "Dear Jesus, I believe that you are the Son of God, and are God come in the flesh to be a man. I believe you died as a sacrifice for my sins against God, and will accept me into your family. Please save me now, and come into my heart forever. I trust in you to save me, and one day accept me into your heavenly home as a member of your family. I thank you for this now, and will tell others about my decision, to bring you glory and invite them to do the same."

If you have truly done this, you can accept by faith that he has saved you and come in just as he promised he would. And one day you will see him for yourself, in all his glory... whether he calls you home to heaven, or comes for all of us at his return in the clouds. In the meantime, you can truly know the joy of Christmas... all year round.

END PLAY SCENE FOUR.

Begin Act 5.

Actions during the next part of the narration: As the Christmas play ends, the cast members are all up on stage. (NOTE: Have any and all available play cast not in the lineup begin to applaud live, encouraging the audience to do the same.) They grasp hands and bow, all smiles, as they enjoy the applause. Old Johnny is beside Charlotte and clasps her hand as they all do this. But she does not flinch from it, and seems at peace as they take their bows. When the claps die down, and they all release hands, Charlotte steps forward, still holding his hand and bringing him with her. He looks puzzled by this but steps out also. Owen and Nate look at each other with equally puzzled expressions.

Narrator: (Back to Nate's narration.) And so, in the face of all the difficulties, the play had been presented, and the lives of both the actors and the audience had been affected by the story of the coming of the Lamb of God into the world. As the only ones in on what kind of turmoil Charlotte had been going through, Owen and I exchanged wondering looks as she stepped forward, holding Old Johnny by the hand. Thanking the audience at the shelter for their kind applause, she said that she felt strongly that there was something that needed to be said. "This person beside me," she began, "deserves to have his story told... if he doesn't mind."

Actions during the next part of the narration: Old Johnny shakes his head, to indicate that he doesn't mind. She puts her hand on his shoulder as she speaks. Then when she prepares to introduce someone, he looks around as if he is expecting to see his daughter brought in. When she reveals who she is, he turns to her in shock.

Narrator: "We've all seen some hard times lately," she began. "And many of you here, who have come for a helping hand and caring heart, know what it's like to have hit the bottom, when the only place to look is up... to the Lord. Old Johnny here, as we have come to know him, is a man who has been there... and to the deepest depths of misery, self-condemnation and despair that many of us will hopefully never know. Yet, through it all, he held a dream in his heart... to know his long-lost daughter... and to know her for the person she has become in the years during his absence. He has asked my help in reaching her with the message. I know first hand how such a desertion of a parent can cause feelings of resentment, abandonment and even guilt. I myself have struggled with these emotions for years, so I am in a unique position to say, with confidence, that Johnny's daughter does forgive him. And that his dream of being reunited with her is also going to come true. Because, ladies and gentlemen, I am proud, and happy, to introduce to you... Jonathan Ayers... my father!!"

To say that Old Johnny was shocked was an understatement. For a moment he could only stare at her, as the truth and recognition settled in. He seemed frozen to the spot, but as Charlotte embraced him, all the years of blame, doubt and pain were washed away in a torrent of happy tears. The crowd, onstage and in the audience, erupted in cheers and applause!

Actions during the next part of the narration: The cast on stage all gather around the two, rejoicing with them and each other. They clap to show their happiness at the scene. Here and there among them, they were hugs as the emotion made them appreciate those whose kinship and friendship they valued. This continues as the narrator tells the story. When Johnny says his line about dying happy, Nate moves up behind him and places a hand on his shoulder in a bit of what will be retrospectively seen as foreshadowing.

Narrator: As I watched the reconciled father and daugher holding onto one another and sobbing, I was reminded of the scene that Joseph and his brothers made when he revealed himself to them. The revelation of kinship and reconciliation was the very heart and core of the gospel. As he wiped the tears from his eyes, Old Johnny announced to anyone listening that he could now die happy.

Actions during the next part of the narration: As the father and daugher are talking to each other, onto the stage comes the diva, Brianna. She is accompanied by Lenny, and she is contritely approaching Charlotte. The Director sees her and a look crosses her face of preparing for another conflict, but the star, instead of addressing her, turns to the audience, which has now quieted down. All eyes are on her as she speaks.

Narrator: As the cast started to disperse in the glow of the miracle they had just witnessed, an unexpected presence made itself known. The banished diva, Brianna McIntryre, had come onto the stage with uncertain steps, shadowed by Lenny. But as Charlotte prepared herself for a public confrontation, everyone was surprised when the star instead turned to address the crowd. Instead of a grandstanding action, her attitude seemed different somehow. "I know," she said in a voice quiet with a new humility, "that I've been a real pain to everyone here. I wanted to make a public apology for the way I acted, but something has happened I want you all to know about." She looked at her bodyguard, who grinned at her with a shared knowledge of what she was talking about. Continuing, she said "I was watching the play from in the back, just to see how badly it would turn out without me. But I saw that it was even better without me. Then I began to listen to what was being said, and I finally realised what Christmas was really about. I followed along in the prayer, and with Lenny's help, I gave my life to the Lord tonight."

Actions during the next part of the narration: She looks toward Charlotte with hope in her eyes, which is met with joy and acceptance. She holds out her hand to the girl, who moves to her to take it. On the other side, Old Johnny holds Charlotte's other hand. Beside Johnny is Nate, and beside him stands Owen. Standing beside Brianna, Lenny puts a comforting hand on her shoulder. Brianna takes out a checkbook and writes in it.

Narrator: "I want to make a difference, and I'm starting here and now. I want this to go first toward the Christmas dinner you need for everyone here."

Actions during the next part of the narration: And so saying, she tears out the check, handing it to Charlotte. The Director's face shows disbelief as the amount registers.Brianna holds a finger to her lips, to show she need not share the amount.

Narrator: Charlotte held the check that Brianna had given her, but her mind had trouble believing what she was seeing. Looking over her shoulder, I could see that it would not only take care of a wonderful holiday dinner for everyone, but much more. It's safe to say that every need they had at the shelter would now be met, with money to spare. Putting her free arm around the girl's neck, she hugged her and whispered her thanks, both to the girl and to the Lord. Promising to do a charity benefit show to raise public awareness and support for their cause, it seemed that the former diva had truly had a change of heart. But it was her next reaction that convinced me... as Sophie Conners, followed by her father, once again came forward hopefully.

Actions during the music that is playing: Brianna, spying the girl, smiles and kneels to be on the girl's level. She holds out her arms invitingly, which Sophie runs into, the music hits it's first high point, squeezing her tightly as both close their eyes. Brianna whispers something into her ear and pulls back to look at her. Kissing her on the cheek, Sophie then wipes a tear from the star's face. Leaning back to whisper to her father, who is kneeling behind her, she tells him something. As the father relates it, the little girl takes a small Bible from her pocket and hands it to the movie star. She takes it with a thankful nod to Sophie, who receives it gratefully.

Narrator: Speaking for the little girl, her father related to Miss McIntyre the response to her question. "She says to tell you that she has already forgiven you, and was praying you would find the Lord for Christmas. She's happy for you and wants you to have her little New Testament."

Actions during the music that is playing: Standing, Brianna holds up the pocket New Testament for Lenny to see. With a grin, he takes a similar one from a pocket and shows it to her in return. Little Sophie takes each of them by the hand, standing between them, to which her father reacts with surprise. This is the first time she has shown trust in anyone other than him, and as he smiles in wonder, Nate and Charlotte put a hand on his shoulder in shared happiness. They follow his daughter offstage as everyone else watches them go, and then the rest of the cast leaves in various directions as the music comes to a conclusion.

Begin Epilog:

Actions during the next part of the narration: The stage remains empty for a few moments as we hear the narrator speaking. Then Nate comes out onto the stage, along with Johnny, as he finishes the paragraph.

Narrator: I stated earlier that the real drama was behind the scenes. Just like there is much activity behind the curtain of a natural drama, there is much happening behind the scenes spiritually. I've pulled back the curtain, as it were, to let you in on the wonderful scenes played out here at the shelter's Christmas program. The play went wonderfully, lives and relationships were healed and restored, and the Christmas Eve dinner was enjoyed by all at the shelter. Presents were handed out Christmas morning to all the children, thanks to the generous gift that was bestowed. And now, several days later, the stage is quiet... except for myself and Old Johnny, who seemed a bit puzzled to be here.

"There's something I wanted to show you." I explained. I took him by the elbow and led him over to the side of the stage as another figure made it's way from the wings. Together we watched as Charlotte slowly walked around, gazing upon the scene affectionately. Then, kneeling and looking up to Heaven, she began to pray. She thanked her Heavenly Father for His revelation of kinship to her, and for what He helped them to accomplish there. She thanked him for the wonderful dinner, the presents that brightened the lives of the guests, and for the publicity they got, which promised to bring in enough for them to move to a new, larger facility. But mostly, she wanted to thank Him for the chance to get to know her real father, however briefly... before his death. She thanked the Lord for his quiet passing in his sleep, with a smile on his face. Her last prayer was to give him a great welcome into Heaven, until she was re-united with him again.

As she got up to leave, passing right by us, realization dawned in his eyes as I nodded in confirmation. "So I was right," he exclaimed with a snap of his fingers. "I really did feel an angel at my shoulder... and it was you!" I nodded again as I told him more. "Now, I have one task left... to take you to your new home."

His face broke into a smile as he wondered if I was going to fly him to Heaven now. "No need," I replied. "Heaven is closer to us than most think... just beyond what people see with their natural eyes, for there is no distance in the world of the spirit. It's like simply drawing a curtain aside that you couldn't see behind before.

Actions during the next part of the narration: The angel turns Johnny toward the front of the stage and lifts his hand to present him the view opening up to him, with a motion of pushing aside an invisible curtain. Johnny's eye grow wide as he sees the glories of the gates of heaven before him. He is practically bouncing with joy as he spots his relatives. With a look back, at the angel's urging he starts forward, then his eyes light up as he looks up higher... and sees the Lord. His expression shows the inexpressible happiness and awe that such a sight would inspire.

Narrator: I never tire of seeing the reaction of God's children when they first glimpse the Gates of Heaven. Old Johnny, no longer looking so old, was rapt with amazement as he saw the gates swing open to reveal the hills beyond, with a crowd gathering to welcome him in. "Look!" he exclaimed with excitement and joy. "I can see Mama and Papa coming! There's my grandma and grandpa, too! And looka there, it's even old Shep! Bless his heart!" He looked back at me, and I motioned for him to go on. "You don't need me any more," I told him. "You're home now, and I have other work awaiting down here. I'll see you there later." But right then I don't think he was listening any more, because he suddenly caught sight of the most wonderful person in Heaven.

(NOTE: If you wish to have an actor play the role of the Lord Jesus, then you can have him enter slowly from the back and walk partway down the aisle toward the front to greet Owen with open arms. Owen then sees him and walks into his arms, recieves an embrace, and then walks with him out the back door. If you have a good actor to play this part, it can be even more effective than leaving it to the imagination, as it was written.)

Actions during the next part of the narration: The angel kneels with bowed head, to honor the Lord's presence. The man goes, amazed at what he is seeing and with arms lifted, all the way down the center aisle and through the gates, and out the back of the church.

Narrator: Words failed him as he realised that the Lord Jesus Christ himself had come to welcome him in, and Johnny was getting caught up forever in that gaze of love.

Actions during the next part of the narration: Raising his head to watch him go, the angel then stands as he sees them walking together into the gates. His face is beaming as he basks in the happiness of the moment.

Narrator: As I watched Johnny join His Lord, and walk through the gates to be reunited with all those waiting, I shared in the joy of being a part of the Lord's plan and work. Nobody was happier about how things turned out than me.

Actions during the next part of the narration: Just then the Janitor comes in, with a final cleanup. He is happy and humming, dancing with the broom. He is so infectiously joyful that the unseen angel joins him, matching his steps and each move in time to the tune, looking like partners in an old-fashioned square dance. Owen doesn't seem to see him during this...

Narrator: But Owen, the shelter's handyman, would run a close second in the happy race. Seeing him do his broom dance made me want to join in, even though he couldn't see me any more.

Actions during the next part of the narration: As the angel concludes his dance steps and starts to walk off, we see that Owen is indeed now looking at him with a sly smile, Owen calls back to Nate, who freezes in surprise and pivots around to look at him. The janitor, leaning on his broom, lifts a finger close to his face and aims it at the angel in an "I see you!" gesture. He winks at him, and with a touch of his finger to his forehead, tells him thanks. He grins at the angel's surprise, then both he and Nate laugh heartily as they leave; Owen going offstage to the side, and the angel heading down the center of the aisle through the audience.

Narrator: As I bowed out of the jig, and started to leave, Owen did something that caught me totally unprepared. Leaning on his broom, he called out "Hope to see you again!" With a wink he said, "Thanks for the help, Mr. Angel." It seems that Owen lived so close to the Lord that he was more sensitive to the unseen world around him than most. Sometimes even we servants of the Lord are surprised by what he does. The Lord is always up to something, whether we know it or not.

Actions during the next part of the narration: The last lines of the narration are heard as the angel is walking down the aisle, and out of sight. The final words are heard as the stage goes dark.

Narrator: That's how it all happened... in front of the curtain and behind. And as you enjoy this Christmas season, and beyond, keep in mind that for the best of us, and the worst of us, there are unseen eyes watching and waiting to give all the chance at making something good out of our lives... and that on the stage of your life, there is always found waiting... redemption in the wings.

Note: There is a song reprise after the Epilog for your cast to come out and take their bows, if you prefer to let it play. I suggest having each cast member on one at a time, and have someone on a mic introduce them and identify which part they played. "The part of Charlotte Vickers was played by...(name)." Then they move to the side and another one comes on, until all are introduced and on stage. They then take a bow.

THE END

This script is copyright 2009 Fred Passmore and Sheep Laughs Records.

(Inform me of your intention to use this script, or tell me what you thought of it, by going to the Contact Fred page of this site.)

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