THE DRAMATIC VERSION OF
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 OF CALIFORNIA 
 
 LOS ANGELES
 
 THE BIRDS' CHRISTMAS CAROL 
 A PLAY
 
 Cijrtetnra* 
 
 Dramatic 
 
 liate Bouglas Wi 
 
 Jn collaboration toitb 
 
 33o6ton atiti 1*3 ftu 
 II?ottgI)ton ^ifflin Company
 
 COPYRIGHT, 1914, BT KATE DOUGLAS RIGGS 
 AS AUTHOR AND PROPRIETOR 
 
 ALL RIGHTS RESERVED 
 
 Published October 1914 
 
 PLEASE NOTICE 
 
 The professional stage rights in this play are strictly reserved 
 By the author, to whose agent applications for its use should be 
 addressed. Amateurs may obtain permission to produce it pri- 
 vately on payment of a fee for each performance, always in 
 advance. Correspondence on this subject should be addressed, 
 and all such payments made to Miss Alice Kauser, 152 West 
 42d Street, New York City. 
 
 Attention is called to the penalties provided by law for any 
 infringements of the author's rights, as follows : 
 
 " Sec, 4066: Any person publicly performing or represent- 
 ing any dramatic or musical composition for which copyright 
 has been obtained, without the consent of the proprietor of said 
 dramatic or musical composition, or his heirs and assigns, shall 
 be liable for damages therefor, such damages in all cases to be 
 assessed at such sum, not less than one hundred dollars for the 
 first and fifty dollars for every subsequent performance, as to 
 the court shall appear to be just. If the unlawful performance 
 and representation be wilful and for profit, such person or per. 
 sons shall be guilty of a misdemeanor, and upon conviction be 
 imprisoned for a period not exceeding one year." 
 
 U. S. Revised Statues, Title 60, Chap. 3. 
 
 Vfe fctotrtfltt rn 
 
 CAMBRIDGE MASSACHUSETTS 
 PUNTED IN THB U. S. A.
 
 THE AUTHOR'S INTRODUCTION 
 
 THE BIRDS' CHRISTMAS CAROL is commonly 
 alluded to as my first literary effort, but the story is 
 somewhat ill-described in that phrase, for it was 
 written quite without effort and with no thought 
 that it might ever be classed as a literary product. 
 The sole idea that brought it into being was that it 
 might be printed in a humble paper-covered volume 
 and sold for the benefit of the Silver Street Kinder- 
 garten in San Francisco, the first free kindergarten 
 west of the Rocky Mountains, founded in 1878. 
 
 A few years later the pamphlet found its way to 
 the offices of Houghton Mifflin Company in Bos- 
 ton, wliere the senior member of the firm took it under 
 his personal protection, the date of its issue marking 
 the beginning of a loyal friendship between author 
 and publishers that has continued unbroken up to 
 the present day. 
 
 It was not many months before selections from the 
 book began to appear on the programmes of public 
 readers, and in due course it was given in one form 
 or another by hundreds of academies and seminaries, 
 grammar, high, normal, and Sunday schools, as well 
 as by institutions for blind and deaf-mute children. 
 Sometimes it appeared in tableaux, sometimes in 
 pantomime, with and without explanatory readings; 
 but more often it was "acted" under the direction 
 of some one who arranged the various conversations
 
 vi THE AUTHOR'S INTRODUCTION 
 
 of the book with due regard to continuity, the 
 loosely connected scenes serving as a modest and 
 rudimentary form of " play." 
 
 All this seems somewhat mysterious in view of the 
 fact that the original story contained no drama, in 
 the ordinary sense of the word. It may have been the 
 "Ruggleses in the rear" who tempted the projectors 
 of these amateur entertainments; for perhaps I may 
 have infused a certain amount of vigor and vitality 
 into this family, since its presentation on the boards 
 has always been greeted with laughter and applause, 
 even when the more delicate scenes with Carol, her 
 mother and father and Uncle Jack, may have proved 
 a little dull. 
 
 At all events, the Ruggleses have made their ap- 
 pearance on the amateur stage quite regularly for 
 more than thirty years. Mrs. Ruggles has even had 
 the honor of being impersonated by a distinguished 
 professor of history in Harvard University, who, at 
 an impromptu gathering in Cambridge, drew to his 
 support several brother scholars who convulsed the 
 audience by their antics as the little Ruggleses. j 
 
 Many amateur dramatizations of the book have 
 been sent me for criticism, but though they doubtless 
 served their purpose more or less agreeably, all of 
 them left much to be desired, in that, with com- 
 mendable courtesy, their authors refrained from 
 adding to the text, and this, for dramatic purposes, 
 was necessary. 
 
 A book that begins with the birth of a child and 
 ends with its death, presents, it must be admitted,
 
 THE AUTHOR'S INTRODUCTION vii 
 
 some difficulty to the budding dramatist; and many 
 of the little "Carol plays" were so pathological and 
 so painful that the youthful part of any audience 
 would have been in tears whenever the Ruggleses 
 removed themselves from the stage. 
 
 In the present arrangement the birth of Carol is 
 depicted in a sort of fairy prologue, in which the 
 welcome gift of the Christmas baby to the Bird 
 household is shown in a series of pictures. 
 
 As to the death of the Christmas child twelve 
 years later, it is touched upon very lightly in the 
 original story and retired still farther into the back- 
 ground in this dramatic version. An imaginary 
 "Doctor Bob" has been introduced, one of a long 
 line of physicians who have tried to deliver the child 
 from the burden of her weakness and her crutch; and 
 the last scene of the play suggests to the audience 
 none but healing thoughts. The Angel of the Pro- 
 logue comes softly to Carol in her happy sleep, lifts 
 the crutch and vanishes with a smile. The curtain 
 goes down on a peaceful picture, the merry chatter 
 of the Ruggles children on their homeward way, 
 mingling with the Christmas music that drifts into 
 the big house from the church next door. 
 
 While the slenderness of the story will not admit 
 of much addition in the way of plot and counter- 
 plot, suspense and conflict, my collaborator and I 
 determined to bring Mrs. Ruggles into the Christ- 
 mas party, thus linking both families more closely 
 together, as well as providing the best acting part 
 with new situations.
 
 viii THE AUTHOR'S INTRODUCTION 
 
 To prevent a certain monotony of goodness in the 
 Bird family we have endowed Mr. Bird (without 
 asking his consent) with decidedly aristocratic ten- 
 dencies, and a certain "fussiness" with regard to the 
 invasion of his domestic peace by the boisterous and 
 lowly -born Ruggleses, reduced in number from nine 
 to seven, in order to simplify the problems of the 
 stage manager. 
 
 We have created a small element of suspense as to 
 the final fate of the Ruggleses' dwelling in the rear, 
 making the audience fear that this bugbear may 
 shortly be removed, in order to gratify the eye of 
 Carol's fastidious father. We have also suggested 
 a possible "heart interest" between Uncle Jack and 
 Elfrida, Carol's devoted companion. 
 
 Out of these changes fresh material has grown, 
 and I hope that the loyal readers of the old book will 
 find nothing to surprise or offend them in the new one, 
 but will feel rather that they have gained a little 
 further knowledge about a group of people whom 
 they met and liked, years and years ago. 
 
 SUGGESTIONS TO THE AMATEUR PLAYER 
 
 If the stage manager or director reads the entire 
 text of the volume, thus getting its spirit and in- 
 tention, he can then easily modify the play in ac- 
 cordance with his particular circumstances and limi- 
 tations. Sunday-school room, vestry, town hall, 
 auditorium of a public school, each of these presents 
 its own difficulties, while the money to be spent on the
 
 THE AUTHOR'S INTRODUCTION ix 
 
 production, and the talent of the performers, will 
 differ in every case. Obstacles which look very 
 formidable at first prove to be, after all, not insur- 
 mountable; for there exists, in every town, a genius 
 for the inventing of costumes, lighting effects, 
 theatrical properties and scenery, who needs only 
 to be discovered and encouraged. The background 
 of each act should be made, if not perfect, at all 
 events, as convincing as possible, and above all, there 
 should be a happy, serene, spontaneous atmosphere 
 about the entire entertainment, so that the true 
 spirit of Christmas will gradually be revealed. 
 
 The Prologue, which, as it stands, needs the me- 
 chanical and electrical devices which only the theater 
 can supply, may be omitted altogether, and the cur- 
 tain may rise on the first act without any prelimina- 
 ries; but there are two ways of using the Prologue, 
 both of them possible to amateurs. 
 
 First : Tableaux and Pantomime. The Bird house 
 and the church can be imagined, "off stage," and 
 their existence indicated by the gestures of the angels. 
 Illustrate as much of the text as you find possible, 
 making it a series of pictures conveying the idea, 
 and accompany it with the most appropriate Christ- 
 mas music that you can devise. 
 
 Second: Make a " story " of the Prologue and let the 
 right person tell it to the audience, converting it, by 
 slight changes of phraseology, into a series of word 
 pictures ending with these lines : " The Home-Finder 
 gently closes the door of the Bird house; the hallway 
 is quite dark, but the vnndows upstairs grow very
 
 x THE AUTHOR'S INTRODUCTION 
 
 bright and the angels are seen passing them carrying 
 the child. The Christmas baby has found a home ! " 
 At the last words of the story the concealed choir 
 (it may be two or a dozen voices) sings; "Carol, 
 brothers, Carol"; the identity of the newly arrived 
 snow-bird is established and the audience is ready 
 for the play. 
 
 When the Prologue is omitted altogether, you 
 may preface the performance by having some one 
 recite the following verses: 
 
 A bird flutter'd downward from Paradise 
 
 And sought for an earthly nest; 
 For the blessed shield of a mother's wing 
 
 And the warmth of a mother's breast. 
 
 An angel who noted the birdling's flight, 
 
 A welcoming household sought, 
 And to just one home out of all the world 
 
 The heavenly nestling brought. 
 
 Oh, a soft, sweet, tender birdling she. 
 
 With a love-light in her eyes; 
 But a broken wing was the price she paid 
 
 For leaving her Paradise. 
 
 Yet, spite of trials, the birdling grew, 
 
 And she caroled amid her pain 
 Till the gray of the household turned to rose 
 
 Like a rainbow after the rain. 
 
 As for the furnishings and fittings of the stage, do 
 the best you can, always remembering that if the 
 actors are in the right spirit they will be just so many 
 instruments of suggestion, establishing that wonder- 
 ful and mysterious collaboration between players
 
 THE AUTHOR'S INTRODUCTION xi 
 
 and audience that is always in force when things 
 are at their best. Carol herself is much more impor- 
 tant than her "fairy-story bedroom," and a very 
 inadequate Ruggles kitchen will be quite forgotten 
 when the right Mrs. Ruggles appears on the scene. 
 
 Mrs. Ruggles's nationality has been much dis- 
 cussed and she has often been played with an Irish 
 brogue. Names of characters meant little to one who 
 was impulsively writing her first story and I cannot 
 remember why the big household in the little house 
 was dignified with the name of Ruggles. Represen- 
 tatives of the family proved to me quite conclusively 
 that it was a mistaken choice; but when, in a youthful 
 enthusiasm of well-doing, I endeavored to substitute 
 another and less aristocratic surname, the creatures 
 of my imagination had somehow established them- 
 selves in the public favor; so that "Ruggleses in the 
 Rear" they remained from that time forth. Some of 
 the children have Irish Christian names, it is true, 
 but not all of them; and that Mrs. Ruggles was born 
 a McGrill may point to an ancestry not altogether 
 American; but I should "play" or "read" the good 
 lady exactly as she is written, with no hint of brogue, 
 but with the dialect I gave her when she was born. 
 
 Make Uncle Jack as magnetic, jolly, and genial 
 as possible, and do not over-accentuate Mr. Bird's 
 peculiarities; remembering that if he had been left in 
 the book, where he began life, he might have been 
 as colorless and praiseworthy as he liked and no one 
 would have criticized him! 
 
 Mrs. Bird and Elfrida must be as pretty and
 
 xii THE AUTHOR'S INTRODUCTION 
 
 charming as may be, since their lines offer few dra- 
 matic opportunities. As for the Ruggleses, when 
 once they are clothed and set upon the stage they 
 can generally be relied upon to supply their own 
 motive power. 
 
 KATE DOUGLAS WIGGIN.
 
 SCENES 
 
 PROLOGUE. A Little Snow-Bird 
 
 The outside of the Bird house, the low roof of the Bug- 
 gies dwelling behind, and the church beside it, on a 
 snowy Christmas morning. 
 
 ACT I. The Birds' Nest 
 
 Carol Bird's Fairy-Story room, on a December afternoon 
 twelve years later. 
 
 ACT II. Some Other Birds are taught to fly 
 Christmas Day in the Buggies Kitchen. 
 
 ACT HE. The Angel of the Crutches 
 
 Christmas evening in the Fairy-Story room. 
 
 "Sweet Bird, thy bower is ever green, 
 
 Thy sky is ever clear; 
 Thou hast no sorrow in thy song, 
 No winter in thy year."
 
 CHARACTERS 
 
 ANGELS OP THE PROLOGUE (three or five) 
 
 THE BIBD FAMILY 
 
 Carol Bird, the "Snow-Bird" grown-up. 
 
 Mrs. Bird, her mother. 
 
 Mr. Donald Bird, her father, in the nest, but not quite 
 
 of it. 
 
 Uncle Jack, a Bird of Passage. 
 
 Elfrida Clifford, Carol's nurse, a Bird of another feather. 
 The Butler. 
 
 THEIR NEIGHBORS THE RUGGLESES IN THE REAR 
 Mrs. Ruggles, who was a McGrill. 
 Sarah Maud, 
 Peter, 
 Peoria, 
 
 The Seven Little Ruggleses. 
 
 Cornelius, 
 
 and 
 Larry.
 
 PEOPLE 
 
 CAROL BIRD, twelve years old, distinctly blonde type (as 
 better expressing the necessary spirituality), pretty, 
 quaint, generous little creature, who makes light of her 
 slight physical infirmity. She radiates good will, but 
 her influence is quite unconscious. She seems a normal, 
 laughter-loving child, and must be acted as lightly and 
 gracefully as possible, with no emphasis upon the pa- 
 thetic. Though fragile, she does not look unhealthy or 
 feeble. She uses her crutch so nimbly that there is no 
 sense of weariness or effort. That the child's heart is a 
 little tired by its brief journey in the world, does not, 
 and should not be obvious to the audience. Carol is 
 one of those children who come to earth "trailing 
 clouds of glory," and who depart, like heavenly vis- 
 itants, leaving the world, not sadder, but brighter. 
 
 MR. BIRD, Carol's father, a successful banker who knows 
 and appreciates worldly values; is handsome and fas- 
 tidious, has strong class prejudices; is ultra correct 
 in dress and speech, and impatient of annoyances. 
 
 MRS. BIRD, chiefly Carol's mother; after that, Mr. Bird's 
 wife. 
 
 JACK BIRD, Carol's uncle, a "Bird of Passage" who enjoys 
 life, ignores conventions, and does as he pleases, but 
 is pleased most if others are pleased also. 
 
 ELFRIDA CLIFFORD, Carol's nurse and companion, a hand- 
 some young woman of about twenty-five, self-pos- 
 sessed, quiet in manner, simple, strong, and womanly. 
 
 The Ruggleses in the Rear 
 MRS. RUGGLES, mother of the Ruggleses in the Rear: a
 
 xviii PEOPLE 
 
 rushed, pushed, energetic, occasionally irascible 
 mother of seven children. She has considerable family 
 pride and considerable ambition for her offspring; is 
 voluble and good-hearted. 
 
 SARAH MAUD, the oldest of the brood: a patient, timid 
 drudge. Aged fourteen years. 
 
 PETER, a lank youth of thirteen. 
 
 PEORIA, has red hair and freckles. Aged eleven. 
 
 KITTY, considered the family beauty: she has much "man- 
 ner." Aged ten. 
 
 CLEMENT, the alert member of the family; rather mischiev- 
 ous; quick in thought and action. Aged nine years. 
 
 CORNELIUS, a leaden child of eight, who smiles much and 
 says little. 
 
 LARRY, a rolypoly, whose years should be as few as pos- 
 sible, say six. He tumbles about, dogging Sarah 
 Maud's steps, giving only occasional indication of 
 separate existence. 
 
 ANGELS, at least four or five lithe young girls who 
 dance. There is a possibility of doubling the parts 
 and using the three Ruggles girls, if the beauty and 
 personality requisite for the angels can be successfully 
 hidden by the comedy make-up of the Rugglesea.
 
 THE BIRDS' CHRISTMAS CARO&
 
 THE BIRDS' 
 CHRISTMAS CAROL 
 
 PROLOGUE 
 
 THE CHRISTMAS BABY FINDS A HOME 
 (IN PANTOMIME) 
 
 The curtain lifts, showing a Christmas Eve snow- 
 storm: a soft, gentle fall of large flakes. The stage grows 
 slowly lighter, and to right center is seen a substantial 
 dwelling-house, the stones of which are meshed by the 
 wood of leafless vines in whose crooks are caught soft 
 mounds of the snow. To the left of the house, extending 
 across the stage, is a snow-covered hedge; to the left t 
 back, is a low, stone church. The lights from its small- 
 paned windows fall across the hedge. The church is so 
 placed that these side windows are clearly seen; but the 
 entrance and steeple are to the front, almost in a line 
 with the hedge, and to the left of the stage. Between the 
 church and the house is seen a low-lying roof of a poorer 
 dwelling. As these details are established, a window in 
 the church is opened. Music is heard faintly. The light 
 from the window gives vague outline to the Home Find- 
 ing Angel, a gray-cloaked, graceful little figure. As the 
 light grows quickly brighter, the figure becomes more dis~ 
 tinct, and, as the snow slowly ceases, moves lightly, 
 dancingly forward. She looks to the sky, then flits across
 
 4 THE BIRDS' CHRISTMAS CAROL 
 
 the stage, returns, again looks up, and this time sees a 
 brilliant star, which is sparkling in the heavens be- 
 tween the steeple of the church and the window of the 
 house. As she watches, the star disappears and a faint 
 light appears in the corner window of the second story of 
 the house: indeed, it is disclosed by the lifting of the 
 curtain and the window by a hand within. The Angel 
 tosses her head gleefully; the hood falls from her 
 golden hair, and the scene becomes thereby a bit lighter. 
 She lifts herself to her wings and flies up to the window 
 and peeps in. Apparently satisfied with what she has 
 seen, she perches there upon the broad ledge and beckons 
 with both hands to right and left. At least four (but they 
 need not be flying Angels') gray-cloaked, graceful little 
 creatures appear from right and left. Two of them carry 
 a bough twined with vines across their shoulders, and 
 from this is hung a queer sort of nest. They are very 
 tender and careful of it. The hoods of their cloaks are 
 tossed off and each head is radiant, while their gowns 
 are of shimmering, soft-colored veils. 
 
 The Angel on the window ledge, the Home-Finder, 
 points to the door of the house, and the others go quickly 
 toward it. They form a little group, bending over or 
 caressing the nest ; then two of them stand at the house 
 door, ready to open it. The Home-Finder flies down 
 from the ledge, kneels beside the nest, seeming to say 
 a tender good-bye to a baby which is seen through the 
 opening; then she rises quickly and motions to the two at 
 the door. They softly open it, and the other two lift the 
 nest a bit higher and enter. As they cross the thres- 
 hold, their cloaks fall from their shoulders, and the hall-
 
 THE BIRDS' CHRISTMAS CAROL 5 
 
 way becomes exceedingly bright. The Angels outside 
 put up their hoods, and the only light of the stage is 
 that in the hallway. 
 
 The Angels inside the house take the baby from the 
 nest, one holding it in her arms tenderly, another lead- 
 ing the way up the stairs. As they disappear, the light 
 within grows dimmer, until, as the Home-Finder gently 
 closes the door, the hallway is quite dark. 
 
 As the curtain begins to fall, the windows upstairs 
 (two at the front, and the one or two seen at the side) 
 grow very bright, and the two Angels and the baby are 
 seen passing them. 
 
 The Christmas music at the church, which has been 
 heard throughout the pantomime, continues while the 
 curtain is down, which interval must be as brief a*
 
 ACT I 
 
 THE BIRDS' NEST. 
 
 SCENE: Carol's Fairy-Story room, twelve years later. 
 Four o'clock on an afternoon during the week be- 
 fore Christmas. The watt, right, is broken by a door 
 to the front, leading into the haU. Across the corner, 
 right back, are wide double doors leading to Carol's 
 bedroom. Rear wall, center, is a large bay window with 
 deep recess. This has thin white draperies, and at each 
 side hang heavy rose-colored curtains, wide enough, 
 when drawn, to conceal the recess. In the left wall, 
 front, are windows through which the low sun shines 
 very brightly. About the walls, as wainscoting, are 
 low, white-painted bookcases, filled with brightly 
 colored books: above these, in narrow gilt framework, 
 runs a row of paintings illustrating fairy tales all in 
 blue, gold, silver, and a rose deeper than the curtains. 
 Above the pictures a pale pink wall. The carpet is rose 
 color. The furniture is a large easy-chair with cush* 
 ions, right center; to right of this a smatt library table, 
 with writing materials, Christmas stamps, etc.; a doll's 
 trunk, a couple of dolls; right of table, a desk chair; 
 left of Carol's chair, a small table on which are flowers 
 and a large basket of fruit. 
 
 When curtain lifts there is no one on stage. The 
 cushions in the large chair, left, are still dented as with 
 the imprint of Carol's body; her sewing is on a smatt 
 dotts' trunk in front of the chair. A large bright-colored
 
 ACT 1] THE BIRDS' CHRISTMAS CAROL 7 
 
 Oriental silk handkerchief hangs in the bay window, 
 arranged as for a signal. 
 
 Clem Ruggles appears at the window back, center; 
 taps softly; waits; slowly lifts the window and steps over 
 the ledge. He is a lively little chap and is grinning 
 somewhat impishly. As he stands half in and half out, 
 Elfrida enters door right, back, slowly closing door 
 softly after her. 
 
 CLEM. (Whistles softly, laughs at Elfrida's surprise.) 
 Where's Carol? 
 
 ELFRIDA. Why, Clem Ruggles! (Clem smiles at her, 
 then turns to close the window.) You'll break your 
 neck climbing around like this. (Comes down center.) 
 
 CLEM. That ain't no climb ! (Looks out of the win- 
 dow, points.) I just walk along our fence to the 
 coach-house roof, then I catch a holt o' that creepin* 
 ivy vine (shows how he climbs hand over hand), and 
 I'm right underneath Carol's piazzer. Any kid could 
 do that. WTiere is she ? 
 
 ELFRIDA. Where is your hat, Mr. Clement Rug- 
 gles? since you're calling on a lady? (Clem snatches 
 off his hat.) Carol is asleep. (Nods to door, right back, 
 straightens cushions in chair, left.) 
 
 CLEM. (Whispers.) Cracky, I hope I ain't waked 
 her! (Ambles down stage on his tiptoes.) She ain't 
 sick, is she? 
 
 ELFRIDA. No. But she 's been working very hard 
 (indicates table and work on chair) getting ready for 
 Christmas. 
 
 CLEM. (Walks around table, fingering things curi- 
 ously.) Nice, ain't it? (Goes to chair, right, occupied by
 
 8 THE BIRDS' CHRISTMAS CAROL [ACT 1 
 
 foils, eyes them, starts to sit down, then leans against 
 chair instead.} She's great on making presents, 
 ain't she? Funny, ain't none of us like that, and 
 we've had seven chances. 
 
 ELFRIDA. What do you mean? 
 
 CLEM. Well, they's seven of us, and seems as 
 though some of us might 'a' ben borned on Christ- 
 mas same 's Carol. ( Talks fast.) But Ma says we ain't 
 none o' us 'xactly what you might call Christmas- 
 like, though Kitty 's kind o' handsome. (Reaches 
 over suddenly and grabs up one of the dolls, teas- 
 ingly, by the foot and lets it dangle.) 
 
 ELFRIDA. Clem! 
 
 CLEM. (Grins, replaces dott.) It did n't even get red 
 in the face. 
 
 ELFRIDA. Did you want to see Carol about any- 
 thing special? 
 
 CLEM. She told me to come (points to handkerchief 
 in window) quick as ever I see that in the winder. 
 
 ELFRIDA. Oh ! do you know what for? 
 
 CLEM. Well I ain't sure, but 't was something 
 about Christmas (eagerly) something 'bout a let- 
 ter (begins fingering letters on table) maybe it's here. 
 
 ELFRIDA. (Takes up several letters just as he reaches 
 for them.) She's written a good many to-day but 
 I'm not sure they're ready to go. 
 
 CLEM. I '11 wait and see. (Shoves doll to one side in 
 chair.) Sit along there, you! (Squeezes into chair beside 
 doll, takes one up and dances it on his knee.) 
 
 ELFRIDA. (Hands him book.) Would you like to 
 look at this?
 
 ACT 1] THE BIRDS' CHRISTMAS CAROL 9 
 
 CLEM. Thank yer. (Springs up suddenly, doll and 
 book rattling to the floor.) Cracky, I forgot, I can't 
 wait. I'm busy, got a job running errands for the 
 drug-store man round the corner; he's promised me 
 fifty cents a week 
 
 ELFRIDA. (Having righted the dolls, picks up large 
 square letter, hesitates.} Perhaps Carol meant or, 
 no, you 'd better come over later. 
 
 CLEM. I can't. Maybe I can git Sarah Maud to, 
 but she's awful bashful about coming here to the 
 big house. She thinks 'cause we live in the back 
 alley we had n't ought to make free. Ma says she 
 ain't got no American spirit at all. Bet yer life / 
 have! I ain't scared o' nobody. (Comes up beside 
 Elfrida, smiles up at her, and his hand goes up slowly^ 
 petitioningly to the letter.) Say, can't you give it to 
 me now? 
 
 ELFRIDA. (Smiles down at him, lowers her hand a 
 little; his fingers almost clutch the letter. Mrs. Bird 
 enters right, front.) Here's Carol's mother we'll 
 ask her. You know Clem, Mrs. Bird? Clem 
 Ruggles? 
 
 MRS. BIRD. (Crosses to center, hand held out.) Of 
 course I know Clem. (Clem is uncertain which hand to 
 give, shifts from foot to foot.) How are you and the 
 other children and your mother? 
 
 CLEM (choking) . I dunno ! Same as they was, I guess. 
 
 ELFRIDA. He's come for a letter Carol told him to 
 get (with meaning) I thought it might be this one. 
 (Hands large square one to Mrs. Bird. Mrs. Bird looks 
 at address, then takes out card, reads.)
 
 10 THE BIRDS' CHRISTMAS CAROL [ACT 1 
 
 CLEM. She said 't was a invitation or something 
 I was to "deliver" for her. (Pause.) 
 
 MBS. BIRD. (Walks up stage, then back.) No 
 we're not sure yet, that this is to go. (Puts it down on 
 table, sees other one, picks it up.) 
 
 ELFBIDA. That's the letter to the organist at the 
 church asking him to play Carol's song on Christmas 
 evening. 
 
 MBS. Brno. This must be the one, then, she wants 
 you to take for her if you will, please? (Holds it out.) 
 
 CLEM (without seeing the letter). Y-e-s, but 
 
 MBS. BIBD. I think you'll find the organist in the 
 church practicing. 
 
 CLEM. She said something 'bout a party or 
 or 
 
 MBS. BIBD. A Christmas celebration (Clem 
 nods.) This is it she's asking the organist to help 
 her celebrate her birthday by having his choir sing 
 " Carol, Brothers, Carol." That is the song that made 
 me name her Carol; did n't she ever tell you about 
 that? But if you have n't time 
 
 CLEM. (Takes the letter.) 'Course I'll take it. 
 
 (Mrs. Bird hands him some money. He takes 
 it, looks at it, starts to hand it back, then 
 slowly puts it in his pockety turns to go out 
 window.) 
 
 ELFBIDA (at the door). This way, please, Clem. 
 (He hesitates, smiles broadly, and exits by the door.) 
 Funny little fellow but so good to his brothers 
 and sisters and the brightest one of the seven. 
 
 MBS. BIBD (looking at the large envelope). Do you
 
 ACT 1] THE BIRDS' CHRISTMAS CAROL 11 
 
 think Carol has set her heart on having them here for 
 Christmas dinner? 
 
 ELFRIDA (crossing to table) . She 's full of plans for it. 
 
 MRS. BIRD. I was afraid so. 
 
 ELFRIDA (hesitatingly). Don't you like the idea? 
 
 MRS. BIRD. Yes, I do but do you think she 
 is strong enough to have so many children here 
 
 ELFRIDA. I 'm sure it would do her a lot of good. I 
 wonder if we quite realize how much she enjoys 
 those children! She sits up here in her window by the 
 hour watching them at play down there (Mrs. Bird 
 walks up stage to the window) in their bit of yard, and 
 has just as much fun as though she were romping 
 with them. They're her proxies, as it were. (Pause.) 
 I must say I 'm growing fond of the Ruggleses too. 
 
 MRS. BIRD. I believe I am, myself. (Walks down 
 stage.) I suppose it is because they are so hearty and 
 full of life. They have nothing and Carol almost 
 everything, yet we cannot give her the one thing 
 lacking. 
 
 ELFRIDA. She has never been anything but con- 
 tented, but she has certainly been brighter and hap- 
 pier since this friendship with the Ruggles children 
 began. 
 
 MRS. Brno. Men are n't so democratic as women, 
 Elfrida, and Carol's father is n't wholly pleased at 
 her interest in them. If I ask him about the dinner, 
 I'm sure he'll say no, and Carol will be disappointed. 
 If I don't ask him and do let her have them here, his 
 Christmas will be spoiled! 
 
 ELFRIDA. Why not let Carol ask him herself ?
 
 12 THE BIRDS' CHRISTMAS CAROL [ACT! 
 
 MRS. Brno. You think he won't be able to say no 
 to her? 
 
 ELFRIDA. I think he'd realize, perhaps, how fond 
 she is of the Ruggleses. 
 
 MRS. BIRD. Yes maybe. (Puts invitation back on 
 table.) Oh, Elfrida, do you happen to remember 
 where we put that tall silver vase, the one Carol 
 calls Uncle Jack's ? I want to put the flowers in his 
 room before he arrives. 
 
 ELFRIDA. Has he come already? 
 
 MRS. BIRD. He has just telephoned from the dock. 
 
 ELFRIDA. Carol will be delighted. You were n't 
 expecting him until this evening, were you? 
 
 MRS. Brno. No, and don't tell her that he's 
 here, please. He wants to surprise her and he can't 
 come to the house at once, he Elfrida, did you 
 ever hear of a Dr. Voss? 
 
 ELFRIDA. Dr. Voss, yes, let me see why, you 
 don't mean Dr. Robert Voss, of Berlin! The chil- 
 dren's specialist? 
 
 MRS. BIRD (nodding). He's a miracle- worker! So 
 Jack says. 
 
 ELFRIDA. Are you thinking of taking Carol to 
 Germany? 
 
 MRS. BIRD. No, he's in this country. Jack has 
 brought him home with him. 
 
 ELFRIDA. How splendid! 
 
 MRS. Brno. I'm not sure that I think so. (Pause) 
 I don't want Carol to hope and be disappointed 
 again. I shan't force her to see him if she does n't 
 feel inclined.
 
 ACT 1] THE BIRDS* CHRISTMAS CAROL 13 
 
 ELFRIDA. Could n't you let him come without let- 
 ting Carol know why? 
 
 MRS. BIRD. No; she'd suspect at once; she has an 
 uncanny way of understanding us all better than we 
 do ourselves. I've told her uncle that he must ask 
 her and arrange the matter himself. 
 ELFRIDA. But if the doctor's come so far 
 MRS. BIRD. (Crosses to door.) I know, but I'm 
 thinking of the child. Where did you say the vase is? 
 ELFRIDA. Oh, it's in Mr. Bird's room, with the 
 flowers in it. Carol arranged them. 
 
 MRS. BIRD. And I thought she'd forgotten! I'll 
 take a look and see that all is right. 
 (Exit Mrs. Bird.) 
 (Elfrida is busy at the table.) 
 (Sound of a small xylophone is heard.) 
 (Elfrida listens, the scale is sounded again> 
 quickly.) 
 
 (Elfrida crosses to door, right, back, and leaves 
 it open as she hurries into the room beyond.) 
 CAROL. (Voice laughing and teasing.) If you 
 please, Mistress Elf-rida (Carol always breaks the 
 name when she is happy or mischievous), do say the 
 time's up! Need I make-believe sleep any longer? 
 ELFRIDA. Do you feel rested? 
 CAROL. Rested! how can I when I was n't tired? 
 Oh, Elfrida, please let me walk alone. You and 
 mother don't realize, I think, that I 'm growing up. 
 CAROL. (Appears in door, center, leaning on crutch, 
 Elfrida following.) Has anybody been here? (Walks 
 slowly to chair, left of table.)
 
 14 THE BIRDS' CHRISTMAS CAROL [ACT 1 
 
 ELFRIDA. Clem Ruggles. 
 
 CAROL. Oh, has he! My signal worked beauti- 
 fully, did n't it? Did you give him the invitation? 
 (Walks to the table, sees it, picks it up.} You did n't. 
 Oh, why not? Was n't he disappointed? 
 
 ELFRIDA (placing rug in chair}. I didn't know 
 whether the dinner was quite settled 
 
 CAROL (sitting in chair as Elfrida tucks her in). 
 Why, of course, it's settled. 
 
 ELFRIDA. Have you asked your father about it? 
 
 CAROL. Daddy? He won't mind. 
 
 ELFRIDA. The Ruggleses aren't exactly fa- 
 vorites with your father. 
 
 CAROL. Will you hand me Kitty's doll, please. 
 I've got an idea for her dress. (Elfrida hands her doll 
 and cloth, etc. Sewing.} I'm sure Daddy wants 
 everybody to be happy. 
 
 ELFRIDA. Wanting people to be happy is quite 
 different from inviting them to your house. The 
 Ruggleses are not exactly eligible dinner guests. 
 
 CAROL. What is "eligible"? They 're hungry ! 
 
 ELFRIDA. (Sits right of table, business of sewing for 
 doll.} Asking seven children to dinner is n't simple. 
 Who will keep them amused? 
 
 CAROL (counting on her fingers}. Mother (pulls 
 back thumb} and you (first finger} and Uncle Jack. 
 (Flips her right hand across all the fingers of her left 
 hand.} Why, Uncle Jack could keep a million chil- 
 dren amused. 
 
 ELFRIDA. Is there anything that Uncle Jack 
 can't do ?
 
 ACT 1] THE BIRDS' CHRISTMAS CAROL 15 
 
 CAROL. Nothing. He's just perfect, you'll think 
 so, too. Wait until you 've seen him. 
 
 ELFRIDA. I've never known a perfect man, but 
 
 CAROL. You will soon. (Takes letter from pocket 
 a thick one with foreign stamps.) I 've a great mind to 
 make you hear his letter over again. That would 
 only be three times! (Slips to edge of her chair.) He's 
 likely to come any minute now. (Laughs.) Oh, I'm 
 so happy (moves forward as though to stand) if I 
 could dance I'd Dance for me, Elfrida, please; 
 that 's a darling ! 
 
 ELFRIDA. Dance, dear? 
 
 CAROL. Yes. (Insistently.) 
 
 (Elfrida rises uncertainly, then gives a few 
 graceful steps, smiling at Carol, who grows more 
 and more impatient.) 
 
 CAROL. No, no, no ! Faster. Whirl and whirl and 
 whirl! (Jumps to her feet, starts to whirl, fails; 
 stands quietly, smiles at Elfrida.) My heart's danc- 
 ing, that'll be enough. (Walks thoughtfully back to 
 chair, left, and sits down, resuming her sewing. Elfrida 
 walks up stage to window. Carol leans over, opens 
 small trunk beside her chair, takes out doll clothes and 
 tries them on the doll.) Elfrida, what would you like 
 most for Christmas? 
 
 ELFRIDA. What would I like most, dear? (Walks 
 down stage and stands by Carol's chair, looks down at 
 her longingly.) I 'd like a miracle. 
 
 CAROL. A miracle (looks up at her) what's 
 that? 
 
 ELFRIDA (crossing to right). You can't find them at
 
 16 THE BIRDS' CHRISTMAS CAROL [ACT 1 
 
 any of the shops, dear, nowadays, they're out of date. 
 People don't believe in them, any more. 
 
 CAROL (puzzled). Oh! well, then, what else would 
 you like? 
 
 ELFRIDA. (Comes to Carol's chair; takes up a doll 
 and looks at it.) Besides the miracle? Well, one thing 
 more, perhaps, but I 'm afraid you could n't get it in 
 a stocking. 
 
 CAROL (eagerly). What is it? 
 
 ELFRIDA (reflectively; not looking at Carol, but 
 absent-mindedly voicing her thoughts). I am very well 
 contented, but if I really long for anything I believe 
 it's a home! 
 
 CAROL (in surprise). Why, Elfrida! You've lived 
 with us a whole year! The Bird's Nest is your home. 
 
 ELFRIDA. (Walks center; sits by table.) Yes, of 
 course; and a very lovely one it is, too, but there's 
 another kind. 
 
 CAROL. You mean (softly) where there's your very 
 own father and mother? 
 
 ELFRIDA. Yes, dear. 
 
 CAROL. Oh! and you have n't any! (After a trou- 
 bled pause.) But there's another kind, too, Elfrida. 
 
 ELFRIDA. Yes? 
 
 CAROL. You know, when Daddy and Mother 
 built this home, there was n't any father or mother 
 in it: and then, after a while, they just were the father 
 and mother. 
 
 ELFRIDA (amused). Very true. 
 
 CAROL (holding up doll and trying on hat). Shall 
 you ever be married, Elfrida?
 
 ACT 1] THE BIRDS' CHRISTMAS CAROL 17 
 
 ELFRIDA. - How should I know? I never think 
 about it. 
 
 CAROL (severely). If you don't think about it, per- 
 haps you won't be! 
 
 ELFRIDA. Perhaps the Fairy Prince will think of it 
 first, and put the idea into my head., 
 
 CAROL. There seem to be so few Princes, now-a- 
 days, that (stops; smiles) Does it make any dif- 
 ference who has the idea first the Prince or the 
 Princess? 
 
 ELFRIDA (laughingly). They say it makes a great 
 difference. 
 
 CAROL. I think that's silly. If two people are 
 going to be married, I don't see why one of them 
 has n't just as much to say about it as the other. 
 Could another person have the idea, first? 
 
 ELFRIDA. I dare say. (Pause.) But why are you 
 thinking about marriage to-day, Carol? 
 
 CAROL. Father wants Uncle Jack to be married. 
 We all hate to have him off in India, shooting. 
 Mother has found some lovely young ladies for him. 
 One was so pretty ! and one gave me my biggest doll. 
 (Elfrida laughs.) And one used to come and sing 
 to me. Uncle Jack did n't like her voice. He told 
 mother she'd never make a Bird! Mother could n't 
 help laughing; but she scolded Uncle Jack. You 
 see, he stays such a little while that nothing ever 
 happens. (Sighs.) I could n't help thinking how 
 nice you'd be, Elfrida! 
 
 ELFRIDA (sitting erect). My dear Carol! You 
 must n't plan these things for other people.
 
 18 THE BIRDS' CHRISTMAS CAROL [ACT 1 
 
 CAROL. Father says somebody will have to plan 
 for Uncle Jack because he '11 never stop to think about 
 it himself (sighs) : and if you're going to be the same 
 kind, nothing ever will happen! I would n't speak 
 about it, of course, if you don't want me to (more 
 brightly), but I might tell him to notice how pretty 
 you look in your new fur turban, might n't I? 
 
 ELFRIDA (turning to center). Certainly not. 
 
 CAROL. I don't see how that would make you 
 uncomfortable. Listen! (Elf rida turns toward door.) 
 Maybe that's Uncle Jack now! (Rises and crosses 
 stage, right. Door opens.) O Daddy ! I thought you 
 were Uncle Jack. 
 
 MR. BIRD. (Closes door, carefully; then goes to Carol 
 and takes her hand. They walk center stage. His speech 
 is laconic, and he has an air of aristocratic self-satis- 
 faction, but he is a typically affectionate father.) Dis- 
 appointed that I'm not ? 
 
 CAROL (swinging his hands) . Of course not : though 
 I did hope it was Uncle Jack, because we'd been 
 talking about him. (A teasing glance at Elfrida. Mr. 
 Bird scans Elfrida.) 
 
 ELFRIDA (embarrassed by Mr. Bird's look). Shall I 
 put the table away, Carol? 
 
 CAROL. Yes, please. (Elfrida pushes the table back, 
 center, and is busy sorting and putting away the letters, 
 papers, etc.) 
 
 MR. BIRD (with a short wave of the hand toward the 
 table). Christmas? 
 
 CAROL (laughing). Yes. Do sit down, Daddy. 
 (Pushes him into chair and climbs into his lap.) I
 
 ACT 1] THE BIRDS' CHRISTMAS CAROL 19 
 
 can't talk to you when your face is so far from mine. 
 (Snuggles her face to his; he pats her on shoulder, awk* 
 wardly.) You see (slowly), Daddy, Christmas is only 
 a week away, and 
 
 MB. BIRD (taking out his bill-case and smiling as he 
 opens it). How much do you need? 
 
 CAROL. It is n't money. 
 
 ELFRIDA (from the window). The children have 
 come home from school, Carol. 
 
 (Carol slips from her f other 1 s knee and goes 
 quickly to the window; opens it; waves both her 
 hands. There is a shout of "Hello, Carol" Mr. 
 Bird straightens and frowns.) 
 
 CAROL. Oh, Daddy, do come and see the funny 
 dears ! 
 
 MR. BIRD (grimly). Thank you, I'd rather not. 
 (Pause.) And I wish you would n't - i 
 
 (Carol turns from window, which is left open.) 
 
 CAROL. Would n't what, Father? 
 
 MR. Brno. Would n't encourage those noisy 
 
 CAROL. (Comes down stage; stands between father 
 and window.) They're never noisy (a loud, long howl. 
 Elfrida closes window quickly. Mr. Bird frowns) 
 or almost never. 
 
 MR. BIRD. Perhaps not (grimly)', but they're a 
 nuisance. 
 
 CAROL. (Comes slowly forward, puzzled by her 
 father's manner. She puts left hand on his shoulder 
 and perches on the arm of chair.) They always look up 
 here and ask before they begin to play: don't they, 
 Elfrida?
 
 to THE BIRDS' CHRISTMAS CAROL [ACT 1 
 
 ELFRIDA (from the window). Yes, Mr. Bird; they 
 are really very careful. If I shake my head "no," 
 that means Carol has a headache, and they play a 
 game Sarah Maud invented and calls the "Deaf and 
 Dumb School." 
 
 MR. BIRD (grudgingly). That is rather nice of them. 
 
 CAROL. You'd like them if you once knew them, 
 Daddy. That's one reason I want them to come to 
 dinner, Christmas, so 
 
 MR. Brno. (Rises.) To dinner, Christmas, those 
 alley neighbors? 
 
 (Elfrida exits.') 
 
 CAROL (coming down stage eagerly). Yes, won't it 
 be fun? You called them neighbors yourself, even 
 if they do live in the alley. 
 
 MR. BIRD. Not all those Ruggleses? 
 
 CAROL. Of course, all of them. (Picks up square 
 envelope.) I say particularly (reads): "Sarah Maud, 
 Peter, Peoria, Kitty, Clem, Cornelius, and Larry." 
 
 MR. BIRD. You have n't invited them yet? 
 
 CAROL. No-o 
 
 MR. BIRD. Then don't. 
 
 CAROL. Don't? Why, Daddy? 
 
 MR. Brno. Because because (crosses to left, 
 abruptly) because well, Christmas is your birth- 
 day and belongs to the family. 
 
 CAROL. (Slight pause, then, slowly.) Christmas is 
 Christ's birthday too; would n't that make it belong 
 to his family? 
 
 MR. BIRD (with resignation). I suppose so. 
 
 CAROL. (Crosses to her father, plays with buttons on
 
 ACT 1] THE BIRDS' CHRISTMAS CAROL 21 
 
 his coat.) His family is all the families every- 
 where, is n't it? 
 
 MR. BIRD. (Turns away uncomfortably.') In a way, 
 yes. (Quickly.) I don't mean, Carol, that you 're not to 
 send them something send them a dinner in a basket. 
 
 CAROL (coaxingly). A basket isn't Christmasy 
 
 I want them to have a real Christmas, this year, 
 Daddy. Their father is away, and name is right 
 here, close to me, please ! 
 
 MR. BIRD. (Hesitates. There's a howl outside. He 
 stiffens.) No, no, Carol, it won't do. (Quickly.) But 
 I'll buy you anything you want 
 CAROL. You can't buy what I want. 
 
 (Mr. Bird steps to her quickly, puts his hand out 
 toward her.) 
 
 MR. BIRD. You mean 
 
 CAROL. (Stands before table.) I only mean, Daddy, 
 that I want to share Christmas with the Ruggleses 
 
 and buying and sending is n't sharing. 
 
 MR. BIRD. Well I (Enter Mrs. Bird. Eagerly.) 
 Here's mother. I'll talk it over with her. 
 
 CAROL (shaking her head at her father and laughing 
 at him). Oh, if mother is to be the umpire, it's my 
 game! 
 
 MRS. BIRD. (Stands right of Carol, holding her 
 hand.) Carol! You've been hearing your brothers 
 talk baseball. 
 
 MR. BIRD. Remember, little girl, I did n't say I'd 
 leave it to mother. I merely said 
 
 CAROL. Mother, Daddy thinks the Ruggleses 
 don't belong to a family party.
 
 22 THE BIRDS' CHRISTMAS CAROL [ACT 1 
 
 MRS. BIRD. Need we discuss this now, Donald? 
 
 MR. BIRD. It becomes a simple question of 
 whether the rear family is to be given a slight 
 pleasure at the expense of my great displeasure. It '3 
 the Ruggleses or me. 
 
 MRS. BIRD. Donald, please! (Shakes her head at 
 him and with a nod indicates Carol's disappointment.) 
 
 CAROL. Of course, Daddy, if you make us choose, 
 but why do you put it that way? 
 
 MRS. Brno (cheerily). He does n't put it that way, 
 dear. And if he did, perhaps seven little Ruggleses 
 tumbled into the scale on one side could outweigh 
 even Daddy, big as he is. But that is n't the question 
 at all, the question is are n't you forgetting about 
 dressing for Uncle Jack? Was n't it part of the great 
 welcome to be wearing the gown he sent you from 
 China, last Christmas? 
 
 CAROL. Oh, yes, yes! (Her fingers tremble with 
 excitement as she begins to unfasten her dress, turning 
 toward the door.) Is Uncle Jack coming now? 
 
 MR. BIRD (continuing the argument). I suppose 
 the Ruggles woman has a good heart; but she gets on 
 my nerves, she 's so active and bustling. I don't be- 
 lieve she ever sleeps or stops talking or rolls down 
 her sleeves. She 's worse than the children. And 
 now, this dinner idea! 
 
 MRS. BIRD. You don't want it, then? 
 
 MR. Brno (fussily). I certainly do not I I'd be 
 willing to send a turkey or a ham over there once a 
 week, anything but see them eat it! 
 
 MRS. BIRD. And Carol wants to "see them eat it.*'
 
 ACT 1] THE BIRDS' CHRISTMAS CAROL 23 
 
 Remember Donald, dear, there may not be so 
 many Christmases for her. 
 
 MR. BIRD. (Looks at her, troubled; steps to her; puts 
 his hand on her shoulder, tenderly.) Don't you sup- 
 pose I'm thinking of the child, too, Mary? But I 
 don't like these intimacies with rear houses. 
 
 MRS. BIRD. The world will never be wiser or hap- 
 pier till the front houses and the rear houses know 
 each other better. 
 
 MR. BIRD. Very pretty, but not practical, my dear 
 Mary. ... I sometimes think I'll buy the property 
 and build a conservatory there. It will be a pleasant 
 way of getting rid of all the clutter, besides giving 
 Carol something beautiful to look at. 
 
 MRS. BIRD. A conservatory in place of the Rug- 
 gleses! O Donald, you are so amusing! 
 
 MR. Brno. I don't see it. Any person of taste 
 would prefer flowers to 
 
 MRS. BIRD. Children, Donald? 
 
 MR. BIRD. Er ah well, not exactly to children, 
 of course, that is if they are clean and well dressed. 
 
 MRS. BIRD. That is n't it. Carol needs just what 
 these strong, healthy 
 
 MR. BIRD. You might as well say that a lawn 
 needs dandelions. I 'm not sure but that they ought 
 to be taken out roots and all these dandelions. 
 
 MRS. BIRD. Please, Donald; not at Christmas 
 time! You could n't be so cruel. 
 
 MR. Brno. I should n't put salt on their roots. 
 I 'd see that they were planted in another place - a 
 long way from here.
 
 24 THE BIRDS' CHRISTMAS CAROL [ACT 1 
 
 MRS. BIRD. In the mean time shall we say "yes" 
 to the dinner? 
 
 MB. BIBD. Do as you like; and if they continue to 
 keep their place, well and good, but if they don't, I '11 
 uproot them and plant roses. (The door, right, 
 opens stealthily. Sarah Maud and Larry enter timidly; 
 they come to center. Mr. Bird watches their approach 
 with amazement.) Here they are, the dandelions! 
 
 MRS. Brno. (Turns in surprise and stands looking at 
 Sarah Maud, whose eyes do not meet hers, and at 
 Larry, who stares wonderingly in return.) It's Sarah 
 Maud and Larry. 
 
 MR. Brno. (Crosses to window, left; speaks with im- 
 patience.) They'd smell the same by any other 
 name: but at any rate, they're here! 
 
 (Mrs. Bird crosses to right of Larry and Sarah 
 Maud, and begins to unwrap Larry. Mr. Bird 
 turns and watches the performance with evident 
 displeasure. Larry clings tightly to Sarah Maud's 
 hand, watching her out of the corners of his eyes. 
 He is a mass of clothing, the distinguishing fea- 
 tures being a knitted red comforter at least two 
 yards long wound around his person from chin to 
 waist, underneath which is a tight woolen sweater. 
 He wears a knitted cap. As Mrs. Bird unwraps 
 the comforter, Larry turns clumsily, and threatens 
 a tumble each time. Sarah Maud stands by, too 
 terrorized to speak. Mr. Bird puffs out his cheeks 
 and presses his lips together as he watches Mrs. 
 Bird unwind Larry and lift his cap from his head. 
 Larry's hair stands stiffly erect when released, and
 
 ACT 1] THE BIRDS' CHRISTMAS CAROL 25 
 
 a smile spreads itself over his chubby face. Mrs. 
 Bird takes hold of bottom of sweater, and Larry 
 lifts his pudgy arms. The sweater is quickly lifted, 
 and Sarah Maud steps forward in timid protest 
 as a patched and darned undershirt is revealed. 
 Mrs. Bird quickly lowers the sweater; then rises 
 from her knees. Larry moves slowly toward Carol's 
 chair.) 
 
 SARAH MAUD (finding a voice). We can't stop 
 more'n a minute, 'cause 'cause it's so late. 
 
 (Mr. Bird turns; sees Larry climbing into 
 Carol's chair and waves his hand at him warn- 
 ingly. Larry looks at him in amazement, leaves 
 chair and slowly backs up stage to window. Mr. 
 Bird turns away and watches Sarah Maud. Larry 
 stands before the window; sees the handkerchief; 
 tries to reach it; cannot; drags a three-legged stool 
 to the window.) 
 
 MB. BIRD. Did Carol send for you to come this 
 afternoon? 
 
 (Larry climbs on to stool.) 
 
 SARAH MAUD (slowly). No, m'm er sir; she 
 did n't send (Mr. Bird nods to Mrs. Bird in a 
 "you see" manner. Larry reaches up for the handker- 
 chief.) Clem thought (stammeringly) Clem thought 
 maybe you see 
 
 (Larry tumbles from stool, and the crash inter' 
 rupts the conversation. Sarah Maud hurries to 
 pick him up. As she stands Larry on his feet 
 again, he gasps but clings to the handkerchief, and 
 is about to cry. He looks up and sees Mrs. Bird
 
 *6 THE BIRDS' CHRISTMAS CAROL [ACT 1 
 
 holding out a bit of fruit to him; he smiles expan- 
 sively ; steps forward; takes the fruit and sits 
 serenely upon the stool which Sarah Maud has 
 righted and placed slightly down stage, center. 
 Sarah Maud stands right, Mrs. Bird left, Mr. 
 Bird left front.) 
 
 MR. Brno (looking at Larry, closely). What is that 
 he's picked up? 
 
 SARAH MAUD (trembling). I don't know, sir; 
 it (Goes to Larry and with some difficulty opens 
 his hand; takes out the handkerchief and holds it 
 up.) 
 
 MR. BIRD. Why, it's that Japanese silk thing 
 Jack sent me. Upon my word! (Gesture of "That 
 settles it I" with both hands.) 
 
 MHS. BIRD. He's such a little fellow, Don. 
 MR. Brno. (Frowns and walks to door, right.) 
 Perhaps now you will acknowledge that I was right, 
 Mary. 
 
 (Mr. Bird stops at door, looks at Mrs. Bird t 
 
 then hurries out and the door slams after him. 
 
 Mrs. Bird is right front. Larry sits on the stool, 
 
 contentedly gnawing his fruit. Sarah Maud 
 
 stands beside him, suffering great embarrassment. 
 
 Not understanding the handkerchief episode, she 
 
 studies it carefully, folds it into a small square, 
 
 tiptoes down stage, and puts it in Carol's chair. 
 
 Mrs. Bird stands by the chair.) 
 
 SARAH MAUD (apologetically). He did n't mean no 
 
 harm, Larry didn't, Mrs. Bird. He he allus 
 
 likes bright things, and
 
 ACT 1] THE BIRDS' CHRISTMAS CAROL 27 
 
 MRS. BIRD. Sit down, Sarah Maud; I want to talk 
 to you. (Sarah Maud drops into a chair, right. 
 Mrs. Bird sits, left, in Carol's chair. Larry is cen- 
 ter, up stage, and always in sight, always munching, 
 his eyes beatific.) Carol tells me you have lived in a 
 great many places. 
 
 SARAH MAUD. Yessum. 
 
 MRS. Brno. And find it easy to make a home in a 
 new place, I suppose? 
 
 SARAH MAUD (blankly'). Yessum. 
 
 MRS. BIRD. We were thinking we might help you 
 to find a more comfortable house than the one you 
 have now. 
 
 (Pause. Sarah Maud, who has been tying knoti 
 in her dress, looks up and finds Mrs. Bird watching 
 her.) 
 
 SARAH MAUD (dully). Yessum. 
 
 MRS. BIRD (planning) . For instance a cozy lit- 
 tle house with a garden and a place where you could 
 keep chickens would be nice, would n't it? (Pause.) 
 
 SARAH MAUD. (Straightens slightly.) Yessum, 
 though we ain't no egg eaters. 
 
 MRS. BIRD. Your mother would like a place 
 where (Sarah Maud looks at her) the children 
 would have more room to play? Would n't she? 
 
 SARAH MAUD. (Sits very erect; speaks now very 
 slowly, and her " Yes" means "no.") Yessum. 
 
 MRS. BIRD. You would find it so much more com- 
 fortable than living in the rear. (With a look toward 
 the window. Sarah Maud watches her with much 
 trouble. Pause.)
 
 28 THE BIRDS' CHRISTMAS CAROL [ACT 1 
 
 SARAH MAUD (nervously). Y-e-s. (Pause, then 
 courageously.) No. (Pause.) There ain't no other 
 place so good as our'n. (Sits again, slowly.) 
 
 MRS. BIRD. (Leans her elbow on the arm of chair.) 
 Then you like to live (pause) here! 
 
 SARAH MAUD (eagerly). There 's allus a lot goin* 
 on in the back o' this house, an' it 's Carol makes us 
 like it. It's the winder-school in summer time; us 
 on the coach-house roof and her up hi the winder 
 an* lots o* things like that; an* Ma says her light, 
 up here, is company for her when she's mendin', 
 nights. 
 
 (Pause; Mrs. Bird sighs. Sarah Maud sidles to 
 very edge of chair, nervously.) 
 SARAH MAUD. I guess I 'd better be a-goin'. 
 MRS. BIRD. (Rises.) Won't you wait for Carol? 
 She's getting ready for her Uncle Jack who's coming 
 from India. She has n't seen him for three years and 
 it's a great event. (Sarah Maud rises quickly.) 
 
 SARAH MAUD. No 'm, I must n't wait. (Hurries to 
 door, right.) 
 
 MRS. BIRD (following behind, calls after her kindly). 
 I'll tell Carol you were here. (Opens door; Sarah 
 Maud rushes out; Mrs. Bird follows.) 
 
 (When the door is held open, there is the sound 
 of a clanging house door, of a carriage leaving, a 
 murmur of voices in greeting; not too loud, as 
 Carol is supposed not to hear them. As the door 
 closes, Larry looks up, starts to rise, settles back 
 and finishes eating his fruit. Voices outside, and 
 a happy laugh by Uncle Jack.)
 
 ACT 1] THE BIRDS' CHRISTMAS CAROL 29 
 
 UNCLE JACK. (Outside. A hud, clear, genial tone.) 
 No; don't come up. I don't want any gooseberries at 
 this interview. Keep out of the way, Donald. (Larry 
 rises slowly; wrinkles up his face preparatory to weep- 
 ing; looks about; gasps; discovers the fruit plate. His 
 hand is almost touching it, when the door, right, opens and 
 Uncle Jack enters. Larry hesitates; listens; then a broad 
 smile appears on his face. He then turns slowly and 
 faces Uncle Jack, who stands watching the performance 
 with amusement. As Larry turns, Jack comes forward t 
 and the two stand, center stage, looking at each other.) 
 Well, well! (Holds out his hand.) How do you do, sir? 
 (Larry studies the hand; retreats a step; then slowly 
 moves the hand which holds the banana until it is quite 
 out of danger. Jack laughs.) You'd rather not shake? 
 I don't know but that you 're right. How can you 
 tell that I 'm not a banana-snatcher? I say, would 
 you mind telling me who you are? (Pause.) Of 
 course, it is a bit stupid of me not to know, but 
 do you happen to be any kind of a Bird near rela- 
 tive, or adopted? 
 
 LARRY (full-throatedly) . I'm a boy. 
 
 JACK. (Laughs.) Indeed? I might almost have 
 guessed it. You see, kiddie, I'm Uncle Jack. Do 
 you happen to live here? or are you just about 
 collecting fruit? 
 
 LARRY. Her guv me one. (Holds the banana out to 
 Jack.) 
 
 JACK. (Takes the fruit; examines it, watching Larry 
 out of the corners of his eyes.) Oh, did she? (Larry 
 nods and looks anxious.) Then I'm quite sure she
 
 SO THE BIRDS* CHRISTMAS CAROL [ACT 1 
 
 would like you to have this one also. (Hands another 
 banana to Larry, who takes it, smiles, and walks back 
 to his stool and sits there, eating. Jack laughs aloud.') 
 By George, you're perfect! 
 
 (Carol stands in door, right, back.) 
 
 CAROL. Uncle Jack! Uncle Jack!! Uncle Jack 
 O h!! 
 
 JACK. (Turns quickly; leaps to Carol; takes her in his 
 arms in a great hungry hug.) My little Carol ! (Holds 
 her off and studies her.) How you've (his voice 
 catches) grown! 
 
 CAROL. (Laughs happily; takes him by the hand and 
 leads him down stage.) Why did n't they tell me? 
 Oh! you look just the same, dearest, dearest Uncle 
 Jack! When did you come? 
 
 JACK. (When she is not looking his face is sad; but he 
 smiles at her.) This very minute. I came first to you. 
 (Holds her off, inspecting her.) Why, you 're wearing 
 my dressing-gown! You might be the Empress of 
 China! 
 
 LARRY. (Comes down stage to Carol; pulls her dress 
 to attract her attention.) Home! 
 
 CAROL. (To Jack.) WTiy, there's Larry Ruggles! 
 
 LARRY. Home! 
 
 CAROL. Please call Elfrida, Uncle Jack. 
 
 JACK. The house bristles with strangers Who 
 is Elfrida? Another Ruggles? 
 
 CAROL (reproachfully). You know; Elfrida, who 
 takes care of me. She's in my room. (Points to door, 
 right back.) 
 
 JACK. Of course Elfrida, the nurse. Kind,
 
 ACT 1] THE BIRDS* CHRISTMAS CAROL 31 
 
 faithful, fat, comfortable Elfrida! (Steps to door; 
 opens it; calls jauntily.) Elfrida, Elfrida! 
 
 (Elfrida appears in the door and smiles at 
 Jack, who stops, confused and apologetic.) 
 
 ELFRIDA (laughing). You called me? 
 
 JACK. Did I? Er yes, of course; Miss er 
 Carol wants you. 
 
 (Elfrida crosses to Carol. Jack stands in door- 
 way, watching her, stroking his chin reflectively.) 
 
 CAROL. Larry wants to go home, Elfrida. Will 
 you do him up, please, and take him? 
 
 ELFRIDA. Come, Larry. Where are 
 
 JACK (stepping forward quickly and gathering up the 
 shawl and cap from a chair). The wrappings? Is this 
 some of it? (Hands comforter to Elfrida, who takes 
 it, kneels before Larry, and begins.) 
 
 CAROL. Oh! Elfrida, I forgot! this is Uncle 
 Jack. 
 
 ELFRIDA (kneeling before Larry and winding care- 
 fully, looks up and nods). How do you do, Unc 
 Mr. Bird? 
 
 JACK. (Laughs.) May I assist with that? 
 (Kneels on other side of Larry and hinders with the pro- 
 cess by holding to the shawl.) I've the idea! You hold 
 the shawl tight, and I '11 manipulate the boy this 
 way. (Gives Elfrida end of shawl; then slowly twirls 
 Larry, who revolves gravely. Carol stands center, just 
 back of Larry. Jack is right; Elfrida left. Larry is 
 finally swathed. Jack rises.) There! I call that a 
 good job, don't you? 
 
 CAROL (laughing). O Uncle Jack!
 
 82 THE BIRDS' CHRISTMAS CAROL [ACT 1 
 
 JACK. This is the first golf ball I ever wound; but 
 I understand now why they are so expensive. 
 
 ELFRIDA. (Slowly crowds on Larry's cap; rises; 
 takes his hand; then looks at Jack.) Because there are 
 so many layers? 
 
 (Larry is looking longingly toward the fruit 
 basket. Jack steps quickly to it, takes up a pear 
 and hands it to Larry.) 
 JACK. There, old man with my compliments. 
 
 (Larry's little fist closes over it delightedly.) 
 ELFRIDA. What do you say, Larry? 
 LARRY (decisively). Home! 
 ELFRIDA. Come, then; we'll go. (Leads him out.) 
 
 (Jack holds door open. Carol stands, center, 
 watching them of.) 
 
 JACK. (Walks to center of stage.) She's a very pretty 
 person Elfrida; not at all like a "caretaker." 
 
 CAROL (delighted). Yes, isn't she? And she is 
 awfully good to me, Uncle Jack. 
 
 JACK (taking her hand). Is she, indeed! (Laughs.) 
 Well, that's no virtue. Now, can't we sit down and 
 settle a few of the world's great problems? 
 CAROL. (Laughs at him.) Let's! 
 
 (They cross to left to large chair that is wide 
 enough for both, and sit.) 
 
 JACK. Here we are together again! Is n't it jolly? 
 Who is the sweetest Christmas Carol that was ever 
 sung? 
 
 CAROL (promptly and laughingly). I am! Oh, 
 Uncle Jack, are you going to stay at home this time? 
 Father hopes so.
 
 ACT 1] THE BIRDS' CHRISTMAS CAROL 33 
 
 JACK (pinching her cheek). Father does n't under- 
 stand a rolling stone, and several other things. 
 (Pause.) 
 
 CAROL. He does n't understand why I want the 
 Ruggleses here to dinner Christmas. 
 
 JACK. Ruggleses? The tribe of Larry? (Laughs, 
 points toward door.) 
 
 CAROL. Larry's brothers and sisters. They're 
 awfully nice children. 
 
 JACK. Awfully nice, eh? (Hums.) "And they live 
 in our alley." (Whistles or sings a bit of "Sally in Our 
 Alley.") 
 
 " She is the darling of my heart 
 And she lives in our alley." 
 
 CAROL. Oh, do it again! You do make everything 
 so lovely and happy and Christmasy, Uncle Jack! 
 
 JACK. Thanks. But your father, dear, could n't 
 have seen the charm even of my Sally, and as for 
 your Larry and his brothers and his sisters and his 
 cousins and his aunts, I can't imagine him speaking 
 to them even through a telephone. 
 
 CAROL. (With a sigh.) Oh, dear. I wanted them to 
 have at least one good Christmas and 
 
 JACK. By George, so they shall if your mind is set 
 upon it. Who but a Christmas child should decree 
 what 's to be done on Christmas Day? 
 
 CAROL. But if Daddy 
 
 JACK. I '11 fix it up with Daddy. All that ails him 
 is he thinks it is n't quite what would be expected of a 
 family in our position. The Ruggleses, he would say, 
 are not socially our equals.
 
 84 THE BIRDS' CHRISTMAS CAROL [ACT 1 
 
 CAROL (puzzled). You mean they don't live in a 
 house as large as ours? 
 
 JACK. Well, not exactly, but they don't hold their 
 forks in the same way that we do. 
 
 CAROL. I 'm sure Daddy does n't care about that. 
 
 JACK. Perhaps he does n't really care about it; but 
 it's built into him, because he was born in a large 
 house, where there was only a small family. 
 
 CAROL. So were you. 
 
 JACK. Yes (laughs), but I didn't belong there; 
 Daddy did. 
 
 CAROL. Where did you belong? 
 
 JACK (tweaking her ear). I don't know, dear, but I 
 think I should have been dropped into a gypsy camp. 
 I'm a rover; a ship that comes into port, but never 
 stays long, because no anchor ever holds against the 
 call of the sea. 
 
 CAROL (longingly). It must be wonderful the 
 sea. 
 
 JACK. It is. I '11 take you with me some day when 
 you 're stronger. 
 
 CAROL. Don't you like to travel alone? 
 
 JACK. Pleasant trips are pleasanter trips shared 
 with pleasant people. (Laughs and tweaks her curls.) 
 
 CAROL (joyfully). Then why don't you get mar- 
 ried, Uncle Jack? And you'd always have somebody 
 to 
 
 JACK. Choose my route for me. No, dear; it won't 
 work. You must grow up, get well and strong, and 
 sail about the world with me. (Kisses her handsj 
 That's what I'm living for that trip of ours.
 
 ACT 1] THE BIRDS' CHRISTMAS CAROL 35 
 
 ~ 
 
 CAROL. Are n't you ever lonesome? 
 
 (Dusk begins to creep gradually into the room.} 
 
 JACK. Never! The world is so full of delightful 
 people that, if he's winging about, even a duffer like 
 your old Nunky gets a word with the worth-while 
 folks now and then. There was a man on the boat 
 this trip, a wonderful chap; (rises) sometimes I think 
 he's the greatest chap in the world. (Pauses; turns 
 and looks at Carol.} I asked him if he'd come to see 
 us. 
 
 CAROL. (Sits erect, futt of interest.) Oh, Uncle Jack! 
 And would he? 
 
 JACK. He's a frightfully busy man Dr. Bob is. 
 
 CABOL (disappointedly). Doctor! Is he a doctor, 
 Uncle Jack? 
 
 (Light of the room is slightly lessened, and the 
 street lights shine in through the windows.) 
 
 JACK. Why, yes, dear. Don't you like doctors? 
 
 CAROL (slowly). Y-e-s; but I've known so many, 
 I'm almost tired of them. 
 
 JACK. Dr. Bob is different. If you'd known a mil- 
 lion others, he would still be different. (Rises and 
 steps nervously to right; then he turns and faces Carol.) 
 He has keen, merry eyes that look at you, through 
 you, and understand. He has a smile that says to 
 everybody, " Cheer up; I've come to help." He has a 
 strong, kind hand, and when he takes yours into it, 
 little thrills of warmth and life and strength run all 
 over you. 
 
 (Pause.) 
 
 CAROL (with a sigh). Oh, I hope he will come!
 
 86 THE BIRDS' CHRISTMAS CAROL [ACT 1 
 
 JACK. He will. He has promised that. (Pause. 
 Steps nearer her chair.) You see you Ve something 
 he would like to get. He is a collector, Dr. Bob is. 
 
 CAROL. So is Daddy. First he collected butterflies, 
 then postage stamps, and now it's pipes. What does 
 Dr. Bob collect ? 
 
 JACK. Crutches. 
 
 CABOL. Crutches! Oh, Uncle Jack, how can he! 
 Of course I like mine; it helps me walk. But a lot 
 of crutches! It hurts me to think of it. (Pause. 
 Jack sits on arm of her chair and puts his arm about 
 her.) Mother and I went, the other day, to the Chil- 
 dren's Hospital with books and toys, and it was 
 lovely at first, because they were so pleased to see 
 us. Then I noticed the crutches by the beds, and 
 and there were so many, Uncle Jack and 
 limping is so slow. Try as hard as you may, the other 
 people are always there first. 
 
 JACK. (Meets her upturned glance; then looks away 
 quickly.) I know, dear, I know. 
 (Pause.) 
 
 CAROL. (Slides to the edge of chair so that she is al- 
 most standing; holds crutch in both hands; speaks 
 softly.) I wish I could give Dr. Bob this little wooden 
 helper; but even if I could n't do without it, I'd like 
 to see the pile grow and grow, higher and higher; the 
 other children laying their crutches on the heap and 
 then running and dancing away; . . . and the mothers 
 would all be there, looking on so happy ! . . . 
 (.Sigh.) Would n't it be beautiful to see? 
 
 JACK. Yes, Carol, it would be beautiful to see!
 
 ACT 1] THE BIRDS' CHRISTMAS CAROL 37 
 
 CAROL. (After a pause.) When will Dr. Bob come, 
 Uncle Jack? 
 
 JACK. (Leans over her.) Soon, dear. 
 CAROL. To-morrow? 
 JACK. Yes, to-morrow. 
 
 (Brief pause. The light has grown dim. Elfrida 
 enters; hesitates at the door. Jack looks up, their 
 eyes meet and hers are held by the trouble in his; 
 she involuntarily steps toward him.) 
 CAROL. Is that you, Elfrida? 
 ELFRIDA. (Crosses to the other side of Carol's chair, 
 Jack being on one side.} Yes. Are you all right? I 
 need n't ask, now that you have your Uncle Jack. 
 
 CAROL (happily. Puts out one hand to clasp hers 
 and the other to Jack, as they stand on either side of her 
 chair protectingly). Oh! what a beautiful Christmas 
 this is going to be! I'm almost afraid it will melt 
 away, like a rainbow! Shall we hang the Christmas 
 lantern in the window, Elfrida? Is n't it dark 
 enough? 
 
 (Elfrida gets the lantern, a quaint thing of 
 pierced brass and hangs it where the flame will 
 shine out into the night.) 
 
 JACK (smiling affectionately at Carol's fancies). 
 Is it to light the Ruggleses on their next journey 
 across the roof? 
 
 CAROL. No, it's to please Mrs. Ruggles. She likes 
 to see it when she's mending the children's clothes 
 in the evening and, besides you won't smile 
 if I tell you something Elfrida read in a book, will 
 you. Uncle Jack?
 
 38 THE BIRDS' CHRISTMAS CAROL [ACT 1 
 
 JACK. Never! 
 
 CAROL (softly and looking away from him). The 
 story says . . . that in the nights just before Christ- 
 mas . . . the Christ-Child walks through the streets 
 . . . and ... if we put a light in the window ... he 
 sees the way better. 
 
 (Elfrida shows that she has heard, and the lan- 
 tern being lighted and hung she looks at it as if, 
 indeed, it might guide some celestial being through 
 the darkness. Uncle Jack draws Carol to him 
 and kisses her hair.) 
 
 SLOW CURTAIN
 
 ACT n 
 
 SOME OTHER BIRDS ARE TAUGHT TO FLY 
 
 SCENE: The kitchen of the "house in the rear" It 
 is early morning, and the light is still dim even when 
 aided by a kerosene lamp. The walls of the room are of 
 any dull color and the general look of things, though 
 denoting poverty, need not be sordid or untidy. 
 
 To the right, front, is a door leading into a woodshed; 
 in the rear wall, center, is a door leading to the alley; 
 to the right and left of this are narrow, four-paned win- 
 dows partly covered by sash curtains. In the left wall, 
 to the front, is a door leading to a bedroom and the stairs 
 which lead to the upper rooms. 
 
 To the right, front, is an iron sink in wooden frame; 
 before it stands a soap box, bottom upwards. A dishpan 
 hangs on the side toward the audience. On the watt, to 
 right of sink, is a cupboard. In line with the sink, to 
 the back, is a small cook stove in which a bright fire is 
 burning and on which are placed a steaming teakettle, 
 an iron pot, and a large tin boiler pushed to the back. 
 Between the stove and the sink, toward center of stage, 
 is a small kitchen table covered by a brown oil cloth 
 and meagerly set with dishes a large pitcher, bowls 
 and spoons, a bread-board, and a syrup pitcher. There 
 are four stiff wooden chairs about the table. A small 
 unlighted lamp is on the table. 
 
 In the left corner, back, is a large screen fashioned 
 qf a clotheshorse covered neatly with coarse brown denim
 
 40 THE BIRDS' CHRISTMAS CAROL [ACT 2 
 
 or burlap. Beneath the screen are visible the solid legs 
 of a small wooden bed. The soft sides of the screen bulge, 
 after the opening of the act, with the pressure of small 
 bodies struggling into clothes. 
 
 To the front, left, is a low wooden bureau. Over one 
 corner of the looking-glass is hung a heavy chain of sea 
 shells to which is attached an anchor carved from bark. 
 In the wall, to right of this, is a colored crayon atrocity, 
 at least twenty-seven inches square, showing a stout 
 ruddy sailor man Mr. Ruggles. 
 
 Beside the bureau stands the fifth wooden chair. 
 
 To left of stove is a small coal hod. 
 
 In front of the window, right, back, is a small wood 
 box. 
 
 Carol's dinner invitation occupies a prominent place. 
 
 When the curtain lifts, Mrs. Ruggles is at the door, 
 left front, which she holds open. Plain, comfortable 
 figure, no eccentricities of dress, bustling, energetic, 
 forcible, but never for a moment a termagant. If her tone 
 is occasionally loud or strident, it is because of hurry 
 and worry and flurry and her overmastering desire to 
 have the children do credit to the family. The audience 
 must feel that, although she is no special ornament to 
 society, she is a faithful mother, according to her lights. 
 Sarah Maud is setting a pitcher of milk on the table, 
 then gets bread out of cupboard. 
 
 Peter enters from the woodshed (door, right front) 
 with an armful of wood which he lets fall into the wood 
 box with a clatter. 
 
 MRS. RUGGLES (calling). Sakes alive! It's Christ- 
 mas Day! Only ten hours between this and the din-
 
 ACT 2] THE BIRDS* CHRISTMAS CAROL 41 
 
 ner-party and you're sleepin' up there as though you 
 had n't never had no invitation! Come, I say, hurry 
 down here an' git your breakfast There 's plenty to 
 do, for all of us! (Turns and sees Sarah Maud at 
 the table.) Where 's Larry, Sarah Maud? 
 
 SARAH MAUD. He ain't waked up. 
 
 MRS. RUGGLES (in the door, left). Peory, you git 
 Larry out o' bed and started into his clothes. 
 
 PEORIA (off stage, voice sleepy and protesting). Oh, 
 Ma, it's cold. 
 
 MRS. RUGGLES. Cold! O' course it's cold 
 Christmas ain't the Fourth of July. Move lively and 
 you'll warm up! (Sarah Maud has put the bread on 
 the table, moves slowly across stage to door, left.) 
 Where are you a-goin' ? 
 
 SARAH MAUD. To get Larry; breakfast's ready. 
 
 (Peter is at the table, pouring milk into bowl 
 
 and breaking bread into it. He has very large 
 
 pieces and when his mother is n't looking, picks 
 
 up the bowl and drinks out of it.) 
 
 MRS. RUGGLES. (Stares at Sarah Maud.) You 
 hain't had your own breakfast. 
 
 SARAH MAUD. I ain't hungry, very. And like as 
 not Peory '11 get on Larry's clothes wrong side out. 
 
 (Exit Sarah Maud, door left. Behind the screen 
 voices.) 
 
 CLEMENT (protesting). It ain't my turn! I got up 
 first yesterday. (Sound of a scramble.) 
 
 MRS. RUGGLES (reaching over top of screen). See 
 here, Clem! Cornelius! Are you forgettin' what 
 morain' this is? You git right up, both of you, and
 
 42 THE BIRDS' CHRISTMAS CAROL [ACT 2 
 
 I don't want to hear nothin' more from neither of 
 you. 
 
 (Feet appear on the floor and the bulging of the 
 screen, with its tottering, threaten castastrophe.) 
 
 (Peter finishes breakfast, takes his bowl and 
 spoon and puts them in the sink.) 
 
 (Mrs. Ruggles goes to the table, cuts off a slice 
 of bread, butters it, and eats contentedly and ab- 
 stractedly while she considers. She goes to the line 
 of clothes, feels the garments, takes them down and 
 rolls them as she does so, putting them on the iron- 
 ing-board, which she puts in place from sink to 
 back of chair.) 
 
 (Kitty enters from bedroom, her head a mass 
 
 of neat, hard nubbins of white rags, curls in th 
 
 bud. She is rubbing her eyes with one hand, buU 
 
 toning her dress in the back with the other. She 
 
 hurries to the stove and stands before it shivering 
 
 and holding out her hands to the heat.) 
 
 MRS. RUGGLES. (Examines Kitty's hair and relies 
 
 one rag carefully.) Peter, can't you spread up the 
 
 beds and put out the children's clean things so't 
 
 I can git ter fittin' Larry's new suit? I wa'n't a mite 
 
 satisfied with his clo'es an' I got up in the night an' 
 
 planned (stands with finger on her lip considering) a 
 
 way ter make him a dress out o' my plaid shawl 
 
 KITTY. O Ma, not yer best shawl that Granpa 
 
 McGrill give you? 
 
 MRS. RUGGLES. The best that my folks ever had 
 an' it was consid'able ain't none too grand for 
 a dinner-party at the Birds'. I thought to make it
 
 ACT 2] THE BIRDS' CHRISTMAS CAROL 48 
 
 kind o' Scotch style wi' the fringe to the bottom. 
 Fringe is always stylish. (Goes to bureau drawer, takes 
 out the pieces of shawl, examines them, holding them 
 up measuringly.) 
 
 KITTY. What '11 you wear yourself, when you go 
 callin' on the neighbors, Ma? 
 
 MRS. RUGGLES (evasively). Something else of 
 course. 
 
 (Peoria enters door, left, front. Her hair re- 
 sembles that of Barnum's Circassian girl.) 
 MRS. RUGGLES. Peory! (Peoria jumps.) Quick 
 as you eat your breakfast I wisht you'd get the 
 comb and see if you can't get the kinks out o' this 
 fringe. It ain't been combed sence I wore it to your 
 grandpa's funeral an' it 's in an awful snarl. 
 
 (Peoria nods and turns to cross to table.) 
 (Clement and Cornelius dash from behind the 
 screen for the table. Peoria enters the contest and 
 there is a good-humored scramble over the chairs. 
 Kitty is already seated. Peoria is left without a 
 seat, so she pulls the chair from under the ironing- 
 board and it falls to the floor with a crash.) 
 MRS. RUGGLES (who has been holding up the shawl 
 and estimating its possibilities, turns suddenly). Who 
 done that? 
 
 (Peoria is sitting in chair, Peter is picking up 
 the board. Mrs. Ruggles puts the shawl on the 
 dresser and walks majestically toward the table.) 
 CORNELIUS (without interrupting his eating). 
 Peory. 
 
 (Peoria looks sulky.)
 
 44 THE BIRDS' CHRISTMAS CAROL [ACT 2 
 
 MRS. RUGGLES (looks at Peoria sternly). You help 
 your brother pick up them clo'es or you know 
 what's likely to happen. 
 
 (Mrs. Ruggles takes the bundle of stockings and 
 crosses down stage to left, sits running her hand 
 into the stockings, matching them up.) 
 
 (Sarah Maud enters, dragging a yawning Larry 
 by the hand, crosses to table, places him in Peoria' s 
 chair, "bibs" him, gives him a bowl of milk and 
 spreads syrup on his bread. He is much cheered 
 by the sight of food.) 
 
 (Peoria turns, sees Larry in her place opens 
 her mouth wide to protest, reconsiders, takes an- 
 other bowl and a piece of bread, scowling blackly, 
 and pouting and retires to the wood box where 
 she makes a hurried breakfast.) 
 
 (Peter goes behind the screen to make the bed.) 
 MRS. RUGGLES (puzzling over the stockings). Clem, 
 you help Kitty with the dishes so's I can get right 
 at Larry's suit. (Kitty is already at the sink, taking out 
 the pan. Clement rises protestingly.) Now, Clement, 
 don't begin that way, or you'll have trouble 'fore 
 the day 's over. (Clement carries dishes to the sink.) 
 
 (Sarah Maud sits down for breakfast. Her 
 mother is busy, does not notice this.) 
 MRS. RUGGLES. Gracious, Sarah Maud, ain't you 
 and Larry had enough breakfast yet? I wish you'd 
 hurry, 'cause I want you to iron Cornelius's shirt 
 and then sew up Larry's suit, 's quick as I git it 
 fitted. 
 SABAH MAUD (rising obediently). Yes, Ma. (Goes
 
 ACT 2] THE BIRDS' CHRISTMAS CAROL 4 
 
 to the ironing-board, puts it in place and begins iron' 
 ing.) 
 
 (Mrs. Ruggles, who has matched up the stock' 
 ings and rolled each pair, picks up each little ball 
 and nodding toward the child to whom it belongs, 
 puts that ball on the other side of her chair. She 
 does this with six pairs, stops at the last with a 
 single stocking, shaking her head woefully. Goes 
 through the performance again.) 
 MRS. RUGGLES (naming each roll). There's Sarah 
 Maud's, Peter's, Kitty's, Cornelius's, Clem's, Larry's 
 There simply ain't no decent pair o' whole stock- 
 in's for Peory . ( The children all stare at her in dismay.) 
 It 's so. I counted 'em over in my mind after I went 
 to bed last night and even then I could n't make 
 more'n thirteen and there ain't but six pairs any- 
 how you fix 'em. I ain't goin' ter have one o' my chil- 
 dern wear odd stockin's to a dinner company, fetched 
 up as I was! Not even if somebody has to stay ter 
 home! (Consternation. Mrs. Ruggles has an inspira- 
 tion.) Con, you run out and ask Mis' Cullen ter lend 
 me a pair o' stockin's for Peory, an' tell her, if she 
 will, Peory '11 give Jim half her candy when she gets 
 home. Won't yer, Peory? 
 
 PEORIA (unable to control her grief, now that the 
 threatening great horror becomes a definite small one, 
 wails piercingly). I don't want to give away my 
 candy! 
 
 (Mrs. Ruggles rises slowly, stalks across to the 
 now thoroughly frightened Peoria, the other 
 children watching open-mouthed, takes Peoria
 
 46 THE BIRDS' CHRISTMAS CAROL [ACT 2 
 
 by the shoulder. She rises mechanically in re- 
 sponse as one who knows the way to punishment. 
 Mrs. Ruggles takes away her hand.) 
 MRS. RUGGLES. No. I vow I won't lick ye, Christ- 
 mas Day; not if yer drive me crazy! But speak up 
 smart now, an' say which you'd rather do: give Jim 
 Cullen hah* yer candy or ( a long pause, each of the 
 children holding a sympathetic breath) go to the party 
 barelegged? 
 
 PEORIA (faintly"). Jim can have part of my candy. 
 MRS. RUGGLES (patting her on the shoulder) . That 's 
 a lady. Run along, Con, and speak to Mis' Cullen. 
 Be sure you make her understand that the stockin's 
 will be worn to the dinner-party at the big house. 
 If you ain't sure she hears the first time (Con is at 
 the door so that his mother raises her voice and speaks 
 excitedly), say it twice and say it loud. The 
 news '11 be up and 'down the alley by night and I 'm 
 willin' it should! (Mrs. Ruggles crosses to left and 
 takes up shawl.) 
 
 (Peter who has been standing by the screen 
 during this harrowing scene with a small bundle 
 of red flannel in his hand, comes forward now and 
 whispers to Mrs. Ruggles.) 
 
 MRS. RUGGLES. What do you say? (Takes the 
 flannel from him and holds it up in front of her. It is 
 a very ragged suit of underwear. Mrs. Ruggles's voice 
 is full of terrible thrills.) Clement! (Clement turns 
 slowly on the soap box and stares at his mother.) Is 
 this your best suit of underflannins? 
 CLEMENT. (Steps down from the box carefully and
 
 ACT ] THE BIRDS' CHRISTMAS CAROL 47 
 
 comes slowly across the stage to his mother; examines 
 the garment carefully; looks up at her, smiling pro- 
 pitiatingly.) No 'm; it's my other one. 
 
 MRS. RUGGLES. Well, you can't wear this to no 
 dinner-party. Where's your best one? (Pause.) 
 Bring it here to once, so's I (Her glance is held by 
 Clement's somewhat troubled look.) 
 
 CLEMENT. It's here. I've got it on me. 
 
 MRS. RUGGLES. You've got it on you! (Clement 
 nods. Mrs. Ruggles considers.) Take it off you, then, 
 quicker 'n a wink! (Clement still hesitates.) Quick! 
 hop into bed while I wash it out! 
 
 PETER. (Stands by the screen.) The bed 'sail made 
 up! 
 
 CLEMENT. Oh, Ma, I don't want to go to bed. 
 
 MRS. RUGGLES. Don't s'pose you do! I know it's 
 bothersome, but yer can't go into s'ciety 'thout takin* 
 some trouble! Be lively so the flannins '11 have time 
 to dry. 'Cause if they ain't you stay to home, 
 that's flat! 
 
 (Clement flies behind the screen, there's a scram- 
 ble and the underwear is tossed over into the room.) 
 (Kitty turns from the dishpan, waving dish' 
 cloth, indignantly.) 
 
 KITTY. I'd like to know who's goin* to wipe for 
 me. I only wish I could get sent to bed! 
 
 MRS. RUGGLES (has dragged a tub from the wood- 
 shed and has it on a chair, and is now at the stove get- 
 ting the teakettle). Probably you will, before we git 
 through ! Peory, you git up there and wipe for 
 Kitty. Sarah Maud, I guess you've got to leave them
 
 48 THE BIRDS' CHRISTMAS CAROL [ACT 2 
 
 things a minute and wash out these while I stari 
 Larry's dress. 
 
 (Takes Larry by the hand and leads him to the 
 front of stage. Peoria moves slowly to the sink, 
 picks up the fallen towel and wipes the dishes, 
 Kitty has finished washing.) 
 
 (Sarah Maud puts her iron back on the stove 
 and washes the under flannels, business of empty- 
 ing tub, etc.) 
 
 (Kitty hangs up the pan, then moves slowly 
 across to the mirror.) 
 
 (Mrs. Ruggles, who is holding the shawl up to 
 Larry, sees her.) 
 
 MRS. RUGGLES. Kitty, you git busy finishin' the 
 ironin'. There's your apron, and Peory's, and Con's 
 shirt. And if you have time, a collar for Sarah 
 Maud. 
 
 (Sarah Maud is carefully scrubbing the red 
 flannel shirt.) 
 
 (Clement is behind the screen, popping up now 
 and then and peeping over.) 
 
 (Kitty is ironing.) 
 
 (Peoria is unskillfuUly wiping the bowls and 
 watching her mother.) 
 
 (Larry is on the verge of tears as Mrs. Ruggles 
 lifts one little pudgy arm, then the other, holds the 
 shawl up to his neck for length and then considers.) 
 
 (Mrs. Ruggles is most serious, frowns as one 
 would over a most difficult task and spreads the 
 pieces of the shawl on the floor in estimating dis- 
 play.)
 
 ACT 2J THE BIRDS' CHRISTMAS CAROL 49 
 
 (Sarah Maud has finished her washing and 
 hung the union suit upon the line. As she finishes, 
 Kitty gives her the iron and starts again for the 
 mirror.) 
 
 MRS. RUGGLES (severely). Kitty, you stay where 
 you be. Sarah Maud is goin' to help me. 
 
 (Kitty goes back reluctantly to the ironing and 
 Sarah Maud comes to her mother, who is kneeling 
 on the floor, giving the last puttings and shapings 
 to the shawl.) 
 
 (Larry reaches up mechanically for Sarah 
 Maud's kindly hand and she responds with hers.) 
 (Mrs. Ruggles rises, slowly, painfully, as with 
 stiff joints, holds out cloth to Sarah Maud.) 
 MRS. RUGGLES. There, Sarah Maud, you sew 
 up them seams and be sure you sew strong, 'cause 
 we don't want it to come apart to-night an* now 
 I'll git ready fer the washin'. 
 
 CLEMENT (over the top of the screen). Washin', Ma? 
 Ain't it Wednesday? 
 
 MRS. RUGGLES. Yes, sir, it is Wednesday, and it is 
 washin'I At twelve o'clock me an' Sarah Maud 
 (Peter enters from the door, right, front, Cornelius from 
 the door, rear, in time to hear the dire words and with 
 Kitty and Peoria, they glance anxiously toward the 
 clock which is exactly 15 minutes to 12) at exactly 
 12 o'clock me an' Sarah Maud's goin' ter give yei 
 sech a washin' an' combin' an' dressin' as yer never 
 had before an' never will ag'in, likely (family depres- 
 sion), an' then I'm goin' to set yer down an' give yei 
 two solid hours' trainm' in manners (all the little
 
 60 THE BIRDS' CHRISTMAS CAROL [ACT 
 
 Ruggleses bristle with additional discomfort). An* 
 't won't be no foolin' neither. 
 
 PETER (gruffly and rebelliously, after a long horror- 
 stricken silence in which all the Ruggleses have looked 
 at each other sympathetically). All we've got ter do 's 
 go eat! 
 
 (Mrs. Ruggles looks her scorn at Peter.) 
 (Sarah Maud is stitching carefully, but awk- 
 wardly, and Larry stands by her side with occa- 
 sional pats on her arm. The shoulder seams are 
 loosely put together and soon done.) 
 MRS. RUGGLES. All yer got ter do's eat? Well, 
 that's enough. There's more'n one way of eatin', 
 let me tell yer, an' p'r'aps it's merciful yer don't 
 know what a heap you've got ter learn about it, 
 Peter Ruggles. (Peter moves uneasily away from his 
 mother, up stage.) Land sakes! I wish you childern 
 could see the way I was fetched up ! I et my vittles 
 in a dmin'-room every day of the week before I mar- 
 ried your father; but yer can't keep up that style 
 with seven young ones an' him allers off ter sea. 
 (Sighs.) 
 
 (The Ruggleses' eyes turn involuntarily to the 
 picture of the sailor-man. There are five little 
 reflective sighs Sarah Maud is too busy and 
 Larry too young to join.) 
 
 CORNELIUS (comes in the door). Mis' Cullen wants 
 to know, Ma, if these '11 do. (Unrolls a rather large 
 pair of vivid-hued striped stockings.) 
 
 MRS. RUGGLES (clasps her hands and says) . They '11 
 be the makin' of you! Ain't they stylish, Peory?
 
 ACT 2] THE BIRDS' CHRISTMAS CAROL 51 
 
 PEOBIA (slowly,uncertainly, staring at the stockings). 
 Y-e-s, Ma. 
 
 CORNELIUS (hilariously). Nobody '11 forget she's 
 got 'em on! 
 
 MRS. RUGGLES (sharply). Give 'em to her, Con. 
 (Cornelius hands them over to Peoria y who takes 
 them with some natural aversion.) 
 
 CORNELIUS (breathless). And, Ma, what do you 
 think Mis' Cullen says is all up an* down the alley? 
 She says Mr. Bird has bought our house! 
 
 MRS. RUGGLES (quickly). What house? 
 
 CORNELIUS. This house. 
 
 MRS. RUGGLES. Mr. Bird bought our house? 
 
 CORNELIUS. That's what Mis' Cullen says. She 
 s'poses now we'll be goin' to hev steam heat an* 
 'lectrics put in. 
 
 MRS. RUGGLES (suspiciously). That's nothin* 
 but her spite. Mis' Cullen allers was envious. 
 
 PETER. P'r'aps Mr. Bird told Mis' Cullen he was 
 goin' to put in 'lectrics. 
 
 MRS. RUGGLES. T ain't likely he'd make any 
 confidences to her. Land sakes, childern, what do 
 you s'pose it means? 
 
 SARAH MAUD (anxiously). Ma, will Mr. Bird 
 come every week to collect the rent, 'cause I 'm 
 awful scared of him. 
 
 MRS. RUGGLES. I don't know, Sarah Maud; I'm 
 all kind o' flustered, but I can't help feelin' it means 
 somethin' good, comin' Christmas Day, this way. 
 Don't let's think about it. I don't dast, hardly, 
 an' we ain't got time. Give me Larry's dress, and
 
 52 THE BIRDS' CHRISTMAS CAROL [ACT 2 
 
 hand me my scissors they 're hanging underneath 
 your Pa's "enlargement." (Sarah Maud rises slowly 
 and holds up completed dress.) 
 
 MRS. RUGGLES. (Takes dress with abstracted smile. 
 Surveys children.) Now, Sarah Maud, we can begin. 
 I've got a boiler 'n' a kittle 'n' a pot o' hot water 
 all ready. Peter, you take a big pitcher o' water out 
 o' the kittle, and go into the back bedroom. Corne- 
 lius, you go with Peter, 'n' he'll help you. (Peter gets 
 water; exits. Mrs. Ruggles considers disposal of other 
 children. Cornelius gets water; is leaving; Mrs. Ruggles 
 halts him.) Take the kittle with you. (Cornelius re- 
 turns; takes the kettle off, with great effort.) Peory, you 
 and Kitty take some water and go upstairs and 
 
 PEORIA (shivering). Oh, Ma, it's cold up there. 
 
 MRS. RUGGLES. Y-e-s, I s'pose 't is : but you ain't 
 used to no furnace-heated bathrooms, an' you've 
 go to go to the party clean, anyway. 
 (Peoria exits.) 
 (Clement shouts oter screen?) 
 
 CLEMENT. Yi, Peory, you forgot yer stockin's! 
 
 MRS. RUGGLES (gathering them all up). So you 
 did. (Drapes stockings over Peoria's arm.) Here, 
 Kitty, give these to the boys. (Hands her stockings; 
 then cheerfully and energetically.) Now, Sarah Maud, 
 you take Clem an' Larry, one to a time; scrub 'em, 
 an' rinse 'em, or 't any rate git's fur's yer can 
 with 'em, and then I '11 finish 'em off while yer do 
 yerself . Meantime, I '11 git out the jewelry an' trim- 
 min's and see how far they '11 go. 
 
 (Mrs. Ruggles goes to the bureau; opens tfa
 
 ACT 2] THE BIRDS' CHRISTMAS CAROL 53 
 
 drawers; takes out small boxes from which she 
 extracts various treasures.) 
 
 (Sarah Maud drags the washtub behind the 
 stove; puts a generous amount of boiling water into 
 it; adds cold, then drags slow-footed Larry behind 
 the stove* out of sight and the audience sees several 
 small garments lifted and waved in the air.) 
 CLEMENT (over the screen). Sarah Maud ain't took 
 me, Ma. 
 
 (Mrs. Ruggles turns; but before she can reas- 
 sure him there is a splash as of some one slipping 
 into water, and an agonized scream from Larry.) 
 LARRY (after a slight pause, speaks as though trying 
 to get his breath.) HOT! 
 
 (As Mrs. Ruggles is about to rush to the rescue^ 
 Cornelius sticks a wet head in at the door.) 
 CORNELIUS. Ma! Peter won't give me the soap. 
 MRS. RUGGLES. (Goes to the door and calls.) Peter, 
 you let Cornelius have that soap, part o' the time. 
 
 PETER (voice off stage). I do ! but he keeps it hi the 
 water and w-a-s-t-e-s it, paddlin' with it. 
 (Cornelius exits.) 
 
 (Mrs. Ruggles returns to her trinkets.) 
 (While Larry is still in the tub, Jack and El- 
 frida pass the window, left, and knock at the door.) 
 (Mrs. Ruggles straightens slowly and listens; 
 the knock is repeated.) 
 
 MRS. RUGGLES. Some one's at the door! Quick, 
 Sarah Maud, take Larry into the o^her room. 
 
 SARAH MAUD (in an agonized whisper). I can't: 
 he's in the tub.
 
 54 THE BIRDS' CHRISTMAS CAROL [ACT 
 
 (Mrs. Ruggles hurries across stage, looks at 
 screen Clement's head disappears pushes table 
 in front of stove as she goes, and sets it over the 
 tub and Larry.) 
 
 MBS. RUGGLES. You keep Larry hid, and covered 
 over, Sarah Maud; and I'll stand t'other side o' the 
 room, so whoever 't is won't look your way. I hope 
 to the land they won't stop long. 
 
 CLEMENT. (Creeps to window; peeps out; whispers.) 
 It's the Birds' nurse-lady 'thout her cap, and the 
 uncle. S'pose they've come for the rent? 
 
 (Mrs. Ruggles stiffens with dismay, and for 
 one cowardly moment contemplates inhospitality. 
 Then she slowly pulls down her sleeves and, march' 
 ing like a hero, opens the door.) 
 MBS. RUGGLES. Oh, Miss Elfrida, ah ah 
 A Merry Christmas to you! Will you step in 
 a minute? 
 
 (Mrs. Ruggles does not move away from the 
 door to admit her until Elfrida advances.) 
 
 (Elfrida has on the becoming fur turban, a 
 little bouquet of holly in her jacket and on her muff, 
 and looks rosy and pretty.) 
 
 ELFRIDA (entering). Thank you, just a moment. 
 It's a little early for calling. (Jack follows.) This is 
 Mr. Bird, Mrs. Ruggles; Carol's uncle. And we 
 came to say 
 
 MBS. RUGGLES (with short supply of breath). How 
 do you do, Mr. Bird? I hope your health is good, 
 Mr. Bird. 
 JACK (lightly, but with glance of seriousness).
 
 ACT 2] THE BIRDS' CHRISTMAS CAROL 55 
 
 Much better than when I arrived, thank 
 (smiles at Elfrida) you. 
 
 (Mrs. Ruggles tries to make conversation, but 
 
 is desperately conscious of various things that 
 
 must be concealed. She either plucks an offending 
 
 garment from its place or some other business 
 
 between all the remarks. She might carelessly 
 
 turn up the legs of Clement's wet union suit, over 
 
 the line, so that they are not quite so obvious. 
 
 She then looks at the stove, and carefully places 
 
 two chairs with their backs to it.) 
 
 MRS. RUGGLES. I am very glad, I'm sure. Won't 
 
 you have a shirt I mean a seat, Mr. Bird, Miss 
 
 Elfrida er (Spies Larry's cast-off shirt and 
 
 gathers it.) 
 
 ELFRIDA. (Sits.) Thank you. Miss Carol sent 
 us over to ask you 
 
 (Jack stands by her chair.) 
 
 MRS. RUGGLES (forgetting her embarrassment in 
 her worry. Center of stage). The dinner ain't put off, 
 is it? (Quickly.) Though (Clement's head appears 
 over the screen. Sarah Maud looks over the table) of 
 course it's all right if it is. Ain't Miss Carol so well? 
 JACK. Oh, yes; she's better, and planning great 
 things for this evening. No, indeed; the Christmas 
 dinner is n't postponed, you may be sure. 
 
 (Clement retires behind the screen, and Sarah 
 Maud returns to her lowly bathroom.) 
 
 (Jack roams about the room, stopping espe- 
 cially to observe Mr. Ruggles's picture t which 
 would attract notice anywhere.)
 
 56 THE BIRDS' CHRISTMAS CAROL [ACT 2 
 
 (Mrs. Ruggles watches him closely while she 
 talks, and endeavors always to keep between him 
 and the stove.} 
 
 ELFRIDA. We've come to make sure that all the 
 children will be able to come. I suppose it 's rather 
 hard to have seven ready at the same time. 
 
 MBS. RUGGLES (meaningly as Clement's head 
 appears above the screen). All of the childern are 
 comin' (sees Clement's head) I HOPE!! 
 
 (Clement sees the point and ducks quickly.) 
 
 JACK. (At the mirror, into which he is smiling.) I 
 hope you don't mind my admiring your wonderful 
 shells, Mrs. Ruggles. You see, I'm a bit of a sailor. 
 
 MRS. RUGGLES. Mr. Ruggles (draws herself up 
 proudly) is a sailor, too! 
 
 JACK (pointing to the picture). And this is Mr. 
 Ruggles? 
 
 MRS. RUGGLES (joining him). Yes. He had that 
 taken last time he was to home; three years ago, now. 
 The photograph was real good, but I ain't never 
 been satisfied with the enlargement. A lady who 
 enlarges for a livin' come to the door and offered 
 to do it for seventy-five cents. I don't hardly know 
 what she done to Ruggles, but he don't look the same 
 sence he was enlarged. 
 
 ELFRIDA (rising and turning to Jack). But we're 
 not delivering our message. (To Mrs. Ruggles.) Mrs. 
 Ruggles, Mrs. Bird -thought possibly you'd enjoy 
 seeing the children at the games after the dinner, 
 and she hopes you '11 come in for a few minutes about 
 eight o'clock.
 
 ACT 2] THE BIRDS' CHRISTMAS CAROL 57 
 
 MRS. RUGGLES. Come in? To the house? Me? 
 To the party? 
 
 JACK. We 'd like it awfully if you would. Do say 
 "yes." 
 
 ELFRIDA (as Mrs. Ruggles still hesitates). I hope 
 you have n't another engagement. 
 
 MRS. RUGGLES. Oh er no. P Yaps I can 
 manage. I can't just think it out so quick. 
 
 JACK (holding out his hand}. Don't think it out, 
 Mrs. Ruggles; just come. 
 
 MRS. RUGGLES (wiping her hand and putting it into 
 his, slowly, and then looking up at him, pleased at his 
 courtesy}. Oh, yes, I'll come, if you really mean 
 the family 'd like to have me. I 'm real sociable my- 
 self, an' I ain't never met Mr. Bird. 
 (Hold this scene a second.) 
 (Outside the door a rattle, and Kitty's voice.) 
 KITTY (outside). Ma '11 do it, then, if you won't. 
 
 (Enter Kitty, hair half out of its curl-papers. 
 She notes the visitors; gasps; then retreats, hur- 
 riedly.) 
 
 (Elfrida starts toward the door. Jack follows.) 
 (Mrs. Ruggles circles them and stands in front 
 of the table, outstretching her skirt with careful 
 carelessness to shield the bather.) 
 ELFRIDA (holding out her hand). Again, Merry 
 Christmas, Mrs. Ruggles. 
 
 MRS. RUGGLES. Thank you kindly, ma'am. The 
 same to you. And to you, sir; and (jumping to an 
 embarrassing conclusion), may you spend many of 
 them together, happy and prosperous.
 
 58 THE BIRDS' CHRISTMAS CAROL [ACT * 
 
 (Elfrida is outside, but hears.) 
 
 (Jack is puzzled; then gets her meaning.') 
 
 JACK. Er a thank you ! (Pause. Grows seri- 
 ous.) And I hope you '11 let me thank you, too, many 
 times, for the pleasure your children bring to Carol. 
 (Exits quickly.) 
 
 (Mrs. Ruggles closes door slowly and leans 
 against it.) 
 
 MBS. RUGGLES. Pleasure! Us! Well, what do you 
 think of that! 
 
 LARKY (plaintively, from the tub). I'm most 
 soaked up! 
 
 CLEMENT (appearing around the screen in his night 
 attire). When's my wash goin* to begin? And is my 
 shirt goin' to stay on the line forever? (Mutinously.) 
 I'll dress without it, first thing you know! 
 
 KITTY. (Enters door, right front.) Ma, I can't get 
 my curls out o' the rags. 
 
 PETER. (Follows Kitty.) I ain't got no necktie. 
 
 MRS. RUGGLES. (Puts her hands to her ears.) One 
 to a time one to a time! Sarah Maud, you help 
 Peter empt* the water out, an' Clem can begin. 
 Land sakes, it's worse 'n a Monday! I'm glad we 
 don't have to boil childern an' dip 'em in bluein'- 
 water same as you do clothes, or I should give up. 
 As 't is, I don't want to see a tub for a month. 
 
 PETER. You bet 7 don't, neither! 
 
 MRS. RUGGLES. Bring Larry here, Sarah Maud, 
 and finish him up. Kitty, come to me (moves down 
 stage to dresser; sits, left) an' I'll fix your curls fef 
 you. Where 'sPeory?
 
 ACT 2] THE BIRDS' CHRISTMAS CAROL 59 
 
 (Sarah Maud and Peter are emptying the 
 tub.) 
 
 KITTY (kneeling on floor in front of her mother'). 
 She's comin'. She can't get her stockin's so's the 
 stripes ain't twisted; an' they're so big for her they 
 keep slippin' down, showin' her knees. She thinks 
 they're full grown-up size an' they will bag! 
 (Mrs. Ruggles arranges Kitty's ringlets.) 
 (Sarah Maud brings Larry, clad in his under 
 garments up to his dress, down stage; places him 
 on chair and scrubs his hands, scours his face, 
 etc., etc., etc.) 
 
 (Mrs. Ruggles goes to bureau; takes out a green 
 skirt with double row of brass buttons.) 
 MRS. RUGGLES. See here, Sarah Maud! 
 
 (Sarah Maud turns slowly from Larry and 
 looks at her mother, but without much interest.) 
 
 (Mrs. Ruggles points to buttons.) 
 MRS. RUGGLES (proudly.) They're off yer uncle's 
 policeman's uniform. 
 
 (The Ruggleses are dumb and wide-eyed with 
 amazement at the sacrifice.) 
 
 MRS. RUGGLES (quickly.) 'Course you must be 
 very careful not to lose one. (Sarah Maud's faint 
 smile fades.) I sewed 'em on last night. Ain't it 
 stylish! (Holds out the skirt admiringly.) Take it, 
 Sarah Maud, and go an' git yerself together. 
 SARAH MAUD. Larry 
 MRS. RUGGLES. I'll finish Larry. 
 LARRY (piteously; somewhat red and raw). I AM 
 finished Honest I am!!!
 
 60 THE BIRDS' CHRISTMAS CAROL [ACT 2 
 
 (Kitty stands in front of mirror, putting on 
 last touches.) 
 
 (Sarah Maud exits, door, left, front.) 
 
 (Peter sits at table, fingering the neckties and 
 cottars.) 
 
 (Mrs. Ruggles takes Larry and puts on the 
 shawl dress. She looks at it admiringly; then 
 takes out a red sash and ties it around his waist. 
 The bottom of the fringe rises as the sash is tight- 
 ened, and when Mrs. Ruggles sits back on her 
 knees to inspect, her disappointment is keen.) 
 MRS. RUGGLES. Larry Ruggles, your dress is 
 goin' to be too short! 
 
 (Larry smiles at her as at praise; then slowly 
 realizes it is n't, and looks solemnly at the bot- 
 tom of his dress.) 
 LARRY. Too short! 
 
 MRS. RUGGLES. I could just cry ! Whatever shall 
 we do? 
 
 (Mrs. Ruggles rises slowly; gets the scissors; 
 returns; kneels beside Larry; takes off the sash, 
 and, with the garment still on him, cuts the shawl 
 along waist-line. It is held by a few threads only, 
 but fastened beneath by a strip of white cloth 
 which shows when the other fastenings are cut, 
 and seems to be Larry's underwear. She takes pins 
 and fastens the upper part of the shawl down, then 
 the lower part up, and then re-ties the sash.) 
 
 (During the above performance Cornelius enters 
 and joins Peter at the table. There is some slight 
 business of dispute over cottars.)
 
 ACT 2] THE BIRDS' CHRISTMAS CAROL 61 
 
 CLEMENT. Ma, is my shirt dry? 
 MRS. RUGGLES (turning, with pins in her mouth). 
 Kitty, see if your brother's shirt 's dry. 
 
 (Kitty crosses stage, slowly, glancing admir- 
 ingly at herself as she goes; feels of the shirt, while 
 Clement and her mother wait anxiously; then an- 
 nounces, slowly.} 
 
 KITTY. No; 't ain't; but it's stopped steamin'. 
 CLEMENT. Oh, Ma, kin I wear the holey one? 
 'T ain't goin' ter show. 
 
 MRS. RUGGLES. (Considers; tempted to yield her 
 family pride.) No, Clement. 'T would n't be proper 
 respect to the Birds. 'T ain't no use to look good 
 outside if you're all the time rememberin* somethin* 
 wrong inside. Put on yer sleepers again. Peter, 
 stuff some more wood in the stove. An' Kitty, 
 move the shirt along the line. 
 
 (Clement appear sin his "sleepers "and watches 
 anxiously.) 
 
 (Peter gets the wood and puts it into the stove 
 with a great clatter.) 
 
 (Kitty moves the shirt slightly; then crosses stage 
 to mirror again.) 
 
 (Clement feels of his shirt, anxiously; then 
 moves it still nearer, and sits, right, on wood box, 
 watching it closely.) 
 
 (As Larry's toilet is finished, Mrs. Ruggles 
 carefully places him on a chair, right, front, so 
 that there shall be no tension on the pins.) 
 
 (Peoria enters at door, left; crosses to center, 
 stiffly. All turn and watch her, gazing chiefly at
 
 62 THE BIRDS' CHRISTMAS CAROL [ACT 2 
 
 her stockings. Her hair has resisted all advances 
 in the shape of hair oils and sticks out deter- 
 minedly.) (Pause.') 
 
 CORNELIUS. (Convulsed) Look at 'er hair! Ain't 
 it jest like a circus picter? 
 
 CLEMENT. An' her laigs! Ain't yer got no casters 
 to put on 'em? 
 
 MRS. RUGGLES. Clement McGrill Ruggles! 
 (Clement rises slowly.) Ain't yer ashamed of yerself ? 
 callin' names. You march right into the bedroom 
 and stay there until 
 
 (Clement crosses stage, slowly.) 
 (Peoria watches him; first with pleasure in his 
 punishment, then, as he reaches her, she throws 
 her arms about him.) 
 PEORIA. Don't punish him to-day, Ma. 
 MRS. RUGGLES. You're right, Peory; you're a 
 real lady. Come back, Clem. 
 
 (Clement returns to his seat on the wood box.) 
 (Peter stands by the sink.) 
 (Cornelius is right of table.) 
 (Larry is on chair to right, front.) 
 (Peoria and Kitty are both looking into the mirror.) 
 (Mrs. Ruggles stands center stage back, hands 
 on hips, looking from one to the other.) 
 MRS. RUGGLES. Now, if Sarah Maud 
 
 (Door, left, front, opens; Sarah Maud enters.) 
 LARRY (jumping from chair and running to her). 
 She's here! She's here! 
 
 MRS. RUGGLES. (At the bureau. Surveys Sarah 
 Maud, who is embarrassed by her elegance.) Well,
 
 ACT 2] THE BIRDS' CHRISTMAS CAROL 63 
 
 now, ain't that skirt han'some! (Holds up a collar, 
 admiringly.) Here's a collar you can wear. 
 
 (Sarah Maud comes to center. Larry follows.) 
 
 SARAH MAUD (slowly). Why, Ma, it's your'n! 
 
 MRS. RUGGLBS. Well, what o' that? 
 
 SARAH MAUD. What are you goin* to wear to the 
 party? 
 
 (The children all stare with the same idea.) 
 
 MRS. RUGGLES (slowly). I? I had n't thought o* 
 that. But you must he v this. (Adjusts collar.) My! 
 How it does dress yer up! You look real nice, fer 
 once. Peter, you kin wear this scarf pin your pa an* 
 me was married in it. Come here till I sew it in yer 
 tie ; the ketch is off. (As she sews it in.) Cornelius, you 
 hand Clem a collar and necktie; an' you take the 
 cuffs, your neck is shorter an' it don't need hid- 
 in' so much as his'n. Now, Peter, you an' Clem an' 
 Cornelius put the chairs in line, an' we're ready for 
 our trainin'. 
 
 (Peter and Cornelius tug up the chairs.) 
 
 CLEMENT. (Rises slowly; walks to the line and feels 
 of his shirt. Despairingly.) T ain't dry. 
 
 MRS. RUGGLES. Lor' sakes, ain't it? Put in an- 
 other stick. We might 'a' bought another shirt with 
 the wood we've used up. You'd better come to the 
 lesson, 'cause I can't have yer goin' there with no 
 manners, in case yer shirt should dry in time. 
 
 PETER. (Five chairs in line.) There ain't enough 
 chairs. 
 
 MRS. RUGGLES. Why should there be? What fam- 
 ily ever wants to set down all to once? Fetch up the
 
 64 THE BIRDS' CHRISTMAS CAROL [ACT 2 
 
 coal hod f er Larry. Put a newspaper on it, Cornelius. 
 Clem, you bring the box an' set on that. Now, all 
 of you get in place, accordin' to yer age. No, 
 Sarah Maud; let Larry go to the foot by himself, 
 where he belongs. 
 
 (Larry walks slowly to the foot.) 
 
 (As they are all seated, Mrs. Ruggles stands to 
 right of them; walks before them as an inspecting 
 officer, to left, her hands on her hips, and her eyes 
 filled with pride.) 
 
 MRS. RUGGLES. Well, if I do say so, as should 
 n't, I never seen a cleaner, more stylish mess of 
 childern in my life! I do wish Ruggles could see you 
 now. . i . Larry Ruggles, how many times hev I got 
 ter tell yer not ter keep pullin' yer sash? . . . Ain't 
 I warned you, if it comes ontied, yer waist an* 
 skirt '11 part company in the middle, an' then 
 where '11 you be? 
 
 (Larry loses his balance and falls off the coal 
 hod. He is returned to erect position.) 
 
 (Mrs. Ruggles sighs.) 
 
 MRS. RUGGLES. We're losin' time, an' we ain't 
 got down to real. work yet. Now, look me in the eye 
 all o' yer. (Pauses while she surveys the palpitat- 
 ing Ruggleses in turn.) I've often told yer what kind 
 of a family the McGrills is, hev n't I? (Six Ruggleses 
 nod solemnly. Clement nudges Larry, who slowly sett 
 his head in motion. It goes for several minutes, likt. 
 the head of a plaster donkey.) I 've got reason to b 
 proud, goodness knows! Yer uncle is on the police 
 force o' Pittsburg. You can take up the paper 'most
 
 ACT 2] THE BIRDS' CHRISTMAS CAROL 65 
 
 any day an' see his name printed right out, James 
 McGrill, an' I can't hev my childern fetched up 
 common, like some folks'. When they go out, they 've 
 got to hev clo'es, an' learn to act decent! Now, 
 I want ter see how yer goin' to behave when yer git 
 there ter-night. 
 
 (Sarah Maud folds her hands patiently in her 
 lap and holds her head down.) 
 
 (Peter puts his heels together stiffly on the floor, 
 folds his arms, and scowls.) 
 
 (Peoria twists her zebra legs and vainly endeavors 
 to cover her knees with her unwilling skirt.) 
 (Kitty tosses her ringleted head.) 
 (Cornelius holds to the bottom of his chair as 
 though toboganning.) 
 
 CLEMENT (moving uneasily; grumbles, with a look 
 at the wash on the line). What's the use o' havin* 
 manners if yer ain't got no shirt? 
 
 (Larry threatens to tumble qff the coal hod 
 again.) 
 
 MRS. RUGGLES. A dinner-party ain't so awful 
 easy as you think. Let 's start in at the beginnin' an* 
 act out the whole business. Pile into the bedroom 
 there an' show me how yer goin' to go into the parlor. 
 This'U be the parlor, an' I'll be Mis' Bird. 
 
 (Sarah Maud leads the way, and all except 
 Clement follow her; he goes to the stove and feels 
 of his shirt.) 
 CLEMENT. 'T ain't dry. 
 
 MRS. RUGGLES. Put in more wood, and hurry 
 along. (Clement does so.)
 
 66 THE BIRDS' CHRISTMAS CAROL [ACT 2 
 
 (Mrs. Ruggles feels of the shirt anxiously, then 
 draws chair to front of stage, left, and assumes 
 great dignity.) 
 
 (From the time of the exit of the Ruggleses, 
 there has been the sound of scuffling, and Kitty's 
 piercing soprano is heard.) 
 
 KITTY (from outside). Don't jam my curls! Keep 
 away from me! 
 
 (Every child giggles but Larry and Sarah 
 Maud.) 
 
 (Door bursts open, and Peoria and Clement are 
 catapulted into the room. Peter, Cornelius, and 
 Kitty scramble for place beside them. Larry at- 
 tempts to find a way between Peter and Cornelius, 
 and tumbles in, while Sarah Maud stands in 
 the doorway.) 
 
 MBS. RUGGLES. (Rises, slowly.) There! I knew 
 yer'd do it in some sech fool way. Now, go in there 
 an* try it over again, every last one o' ye; an' if Larry 
 can't come ,in on two legs he can stay ter home : d ' yer 
 hear? 
 
 (The Ruggleses, troubled by their mother's 
 manner, file back into the room, quietly, and re- 
 appear; a very tame entrance this time. Sarah 
 Maud is at the head of the line, Larry at the foot. 
 They keep step, and Sarah Maud leads the way, 
 back of the chairs and up the line to her seat.) 
 
 (As Clement passes the shirt, he feels it; then 
 slowly walks to place.) 
 
 MBS. RUGGLES (while they are marching in). No, 
 no, no! That's worse yet! Yer look for all the world
 
 ACT 2] THE BIRDS' CHRISTMAS CAROL 67 
 
 like a gang o' pris'ners. There ain't no style ter that. 
 Spread out more, can't yer; an' act kind o' careless- 
 like nobody's goin' ter kill yer! That ain't what 
 a dinner-party is. You need n't go back now; but 
 remember what I say, and come into the room as 
 though you was in the habit of goin' to parties ev'ry 
 day o' your life! 
 
 (As they are att seated but Clement he goes to 
 the line, seizes his shirt, and, with a leap of joy 
 across the stage, shouts.) 
 
 CLEMENT. It's dry! It's dry! (Goes behind screen 
 to dress.) 
 
 MRS. RUQGLES. It ought to be aired, and prob- 
 ably you'll get yer death: but maybe it's wuth it. 
 Don't slight yerself now; comb yer hair, an' listen to 
 what I'm a-tellin' th' others. (They are att seated by 
 this time.) Now, yer know there ain't 'nough hats 
 to go 'round; an' if there was I don' know as I'd let 
 yer wear 'em, fer the boys 'ud never think to take 
 'em off when they got inside fer they never do: 
 but, anyhow, there ain't 'nough good ones. Now 
 look me in the eye. (They all attempt to.) You're 
 only jest goin' around the corner; yer need n't wear 
 hats, none o' yer; an* when yer get int* the parlor, 
 if they should happen to say anything about hats, 
 Sarah Maud must speak up (Sarah Maud shows her 
 dismay) an' say it was sech a pleasant evenin' an* 
 sech a short walk that yer lef' yer hats ter home. 
 Now, can yer remember? 
 
 CHORUS OF RUGGLESES. Yes, marm. 
 
 MBS. RUGGLES. What hev you got ter do with it?
 
 68 THE BIRDS' CHRISTMAS CAROL [ACT 2 
 
 Did I tell you to say it? Warn't I talkin' to Sarah 
 Maud? (All but Kitty, who is pert, and Larry, who 
 does n't understand, hang their heads. Larry sees them, 
 then slowly and solemnly does likewise.) Now, we 
 don't leave nothin' to chance: try it, Sarah Maud. 
 Speak up. 
 
 SARAH MAUD (in a low, trembling voice). It was 
 pech a pleasant evening (Mrs. Ruggles nods approval) 
 and sech a short hat 
 
 MRS. RUGGLES. Short hat I Oh! Whatever shall 
 I do with you? Short walk; short walk: can't yer 
 remember that? 
 
 SARAH MAUD (uncertainly). Sech a pleasant walk 
 an' sech a short evenin', yes'm; I kin remember. 
 
 MRS. RUGGLES. Now, Cornelius, what are you 
 goin' ter say ter make yerself good comp'ny? 
 
 CORNELIUS. (Sits up in alarm; his eyes pop; his 
 breath is short.) Do? Me? Dunno! 
 
 MRS. RUGGLES. Well, ye ain't goin' ter set there 
 like a bump on a log air ye? 'thout say in' a word 
 ter pay fer yer vittles? Ask Mrs. Bird ... if she's 
 got good help in the kitchen, ... or how she's feelin* 
 this evenin' (with very much manner) or if Mr. Bird 's 
 hevin' a busy season ... or some kind o' party-talk, 
 like that! 
 
 (Cornelius is most unhappy. Peter unsympa- 
 thetically joyous.) 
 
 (Mrs. Ruggles has a sudden thought.) 
 
 MRS. RUGGLES. No; come to think about it, 
 't would n't do for you to take the lead that way. 
 Pater's the one: he's the oldest. Peter, you open
 
 ACT 2] THE BIRDS' CHRISTMAS CAROL 69 
 
 up with Mr. Bird, and remember he's consid'able 
 stiff and stand-offish, though he may be a little 
 easier to-night if he 's bought the house for us. 
 
 (Peter's joy fades, while Cornelius's anxiety 
 decreases suddenly.) 
 
 MRS. RUGGLES. Now (sighs, as with relief), we'll 
 make-b'lieve that we're at the table: that won't be 
 so hard 'cause yer'll hev somethin' ter do it's 
 awful bothersome to stau' still an' act stylish. 
 (Slowly.) If they hev napkins, Sarah Maud down to 
 Peory may put 'em in their laps, an' the rest of ye 
 can tuck 'em in their necks. Don't eat with yer 
 fingers. (The Ruggleses grow solemn.) Don't grab 
 vittles off one 'nother's plate: don't reach out fer 
 nothin', but wait till yer asked: an' if yer never git 
 asked, don't git up an' grab it (they all wait anxiously 
 for a clue to behavior in this awful possibility); jes* 
 go without! Don't spill nothin' on the tablecloth, or 
 like'? not Mis' Bird '11 send yer away from the table: 
 an' I hope she will, too. 
 
 (Cornelius gives a long sigh.) 
 (Clement bursts forth from behind the screen.) 
 CLEMENT (leaping with joy). Hurrah! I'm ready. 
 
 (Twelve care-filled eyes are turned toward him. 
 He takes his place.) 
 
 MRS. RUGGLES. Now, we'll try a few things ter 
 sre how they '11 go. Mr. Clement, do you eat cram- 
 Is fy sarse? 
 
 CLEMENT. Bet yer life! 
 
 (There is a moment of deathly quiet. All the 
 other Ruggleses look at him in amazement. Clem- 
 ent is puzzled.)
 
 70 THE BIRDS' CHRISTMAS CAROL [ACT 2 
 
 MRS. RUGGLES. Clement McGrill Ruggles, do 
 you mean to tell me that you 'd say that to a dinner- 
 party? I'll give ye one more chance. Mr. Clement, 
 will you take some of the cramb'ry? 
 
 CLEMENT (slowly; the others watch him). Yes, marm; 
 thank ye kindly, 'f yer happen ter have any handy. 
 
 MRS. RUGGLES. Very good: but they won't give 
 yer two tries to-night. (The following taken very 
 quickly.) Miss Peory, do yer speak for white or dark 
 meat? 
 
 PEORIA. I ain't pertic'lar as to color; anything that 
 nobody else wants will suit me. 
 
 MRS. RUGGLES. First-rate! Nobody could speak 
 more genteel than that. Miss Kitty, will you have 
 hard or soft sarse with your pudden? 
 
 KITTY (with composure). Hard or soft? Oh, a little 
 of both; an* I'm much obliged. 
 
 (Business of pointing finger of shame. Peter 
 grunts.) 
 
 MRS. RUGGLES. You stop yer gruntin', Peter 
 Ruggles. That warn't greedy; that was all right. I 
 wish I could git it into yer heads that it ain't so much 
 what yer say as the way yer say it. ... An' don't 
 keep starin' cross-eyed at your necktie pin, or I vow 
 I'll take it away an' sew it on Clem or Cornelius. 
 Sarah Maud '11 keep her eye on it, an' if it turns 
 broken side out she'll tell yer. (Sarah Maud droops 
 a bit more.) Gracious! I should n't think you'd ever 
 seen nor worn no jool'ry in yer life! Kitty, lend 
 your hank'chief to Peory if she needs it, an' I hope 
 she'll know when she does need it, though I don't
 
 ACT 2] THE BIRDS' CHRISTMAS CAROL 71 
 
 expect it! Larry! (Larry looks up, frightened) 
 you're too little to train; so you jest look at the rest 
 an' do 's they do, an* the Lord have mercy on ye 
 an' help ye to act decent. Now is there anything 
 more ye'd like to practice? 
 
 |> ;- PETER. If yer tell me one more thing, I can't set 
 up an' eat. I'm so cram full o' manners now I'm 
 ready to bust 'thout no dinner at all. 
 
 CORNELIUS. Me, too. 
 
 MRS. RUGGLES (who has been walking back and 
 forth, stops at right). Well, I'm sorry fer yer both! 
 If the 'mount o' manners yer've got on hand now 
 troubles yer, you're hurt dretful easy. (Starts toward 
 the door as though to open it. The children watch eag- 
 erly.) Now, Sarah Maud (Sarah Maud winces) , 
 when the time comes, you must git up an* say, "I 
 guess we'd better be goin'." Hev yer got that int* 
 your head? 
 
 SARAH MAUD. Jest when do I get up? 
 
 MRS. RUGGLES (easily). About once in so often. 
 
 SARAH MAUD (rising slowly). About once in so 
 often? 
 
 MRS. RUGGLES. If they say, "Oh, no; set a while 
 longer," yer can set: but if they don't say nothin', 
 you 've got ter get up an' go. 
 
 SARAH MAUD (mournfully). Seem's if this whole 
 dinner-party set right square on top o' me. Mebbe 
 I could manage my own manners; but to manage 
 seven mannerses is worse 'n stayin' to home. 
 
 MRS. RUGGLES (easily; patting Sarah Maud on the 
 shoulder). Oh, don't fret, I guess you'll git along.
 
 72 THE BIRDS' CHRISTMAS CAROL [ACT 2 
 
 I would n't mind if folks would only say, "Oh, chil- 
 dern will be childern." But they won't. They '11 say 
 "Who on earth fetched them childern up?" It'a 
 a quarter past five now an' yer (the children rise, 
 slowly) can go. 
 
 (As they are on the way to the door and Mrs. 
 Ruggles is holding it open for them, a thought 
 suddenly strikes her and she comes back, nearer 
 to the group.) 
 
 MRS. RUGGLES. Land o' goodness, what are we 
 thinkin' about! Here you are, goin' to the big house 
 without a sign of a present. 'Course they 're so rich 
 they don't need nothin' ; but 't ain't much of a Christ- 
 mas if yer jest go to the party for what yer can carry 
 away. Stand still a second and let's think what we 
 can give to Mis' Bird. 
 
 (The Ruggles family reflects. Sarah Maud 
 walks to bureau; Kitty to closet; Peter consults 
 his pockets; Cornelius the ceiling; Clement nudges 
 Cornelius to bespeak his appreciation of the joke, 
 and then tiptoes to stove, opens oven door and peers 
 in as if he expected to find a diamond necklace 
 or grand piano there.) 
 
 KITTY. (Inspired.) Ma! Could we spare the plush 
 table-drape? 
 
 MRS. RUGGLES. Land, I had n't never thought o' 
 partin' with that! I was goin' ter hev it on when 
 yer pa come home : but there ! mebbe 'twould be dark, 
 an', anyhow, like as not, he'd never notice it, he'd 
 be so taken up with you childern. Get it out, Sarah 
 Maud, an' let's have a look at it.
 
 ACT 2] THE BIRDS' CHRISTMAS CAROL 73 
 
 (Sarah Maud comes to front and holds up the 
 sacred object. It is a scarf of bright-colored cotton 
 plush with bold design in lustre paint and cord 
 of many colors. It is of appalling hideousness.) 
 
 SAB AH MAUD. O Ma! Can you give it up? 
 
 MRS. RUGGLES (complacently). It is rich, ain't 
 it? 
 
 PETEB. There could n't be nothin' too rich for the 
 Birds. I've been all over the house, 'most, and I 
 know. 
 
 MRS. RUGGLES. An' there ain't any use givin' a 
 present 'thout you give somethin' worth while. Well, 
 what say? Can we do without the table-drape? 
 
 RUGGLES fPEORiA. Yes, ma'am. 
 
 CHILDREN -I PETER. Yes, sir-ee. 
 
 (together.) ICoRNELius. 'Course we kin. 
 
 LARRY (slowly; imitating Peter). Yes, sir - L e-e. 
 
 CLEMENT (having no special love for the beautiful, 
 remarks cheerfully in the same breath with the others). 
 "Let her go, Gallagher!" 
 
 MRS. RUGGLES. Remember what day 't is, an* 
 don't talk slang, Clement. 
 
 KITTY. Ma, may I hand the table-drape to Mis' 
 Bird, when it comes time? 
 
 MRS. RUGGLES. Yes, if you think you can do it 
 real nice. Just say, loud an' clear, "From Mis' Rug- 
 gles with the season's compliments." Wrop it up 
 quick, Sarah Maud, for fear I shall lose my courage 
 and keep it. (Sarah Maud clumsily wraps the drape f 
 Mrs. Ruggles watching, sadly.) Now we're all ready. 
 Don't let on a word about Mr. Bird's buyin* the
 
 74 THE BIRDS' CHRISTMAS CAROL [ACT 2 
 
 house till we know more about it. Remember about 
 the hats. 
 
 (Sarah Maud looks back, woe-begone, and her 
 
 lips move, "Such a pleasant evening, such a 
 
 short walk") 
 
 MRS. RUGGLES. (Very quickly.} Don't all talk ter 
 once. (Those in sight all but Sarah Maud and Larry 
 stop in amazement.) Kitty, lend yer hank'chif to 
 Peory an' keep it in plain sight all the time : Peter, 
 don't keep screwin' yer scarf-pin: Cornelius, hold 
 yer head up. (They are all out now.) (Mrs. Ruggles 
 leans out the door.) Sarah Maud, don't take yer eyes 
 off of Lany: Larry, keep holt o' Sarah Maud: an' 
 whatever yer do, all of yer, never forgit fer one 
 second that yer mother was a McGrill! 
 
 CUBTAIN
 
 ACT III 
 
 THE ANGEL OP THE CRUTCHES 
 
 SCENE: Same as Act I, except for lighting, decoration, 
 &nd presence of a large table behind screen. The room 
 is trimmed with garlands of holly and evergreen, and 
 a bunch of mistletoe hangs somewhere. A Christmas 
 Tree in smaller room is clearly seen whenever the doors t 
 right, back, are opened. 
 
 When the curtain lifts, heavy rose-colored curtains 
 are drawn across the windows, shutting them from view 
 and making the rear wall seem even. It is before these 
 hangings that Carol's chair is placed when the Act 
 opens. The color and lines of the draperies give warmth 
 to the childish figure, all in white. 
 
 In the first Act, this room was lighted entirely by 
 sunlight, which streamed in through the windows ai 
 left. Now these windows are hidden by the rose-colored 
 curtains, and about the room are placed four or six tall 
 church candles, in candlesticks, but supplied with 
 electric bulbs. When the curtain lifts, these are not 
 lighted; neither are the candles on the dinner-table, 
 which is carefully dressed and placed halfway down 
 stage. Its service is delicate and lacy in effect. The 
 table is round, and so placed that it is prominent when 
 wanted, but easily pushed into the background. Across 
 the back and side are placed screens, which entirely 
 hide the table from those on the stage, but permit the 
 audience to watch the preparations.
 
 78 THE BIRDS' CHRISTMAS CAROL [ACT S 
 
 The first effect of the lifting of the curtain is to 
 focus attention upon the slight droop of the little figure 
 in the chair. As much beauty and grace as it is pos- 
 sible to muster should go to the forming of this brief 
 picture. 
 
 Elfrida is arranging flowers on the table: Jack is 
 assisting. In a second, the door, right, front, opens 
 and Mrs. Bird enters. The droop disappears, and Carol 
 is erect and aglow with Christmas interest. 
 
 CAROL (with a happy smile of greeting, holding out 
 one hand). Is Daddy coming up, mother? 
 
 MRS. BIRD (turning her head so that Carol does not 
 see the wrinkle of worry which the question brings). 
 He may later (quickly), but not while they're 
 eating. 
 
 (Carol looks a bit disappointed. Mrs. Bird 
 crosses to her quickly.) 
 
 JACK. (Steps forward from behind the screen. He 
 frowns, but then smiles at Carol and says lightly.) 
 That's lucky, Carol; and very considerate of Daddy. 
 Could they eat if dignified old Don stood looking on? 
 I hardly think so. 
 
 CAROL (considering this point carefully). Y-e-s, 
 I had n't thought of that. If you did n't know Daddy 
 he might frighten you. I almost wish we had 
 asked Dr. Bob to come to dinner. He is such fun, 
 and he 's one of the family now! 
 
 MRS. BIRD. He is coming for the games, you know, 
 later on. He wouldn't miss the pleasure for the 
 world! 
 
 ELFBIDA (coming out from behind the screen). The
 
 ACT 3] THE BIRDS' CHRISTMAS CAROL 77 
 
 table is quite ready, Carol. Shall I light the candles 
 now? 
 
 CAROL. It must be almost time for the children to 
 come, is n't it, mother dear? 
 
 MRS. BIRD. (Now stands slightly to right of Carol's 
 chair. Jack is directly back, and Elfrida stands to 
 left, down stage by corner of the screen.) Almost time. 
 (Elfrida goes toward table.) 
 
 CAROL. May I help, please? 
 (Mrs. Bird nods.) 
 
 JACK. (Goes to Carol to pick her up in his arms* 
 Who but the Christmas Child could light the candies 
 properly? 
 
 CAROL (smiling up at him). O Uncle Jack, I'm too 
 big to carry : I must walk. ( Jack puts her down, slowly. 
 Elfrida pulls aside the screen, and Carol lights the 
 candles on the table, and then clasps her hands in 
 delight.) Is n't it like a fairy dinner-table? (Holds 
 out one hand, and her mother quickly takes and 
 holds it.) 
 
 MRS. BIRD. Yes, is n't it dear? 
 
 JACK. Now has the time come for the great effect? 
 (Points to the tall electric candles about the room. Carol 
 nods. He turns on the switch and the room becomes a 
 bewitching contest of light and shade, the yellow light 
 of the table candles contrasting with the pink light cast 
 by the shaded electric candles. The sound of a bell ring- 
 ing, timidly; then a vigorous pull.} 
 
 CAROL. Here they come. Quick, Elfrida; the 
 screen. (Elfrida places the screen before the table.) 
 Uncle Jack, will you help? Mother and you are the
 
 78 THE BIRDS' CHRISTMAS CAROL [ACT 3 
 
 only ones who can make them feel comfortable right 
 
 away. Mother always knows how. 
 
 (Jack helps Carol to her chair. Mrs. Bird goes 
 to the door, and, as she reaches it, a stiff, correct, 
 and unsmiling butler appears. (Possibly one 
 actor can play both Mr. Bird and the butler: or, 
 the butler, though an addition to the scene, may be 
 omitted.) Back of him one hears the clatter of many 
 shoes on slippery floors. As the butler stands, 
 taking a deep breath with which to announce 
 " The Ruggleses," the members of this interesting 
 family begin slowly to ooze past him, not eag- 
 erly, but with dignity and reserve. Sarah Maud 
 appears first and stands beside the butler, who is 
 too astounded to close his mouth or to let it voice 
 their names. Sarah Maud's lips are still telling 
 their social "beads." Peter follows; his hands 
 glued to the seams of his trousers and his knees 
 unbending. He steps beside Sarah Maud, and 
 stands motionless. Then Peoria comes in, slowly 
 and with her somewhat sidelong gait. They do 
 not all look at the butler. Peoria gives him a glanct, 
 of open-mouthed awe. Cornelius stubs his toe on 
 him and looks up to see what "did it." Kitty 
 shakes his devitalized hand in passing. Jack re- 
 tires quickly behind the screen and struggles to 
 smother his impulse to shout with laughter. Kitty 
 and Clement come in quickly, Kitty hurrying to 
 keep ahead of Clement, who is the only smiling and 
 blithe-spirited one in the crowd. After entering 
 they all look at Mrs. Bird with trepidation.)
 
 ACT 3] THE BIRDS' CHRISTMAS CAROL 79 
 
 SARAH MAUD. (With great speed, even before they 
 are all in line. Mrs. Bird waits, thinking this the 
 family training and not caring to confuse them by in- 
 terruption.) It was such a pleasant even- 
 ing an' such a short walk that we 
 thought we thought we thought 
 
 KITTY (helping out). That we thought we had 
 n't good hats enough to go round. (Ruggles tableau!! 
 Kitty continues, in order to hide her terrible slip and 
 change the subject at any cost.) Here's a present for 
 you, Mis' Bird, a table-drape from mother with 
 the best of the season's compliminks. (Unrolls 
 "drape," which has such an effect on Jack that Mrs. 
 Bird is obliged to warn him by a gesture.) 
 
 MRS. BIRD. It was a good idea to leave your hats 
 at home, and I am very much obliged for my nice 
 Christmas present. Now will you come and speak 
 to Carol? She's 
 
 (The line of Ruggleses starts to file across stage. 
 Jack stands back of Carol's chair.) 
 
 CAROL (suddenly). Where's Larry? Didn't he 
 come? 
 
 (The line stops and takes a breath of worry, each 
 one staring down the line of brothers c*td sisters.) 
 
 SARAH MAUD. (Whispers.) Where's Larry? 
 
 CLEMENT. Gracious! Where is Larry? 
 
 KITTY. I know he came, 'cause he stumbled over 
 the mat downstairs, and I scolded him. I wish't I 
 had n't now. 
 
 JACK. Well, well! (Laughing.) Are you quite cer- 
 tain there were more of you?
 
 80 THE BIRDS' CHRISTMAS CAROL [ACTS 
 
 PEORIA (timidly, and wriggling away a bit). I think 
 
 so, sir. (More quickly.} But, anyhow, there was Larry. 
 
 (Her expression is very tearful and her lips 
 
 tremble. Carol reaches out and draws Peoria to 
 
 her.) 
 
 JACK. Cheer up. Probably he's not lost only 
 mislaid. I '11 find him for you. 
 
 (Crosses stage to door, right. Sarah Maud turns 
 and follows closely at his heels. At the door he 
 turns to say something reassuring; sees Sarah 
 Maud; is surprised.) 
 
 SARAH MAUD (stammering). I'll I'll go, too, if 
 you please, sir (more firmly)', for it's my place to 
 mind him, an' if he's lost (an outburst) I can't 
 relish my vittles! 
 
 (The Ruggleses stand breathing heavily and 
 watching the door anxiously. It is open, and 
 Sarah Maud is heard.) 
 SARAH MAUD. Larry! Larry! 
 LARRY. (Outside. Plainly.) Here I be! 
 SARAH MAUD. (Outside.) Come to Sarah Maud. 
 LARRY (still invisible). I can't. Sum sum 
 sumpin's got me! 
 
 (Clatter of sticks falling; then Jack reappears t 
 leading Larry, and Sarah Maud follows.) 
 JACK. He got lost in your grove of umbrellas, 
 Mary. No wonder he was frightened. How could he 
 know there were n't alligators and 
 
 CAROL (holding up her finger, warningly, and laugh- 
 ing). Now, Uncle Jack! You promised you'd be 
 good.
 
 ACT 3] THE BIRDS' CHRISTMAS CAROL 81 
 
 JACK (with exaggerated alarm, turning to Carol, 
 while Mrs. Bird takes Larry, and Elfrida stands by 
 the screen, waiting for the signal) . Did I promise that? 
 CAROL. You did. And will you please help El- 
 frida with the screens? (Jack crosses to screen.) Be- 
 cause, I think we 're ready. 
 
 (The Ruggleses are all facing to left. As Carol 
 
 says "ready," Elfrida pushes back the screen and 
 
 Jack takes it away. Mrs. Bird goes to door, 
 
 right, opens it, and the butler enters and waits 
 
 in the door with a tray bearing the turkey. The 
 
 Ruggleses stand motionless as the beauty of the 
 
 table slowly penetrates their slow little minds.) 
 
 LARRY (after a pause, gives a happy toss of his head, 
 
 a gurgle of delight, and then trots blithely across stage 
 
 and clambers into the high chair, center of table, back. 
 
 He claps his hands in ecstasy as he surveys the table, 
 
 rests his fat little arms on the table and cries aloud, his 
 
 whole body a-quiver with delight). I beat the hull lot 
 
 o' yer!!!
 
 82 THE BIRDS' CHRISTMAS CAROL [ACT 3 
 
 (In the confusion which follows the laugh, Carol 
 flutters to the table, and without outward appear- 
 ance of direction the Ruggleses are seated. Busi- 
 ness of fumbling with the napkins, Sarah Maud 
 and Peter first sticking them in at their necks, then 
 remembering and retrieving their errors. Various 
 bits of awkwardness will characterize each mem- 
 ber of the family as the scene is rehearsed.) 
 
 (The butler holds the tray, very steadily and 
 unsmilingly. Mrs. Bird watches with motherly 
 eye, and rescues embarrassed Ruggleses from vari- 
 ous difficulties.) 
 
 (Jack and Elfrida take the turkey platter from 
 the butler's tray and place it on the table before the 
 entranced Ruggleses. Butler exits for vegetables, 
 and throughout the scene comes and goes, bringing 
 and taking away dishes.) 
 
 MRS. BIRD. (In the moment of quiet which succeeds 
 seating at the table. Standing behind Carol's chair.) 
 Jack, Elfrida, children: It is n't exactly like a grace, 
 but Carol will say something that she has said at 
 every Christmas dinner since she was old enough 
 to talk. 
 
 (Carol rises a little from her chair, leaning on 
 her crutch. As she bows her head, Jack and Mrs. 
 Bird and Elfrida do the same: one Ruggles after 
 another follows suit, magnetized by the silence. 
 Peter gently bows Larry's for him, when he glances 
 up and discovers that the child does not quite com- 
 prehend.) 
 
 (The chief Angel of the Prologue parts the cur-
 
 ACT 3] THE BIRDS' CHRISTMAS CAROL 83 
 
 tains at the window, back; stands for a moment 
 with finger on lip; then bows her head.) 
 (Pause.) 
 
 CABOL. 
 
 The Baby born in Bethlehem 
 
 A sorry shelter had, 
 While we who gather here to-night 
 
 Are warm and softly clad. 
 
 The Baby born in Bethlehem 
 
 Was fed on humble fare, 
 And yet our board is richly spread 
 
 With dainty food and rare. 
 
 Our beds are downy-smooth and white, 
 
 He slumbered in the hay: 
 Tis good that we remember this 
 
 Each blessed Christmas Day. 
 
 And good that we remember, too, 
 To pay our thanks and praise 
 
 To Heav'nly Love that brought us here 
 And gave this Day of days. 
 
 (The Angel retreats softly, closing the curtains 
 after her. Jack, Mrs. Bird, and Elfrida show in 
 their faces various emotions. Then Jack takes the 
 turkey off the table to carve; the butler enters with 
 vegetables; Elfrida and Mrs. Bird help about the 
 table, and in a moment, though gradually, the 
 spirit of jollity and fun is resumed and as grad- 
 ually mounts.)
 
 84 THE BIRDS' CHRISTMAS CAROL [ACT 3 
 
 (Carol leans over and pins a sprig of holly first 
 on Larry's dress, then on Cornelius's jacket. Then, 
 as there is opportunity, each Ruggles comes to her 
 chair, in turn, and receives his Christmas decora-* 
 tion.) 
 
 PETER (nudging Kitty and whispering noisily}. 
 Look, will yen ev'ry feller's got his own partic'lar 
 butter. 
 
 KITTT. (Same business.} I s'pose it's to show you 
 can eat that much an' no more. And see! the nap- 
 kins is marked with big letters. 
 
 (Butler removes tray filled with plates.} 
 PETER. I s'pose that's so's nobody '11 nip 'em. 
 Why don't that stuffed club that brings the vittles 
 in set down with us? 
 
 (Mrs. Bird, Jack, and Elfrida busy about table.) 
 CLEMENT (pleased). The plums is all took out o 1 
 my cramb'ry sarse, an' it's friz to a stiff jell. 
 
 LARRY. (A loud peal of joy as he beats on the table 
 with his fists.} Hi-yah! I got a wish-bone! 
 
 (Sarah Maud, pale and trembling, rises slowly.) 
 SARAH MAUD. I guess I'd better change my seat. 
 Larry gen'ally sets beside me, and he might feel 
 strange. 
 
 (Peter and Sarah Maud change places.) 
 PETER (coming around table says to Clement). She 
 tfants to set where she can kick him under the table 
 when he goes wrong. 
 
 KITTY. I declare to goodness, there's so much to 
 look at I can't scarcely eat nothin'. 
 CLEMENT. Bet yer life I can. (Illustrates liberally.)
 
 ACT S] THE BIRDS' CHRISTMAS CAROL 85 
 
 (Indeed, everybody is very busy, eating and 
 serving. The bored butler has returned with a 
 tray of steaming dishes. Mrs. Bird is superin- 
 tending. Jack and Elfrida busy placing and re- 
 moving dishes. Elfrida leans over and cuts up 
 morsels for the smaller ones. Carol is beaming and 
 nodding, etc., etc., when 
 
 THE CURTAIN FALLS FOR A MINUTE OF INTERMIS- 
 SION, which represents a half-hour.) 
 (The scene when the curtain descends must be 
 one of great eating activity on the part of the Rug- 
 gleses. Elbows are bowed, and knives and forks 
 are being plied with more zest than skill.) 
 
 (Carol is beaming and happy, but not eating.) 
 (Mrs. Bird is watching Carol first, then the 
 Ruggleses. Jack is intent upon carrying heavy 
 dishes for Elfrida, then convulsed at the spectacle 
 of the Ruggleses; and all this he interrupts to hover 
 about, touch, and smile at Carol, tenderly.) 
 
 (When the curtain lifts again, the only light of 
 the room is from the table candles. The table is 
 almost free of dishes, but is surrounded now by 
 a very different-looking lot of children. Each one 
 wears a cap of soft-colored tissue paper. The torn 
 bonbons are upon the floor and the table. Festivity 
 has banished all consciousness of social shortcom- 
 ings.) 
 LARRY. (Climbs down from his chair slowly; walks 
 
 center of stage; speaks slowly and sadly.) I can't eat 
 
 nothing more!
 
 86 THE BIRDS' CHRISTMAS CAROL [ACT 3 
 
 (All the other little Ruggleses rise, slowly.) 
 PETER. If they'd 'a' passed the puddin' again, I 
 could n't 'a' swallered it: I'd 'a' had to hang it on 
 the outside. 
 
 (Jack pulls bacJc Carol's chair and is about to 
 hand her the crutch when Clement steps up, embar- 
 rassed.) 
 
 CLEMENT (with a tenderness which conquers his 
 awkwardness). Say! Lem-me, will yer? 
 
 (Jack hesitates. Carol nods to him, puts her 
 hand on Clement's arm and rises slowly and pauses, 
 resting upon his shoulder. He stands very still 
 and very proudly.) 
 
 (Unaccustomed to napkins, the Ruggleses for- 
 get them, and as they stand, the napkins fall to the 
 floor. Careful Sarah Maud goes about painfully 
 picking up and folding each one until Elfrida 
 rescues her (all this in business; no words). As 
 Elfrida takes the napkins from her, Sarah Maud 
 becomes conscious of the waiting group of brothers 
 and sisters, and walking slowly around the table, 
 comes down stage, center.) 
 
 SARAH MAUD (reluctantly, but conscientiously). I 
 I guess we'd better be a-goin'. 
 
 (The joy fades from the other Ruggleses' faces. 
 There is a moment of suspense.) 
 CAROL (brightly; laughingly). Oh, no, no! Not yet, 
 Sarah Maud. (Puts her arm into Sarah Maud's. Clem- 
 ent has led Carol to center of stage, and the other little 
 Ruggleses have instinctively grouped themselves about 
 her, so that, when Sarah Maud joins them, the grouping
 
 ACT 3] THE BIRDS' CHRISTMAS CAROL 87 
 
 is suggestive of the half-moon shielding the bright star. 
 Mrs. Bird is to the right, Elfrida at the table, and Jack 
 outside the half-moon, to left. Carol glances at Mrs. 
 Bird.) Is it ready, mother? 
 
 MRS. BIRD. Yes, dear. (Goes to the doors, right, 
 back.) 
 
 CAROL. Then we '11 go with mother. 
 
 (She directs their attention to the doorway as 
 Mrs. Bird opens the doors. The Ruggleses stand 
 amazed for a minute, then break into shouts of joy, 
 and, forgetting Carol, scamper, shouting, into 
 the next room. Carol tries to limp after them, to 
 keep up with them but cannot. A slight look 
 of pain is in her eyes. Jack leaps to her side, and 
 her smile welcomes and thanks him as he helps 
 her across the threshold. He stands in the door a 
 moment watching her; closes the door quickly; 
 turns around, his whole attitude bespeaking an 
 almost unbearable heartache. Elfrida's attitude 
 shows that she shares his fears. She steps forward 
 with an involuntary desire to help. Pause.) 
 ELFRIDA (softly). After all, it's such a happy, useful 
 little life! 
 
 JACK (with a sigh of assent). Yes. Thank you for 
 reminding me. (He comes nearer Elfrida, slowly.) 
 She's an angel: so is her mother: you're not a bad 
 imitation, yourself. Even I get off the ground a 
 bit when I 'm with her. My brother keeps down the 
 average successfully: nothing angelic about him, at 
 the moment. Are n't you coming in to the Christmas 
 tree? (Turns to the door, right, back.)
 
 88 THE BIRDS' CHRISTMAS CAROL [ACT 3 
 
 ELFRIDA. I will put all this right, first. (Points to 
 table; picks up napkins, etc.) 
 
 JACK. Let that effigy of a butler do it. 
 
 ELFRIDA. He's busy downstairs. 
 
 JACK. Let me help: I'm a lot more agreeable than 
 he is. 
 
 ELFRIDA. (Hesitates.') It is n't necessary. 
 
 JACK. Necessities are cheap and obvious: I'm 
 willing to be a luxury. 
 
 ELFRIDA. Are n't you needed in there? 
 
 (Jack opens the door, slightly. There is sound 
 of childish laughter.) 
 
 LARRY (shouting, within). Hurrah! 
 
 JACK. I think they can spare me. (Crosses to El- 
 frida and helps her pick up the broken bonbons.) 
 
 ELFRIDA. Is n't it odd that Mrs. Ruggles has n't 
 come? She must have understood our invitation. 
 
 JACK (with slight sarcasm). My brother may be 
 entertaining her in the drawing-room. 
 
 ELFRIDA. (Smiles at the improbability and turns 
 back to table.) Will you snuff the candles, please? 
 
 (Crosses to right and switches back the lights. 
 Jack goes to table; leans over and blows out the 
 candles, but watches Elfrida as he does so and 
 smiles to himself quizzically.) 
 
 JACK. (Picks up one of the larger sprigs of holly from 
 the centerpiece; goes nearer Elfrida and just touches 
 her nurse's cap lightly for a single second.) Take it off, 
 please, and let me put this in. 
 
 ELFRIDA (flushing). It is my badge: it never dis- 
 turbs me.
 
 ACT 3] THE BIRDS' CHRISTMAS CAROL 89 
 
 JACK. Nor me! It is honorable, and lovely, and 
 ' ecoming: but, as Carol says, it is n't " Christmasy." 
 
 ,on't you wear the holly instead? Remember, it is 
 a holiday! 
 
 ELFRIDA. I don't want to forget that I 'm a nurse, 
 Mr. Jack. 
 
 JACK. No; and you don't want any one else to, 
 either! Do take off that thing and put in the holly, 
 dear Miss Elf rida ! (Elfrida does so, Jack aiding a 
 little. Jack stands off, admiringly.) Now you 're much 
 less professional, and much more "Christmasy." 
 
 ELFRIDA. (Blushes, then resumes her businesslike 
 manner.) Now the table, please. We '11 push it back, 
 out of the way. 
 
 (They do so, placing chairs about it, and the 
 screens around it all, hiding it completely. El- 
 frida has the tablecloth gathered up in her arms. 
 Jack holds the candlesticks. Elfrida leads the way 
 to the door, right; and Jack follows.) 
 
 ELFRIDA (at the door). I can manage quite well 
 
 JACK. Without me? (Laughs.) That's what I'm 
 afraid of ; so I want to prove that you can't. (Bran- 
 dishing candlesticks.) Room for the light-bearer, 
 please. 
 
 ELFRIDA. (Is about to yield; then remembers.) Carol 
 will be waiting for you. She '11 want you to amuse 
 the children. 
 
 JACK (handing her the candles). You're right (he 
 holds the door open) ; as women occasionally are, even 
 when they are inclined to be stubborn. (Smiles at 
 her. She flushes and turns quickly, meeting Mr. Bird.)
 
 90 THE BIRDS' CHRISTMAS CAROL [ACT 3 
 
 ELFRIDA. Oh! I beg your (Exits.) 
 
 JACK. Well, Don, you ' ve missed 
 
 MR. BIRD (entering as he speaks). I've missed 
 nothing! I've heard every shout, every clatter. By 
 George, I could almost hear the little beasts bolting 
 their food. How any one can imagine this is a decent 
 way of celebrating a holiday, I can't think. (Crosses 
 to left, impatiently.) 
 
 JACK. (Goes up stage to double doors.) Come here 
 a minute, Don. 
 
 MR. BIRD (impatiently). What Oh, I don't want 
 to see them, I tell you. It's bad enough to know 
 they 're here. 
 
 JACK. It is n't the Ruggleses I want you to see; 
 it's Carol. 
 
 MR. BIRD. (Comes to center of stage. In the more 
 relenting mood that accompanies any mention of Carol.) 
 Is she enjoying herself ? 
 
 JACK. Come and see for yourself. 
 
 (Mr. Bird hesitates, then walks quickly to the 
 door. Jack holds it open, and the two men stand, 
 looking in. Sound of laughing is heard.) 
 
 MR. BIRD (smiling in spite of himself). Yes, she 
 is happy. 
 
 PEORIA. (A little shriek from within.) That 's my 
 candy, Peter! 
 
 (Crash, as of accidental drop of glass or metal.) 
 
 MR. BIRD. (Turns away.) Close the door; do! Just 
 as I expected, they are forgetting themselves 
 and their place. 
 
 JACK. Oh, I say, Don! Let the little duffers have
 
 ACT 3] THE BIRDS' CHRISTMAS CAROL 91 
 
 a good time once in their lives. They '11 soon be going 
 home now, and it will be all over, and 
 
 MR. BIRD. (Walks center stage.) Over? It's just 
 beginning ! There 's New Years's to come, and Valen- 
 tine's Day, and Washington's Birthday! All high 
 days and holidays will be packed with Ruggleses. 
 There's no way to end it but moving them away. 
 JACK. Don! What are you talking about! 
 MB. BIRD. The Ruggleses. I own their house: 
 I 'm going to take it down and put up a conservatory 
 in its place. I've always intended to do it, sooner 
 or later. 
 
 JACK. It's a poor day to plan an eviction. 
 MR. BIRD. Eviction? Stuff nonsense! Who 
 said anything about eviction? I'm hardly the man 
 for that sort of performance. They will have reason- 
 able notice and find another house. I dare say I shall 
 even find one for them, if only to pacify Carol. 
 
 (Door, right, front, opens.) 
 
 ELFRIDA. (At door, in joyous voice.) Come right in 
 here, Mrs. Ruggles, and I '11 call Mrs. Bird. 
 
 MR. BIRD (looking toward the double doors; then 
 toward the other door, for escape. Huffily). And now 
 it's Mrs. Ruggles! Ugh! 
 
 (Jack steps forward to welcome Mrs. Ruggles. 
 Elfrida stands one side of door; Mr. Bird center 
 of stage, when Mrs. Ruggles enters, very slowly 
 and with very great dignity. She has made a brave 
 "best" with her toilet, but she must NOT be a 
 CARICATURE: the plainest, even shabbiest, dark 
 dress; perhaps a cheap wrap of "circular" variety;
 
 92 THE BIRDS' CHRISTMAS CAROL [ACT 3 
 
 a bonnet which might have a single note of comedy, 
 say, bright green strings or a red velvet rose.) 
 JACK (holding out his hand, cordially). Good-even- 
 ing, Mrs. Ruggles. Merry Christmas! (Elf rida exits 
 door at back.) This is my brother, Mr. Bird, Mrs. 
 Ruggles. 
 
 (Mrs. Ruggles, who, it must be remembered, 
 was a McGrill, moves confidently and breezily 
 toward Mr. Bird, hand extended. His hand is 
 not at all in evidence until obliged.) 
 MRS. RUGGLES (as Mr. Bird gingerly yields her 
 his hand. Pause). It is a pleasure to shake you by 
 the hand, Mr. Bird. 
 
 (Pause. Mr. Bird fidgets uncomfortably and 
 tries to find words with which to release his 
 hand.) 
 
 MRS. RUGGLES. We 've been neighbors, you might 
 say, for more'n a year, you an' me: but I don't 
 know's we'd ever met if it had n't been for our chil- 
 dern. They begun it, an* now you're followin' suit 
 in more ways 'n one, so I hear. (Meaningly, for she 
 refers not only to the invitation, but to the buying of the 
 house.) 
 
 (Mr. Bird takes away his hand, which by this 
 time has been well squeezed; turns (not too 
 abruptly); and walks to left. Jack steps to Mrs. 
 Ruggles's side.) 
 
 JACK (quickly). The dinner was entirely Carol's 
 idea, Mrs. Ruggles. 
 
 MR. BIRD. Exactly. I had nothing whatever to 
 do with it.
 
 ACT 3] THE BIRDS' CHRISTMAS CAROL 93 
 
 MRS. RUGGLES. I 'm not talkin' about the dinner. 
 (This with cheerful and humorous meaning.) 
 
 JACK. Not the dinner? 
 
 MBS. RUGGLES (smiling at Mr. Bird). No; I'm 
 talkin' 'bout the house an' my new landlord. 
 
 MB. BIBD. The house? 
 
 MBS. RUGGLES. Yes. Mis' Cullen was a-tellin* 
 my Con you've bought it, an' it's for that I wanted 
 to thank you. It's a comf 'table feelin', Mr. Bird, 
 to know you're changin' a rude, common man, like 
 Carter's agent, to a fine gentleman like yourself. 
 
 MB. BIRD. Er ah we '11 talk about that later, 
 Mrs. Ruggles. 
 
 MBS. RUGGLES. Oh, I know a s'ciety party like 
 this one ain't any place for us to have a good talk 
 over things. I ain't intendin' to mix pleasure an* 
 business; an' I wa'n't plannin' to say nothin' at all 
 about the smoky chimney, nor the leakin' roof, nor 
 any of the little repairs 
 
 MB. BIRD (tersely). I wouldn't plan too much, 
 for 
 
 MRS. RUGGLES (quickly; apologetically). No, no, 
 sir. I ain't plannin' at all. It ain't the improvements 
 I'm thinkin' about though they'll be welcome; 
 it's just the grand surprise of it, comin' to-day. 
 (Jack watches Mr. Bird closely.) 
 
 MR. BIBD (abruptly). I'd rather not talk about 
 the house, now, please. It 's 
 
 MRS. RUGGLES. (Sees his manner and expression 
 bode no good. Disturbed and conscious of having made 
 some mistake, and so anxious to amend that she offends
 
 04 THE BIRDS' CHRISTMAS CAROL [ACT 3 
 
 further). I'm sorry, sir, 'f I've done wrong in men- 
 tionin' our poor little troubles. 'T ain't because I 
 expect you to lay out money an' fix up the house for 
 them that's only strangers. 
 
 MB. BIRD (irritated by her manner and his con- 
 science). I've no intention of "fixing it up," 
 madam 
 
 MRS. RUGGLES (interrupting, and thereby increasing 
 his displeasure}. Indeed, sir, I ain't askin' you to. 
 "Let all that come from Mr. Bird," I says to Peter 
 this mornin'. (Comes nearer to him, timidly and grate- 
 fully.) I'm only glad it's Carol's father 'as bought 
 it, an' I know well enough you did it to please her. 
 
 MR. BIRD (impatiently). My good woman, I 
 bought the house 
 
 JACK. (Steps toward center and touches his arm, 
 impetuously.) Don! 
 
 MR. BIRD (resenting the interference, shuts his lips 
 firmly as he returns Jack's look). I bought the house, 
 Mrs. Ruggles, because I find I must take it down and 
 use the piece of ground for a conservatory. 
 
 (Mrs. Ruggles catches her breath; her hands give 
 a motion of protest; then she remembers, and 
 makes an attempt to smile.) 
 
 MRS. RUGGLES. Tear it down! (Wipes her 
 mouth, nervously. Mr. Bird crosses to left and stands 
 iffith his back toward Mrs. Ruggles, as though unwilling 
 to witness her trouble. Jack crosses to Mrs. Ruggles, 
 and "stands by," as the nautical term is. Mrs. Ruggles 
 looks up at Jack and speaks as though hoping she has 
 misunderstood.) Did he say "tear it down"?
 
 ACT 3] THE BIRDS' CHRISTMAS CAROL 95 
 
 (The knob of door, right, back, rattles.} 
 CAEOL (heard, but not seen). All right, Dr. Bob. 
 I'll rest a minute just to please you. 
 
 (Mr. Bird turns at the sound of Carol's voice.) 
 JACK. (Goes to Mrs. Ruggles. Speaks gently.) 
 Please don't let the child see that anything is wrong. 
 (Mrs. Ruggles nods up at him, and assumes a more 
 cheerful manner.) And you count on me, anyway. 
 Do you understand? 
 
 MRS. RUGGLES (nervously). Thank you, sir; but 
 I guess I 'd better be a-goin'. 
 
 JACK. Not for the world. See how Carol is watch- 
 ing for you. 
 
 (Mrs. Ruggles steps up stage so that she is 
 opposite the double doors. Jack stands right, Mr. 
 Bird still at left and slightly in the shadow.) 
 
 (Carol comes in, slowly; sees Mrs. Ruggles; 
 limps toward her in quick, eager welcome, one 
 hand outstretched. Mrs. Ruggles steps forward 
 quickly to meet her greeting.) 
 
 CAROL (gayly). O Mrs. Ruggles! We're so glad! 
 Now that you've come, Christmas is just perfect: 
 is n't it, mother? 
 
 MRS. BIRD (coming forward in welcome, stands back 
 of Carol, who is thus between the two mothers, both of 
 whom are watching her tenderly and protectingly). 
 We're very pleased to have you with us, Mrs. Rug- 
 
 MRS. RUGGLES. (Holds Carol's hand and pats it 
 with slow, protecting, and unconscious gesture as her 
 eyes return the smile in Carol's eyes.) [Blessed little
 
 96 THE BIRDS' CHRISTMAS CAROL [ACT 3 
 
 creetur! (Touches her hand softly.) You've allus 
 ben settin' up in the winder, like a lily growin' under 
 glass, an' I ain't never seen yer, close to. I hope yer 
 ain't steppin' on yer lame leg too much. 
 
 CAROL. (Thanks her with a glance.) Not a bit. O 
 Uncle Jack ! (Points her finger at him.) You 're desert- 
 ing Dr. Bob, and Elfrida needs you to help with 
 the games. 
 
 JACK. Games? Very well. I fly at the word of 
 command. 
 
 (Exit Jack.) 
 
 (Mr. Bird walks up stage, center; stands with 
 his hands on Carol's chair; pushes it forward, 
 slightly.) 
 
 MRS. RUGGLES (trying to get in touch with the com- 
 pany and party, and always endeavoring to express 
 her gratitude). Well, Miss Carol, everybody is having 
 a sure-enough celebration to-day, thanks to you. 
 
 MR. BIRD. Come, Carol; rest. You've been doing 
 altogether too much. 
 
 MRS. RUGGLES. (Comes forward, her motherly anxi- 
 ety to the fore, though shown in a too voluble and bustling 
 sympathy.) That's just what I was a-f eared of, 
 though I made the childern promise to be careful 
 and quiet. But you know 'bout childern! They fer- 
 git, sometimes; and mine ain't had the advantages 
 I had when I was their age, movin' in the best circles 
 o' Pittsburg, you might say, though my brother, 
 bein' a policeman, was obliged to live right in town, 
 to be near his job. I've trained 'em all I could for 
 this party; but you know well 'nough how 't is 'bout
 
 ACT 3] THE BIRDS' CHRISTMAS CAROL 97 
 
 s'ciety you've got to go into it more'n once to 
 make good! 
 
 MRS. BIKD. The children have behaved beauti- 
 fully. 
 
 CAROL (ecstatically). Have n't they, mother! 
 And haven't we had a good time? It's been the 
 very happiest of all the Christmases. 
 
 MR. BIRD. Happiest, Carol? 
 
 CAROL. Yes, Daddy; the very happiest! (Slowly 
 and shyly.) I can't just put it into words but, 
 somehow, to-night, I've had some one to play and 
 dance my feelings for me. 
 
 (Mr. Bird gives a quick gesture. It is a new 
 idea to him.) 
 
 MRS. RUGGLES (proudly). My Kitty is real lively 
 on her legs. If 't wa'n't so kind o' risky, I dunno 
 but I'd let her be one o' them stage dancers. 
 
 CAROL. It is n't Kitty only; it's Clem, and Larry, 
 and Peter, and Peory, and Cornelius, and 
 Sarah Maud. 
 
 MRS. RUGGLES. (Claps her hands with an amazed 
 smile). NOT Sarah Maud! 
 
 CAROL. Oh, yes: Sarah Maud most of all! 
 
 MRS. RUGGLES. You don't ever mean Sarah Maud 
 dancin' ! 
 
 CAROL (with a child's literal honesty). Well not 
 really and truly dancing: but almost. 
 
 MRS. RUGGLES. Then it's your sweet little self 
 that done it. (Looks her wonder into Mrs. Bird's 
 watching eyes.) Sarah Maud almost dancin'! It's 
 somethin' she ain't never had time to do afore.
 
 98 THE BIRDS' CHRISTMAS CAROL [ACT 3 
 
 CAROL. Oh, yes! with Larry, in the yard: I've 
 seen her. 
 
 MRS. RUGGLES. That'sdooty! Sarah Maud would 
 dance for dooty all day an' all night. 
 
 MRS. BIRD. Well, it was n't duty this evening: it 
 was joy, as Carol says. (Looks at Mr. Bird, who moves 
 uneasily, troubled that he is touched.) 
 
 CAROL (putting her hand on Mrs. Ruggles' s arm). 
 And it was your children that made it all. We almost 
 ought to thank you, Mrs. Ruggles, for having such 
 a nice large family. 
 
 (Mr. Bird moves, uneasily. Mrs. Bird smiles.) 
 
 MRS. RUGGLES (embarrassed). Oh, you 're quite 
 welcome. Sometimes I've thought, myself, 't was 
 a little mite too large; but, after all, Ruggles an' 
 I could n't spare none of 'em. 
 
 CAROL. Neither could I. (Mr. Bird looks up, 
 quickly.) Sometimes, when it seems awfully long 
 to wait before they come home from school, I think 
 how lonely I 'd be if they did n't come home at 
 all. 
 
 MRS. RUGGLES (slowly). Yes; I'd be lonesome 
 enough, too, 'thout that. Land sakes ! it 's all 
 there is, with Ruggles allers off ter sea. 
 
 (Mr. Bird is breathing slowly, and with less and 
 less of his usual aplomb.) 
 
 MRS. BIRD (brightly). We're keeping Mrs. Ruggles 
 from the Tree, Carol. 
 
 CAROL. Oh, dear! How could we forget? She has 
 n't even seen it. Daddy (Mr. Bird steps to her side 
 and stands beside her affectionately), will you take
 
 ACT 3] THE BIRDS' CHRISTMAS CAROL 99 
 
 Mrs. Ruggles in to the Tree, please? (Mrs. Ruggles 
 is embarrassed. Mr. Bird hesitates.) I want mother 
 a minute all to myself. 
 
 MB. BIRD. I 'm afraid you 're tired. 
 
 CAROL (brightly). No, indeed; but Dr. Bob 
 says I must rest a few minutes. Won't you go in 
 and play with the children, Daddy dear, just for 
 a little while? 
 
 MR. BIRD (slowly). I'm not much good at that sort 
 of thing, Carol. 
 
 CAROL (smiling up at him). Oh, yes, you are, 
 Daddy, when you feel like it. 
 
 MR. Brno (turning his eyes away). They've Uncle 
 Jack; they don't need me. 
 
 CAROL (pulling his sleeve and waiting until he looks 
 at her). But, Daddy, you have n't been part of this 
 Christmas at all, yet! 
 
 MR. BIRD. (Hesitates, indicating his struggle; then 
 leans over her.) Well, I give up! I'll fall into line and 
 be "a part," as you say. (Goes to Mrs. Ruggles, and, 
 with grave courtesy, offers her his arm.) Mrs. Ruggles, 
 may I 
 
 MRS. RUGGLES (perturbed and flustered). Oh, sir, 
 I don't need leadin' ! I 'm as light on my feet as ever 
 I was. I can go alone all right. 
 
 MR. BIRD (with an effort). I know you can, but, 
 after all, we're neighbors, Mrs. Ruggles; and I want 
 to be just a little "Christmasy," as Carol says. 
 (Mrs. Ruggles slowly and timidly takes his arm, and 
 they go to the door, right, back. He steps aside, with 
 deference. Mrs. Ruggles drops a funny curtsy; then
 
 100 THE BIRDS' CHRISTMAS CAROL [ACT 3 
 
 turns and bows to Carol and Mrs. Bird. Mr. Bird 
 turns; and Carol throws him a kiss, which he returns.) 
 I'm going in, to be "a part." 
 
 CAROL. Oh, thank you, Daddy. (Mr. Bird looks 
 at her, drinking in her gratitude, then exits, while the 
 audience feels sure that the Ruggles family will never 
 be evicted. The door closes, and the sound of childish 
 voices is shut out. Mrs. Bird has the chair placed be- 
 fore the windows. Carol seats herself, slowly and weari- 
 ly, but giving no sense of exhaustion.) Is n't it time 
 for the music, mother? 
 
 MBS. BIRD (covering Carol with a soft, fleecy, white 
 rug). I think so, dear. (Opens wide the curtains, and 
 the light fatts upon Carol.) 
 
 CAROL. I'd like it if the candles were out. (Mrs. 
 Bird goes quickly and turns out the candle lights.) Then 
 will you open the window a little? 
 
 MRS. BIRD. Are you sure it is n't too cold? 
 
 CAROL. O mother dear, I 'm covered so warm, 
 and I do love the winter air when it's filled with 
 snow! (Moment of joy and content. Mrs. Bird opens 
 the center window, and there is a glimpse of a bright, 
 snow-filled night. Carol sits erect and holds out her 
 arms in a happy, welcoming gesture.) Is n't it beauti- 
 ful, mother? 
 
 MRS. BIRD. (Comes to Carol and stands by her 
 chair.) It is very beautiful! 
 
 (Mr. Bird opens the door at right. There is a 
 slight sound of voices.) 
 
 MR. BIRD. Can you come, Mary, for a minute? 
 Mrs. Ruggles and the children are going home.
 
 ACT 3] THE BIRDS' CHRISTMAS CAROL 101 
 
 MRS. BIRD. You say "good-night" for me, Don. 
 I'll stay with Carol 
 
 CAROL (sitting up). Please go, mother. They'd 
 like to see you 
 
 MRS. BIRD (uncertainly). But you 
 CAROL. O mother, I 'm quite comfy, and happy. 
 If you'll turn me a little more to the window. (Mrs. 
 Bird moves the chair so that Carol is almost facing the 
 light. The top of her head and a bit of her cheek are 
 visible, but it is a quiet, soothing picture.) I'm so 
 sleepy 
 
 (Mrs. Bird gives a motherly tuck to the rug; 
 then joins Mr. Bird who waits in the door. As she 
 comes, he holds out his hand and she takes it. 
 They stand together, looking at Carol; then exit, 
 and the door closes after them. After a minute's 
 pause, the doors that conceal the Christmas Tree 
 open stealthily. Sarah Maud peeps in; then 
 comes in quickly, running softly to Carol's chair. 
 She is a transformed Sarah Maud. Her eyes are 
 bright; her cheeks pink; her hair, that has been 
 heretofore pulled away from her face into two tight 
 braids, has escaped from its bondage and flows 
 more loosely, softening the careworn young face. 
 A thin, white scarf, one of her presents, conceals 
 her stooping, angular shape. She holds a book 
 and a little box or two tied up with tissue paper 
 and ribbons.) 
 
 SARAH MAUD. I would n't let the others come in: 
 I jest stole away. It's been the best evenin', an' the 
 grandest time that ever our folks had. I guess they
 
 102 THE BIRDS' CHRISTMAS CAROL [ACT 3 
 
 don't have no better times in Heaven than this 
 was! 
 
 CAROL. (Lifts herself a little from the pillow and puts 
 out her hand. Sleepily.) I loved it, too, Sarah Maud. 
 SARAH MAUD (putting her back on the pillow'). 
 Don't you stir. Lay right back and sleep good; and 
 don't you hang out no hank'chif to-morrer! Our 
 house '11 be kep' so quiet for yer you'll think we're 
 all sick abed. Good-bye. (Steals out softly and quickly. 
 Pause.) 
 
 (The music is heard, first very softly, then more, 
 and more distinctly; and the light at the win- 
 dows grows slowly brighter. Carol raises herself 
 a trifle for a moment to hear it better, then settles 
 back with a happy smile. As the music increases 
 in definiteness, the light in the center window grows 
 brighter, and the Angel of the Crutches appears, 
 the same who was the Home-Finder in the Pro- 
 logue. Her gown is a blur of soft, shimmering 
 colors. She smiles down at Carol, tiptoes to her 
 chair, gently touches her hair, then stoops and 
 lifts the little crutch lifts it beautifully, and 
 with all the spiritual meaning she is able to con- 
 vey; then, with it in her arm, she backs slowly on 
 to and out from the open window-ledge, and, as 
 the curtain falls, she stands framed in the window; 
 but before the curtain is quite down, the Angel 
 and the crutch have disappeared.) 
 
 (The winter light and the Christmas music 
 come in through the open window, snowflakes flut- 
 ter past, and the Play is ended.)
 
 ACT 3] THE BIRDS' CHRISTMAS CAROL 103 
 
 (The children in the audience probably think 
 that Carol has given her crutch to the famous Dr. 
 Bob; as for their mothers and fathers they feel 
 that, at any rate, the crutch will never be used, or 
 needed, any more /)
 
 -29
 
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