A Christmas Carol: Scrooge and Marley, Act II

MAKING MEANING

Concept Vocabulary

You will encounter the following words as you read A Christmas Carol:

Scrooge and Marley, Act II. Before reading, note how familiar you are

with each word. Then, rank the words in order from most familiar (1) to

least familiar (6).

WORD YOUR RANKING

parallel

altered

strive

dispelled

earnest

infinitely

After completing the first read, come back to the concept vocabulary and

review your rankings. Mark changes to your original rankings as needed.

First Read DRAMA

Apply these strategies as you conduct your first read. You will have an

opportunity to complete the close-read notes after your first read.

NOTICE whom the play

is about, what happens,

whereand when it happens,

and why those involved react

as they do.

CONNECT ideas within

the selection to what you

already know and what you

have already read.

ANNOTATE by marking

vocabulary and key passages

you want to revisit.

RESPOND by completing

the Comprehension Check and

by writing a brief summary of

the selection.

Playwright

Israel Horovitz

 STANDARDS

Reading Literature

By the end of the year, read and

comprehend literature, including

stories, dramas, and poems, in the

grades 6–8 text complexity band

proficiently, with scaffolding as

needed at the high end of the range.

264 UNIT 3 • TURNING POINTS

Christmas

Carol:

Scrooge

and Marley

Act II

Israel Horovitz

SCAN FOR

MULTIMEDIA

BACKGROUND

In mid-nineteenth century England, millions of peasants moved

to the cities. There, they lived in overcrowded slums. Adults and

many children worked up to 12 hours a day, 6 days a week. In

contrast, factory owners and professionals lived in grand houses

with at least one—and often many—servants. These differences in

social conditions play a part in A Christmas Carol.

Scene 1

[Lights. Choral music is sung. Curtain. Scrooge, in bed, sleeping,

in spotlight. We cannot yet see the interior of his room. Marley,

opposite, in spotlight equal to Scrooge’s. Marley laughs. He tosses

his hand in the air and a flame shoots from it, magically, into the

air. There is a thunder clap, and then another; a lightning flash, and

then another. Ghostly music plays under. Colors change. Marley’s

spotlight has gone out and now reappears, with Marley in it,

standing next to the bed and the sleeping Scrooge. Marley

addresses the audience directly.]

Marley. Hear this snoring Scrooge! Sleeping to escape the

nightmare that is his waking day. What shall I bring to him

now? I’m afraid nothing would astonish old Scrooge now.

Not after what he’s seen. Not a baby boy, not a rhinoceros,

nor anything in between would astonish Ebenezer Scrooge

NOTES

ANCHOR TEXT

DRAMA

A Christmas Carol: Scrooge and Marley, Act II 265

just now. l can think of nothing . . . [Suddenly] that’s it!

Nothing! [He speaks confidentially.] I’ll have the clock strike

one and, when he awakes expecting my second messenger,

there will be no one . . . nothing. Then I’ll have the bell strike

twelve. And then one again . . . and then nothing. Nothing . . .

[Laughs] nothing will . . . astonish him. I think it will work.

[The bell tolls one. Scrooge leaps awake.]

Scrooge. One! One! This is it; time! [Looks about the room]

Nothing!

[The bell tolls midnight.]

Midnight! How can this be? I’m sleeping backwards.

[One again]

Good heavens! One again! I’m sleeping back and forth!

[A pause. Scrooge looks about.] Nothing! Absolutely nothing!

[Suddenly, thunder and lightning. Marley laughs and disappears.

The room shakes and glows. There is suddenly springlike music.

Scrooge makes a run for the door.]

Marley. Scrooge!

Scrooge. What?

Marley. Stay you put!

Scrooge. Just checking to see if anyone is in here.

[Lights and thunder again: more music. Marley is of a sudden

gone. In his place sits the Ghost of Christmas Present—to be

called in the stage directions of the play, Present—center of room.

Heaped up on the floor, to form a kind of throne, are turkeys, geese,

game, poultry, brawn, great joints of meat, suckling pigs, long

wreaths of sausages, mince-pies, plum puddings, barrels of oysters,

red hot chestnuts, cherry-cheeked apples, juicy oranges, luscious

pears, immense twelfth cakes, and seething bowls of punch, that

make the chamber dim with their delicious steam. Upon this throne

sits Present, glorious to see. He bears a torch, shaped as a Horn of

Plenty.

Scrooge hops out of the door, and then peeks back again

into his bedroom. Present calls to Scrooge.]

Present. Ebenezer Scrooge. Come in, come in! Come in and

know me better!

Scrooge. Hello. How should I call you?

Present. I am the Ghost of Christmas Present. Look upon me.

[Present is wearing a simple green robe. The walls around the room

are now covered in greenery, as well. The room seems to be a perfect

grove now: leaves of holly, mistletoe and ivy reflect the stage lights.

1. Horn of Plenty horn

overflowing with fruits,

flowers, and grain,

representing wealth and

abundance.

NOTES

266 UNIT 3 • TURNING POINTS

Suddenly, there is a mighty roar of flame in the fireplace and now

the hearth burns with a lavish, warming fire. There is an ancient

scabbard girdling the Ghost’s middle, but without sword. The

sheath is gone to rust.]

You have never seen the like of me before?

Scrooge. Never.

Present. You have never walked forth with younger

members of my family: my elder brothers born on

Christmases past.

Scrooge. I don’t think I have. I’m afraid I’ve not. Have you

had many brothers, Spirit?

Present. More than eighteen hundred.

Scrooge. A tremendous family to provide for! [Present

stands] Spirit, conduct me where you will. I went forth last

night on compulsion, and learnt a lesson which is working

now. Tonight, if you have aught to teach me, let me profit

byit.

Present. Touch my robe.

[Scrooge walks cautiously to Present and touches his robe. When

he does, lightning flashes, thunder claps, music plays. Blackout]

Scene 2

[PROLOGUE: Marley stands spotlit, L. He speaks directly to the

audience.]

Marley. My ghostly friend now leads my living partner

through the city’s streets.

[Lights up on Scrooge and Present]

See them there and hear the music people make when the

weather is severe, as it is now.

[Winter music. Choral group behind scrim, sings. When the song is

done and the stage is re-set, the lights will fade up on a row of

shops, behind the singers. The choral group will hum the song they

have just completed now and mill about the streets,

carrying their

dinners to the bakers’ shops and restaurants. They will, perhaps,

sing about being poor at Christmastime, whatever.]

Present. These revelers, Mr. Scrooge, carry their own dinners

to their jobs, where they will work to bake the meals the rich

men and women of this city will eat as their Christmas

dinners. Generous people these . . . to care for the others, so . . .

CLOSE READ

ANNOTATE: Mark the details in

paragraphs 5–6 that describe

the setting.

QUESTION: Why might the

playwright have chosen to begin

the scene with these details?

CONCLUDE: How does this

information help you to better

understand the play?

2. mill about the streets walk

around aimlessly.

NOTES

A Christmas Carol: Scrooge and Marley, Act II 267

NOTES

[Present walks among the choral group and a sparkling incense

falls from his torch on to their baskets, as he pulls the covers off of

the baskets. Some of the choral group become angry with each

other.]

Man #1. Hey, you, watch where you’re going.

Man #2. Watch it yourself, mate!

[Present sprinkles them directly, they change.]

Man #1. I pray go in ahead of me. It’s Christmas. You be first!

Man #2. No, no. I must insist that YOU be first!

Man #1. All right, I shall be, and gratefully so.

Man #2. The pleasure is equally mine, for being able to

watch you pass, smiling.

Man #1. I would find it a shame to quarrel on Christmas

Day . . .

Man #2. As would I.

Man #1. Merry Christmas then, friend!

Man #2. And a Merry Christmas straight back to you!

[Church bells toll. The choral group enter the buildings: the shops

and restaurants; they exit the stage, shutting their doors closed

behind them. All sound stops. Scrooge and Present are alone

again.]

Scrooge. What is it you sprinkle from your torch?

Present. Kindness.

Scrooge. Do you sprinkle your kindness on any particular

people or on all people?

Present. To any person kindly given. And to the very poor

most of all.

Scrooge. Why to the very poor most?

Present. Because the very poor need it most. Touch my

heart. . . here, Mr. Scrooge. We have another journey.

[Scrooge touches the Ghost’s heart and music plays, lights change

color, lightning flashes, thunder claps. A choral group appears on

the street, singing Christmas carols.]

Scene 3

[Marley stands spotlit in front of a scrim on which is painted the

exterior of Cratchit‘s four-roomed house. There is a flash and a

clapand Marley is gone. The lights shift color again, the scrim

fliesaway, and we are in the interior of the Cratchit family home.

3. incense (IHN sehns) n. any

of various substances that

produce a pleasant odor when

burned.

268 UNIT 3 • TURNING POINTS

NOTES

Scrooge is there, with the spirit (Present), watching

Mrs.Cratchit set the table, with the help of Belinda Cratchit

andPeter Cratchit, a baby, pokes a fork into the mashed potatoes

on his highchair’s tray. He also chews on his shirt collar.]

Scrooge. What is this place, Spirit?

Present. This is the home of your employee, Mr. Scrooge.

Don’t you know it?

Scrooge. Do you mean Cratchit, Spirit? Do you mean this is

Cratchit’s home?

Present. None other.

Scrooge. These children are his?

Present. There are more to come presently.

Scrooge. On his meager earnings! What foolishness!

Present. Foolishness, is it?

Scrooge. Wouldn’t you say so? Fifteen shillings

a week’s

what he gets!

Present. I would say that he gets the pleasure of his family,

fifteen times a week times the number of hours a day! Wait,

Mr. Scrooge. Wait, listen and watch. You might actually learn

something . . .

Mrs. Cratchit. What has ever got your precious father then?

And your brother, Tiny Tim? And Martha warn’t as late last

Christmas by half an hour!

[Martha opens the door, speaking to her mother as she does.]

Martha. Here’s Martha, now, Mother! [She Iaughs. The

Cratchit Children squeal with delight.]

Belinda. It’s Martha, Mother! Here’s Martha!

Peter. Marthmama, Marthmama! Hullo!

Belinda. Hurrah! Martha! Martha! There’s such an enormous

goose for us, Martha!

Mrs. Cratchit. Why, bless your heart alive, my dear, how late

you are!

Martha. We’d a great deal of work to finish up last night, and

had to clear away this morning, Mother.

Mrs. Cratchit. Well, never mind so long as you are come. Sit

ye down before the fire, my dear, and have a warm, Lord

bless ye!

Belinda. No, no! There’s Father coming. Hide, Martha, hide!

[Martha giggles and hides herself.]

4. fifteen shillings small amount

of money for a week’s work.

A Christmas Carol: Scrooge and Marley, Act II 269

NOTES

Martha. Where? Here?

Peter. Hide, hide!

Belinda. Not there! THERE!

[Martha is hidden. Bob Cratchit enters, carrying Tiny Tim atop

his shoulder. He wears a threadbare and fringeless comforter

hanging down in front of him. Tiny Tim carries small crutches and

his small legs are bound in an iron frame brace.]

Bob and Tiny Tim. Merry Christmas.

Bob. Merry Christmas my love, Merry Christmas Peter,

Merry Christmas Belinda. Why, where is Martha?

Mrs. Cratchit. Not coming.

Bob. Not coming: Not coming upon Christmas Day?

Martha. [Pokes head out] Ohhh, poor Father. Don’t be

disappointed.

Bob. What’s this?

Martha. ’Tis I!

Bob. Martha! [They embrace.]

Tiny Tim. Martha! Martha!

Martha. Tiny Tim!

[Tiny Tim is placed in Martha’s arms. Belinda and Peter rush

him offstage.]

Belinda. Come, brother! You must come hear the pudding

singing in the copper.

Tiny Tim. The pudding? What flavor have we?

Peter. Plum! Plum!

Tiny Tim. Oh, Mother! I love plum!

[The children exit the stage giggling.]

Mrs. Cratchit. And how did little Tim behave?

Bob. As good as gold, and even better. Somehow he gets

thoughtful sitting by himself so much, and thinks the

strangest things you ever heard. He told me, coming home,

that he hoped people saw him in the church, because he was

a cripple, and it might be pleasant to them to remember upon

Christmas Day, who made lame beggars walk and blind men

see. [Pauses] He has the oddest ideas sometimes, but he

seems all the while to be growing stronger and more

hearty. . . one would never know. [Hears Tim’s crutch on floor

outsidedoor]

Peter. The goose has arrived to be eaten!

Belinda. Oh, mama, mama, it’s beautiful.

CLOSE READ

ANNOTATE: Mark the pauses

and the sound effect in

paragraph 44.

QUESTION: Why might the

playwright have included the

pauses and sound effects in the

dialogue?

CONCLUDE: What can you

conclude about Bob Cratchit’s

state of mind as a result of

these details?

270 UNIT 3 • TURNING POINTS

NOTES

Martha. It’s a perfect goose, Mother!

Tiny Tim. To this Christmas goose, Mother and Father I say

. . . [Yells] Hurrah! Hurrah!

Other Children. [Copying Tim] Hurrah! Hurrah!

[The family sits round the table. Bob and Mrs. Cratchit serve the

trimmings, quickly. All sit; all bow heads; all pray.]

Bob. Thank you, dear Lord, for your many gifts . . . our dear

children; our wonderful meal; our love for one another; and

the warmth of our small fire—[Looks up at all] A merry

Christmas to us, my dear. God bless us!

All. [Except Tim] Merry Christmas! God bless us!

Tiny Tim. [In a short silence] God bless us every one.

[All freeze. Spotlight on Present and Scrooge]

Scrooge. Spirit, tell me if Tiny Tim will live.

Present. I see a vacant seat . . . in the poor chimney corner,

and a crutch without an owner, carefully preserved. If these

shadows remain unaltered by the future, the child will die.

A Christmas Carol: Scrooge and Marley, Act II 271

NOTES

Scrooge. No, no, kind Spirit! Say he will be spared!

Present. If these shadows remain unaltered by the future,

none other of my race will find him here. What then? If he be

like to die, he had better do it, and decrease the surplus

population.

[Scrooge bows his head. We hear Bob‘s voice speak Scrooge’s

name.]

Bob. Mr. Scrooge . . .

Scrooge. Huh? What’s that? Who calls?

Bob. [His glass raised in a toast] I’ll give you Mr. Scrooge, the

Founder of the Feast!

Scrooge. Me, Bob? You toast me?

Present. Save your breath, Mr. Scrooge. You can’t be seen or

heard.

Mrs. Cratchit. The Founder of the Feast, indeed! I wish I had

him here, that miser Scrooge. I’d give him a piece of my mind

to feast upon, and I hope he’d have a good appetite for it!

Bob. My dear! Christmas Day!

Mrs. Cratchit. It should be Christmas Day, I am sure, on

which one drinks the health of such an odious, stingy,

unfeeling man as Mr. Scrooge . . .

Scrooge. Oh. Spirit, must I? . . .

Mrs. Cratchit. You know he is, Robert! Nobody knows it

better than you do, poor fellow!

Bob. This is Christmas Day, and I should like to drink to

the health of the man who employs me and allows me to

earn my living and our support and that man is Ebenezer

Scrooge . . .

Mrs. Cratchit. I’ll drink to his health for your sake and the

day’s, but not for his sake . . . a Merry Christmas and a

Happy New Year to you, Mr. Scrooge, wherever you may be

this day!

Scrooge. Just here, kind madam . . . out of sight, out

ofsight. . .

Bob. Thank you, my dear. Thank you.

Scrooge. Thank you, Bob . . . and Mrs. Cratchit, too. No

oneelse is toasting me, . . . not now . . . not ever. Of that

Iamsure. . .

Bob. Children . . .

All. Merry Christmas to Mr. Scrooge.

Bob. I’ll pay you sixpence, Tim, for my favorite song.

CLOSE READ

ANNOTATE: In paragraphs

62–71, mark words and phrases

that highlight the differences

between Mrs. Cratchit’s and

Bob Cratchit’s attitudes toward

Scrooge.

QUESTION: Why might the

playwright have chosen to show

this contrast in their attitudes

through their dialogue?

CONCLUDE: What does the

contrast reveal about the

personality of each character?

272 UNIT 3 • TURNING POINTS

NOTES

Tiny Tim. Oh, Father, I’d so love to sing it, but not for pay.

This Christmas goose—this feast—you and Mother, my

brother and sisters close with me: that’s my pay—

Bob. Martha, will you play the notes on the lute, for Tiny

Tim’s song.

Belinda. May I sing, too, Father?

Bob. We’ll all sing.

[They sing a song about a tiny child lost in the snow—probably

from Wordsworth’s poem. Tim sings the lead vocal; all chime in for

the chorus. Their song fades under, as the Ghost of Christmas

Present speaks.]

Present. Mark my words, Ebenezer Scrooge. I do not present

the Cratchits to you because they are a handsome, or brilliant

family. They are not handsome. They are not brilliant. They

are not well-dressed, or tasteful to the times. Their shoes are

not even waterproofed by virtue of money or cleverness

spent. So when the pavement is wet, so are the insides of

their shoes and the tops of their toes. These are the Cratchits,

Mr. Scrooge. They are not highly special. They are happy,

grateful, pleased with one another, contented with the time

and how it passes. They don’t sing very well, do they? But,

nonetheless, they do sing . . . [Pauses] think of that, Scrooge.

Fifteen shillings a week and they do sing . . . hear their song

until its end.

Scrooge. I am listening. [The chorus sings full volume now,

until . . . the song ends here.] Spirit, it must be time for us to

take our leave. I feel in my heart that it is . . . that I must think

on that which I have seen here . . .

Present. Touch my robe again . . .

[Scrooge touches Present’s robe. The lights fade out on the

Cratchits, who sit, frozen, at the table. Scrooge and Present in a

spotlight now. Thunder, lightning, smoke. They are gone.]

Scene 4

[Marley appears D.L. in single spotlight. A storm brews. Thunder

and lightning. Scrooge and Present “fly” past, U. The storm

continues, furiously, and, now and again, Scrooge and Present

will zip past in their travels. Marley will speak straight out to the

audience.]

Marley. The Ghost of Christmas Present, my co-worker in

this attempt to turn a miser, flies about now with that very

miser, Scrooge, from street to street, and he points out

A Christmas Carol: Scrooge and Marley, Act II 273

NOTES

partygoers on their way to Christmas parties. If one were to

judge from the numbers of people on their way to friendly

gatherings, one might think that no one was left at home to

give anyone welcome . . . but that’s not the case, is it? Every

home is expecting company and . . . [He laughs.] Scrooge is

amazed.

[Scrooge and Present zip past again. The lights fade up around

them. We are in the Nephew’s home, in the living room. Present

and Scrooge stand watching the Nephew: Fred and his wife,

fixing the fire.]

Scrooge. What is this place? We’ve moved from the mines!

Present. You do not recognize them?

Scrooge. It is my nephew! . . . and the one he married . . .

[Marley waves his hand and there is a lightning flash. He

disappears.]

Fred. It strikes me as sooooo funny, to think of what he

said.. . that Christmas was a humbug, as I live! He

believedit!

Wife. More shame for him, Fred!

Fred. Well, he’s a comical old fellow, that’s the truth.

Wife. I have no patience with him.

Fred. Oh, I have! I am sorry for him; I couldn’t be angry

with him if I tried. Who suffers by his ill whims? Himself,

always . . .

Scrooge. It’s me they talk of, isn’t it, Spirit?

Fred. Here, wife, consider this. Uncle Scrooge takes it into his

head to dislike us, and he won’t come and dine with us.

What’s the consequence?

Wife. Oh . . . you’re sweet to say what I think you’re about to

say, too, Fred . . .

Fred. What’s the consequence? He don’t lose much of a

dinner by it, I can telI you that!

Wife. Ooooooo, Fred! Indeed, I think he loses a very good

dinner . . . ask my sisters, or your bachelor friend, Topper . . .

ask any of them. They’ll tell you what old Scrooge, your

uncle, missed: a dandy meal!

Fred. Well, that’s something of a relief, wife. Glad to hear it!

[He hugs his wife. They laugh. They kiss.] The truth is, he misses

much yet. I mean to give him the same chance every year,

whether he likes it or not, for I pity him. Nay, he is my only

uncle and I feel for the old miser . . . but, I tell you, wife: I see

274 UNIT 3 • TURNING POINTS

NOTES

my dear and perfect mother’s face on his own wizened

cheeks and brow: brother and sister they were, and I cannot

erase that from each view of him I take . . .

Wife. I understand what you say, Fred, and I am with you in

your yearly asking. But he never will accept, you know. He

never will.

Fred. Well, true, wife. Uncle may rail at Christmas till he dies.

I think I shook him some with my visit yesterday . . .

[Laughing] I refused to grow angry . . . no matter how nasty

he became . . . [Whoops] It was HE who grew angry, wife!

[They both laugh now.]

Scrooge. What he says is true, Spirit . . .

Fred and Wife. Bah, humbug!

Fred. [Embracing his wife] There is much laughter in our

marriage, wife. It pleases me. You please me . . .

Wife. And you please me, Fred. You are a good man . . .

[Theyembrace.] Come now. We must have a look at the

meal... our guests will soon arrive . . . my sisters, Topper . . .

Fred. A toast first . . . [He hands her a glass] A toast to Uncle

Scrooge . . . [Fills their glasses]

Wife. A toast to him?

Fred. Uncle Scrooge has given us plenty of merriment, I am

sure, and it would be ungrateful not to drink to his health.

And I say . . . Uncle Scrooge!

Wife. [Laughing] You’re a proper loon,

Fred . . . and I’m a

proper wife to you . . . [She raises her glass.] Uncle Scrooge!

[They drink. They embrace. They kiss.]

Scrooge.Spirit,please, make me visible! Make me audible!

I want to talk with my nephew and my niece!

[Calls out to them. The lights that light the room and Fred and wife

fade out. Scrooge and Present are alone, spotlit.]

Present. These shadows are gone to you now, Mr. Scrooge.

You may return to them later tonight in your dreams.

[Pauses]My time grows short, Ebenezer Scrooge. Look you

on me! Do you see how I’ve aged?

Scrooge. Your hair has gone gray! Your skin, wrinkled! Are

spirits’ lives so short?

Present. My stay upon this globe is very brief. It ends

tonight.

Scrooge. Tonight?

Present. At midnight. The time is drawing near!

5. a proper loon silly person.

A Christmas Carol: Scrooge and Marley, Act II 275

NOTES

[Clock strikes 11:45.]

Hear those chimes? In a quarter hour, my life will have been

spent! Look, Scrooge, man. Look you here.

[Two gnarled baby dolls are taken from Present‘s skirts.]

Scrooge. Who are they?

Present. They are Man’s children, and they cling to me,

appealing from their fathers. The boy is Ignorance; the girl is

Want. Beware them both, and all of their degree, but most of

all beware this boy, for I see that written on his brow which is

doom, unless the writing be erased.

[He stretches out his arm. His voice is now amplified: loudly and

oddly.]

Scrooge. Have they no refuge or resource?

Present. Are there no prisons? Are there no workhouses?

[Twelve chimes] Are there no prisons? Are there no

workhouses?

[A Phantom, hooded, appears in dim light, D., opposite.]

Are there no prisons? Are there no workhouses?

276 UNIT 3 • TURNING POINTS

NOTES

[Present begins to deliquesce. Scrooge calls after him.]

Scrooge. Spirit, I’m frightened! Don’t leave me! Spirit!

Present. Prisons? Workhouses? Prisons? Workhouses . . .

[He is gone. Scrooge is alone now with the Phantom, who is, of

course, the Ghost of Christmas Future. The Phantom is

shrouded in black. Only its outstretched hand is visible from under

his ghostly garment.]

Scrooge. Who are you, Phantom? Oh, yes. I think I know

you! You are, are you not, the Spirit of Christmas Yet to

Come? [No reply] And you are about to show me the shadows

of the things that have not yet happened, but will happen in

time before us. Is that not so, Spirit? [The Phantom allows

Scrooge a look at his face. No other reply wanted here. Anervous

giggle here.] Oh, Ghost of the Future, I fear you more than any

Specter I have seen! But, as I know that your purpose is to do

me good and as I hope to live to be another man from what I

was, I am prepared to bear you company. [Future does not

reply, but for a stiff arm, hand and finger set, pointing forward.]

Lead on, then, lead on. The night is waningfast, and it is

precious time to me. Lead on, Spirit!

[Future moves away from Scrooge in the same rhythm and motion

employed at its arrival. Scrooge falls into the same pattern, a

considerable space apart from the Spirit. In the space between them,

Marley appears. He looks to Future and then to Scrooge. He claps

his hands. Thunder and lightning. Three Businessmen appear,

spotlighted singularly: One is D.L.; one is D.R.; one is U.C. Thus,

six points of the stage should now be spotted in light. Marley will

watch this scene from his position, C. Scrooge and Future are R.

and L. of C.]

First Businessman. Oh, no, I don’t know much about it either

way, I only know he’s dead.

Second Businessman. When did he die?

First Businessman. Last night, I believe.

Second Businessman. Why, what was the matter with him?

I thought he’d never die, really . . .

First Businessman. [Yawning] Goodness knows, goodness

knows . . .

Third Businessman. What has he done with his money?

Second Businessman. I haven’t heard. Have you?

First Businessman. Left it to his Company, perhaps. Money

to money; you know the expression . . .

CLOSE READ

ANNOTATE: Mark the words

and phrases that the Ghost of

Christmas Present repeats in

paragraphs 43–48.

QUESTION: Why might the

playwright have chosen to have

the Ghost of Christmas Present

repeat these words and phrases

upon departing?

CONCLUDE: What effect does

this repetition have on the

reader?

A Christmas Carol: Scrooge and Marley, Act II 277

NOTES

Third Businessman. He hasn’t left it to me. That’s all I

know. . .

First Businessman. [Laughing] Nor to me . . . [Looks at Second

Businessman] You, then? You got his money???

First Businessman. [Laughing] Me, me, his money? Nooooo!

[They all laugh.]

Third Businessman. It’s likely to be a cheap funeral, for upon

my life, I don’t know of a living soul who’d care to venture to

it. Suppose we make up a party and volunteer?

Second Businessman. I don’t mind going if a lunch is

provided, but I must be fed, if I make one.

First Businessman. Well, I am the most disinterested among

you, for I never wear black gloves, and I never eat lunch. But

I’ll offer to go, if anybody else will. When I come to think of

it, I’m not all sure that I wasn’t his most particular friend: for

we used to stop and speak whenever we met. Well, then . . .

bye, bye!

Second Businessman. Bye, bye . . .

Third Businessman. Bye, bye . . .

[They glide offstage in three separate directions. Their lights

followthem.]

Scrooge. Spirit, why did you show me this? Why do you

show me businessmen from my streets as they take the death

of Jacob Marley? That is a thing past. You are future!

[Jacob Marley laughs a long, deep laugh. There is a thunder clap

and lightning flash, and he is gone. Scrooge faces Future, alone on

stage now. Future wordlessly stretches out his arm-hand-and-

fingerset, pointing into the distance, U. There, above them,

scoundrels “fly” by, half-dressed and slovenly. When this scene has

passed, a woman enters the playing area. She is almost at once

followed by a second woman; and then a man in faded black; and

then, suddenly, an old man, who smokes a pipe. The old man scares

the other three. They laugh, anxious.]

First Woman. Look here, old Joe, here’s a chance! If we

haven’t all three met here without meaning it!

Old Joe. You couldn’t have met in a better place. Come into

the parlor. You were made free of it long ago, you know;

andthe other two ain’t strangers [He stands; shuts a door.

Shrieking] We’re all suitable to our calling. We’re well

matched. Come into the parlor. Come into the parlor . . . [They

follow him D. Scrooge and Future are now in their midst,

watching; silent. A truck comes in on which is set a small wall with

278 UNIT 3 • TURNING POINTS

NOTES

fireplace and a screen of rags, etc. All props for the scene.] Let me

just rake this fire over a bit . . .

[He does. He trims his lamp with the stem of his pipe. The First

Woman throws a large bundle on to the floor. She sits beside it,

crosslegged, defiantly.]

First Woman. What odds then? What odds, Mrs. Dilber?

Every person has a right to take care of themselves. HE

always did!

Mrs. Dilber. That’s true indeed! No man more so!

First Woman. Why, then, don’t stand staring as if you was

afraid, woman! Who’s the wiser? We’re not going to pick

holes in each other’s coats, I suppose?

Mrs. Dilber. No, indeed! We should hope not!

First Woman. Very well, then! That’s enough. Who’s the

worse for the loss of a few things like these? Not a dead man,

I suppose?

Mrs. Dilber. [Laughing] No, indeed!

First Woman. If he wanted to keep ’em after he was dead,

the wicked old screw, why wasn’t he natural in his lifetime?

If he had been, he’d have had somebody to look after him

when he was struck with Death, instead of lying gasping out

his last there, alone by himself.

Mrs. Dilber. It’s the truest word that was ever spoke. It’s a

judgment on him.

First Woman. I wish it were a heavier one, and it should

have been, you may depend on it, if I could have laid my

hands on anything else. Open that bundle, old Joe, and let me

know the value of it. Speak out plain. I’m not afraid to be the

first, nor afraid for them to see it. We knew pretty well that

we were helping ourselves, before we met here, I believe. It’s

no sin. Open the bundle, Joe.

First Man. No, no, my dear! I won’t think of letting you being

the first to show what you’ve . . . earned . . . earned from this.

I throw in mine.

[He takes a bundle from his shoulder, turns it upside down, and

empties its contents out on to the floor.]

It’s not very extensive, see . . . seals . . . a pencil case . . . sleeve

buttons . . .

First Woman. Nice sleeve buttons, though . . .

First Man. Not bad, not bad . . . a brooch there . . .

Old Joe. Not really valuable, I’m afraid . . .

CLOSE READ

ANNOTATE: In paragraph

75, mark the word that

isemphasized.

QUESTION: Why did the

playwright choose to emphasize

this word?

CONCLUDE: How does

emphasizing this word reveal

the First Woman’s attitude

toward the man of whom she

speaks?

A Christmas Carol: Scrooge and Marley, Act II

279

NOTES

First Man. How much, old Joe?

Old Joe. [Writing on the wall with chalk] A pitiful lot, really.

Ten and six and not a sixpence more!

First Man. You’re not serious!

Old Joe. That’s your account and I wouldn’t give another

sixpence if I was to be boiled for not doing it. Who’s next?

Mrs. Dilber. Me! [Dumps out contents of her bundle] Sheets,

towels, silver spoons, silver sugar-tongs . . . some boots . . .

Old Joe. [Writing on wall] I always give too much to the

ladies. It’s a weakness of mine and that’s the way I ruin

myself. Here’s your total comin’ up . . . two pounds-ten . . . if

you asked me for another penny, and made it an open

question, I’d repent of being so liberal and knock off

half-a-crown.

First Woman. And now do MY bundle, Joe.

Old Joe. [Kneeling to open knots on her bundle] So many

knots,madam . . . [He drags out large curtains; dark] What do

you call this? Bed curtains!

First Woman. [Laughing] Ah, yes, bed curtains!

Old Joe. You don’t mean to say you took ’em down, rings

and all, with him lying there?

First Woman. Yes, I did, why not?

Old Joe. You were born to make your fortune and you’ll

certainly do it.

First Woman. I certainly shan’t hold my hand, when I can

get anything in it by reaching it out, for the sake of such a

man as he was. I promise you, Joe. Don’t drop that lamp oil

on those blankets, now!

Old Joe. His blankets?

First Woman. Whose else’s do you think? He isn’t likely to

catch cold without ’em, I daresay.

Old Joe. I hope that he didn’t die of anything catching? Eh?

First Woman. Don’t you be afraid of that. I ain’t so fond of

his company that I’d loiter about him for such things if he

did. Ah! You may look through that shirt till your eyes ache,

but you won’t find a hole in it, nor a threadbare place. It’s the

best he had, and a fine one, too. They’d have wasted it, if it

hadn’t been for me.

Old Joe. What do you mean “They’d have wasted it”?

First Woman. Putting it on him to be buried in, to be sure.

Somebody was fool enough to do it, but I took it off again . . .

[She laughs, as do they all, nervously.]

100

101

102

103

104

105

106

107

108

109

280 UNIT 3 • TURNING POINTS

NOTES

If calico

ain’t good enough for such a purpose, it isn’t good

enough then for anything. It’s quite as becoming to the body.

He can’t look uglier than he did in that one!

Scrooge. [A low-pitched moan emits from his mouth; from the

bones.] OOOOOOOoooooOOOOOoooooOOOOOOOO

oooooOOOOOOoooooOO!

Old Joe. One pound six for the lot. [He produces a small

flannel bag filled with money. He divvies it out. He continues

topass around the money as he speaks. All are laughing.]

That’sthe end of it, you see! He frightened every one away

from him when he was alive, to profit us when he was dead!

Hah ha ha!

All. HAHAHAHAhahahahahahah!

Scrooge. OOoooOOoooOOOoooOOOoooOOoooOOoooOOOooo!

[He screams at them.] Obscene demons!Why not market the

corpse itself, as sell its trimming??? [Suddenly] Oh, Spirit, I see

it, I see it! This unhappy man—this stripped-bare corpse . . .

could very wellbe my own. My life holds parallel! My life

ends that waynow!

[Scrooge backs into something in the dark behind his spotlight.

Scrooge looks at Future, who points to the corpse. Scrooge pulls

back the blanket. The corpse is, of course, Scrooge, who screams.

He falls aside the bed; weeping.]

Spirit, this is a fearful place. In leaving it, I shall not leave its

lesson, trust me. Let us go!

[Future points to the corpse.]

Spirit, let me see some tenderness connected with a death, or

that dark chamber, which we just left now, Spirit, will be

forever present to me.

[Future spreads his robes again. Thunder and lightning. Lights up,

U., in the Cratchit home setting. Mrs. Cratchit and her daughters,

sewing]

Tiny Tim’s Voice. [Off] And He took a child and set him in

the midst of them.

Scrooge. [Looking about the room; to Future] Huh? Who

spoke? Who said that?

Mrs. Cratchit. [Puts down her sewing] The color hurts my

eyes. [Rubs her eyes] That’s better. My eyes grow weak

sewing by candlelight. I shouldn’t want to show your father

weak eyes when he comes home . . . not for the world! It

must be near his time . . .

110

6. calico (KAL ih koh) n. coarse

and inexpensive cotton cloth.

111

112

113

114

parallel (PAR uh lehl) adj. having

the same direction or nature;

similar

115

116

117

118

119

120

121

122

CLOSE READ

ANNOTATE: Mark the sounds

and sound effects in paragraphs

111–114.

QUESTION: Why do you think

the author chose to include

these details?

CONCLUDE: What effect does

this choice have on the reader?

A Christmas Carol: Scrooge and Marley, Act II

281

NOTES

Peter. [In corner, reading. Looks up from book] Past it, rather.

Butl think he’s been walking a bit slower than usual these

last few evenings, Mother.

Mrs. Cratchit. I have known him walk with . . . [Pauses] I

have known him walk with Tiny Tim upon his shoulder and

very fast indeed.

Peter. So have I, Mother! Often!

Daughter. So have I.

Mrs. Cratchit. But he was very light to carry and his father

loved him so, that it was not trouble—no trouble. [Bob, at door]

And there is your father at the door.

[Bob Cratchit enters. He wears a comforter. He is cold, forlorn.]

Peter. Father!

Bob. Hello, wife, children . . .

[The daughter weeps; turns away from Cratchit.]

Children! How good to see you all! And you, wife. And look

at this sewing! I’ve no doubt, with all your industry, we’ll

have a quilt to set down upon our knees in church on

Sunday!

Mrs. Cratchit. You made the arrangements today, then,

Robert, for the . . . service . . . to be on Sunday.

Bob. The funeral. Oh, well, yes, yes, I did. I wish you could

have gone. It would have done you good to see how green a

place it is. But you’ll see it often. I promised him that I would

walk there on Sunday, after the service. [Suddenly]

My little, little child! My little child!

All Children. [Hugging him] Oh, Father . . .

Bob. [He stands] Forgive me. I saw Mr. Scrooge’s nephew,

who you know I’d just met once before, and he was so

wonderful to me, wife . . . he is the most pleasant-spoken

gentleman I’ve ever met . . . he said “I am heartily sorry for

itand heartily sorry for your good wife. If I can be of service

to you in any way, here’s where I live.” And he gave me

thiscard.

Peter. Let me see it!

Bob. And he looked me straight in the eye, wife, and said,

meaningfully, “I pray you’ll come to me, Mr. Cratchit, if you

need some help. I pray you do.” Now it wasn’t for the sake of

anything that he might be able to do for us, so much as for

his kind way. It seemed as if he had known our Tiny Tim and

felt with us.

123

124

125

126

127

128

129

130

131

132

133

134

135

136

137

138

139

CLOSE READ

ANNOTATE: In paragraphs

123–136, mark the terms the

characters use to identify each

other in the dialogue.

QUESTION: Why might the

playwright have included these

terms in the dialogue?

CONCLUDE: How do these

terms help the reader to better

understand the conversation?

282 UNIT 3 • TURNING POINTS

NOTES

Mrs. Cratchit. I’m sure that he’s a good soul.

Bob. You would be surer of it, my dear, if you saw and spoke

to him. I shouldn’t be at all surprised, if he got Peter a

situation.

Mrs. Cratchit. Only hear that, Peter!

Martha. And then, Peter will be keeping company with

someone and setting up for himself!

Peter. Get along with you!

Bob. It’s just as likely as not, one of these days, though

there’s plenty of time for that, my dear. But however and

whenever we part from one another, I am sure we shall none

of us forget poor Tiny Tim—shall we?—or this first parting

that was among us?

All Children. Never, Father, never!

Bob. And when we recollect how patient and mild he was,

we shall not quarrel easily among ourselves, and forget poor

Tiny Tim in doing it.

All Children. No, Father, never!

Little Bob. I am very happy, I am. I am. I am very happy.

[Bob kisses his little son, as does Mrs. Cratchit, as do the other

children. The family is set now in one sculptural embrace. The

lighting fades to a gentle pool of light, tight on them.]

Scrooge. Specter, something informs me that our parting

moment is at hand. I know it, but I know not how I know it.

[Future points to the other side of the stage. Lights out on

Cratchits. Future moves slowing, gliding. Scrooge follows.

Future points opposite. Future leads Scrooge to a wall and a

tombstone. He points to the stone.]

Am I that man those ghoulish parasites

so gloated over?

[Pauses] Before I draw nearer to that stone to which you

point, answer me one question. Are these the shadows

ofthings that will be, or the shadows of things that MAY

be,only?

[Future points to the gravestone. Marley appears in light well U.

He points to grave as well. Gravestone turns front and grows to ten

feet high. Words upon it: Ebenezer Scrooge: Much smoke billows

now from the grave. Choral music here. Scrooge stands looking up

at gravestone. Future does not at all reply in mortals’ words, but

points once more to the gravestone. The stone undulates and glows.

Music plays, beckoning Scrooge. Scrooge reeling in terror]

Oh, no. Spirit! Oh, no, no!

[Future’s finger still pointing]

140

141

142

143

144

145

146

147

148

149

150

151

152

153

7. ghoulish parasites (GOOL ish

PAR uh syts) referring to the

men and women who stole

and divided Scrooge’s goods

after he died.

154

155

156

A Christmas Carol: Scrooge and Marley, Act II 283

NOTES

Spirit! Hear me! I am not the man I was. I will not be the man

I would have been but for this intercourse. Why show me

this, if I am past all hope?

[Future considers Scrooge’s logic. His hand wavers.]

Oh. Good Spirit, I see by your wavering hand that your good

nature intercedes for me and pities me. Assure me that I yet

may change these shadows that you have shown me by an

altered life!

[Future’s hand trembles; pointing has stopped.]

I will honor Christmas in my heart and try to keep it all the

year. I will live in the Past, the Present, and the Future. The

Spirits of all Three shall strive within me. I will not shut out

the lessons that they teach. Oh, tell me that I may sponge

away the writing that is upon this stone!

[Scrooge makes a desperate stab at grabbing Future’s hand. He

holds firm for a moment, but Future, stronger than Scrooge, pulls

away. Scrooge is on his knees, praying.]

157

158

159

altered (AWL tuhrd) adj. changed

160

161

strive (STRYV) v. make a great

effort; try very hard

162

284 UNIT 3 • TURNING POINTS

NOTES

Spirit, dear Spirit, I am praying before you. Give me a

signthat all is possible. Give me a sign that all hope for me

isnot lost. Oh, Spirit, kind Spirit, I beseech thee: give me

asign . . .

[Future deliquesces, slowly, gently. The Phantom’s hood and robe

drop gracefully to the ground in a small heap. Music in. There is

nothing in them. They are mortal cloth. The Spirit is elsewhere.

Scrooge has his sign. Scrooge is alone. Tableau. The light fades

toblack.]

Scene 5

[The end of it. Marley, spotlighted, opposite Scrooge, in his bed,

spotlighted. Marley speaks to audience, directly.]

Marley. [He smiles at Scrooge.] The firm of Scrooge and

Marley is doubly blessed; two misers turned; one, alas, in

Death, too late; but the other miser turned in Time’s

penultimate nick.

Look you on my friend, Ebenezer

Scrooge.. .

Scrooge. [Scrambling out of bed; reeling in delight] I will live in

the Past, in the Present, and in the Future! The Spirits of all

Three shall strive within me!

Marley. [He points and moves closer to Scrooge‘s bed.] Yes,

Ebenezer, the bedpost is your own. Believe it! Yes, Ebenezer,

the room is your own. Believe it!

Scrooge. Oh, Jacob Marley! Wherever you are, Jacob, know

ye that I praise you for this! I praise you . . . and heaven . . .

and Christmastime! [Kneels facing away from Marley] I say it

toyou on my knees, old Jacob, on my knees! [He touches his

bed curtains.] Not torn down. My bed curtains are not at all

torn down! Rings and all, here they are! They are here: I am

here: the shadows of things that would have been, may now

be dispelled. They will be, Jacob! I know they will be!

[He chooses clothing for the day. He tries different pieces of clothing

and settles, perhaps, on a dress suit, plus a cape of the bed clothing:

something of color.]

I am light as a feather, I am happy as an angel. I am as merry

as a schoolboy. [Yells out window and then out to audience]

Merry Christmas to everybody! Merry Christmas to

everybody! A Happy New Year to all the world! Hallo here!

Whoop! Whoop! Hallo! Hallo! I don’t know what day of the

month it is! I don’t care! I don’t know anything! I’m quite a

baby! I don’t care! I don’t care a fig! I’d much rather be a baby

163

164

8. in Time’s penultimate nick just

at the last moment.

dispelled (dihs PEHLD) v. driven

away; scattered

A Christmas Carol: Scrooge and Marley, Act II 285

NOTES

than be an old wreck like me or Marley! (Sorry, Jacob.

wherever ye be!) Hallo! Hallo there!

[Church bells chime in Christmas Day. A small boy, named Adam,

is seen now D.R., as a light fades up on him.] Hey, you boy!

What’s today? What day of the year is it?

Adam. Today, sir? Why, it’s Christmas Day!

Scrooge. It’s Christmas Day, is it? Whoop! Well, I haven’t

missed it after all, have I? The Spirits did all they did in one

night. They can do anything they like, right? Of course they

can! Of course they can!

Adam. Excuse me, sir?

Scrooge. Huh? Oh, yes, of course. What’s your name, lad?

[Scrooge and Adam will play their scene from their own

spotlights.]

Adam. Adam, sir.

Scrooge. Adam! What a fine, strong name! Do you know the

poulterer’s

in the next street but one, at the corner?

Adam. I certainly should hope I know him, sir!

Scrooge. A remarkable boy! An intelligent boy! Do you

know whether the poulterer’s have sold the prize turkey that

was hanging up there? I don’t mean the little prize turkey,

Adam. I mean the big one!

Adam. What, do you mean the one they’ve got that’s as big

as me?

Scrooge. I mean, the turkey the size of Adam: that’s the bird!

Adam. It’s hanging there now, sir.

Scrooge. It is? Go and buy it! No, no. I am absolutely in

earnest. Go and buy it and tell ’em to bring it here, so that I

may give them the directions to where I want it delivered, as

a gift. Come back here with the man, Adam, and I’ll give you

a shilling. Come back here with him in less than five minutes,

and I’ll give you half-a-crown!

Adam. Oh, my sir! Don’t let my brother in on this.

[Adam runs offstage. Marley smiles.]

Marley. An act of kindness is like the first green grape of

summer: one leads to another and another and another. It

would take a queer man indeed to not follow an act of

kindness with an act of kindness. One simply whets the

tongue for more . . . the taste of kindness is too too sweet.

Gifts—goods—are lifeless. But the gift of goodness one feels

in the giving is full of life. It . . . is . . . a . . . wonder.

9. poulterer’s (POHL tuhr uhrz) n.

British term for a person or a

store that sells poultry.

earnest (UR nihst) adj. serious and

heartfelt; not joking

CLOSE READ

ANNOTATE: In paragraphs

12–22, mark words that show

Scrooge’s attitude and behavior

toward Adam.

QUESTION: What do these

word choices reveal about

Scrooge?

CONCLUDE: How does

Scrooge’s attitude and

behavior toward Adam reveal a

transformation in his character?

286 UNIT 3 • TURNING POINTS

[Pauses; moves closer to Scrooge, who is totally occupied with his

dressing and arranging of his room and his day. He is making lists,

etc. Marley reaches out to Scrooge.]

Adam. [Calling, off] I’m here! I’m here!

[Adam runs on with a man, who carries an enormous turkey.]

Here I am, sir. Three minutes flat! A world record! I’ve got the

poultryman and he’s got the poultry! [He pants, out of breath.]

I have earned my prize, sir, if I live . . .

[He holds his heart, playacting. Scrooge goes to him and embraces

him.]

Scrooge. You are truly a champion, Adam . . .

Man. Here’s the bird you ordered, sir . . .

Scrooge. Oh, my, MY!!! Look at the size of that turkey, will

you! He never could have stood upon his legs, that bird! He

would have snapped them off in a minute, like sticks of

NOTES

A Christmas Carol: Scrooge and Marley, Act II 287

NOTES

sealingwax! Why you’ll never be able to carry that bird to

Camden-Town, I’ll give you money for a cab . . .

Man. Camden-Town’s where it’s goin’, sir?

Scrooge. Oh, I didn’t tell you? Yes, I’ve written the precise

address down just here on this . . . [Hands paper to him] Bob

Cratchit’s house. Now he’s not to know who sends him this.

Do you understand me? Not a word . . . [Handing out money

and chuckling]

Man. I understand, sir, not a word.

Scrooge. Good. There you go then . . . this is for the

turkey. . . [Chuckle] . . . and this is for the taxi. [Chuckle] . . .

and this is for your world-record run, Adam . . .

Adam. But I don’t have change for that, sir.

Scrooge. Then keep it, my lad. It’s Christmas!

Adam. [He kisses Scrooge’s cheek, quickly.] Thank you, sir.

Merry, Merry Christmas! [He runs off.]

Man. And you’ve given me a bit overmuch here, too, sir . . .

Scrooge. Of course I have, sir. It’s Christmas!

Man. Oh, well, thanking you, sir. I’ll have this bird to

Mr.Cratchit and his family in no time, sir. Don’t you worry

none about that. Merry Christmas to you, sir, and a very

happy New Year, too . . .

[The man exits. Scrooge walks in a large circle about the stage,

which is now gently lit. A chorus sings Christmas music far in the

distance. Bells chime as well, far in the distance. A gentlewoman

enters and passes. Scrooge is on the streets now.]

Scrooge. Merry Christmas, madam . . .

Woman. Merry Christmas, sir . . .

[The portly businessman from the first act enters.]

Scrooge. Merry Christmas, sir.

Portly Man. Merry Christmas, sir.

Scrooge. Oh, you! My dear sir! How do you do? I do hope

that you succeeded yesterday! It was very kind of you.

AMerry Christmas.

Portly Man. Mr. Scrooge?

Scrooge. Yes, Scrooge is my name though I’m afraid you

may not find it very pleasant. Allow me to ask your pardon.

And will you have the goodness to—[He whispers into the

man’s ear.]

CLOSE READ

ANNOTATE: In paragraphs

49–56, mark words and phrases

that indicate the Portly Man’s

reaction to Scrooge.

QUESTION: Why might the

playwright have included these

details?

CONCLUDE: What does the

Portly Man’s reaction show

about Scrooge’s character at this

point in the play?

288 UNIT 3 • TURNING POINTS

NOTES

Portly Man. Lord bless me! My dear Mr. Scrooge, are you

serious!?!

Scrooge. If you please. Not a farthing

less. A great many

back payments are included in it, I assure you. Will you do

me that favor?

Portly Man. My dear sir, I don’t know what to say to such

munifi—

Scrooge. [Cutting him off] Don’t say anything, please. Come

and see me. Will you?

Portly Man. I will! I will! Oh I will, Mr. Scrooge! It will be my

pleasure!

Scrooge. Thank’ee, I am much obliged to you. I thank you

fifty times. Bless you!

[Portly Man passes offstage, perhaps by moving backwards.

Scrooge now comes to the room of his Nephew and Niece. He

stops at the door, begins to knock on it, loses his courage, tries

again, loses his courage again, tries again, fails again, and then

backs off and runs at the door, causing a tremendous bump against

it. The Nephew and Niece are startled. Scrooge, poking head

intoroom]

Fred!

Nephew. Why, bless my soul! Who’s that?

Nephew and Niece. [Together] How now? Who goes?

Scrooge. It’s I. Your Uncle Scrooge.

Niece. Dear heart alive!

Scrooge. I have come to dinner. May I come in, Fred?

Nephew. May you come in???!!! With such pleasure for me

you may, Uncle!!! What a treat!

Niece. What a treat, Uncle Scrooge! Come in, come in!

[They embrace a shocked and delighted Scrooge: Fred calls into the

other room.]

Nephew. Come in here, everybody, and meet my Uncle

Scrooge! He’s come for our Christmas party!

[Music in. Lighting here indicates that day has gone to night and

gone to day again. It is early, early morning. Scrooge walks alone

from the party, exhausted, to his offices, opposite side of the stage.

He opens his offices. The offices are as they were at the start of the

play. Scrooge seats himself with his door wide open so he can see

into the tank, as he awaits Cratchit, who enters, head down, full of

guilt. Cratchit, starts writing almost before he sits.]

10. farthing (FAHR thihng) n. small

British coin.

A Christmas Carol: Scrooge and Marley, Act II 289

NOTES

Scrooge. What do you mean by coming in here at this time

of day, a full eighteen minutes late, Mr. Cratchit? Hallo, sir?

Do you hear me?

Bob. I am very sorry, sir. I am behind my time.

Scrooge. You are? Yes, I certainly think you are. Step this

way, sir, if you please . . .

Bob. It’s only but once a year, sir . . . It shall not be repeated.

I was making rather merry yesterday and into the night . . .

Scrooge. Now, I’ll tell you what, Cratchit. I am not going to

stand this sort of thing any longer. And therefore . . .

[He stands and pokes his finger into Bob‘s chest.]

I am . . . about . . . to . . . raise . . . your salary.

Bob. Oh, no, sir. I . . . [Realizes] what did you say, sir?

Scrooge. A Merry Christmas, Bob . . . [He claps Bob‘s back.]

Amerrier Christmas, Bob, my good fellow! than I have given

you for many a year. I’ll raise your salary and endeavor to

assist your struggling family and we will discuss your affairs

this very afternoon over a bowl of smoking bishop.

Bob!

Make up the fires and buy another coal scuttle before you dot

another i, Bob. It’s too cold in this place! We need warmth

and cheer, Bob Cratchit! Do you hear me? DO . . . YOU . . .

HEAR . . . ME?

[Bob Cratchit stands, smiles at Scrooge: Bob Cratchit faints.

Blackout. As the main lights black out, a spotlight appears on

Scrooge: C. Another on Marley: He talks directly to the audience.]

Marley. Scrooge was better than his word. He did it all and

infinitely more; and to Tiny Tim, who did NOT die, he was a

second father. He became as good a friend, as good a master,

as good a man, as the good old city knew, or any other good

old city, town, or borough in the good old world. And it was

always said of him that he knew how to keep Christmas well,

if any man alive possessed the knowledge. [Pauses] May that

be truly said of us, and all of us. And so, as Tiny Tim

observed . . .

Tiny Tim. [Atop Scrooge’s shoulder] God Bless Us, Every

One.. .

[Lights up on chorus, singing final Christmas Song. Scrooge and

Marley and all spirits and other characters of the play join in.

When the song is over, the lights fade to black.]

❧

11. smoking bishop a type of

mulled wine or punch that

was especially popular in

Victorian England at

Christmas time.

infinitely (IHN fuh niht lee) adv.

enormously; remarkably

290 UNIT 3 • TURNING POINTS

Comprehension Check

Complete the following items after you finish your first read.

1. Who is the second spirit that Scrooge encounters?

2. What does the Ghost of Christmas Present sprinkle on people in the street?

3. Who is the third spirit that Scrooge encounters?

4. What is the last thing the Ghost of Christmas Future shows Scrooge?

Notebook Write a brief summary of A Christmas Carol: Scrooge and

Marley, Act II.

RESEARCH

Research to Clarify Choose at least one unfamiliar detail from the text. Briefly

research that detail. In what way does the information you learned shed light on an

aspect of the play?

A Christmas Carol: Scrooge and Marley, Act II 291

MAKING MEANING

A CHRISTMAS CAROL:

SCROOGE AND MARLEY, ACT II

ANNOTATE:

The Ghost of

Christmas Present

wears a rusty

scabbard and

there is no sword

in it.

QUESTION: What

idea is being

conveyed by

these details?

CONCLUDE:

The Ghost of

Christmas Present

represents peace.

Present is wearing a simple green

robe.... Suddenly, there is a mighty

roar of flame in the fireplace and

now the hearth burns with a lavish,

warming fire. There is an ancient

scabbard girdling the Ghost’s middle,

but without sword. The sheath is gone

to rust.

ANNOTATE: The words flame, fireplace, burns,

warming, and fire appear in one sentence.

QUESTION: What effect is created with this

word choice?

CONCLUDE: The Ghost of Christmas Present

has brought warmth and comfort into

Scrooge’s home.

Close Read the Text

1. This model, from Scene 1, paragraph 18, shows two sample

annotations, along with questions and conclusions. Close read the

passage, and find another detail to annotate. Then, write a question

and conclusion.

2. For more practice, go back into the text and complete the close read

notes.

3. Revisit a section of the text you found important during your first read.

Read this section closely and annotate what you notice. Ask yourself

questions such as “Why did the author make this choice?” What can

you conclude?

Analyze the Text

Notebook Respond to these questions.

1. (a) Analyze Why is Scrooge happy at the end of the play? (b) Predict

How well do you think Scrooge will live up to his promise to learn his

“lessons”? (c) Support What details in Act II support your prediction?

2. Take a Position Do you think Cratchit and Scrooge’s nephew do the

right thing by forgiving Scrooge immediately? Explain.

3. Essential Question What can cause a sudden change in

someone’s life? What have you learned about what can cause a

sudden change in someone’s life by reading Act II of this play?

CITE TEXTUAL EVIDENCE

to support your answers.

Tool Kit

Close-Read Guide and

Model Annotation

 STANDARDS

Reading Literature

•Citeseveralpiecesoftextual

evidencetosupportanalysisofwhat

thetextsaysexplicitlyaswellas

inferencesdrawnfromthetext.

•Analyzehowparticularelementsof

astoryordramainteract.

•Analyzehowadrama’sorpoem’s

formorstructurecontributestoits

meaning.

292 UNIT 3 • TURNING POINTS

ESSENTIAL QUESTION: What can cause a sudden change in someone’s life?

CITE TEXTUAL EVIDENCE

to support your answers.

Analyze Craft and Structure

Text Structure: Stage Directions The written text of a play is called

a script. The two main parts of a script are dialogue, or conversations

between characters, and stage directions. Stage directions instruct

actors on how to move and speak, or they describe what the stage

should look and sound like. If you are reading a play instead of watching

a performance, you get certain information only from the stage

directions. Stage directions are usually written in italic type and set off by

brackets or parentheses.

Stage directions are the playwright’s instructions to the director and

actors to guide them in performing and interpreting the script. Through

stage directions, playwrights convey important information about:

•the setting and the context

•the scenery, lighting, and sound effects

•the behavior and actions of the actors

•the ways in which actors should deliver lines

Practice

Use the chart to analyze the playwright’s use of stage directions in

ActIIofA Christmas Carol: Scrooge and Marley. In the center column,

identify key details that are important to understanding the stage

direction; for example, the actors involved or the types of sound

effects. In the right column, summarize what you learn from the stage

direction; for example, how the characters feel or move.

[Lights. Choral music is

sung….the audience directly.]

(Scene 1, paragraph 1)

[Church bells toll….are

alone again.] (Scene 2,

paragraph 19)

[Jacob Marley laughs…They

laugh, anxious.] (Scene 4,

paragraph 71)

STAGE DIRECTION KEY DETAILS WHAT YOU LEARN FROM IT

A Christmas Carol: Scrooge and Marley, Act II 293

A CHRISTMAS CAROL:

SCROOGE AND MARLEY, ACT II

LANGUAGE DEVELOPMENT

Concept Vocabulary

parallel strive earnest

altered dispelled infinitely

Why These Words? The concept vocabulary words relate to Scrooge’s

transforming character and personality. For example, after the Spirits’

visits he is an altered man who is infinitely more pleasant and willing to

help other people.

1. How does the concept vocabulary sharpen the reader’s understanding

of how Scrooge changes?

2. What other words in the selection describe Scrooge’s change in

character and personality?

Practice

Notebook Confirm the definitions for the six concept vocabulary

words. Consult a dictionary as necessary to verify the meanings. Then,

complete the activities.

1. Use each concept vocabulary word in a sentence that demonstrates its

meaning.

2. Rewrite each sentence using a synonym, or word with a similar

meaning, for the concept vocabulary word. How does the replacement

change the meaning of the sentence?

Word Study

Greek Prefix: para- The Greek prefix para- means “beside.” In the

word parallel, the prefix is combined with a Greek root that means “of

one another.” So, parallel means “beside one another.” Two lines that

are parallel extend in the same direction beside one another and are

always the same distance apart.

1. Write your own sentence that correctly uses the word parallel.

2. Using a dictionary or thesaurus, find two other words or phrases that

contain the Greek prefix para-. Record a definition for each word or

phrase, and write a sentence that correctly uses it.



WORD NETWORK

Add interesting words

related to turning points

from the text to your Word

Network.

 STANDARDS

Language

•Determineorclarifythemeaning

ofunknownandmultiple-meaning

wordsandphrasesbasedongrade7

reading and content,choosing

flexiblyfromarangeofstrategies.

b.Usecommon,grade-appropriate

GreekorLatinaffixesandrootsas

cluestothemeaningofaword.

c.Consultgeneralandspecialized

referencematerials,bothprintand

digital,tofindthepronunciation

ofawordordetermineorclarify

itsprecisemeaningoritspartof

speech.

d.Verifythepreliminary

determinationofthemeaningofa

wordorphrase.

•Demonstrateunderstanding

offigurativelanguage,word

relationships,andnuancesinword

meanings.

b.Usetherelationshipbetween

particularwordstobetter

understandeachofthewords.

294 UNIT 3 • TURNING POINTS

Conventions

Sentence Structures In English, there are four types of sentence

structure.

• A simple sentence consists of one independent clause—a group

of words that has a subject and a verb and that can stand by itself

as a complete thought.

EXAMPLE: My cousin Tyrone and I are close friends.

• A compound sentence consists of two or more independent

clauses linked by a conjunction such as and, but, or or.

EXAMPLE: I like spending time with Tyrone, and we like doing

the same things.

• A complex sentence contains one independent clause and

one or more dependent clauses. A dependent clause is a group of

words that has a subject and verb but is not a complete thought.

EXAMPLE Tyrone lives in my neighborhood, although his

house is not very close to mine.

• A compound-complex sentence consists of two or more

independent clauses and one or more dependent clauses.

EXAMPLE: We often go to the park, and, if we have all

afternoon, we might go to a movie.

Read It

Reread these sentences from the selection. Identify each sentence

structure, and then underline and label the clauses as independent

or dependent.

1. He has the oddest ideas sometimes, but he seems all the while to be

growing stronger and more hearty.

2. Tonight, if you have aught to teach me, let me profit by it.

3. The lights shift color again, the scrim flies away, and we are in the

interior of the Cratchit family home.

4. I’ll have the clock strike one and, when he awakes expecting my

second messenger, there will be no one.

Write It

Notebook Write an example of each sentence type.

1. simple

2. compound

3. complex

4. compound-complex

ESSENTIAL QUESTION: What can cause a sudden change in someone’s life?

 STANDARDS

Language

Choose among simple, compound,

complex, and compound-complex

sentences to signal differing

relationships among ideas.

A Christmas Carol: Scrooge and Marley, Act II 295