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“Daddy, I’m an angel!” she shouts as she waves.
“I see you, baby,” I call as I unzip the leather bag at my hip.
I back up as I fit the entire scene into the shot.
I snap several photos, including close-ups of each actor and animal.
But as I click the last frame, something seems amiss.
The donkey by one of the shepherds brays loudly, startling the sheep nearby.
Hannah grabs hold of the squirming baby and struggles to stand as Bran rushes over and attempts to soothe the donkey, but only succeeds in agitating the animal further.
Suddenly, chaos erupts.
The donkey, now completely spooked, bolts forward, knocking over one of the shepherds and trampling the manger.
The sheep, panicked by the sudden movement, scatter in all directions.
Hannah begins to shout at the goats, desperately trying to regain control of the situation, while Bran and the wise men try in vain to catch the escaping animals.
Daniel and I rush forward to help, and I manage to grab hold of the donkey’s halter, bringing it to a stop just before it crashes into a trembling, wide-eyed Hannah, who backed up to shield Cobie and the other children from the stampede.
Bob and Hoyt attempt to corral the sheep, their experienced hands guiding them back toward the stable.
In the midst of the commotion, the audience, bundled up in winter coats and scarves, watches with a mix of amusement and concern.
Children giggle at the sight of the runaway animals while parents keep them at a safe distance.
Once the situation is under control, Bran and I share a chuckle, recognizing the humor in the situation as we work to calm the animals.
Hoyt walks to the front of the scene and addresses the crowd. “As we all know, live performances always come with an element of unpredictability. Thank you for your patience while we pull ourselves back together and get that hangry donkey some oats.”
After a brief intermission and everything is back in its place, the nativity scene resumes, albeit with a new energy.
Dawn jots notes in her notebook.
“You aren’t going to write about this, are you?” Hoyt asks as he joins us in the audience.
She grins as she reads from the page, “The incident serves as a reminder of the beauty of imperfection and the resilience of community spirit. In the end, the live nativity scene might have gone awry, but it also became a memorable tale, a story that we could all laugh about because, sometimes, it’s the unexpected moments that make the most cherished memories, reminding us of the true meaning of togetherness and the spirit of Christmas.”
She looks back up to Hoyt, who nods.
“I like that,” he approves.
I catch sight of Sela and Linden, next to Hal’s cocoa stand, and raise my camera to capture the moment as they sip from paper mugs and laugh, their breaths a visible mist in the cold air. Then, I feel the heat at my back.
“The camera loves her, doesn’t it?”
I turn to see Norah grinning at me.
I glance down at the screen. “It does,” I agree.
She moves past me, and walking backward, she calls, “Maybe you should ask her to take a horse and buggy ride with you. I bet you’d get some great photos of her and the lake from the carriage. You might even pass under some mistletoe along the route.”
Hoyt leads Dawn and Daniel on a tour of the church, and I go in search of Sela.
I find her, Willa, and Norah standing in the carriage line.
