Of all the Christmas episodes in The West Wing, this is my favorite. I watch it every year during the Christmas season. This is also one of the most popular and replayed episodes in the entire series. It won multiple awards for the writers and an Emmy award for Best Supporting Actor in a Drama Series for Richard Schiff, who played the role of White House Communications Director Toby Ziegler. And as one might expect for a Christmas special with a Latin title from a scriptural citation, it is packed with theological punch.
It is a Thursday morning, December 23 in the first year of President Bartlet’s first term. We know from the opening scene that the calendar year is changing from 1999 to 2000 because Sam and Toby are disputing whether the new millennium officially starts in 2000 or 2001 when Toby receives a message from a Washington, DC, police detective.
Toby is called out to meet the detective on the Washington Mall. When Toby arrives, the detective pulls back the cover over the body of a dead man lying on the park bench near the Korean War memorial. He asks Toby if he recognizes this man. Toby doesn’t. The detective presses, “the last name’s Huffnagle if that rings a bell?” It doesn’t. The detective tells Toby the man had his business card. Toby is perplexed, and he and the detective go back and forth for a bit. “You’re Toby Ziegler?” “Yeah.” “From the White House?” “Yeah.” Then Toby recognizes the man’s overcoat as one he had donated to Goodwill and realizes he must have left a business card in it. The detective seems satisfied that the mystery is solved and thanks Toby for his time.
But before leaving, Toby identifies a tattoo on the dead man’s forearm that indicates he was a veteran of the Korean war, a Marine, in the 2nd company of the 7th battalion. He suggests the detective contact the VA, the Veterans Administration. The detective responds non-committally and thanks him again. They exchange “Merry Christmas” and, after glancing back a couple of times at the dead man on the park bench, Toby heads back to work.
But Toby can’t take his mind off this guy. After we see Josh wish his assistant Donna a “Merry Christmas to you and your whole Protestant family,” we see Toby back in his office. He’s making a few phone calls. He’s trying to track down the man’s military service record and to check on burial arrangements, to see if any have been made at all. This is all while he’s also fielding questions from White House staff member Mandy about whether the visiting boys’ choir’s Dickensian costumes will clash with the Santa hats. Already in the episode you have the sense that the trivial is clashing with what is truly important to Toby. “How do you know him?” Mandy asks Toby. “I don’t,” he responds. “Then why does it matter?” But it does matter to Toby.
Toby leaves the office again and heads back down to the mall. He meets a man who operates a booth near the war memorial where people can sign a visitor’s log and purchase some souvenirs. He asks Toby if he’s looking for anything in particular. After some hemming and hawing, Toby tells the man at the booth that he’s not a visitor or the police, but that a homeless man died that morning near the monument, and he wondered if perhaps he had slept there a lot. “Maybe you know him?” he asks the attendant. “Yeah, he was one of them. Was he a friend of yours?” “No.” To which the attendant replies, “I didn’t think so.” Toby says he’d like to contact someone who might be interested in knowing that he had died. The man directs him to the intersection at Capitol and P. That’s where the homeless gather. Maybe someone there would know him.
As the camera pans down from the Capitol building, brightly lit against the night sky, to the huddled figures standing in line for food under the bridge, we see Toby asking around if anyone knew Walter. One of the men recognizes Walter’s name and tells Toby that his brother, George, is there. He points him out to Toby, warns Toby that he’s all right but just a little slow, and Toby goes over to meet him. George is keeping warm by a fire. In an endearingly awkward conversation, Toby gently informs George that his brother had died out on the mall the previous night. They commiserate about the northeasterner that came through and that the shelters had probably run out of beds.
The other homeless man comes over to check to see if everything is all right. Toby gets ready to leave, but then he turns around and stammers out to George that even though it is “absolutely none of my business,” his brother Walter is entitled as a veteran and a recipient of a Purple Heart to a proper burial, with military honors. He goes on to almost apologetically explain that, as a very influential and powerful person, he would like to arrange it. He asks if he can pick up George there in the morning. The other homeless man promises he’ll have him there. Then Toby tries to give them the money he has in his wallet, but the man gives it back to him. “You’re not from around here,” he tells Toby a couple of times – a fact that is painfully obvious throughout the entire scene. Then the scene shifts from this dark streetcorner where the powerless homeless gather back to probably the most famous address in the world, the brilliantly illumined White House.
The next morning, Toby comes into the West Wing and says good morning to the president’s assistant, Mrs. Landingham. She informs him that the president would like to see him. She asks, “Did you arrange a military funeral for a homeless veteran?” When he indicates that he did, she says, “you shouldn’t have done that, Toby. You absolutely should not have done that.” Toby nods. She tells him the president is in the mural room. Along with other White House staff, he’s listening to the Dickensian choir singing the popular Christmas carol, “The Little Drummer Boy.” When President Bartlet sees Toby waiting in the wings, he excuses himself and escorts Toby into the Oval Office.
After exchanging pleasantries, President Bartlet says, “Apparently I’ve arranged for an honor guard for somebody. Is there anything else I’ve arranged for? We’re still in NATO, right?” “Yes, sir.” And then the president asks Toby, “what’s going on?” Toby recaps the situation for the president – a homeless man, a Korean war veteran, wearing one of Toby’s old overcoats, died the night before. The president cuts him off: “Toby, you’re not responsible.” But Toby complains about the inattention the man received. It was an hour and twenty-minute wait for the ambulance. Toby says he got better treatment than that in Panmunjom. The president responds, “Toby, if we start pulling strings like this, don’t you think that every homeless vet is going to come out of the woodwork…” and then Toby cuts him off. “I can only hope, sir.” And then they lock eyes. The president can see his earnestness and asks “when is this thing?” Toby responds, “I’m going to pick up his brother and go there now.” And then, with no further words, with only a soft pat on Toby’s shoulder and a gentle smile, the president returns to the concert, from which his absence, Mandy remarks from the door, had become conspicuous.
While Toby is making his way out of the office, Mrs. Landingham tells him she is going with him. We learn earlier in the episode in her conversation with Charlie that she had twin sons Andrew and Simon (here again, as we see throughout this series, there is the significance of these names, the same names of the brothers who were among the first of Jesus’ disciples) who were Army medics who were killed in Vietnam on Christmas Eve in 1970. That is why, as she explains to Charlie, she has a hard time getting into the spirit of the Christmas season. This biographical background adds a poignancy and depth to the closing scene as we see her, in her black coat and pillbox hat, sitting alongside Toby and Walter’s brother George, who looks a bit stupefied by the whole situation as the chaplain and guards perform their sacred and solemn duties.

I still get chills simply thinking about, much less watching the closing minutes of this episode. The directors masterfully interweave scenes, on the one hand, of the boys’ choir in their rich robes and fresh faces singing the haunting words of the “The Little Drummer Boy” in the mural room of the White House, and on the other hand, with Toby, Mrs. Landingham and George Huffnagle sitting in white chairs amidst the cool white tombstones at the Arlington National Cemetery. “I am a poor boy, too, pah-rum-pum-pum-pum.” Crack! I still flinch, right along with Toby, at the sharp crack of the gun salute. “I have no gifts to bring, pah-rum-pum-pum-pum.” Crack! Mrs. Landingham flinches, too. The Marine guard tries to hand the folded flag to Toby, but he directs him to George.
I have learned that arranging for a military burial at Arlington National Cemetery is not an easy or quick matter. It took six months for Jerry Smith to arrange for such a burial for one of our Keith Church members, Arnett Kilpatrick, who had served in the Army Air Corps in World War II. How Toby was able to make such arrangements overnight surely involved a lot of artistic license on the part of the show’s writers. But the sense of reverence and respect that I witnessed in the video recording of Mr. Kilpatrick’s burial seems to be dutifully reflected in this scene. I dare say that anyone who has ever witnessed a military funeral for anyone in any cemetery cannot help but be inexpressibly moved by this masterful scene which, to my mind, is one of the high-water marks of the series’ first season.
There is so much about this episode that is worthy of comment and reflection. The title itself, “In Excelsis Deo,” which is Latin for “God in the highest,” comes from the angels’ song to the shepherds in Bethlehem announcing Jesus’ birth, cues us for its theological impact (Luke 2:14). The Christmas season setting adds rich context as it recalls the story of the highest God who came down, who descended from heaven to earth in the form of a human being born to a mother and father who were themselves rendered temporarily homeless and had to endure the holy night of his birth in a backyard barn, quite possibly even a cave, as there was no room for them in the inn.
I am reminded of the poem “The Christmas House” by G.K. Chesterton, which reads in part:
There fared a mother driven forth
Out of an inn to roam;
In the place where [God] was homeless
All men are at home.
The idea that, in the birth of the Christ child, God in God’s own self, “In Excelsis Deo,” God in the highest became not only human but homeless for us, that he endured the suffering and shame of homelessness for us and for all humanity, so that we might find a home in him, be at home with him. That is the Christmas message, is it not? That is what we sing about. “I am a poor boy, too, pah-rum-pum-pum-pum.”
And not just the Christmas story, but the whole Christian story itself, the whole story of the life of Christ. This holy family would soon have to leave their family home to flee to Egypt to escape the murderous paranoia of King Herod, whose power and authority was threatened by the birth of this new and true king in Judea. And even after they returned home to Galilee, Jesus would grow up to live the homeless life of a wandering, itinerant prophet, preacher, healer and teacher. “Foxes have holes,” he would warn those who wanted follow him and go with him wherever he went, “and the birds of the air have nests, but the Son of Man has nowhere to lay his head” (Luke 9:58). He would go on to die a poor homeless man’s death, death of exposure, exposure on the cross, and be buried in a borrowed tomb, without trumpet or fanfare, with soldiers not saluting him but mocking him, making fun of him and gambling for his clothes.
To borrow the refrain from Chesterton’s poem, this whole entire earth was the place where God in Christ was homeless so that all people might find our home in him.






