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n>> We abuse land
nbecause we regard it
nas a commodity belonging to us.
nWhen we see land as a community nto which we belong,
nwe may begin to use it nwith love and respect.
Aldo Leopold.
nI do not imply nthat this philosophy of land
nis always clear to me. nIt is rather the end result
nof a life journey.
>> Aldo Leopold is considered the most influential
conservationist of the 20th century.
His work revolutionized the ideal of the natural world,
and our understanding of the ever changing relationship
between people and the earth.
For more than three decades, I've been on a journey
in search of Leopold and his legacy in our own time.
As Leopold's biographer, I found that Leopold connects people and
places across the landscape,
from cities and suburbs, to farms and forests
and ranches, to our most remote wild lands.
I've explored the people, places, and events
that shaped his thinking. And that led to
his greatest idea, the Land Ethic.
>> The land ethic is a result
of understanding the interrelationships
of the natural system. It's not something that dad
all of a sudden realized. It took him a lifetime
to understand how interrelated we are with the natural system.
Never did we have perspective on this
until we all finally grew up.
>> Here, on a once abandoned farm in the sand counties
of central Wisconsin, the Leopold family made their
own connection to the land. Since the publication
of Leopold's book, "A Sand County Almanac,"
this place has come to symbolize the effort to build
a healthier relationship between people and nature.
And now, all these years later, you get to see people coming
from all over the world to visit.
>> For a white pine and a red birch are crowding each other...
>> That I love all trees,
but I am in love with pines... >> And become scarcer...
[reading in foreign language] >> It is an extension
of ethics... >> It's astonishing to me
and exciting to see how the shack
has attracted people. My father would be
absolutely amazed. >> The amazing thing is after
all these years, the interest in Leopold
just continues to grow. Here's this fellow who died
in 1948, 60 years ago, and yet he is still read
as a contemporary, because his ideas
are still not only so current, he's still so far ahead of us.
>> It has taken, you know, 40, 50 or 60 years
for us to catch up with the very clear meanings
of the words that he was writing,
in some cases in the late '20s, certainly through the '30s
and the '40s. >> What I now refer to
as the holy trinity are Henry David Thoreau,
John Muir and Aldo Leopold, as the giants
on whose shoulders we stand. >> We have lost sight
of so much magic in the land, spiritual values,
so it is time, certainly, to construct
or reconstruct an ethic. >> Even though he used
the language, "Land Ethic," he was really talking about
an "Earth Ethic." That earth ethic
is as relevant today, more relevant today
than it has ever been before.
>> Leopold was a forester and a scientist, a teacher,
and a writer. But above all, he was a careful
and deeply curious observer of the natural world.
>> Dad took phenological records.
He was recording the natural events of the season,
the first blooming of plants, the arrival of birds,
and so forth. So, here am I, age 91.
Guess what I am doing? I'm keeping phenological
records. I keep track of about 350 items,
which really is one way of monitoring climate change.
It's a very, very critical time. Keeping phenological records
is not only a great sport, but it does give us an idea
of monitoring the changes in the climate.
>> Leopold did not know about climate change
or the other pressing
conservation issues we now face on a global scale.
He did, however, observe firsthand the fundamental
changes taking place on the American landscape
during his boyhood in the late 1800s.
Railroads were opening the West. The prairies of the Midwest
were being plowed up. The pine forests of the lake
states were being cutover, with the timber floated down river
and carried by rail to build the country.
n>> Man always kills nthe thing he loves.
NAnd so we the pioneers Nhave killed our wilderness.
NSome say we had to. NBe that as it may, I am glad
nI shall never be young nwithout wild country
nto be young in. >> Leopold was born in 1887,
here along the Mississippi River in Burlington, Iowa, where
the railroad and the river, the two great axes of American
development came together. >> Aldo was raised
in this environment here, where there was
plenty of opportunity for wandering around
and experiencing things, and discovering things.
But that was just half of it. The other half
was that he had parents that pushed him out there,
encouraged him to go out there and use that youthful
imagination. >> Aldo Leopold's mother, Clara,
encouraged his observational skills, his writing,
and his aesthetic sense. She was a great appreciator
of the opera. It was one of her passions
in life. And because binoculars
were not so easily available for bird watching
at that point in history, Aldo borrowed her opera glasses.
That was his first set of binoculars.
>> At a very early age, Aldo was out here in the yard,
monitoring in his journals, 13 different wren nests
in this yard, which is a remarkable thing
for an 11 year old. >> He must've really
picked that up from his father, others in the family.
Aldo's father, Carl, he was a conservationist
before there was such a thing as a conservation movement.
Carl loved the outdoors. He loved to hunt.
He loved to fish. He loved bringing his children
into contact with that world. As Aldo grew up
as the oldest son in the family, Carl was the one who really
taught him that what you do in the outdoors
reflects your set of ethics, your sense of responsibility
for the world that you exist in. It was Carl who helped his son
with this ethic that would grow over decades into what
we now call the Land Ethic.
So I have not been devoted to telling of Leopold's story
simply for its own sake. I have been most interested in
how we can learn from Leopold, how we can take from his story,
things that are relevant to the challenges
and opportunities of today. >> Welcome
toUniversity of the Air. >> Our guest is Curt Meine.
>> Thank you so much for having me.
>> When I saw Aldo Leopold's birth date of 1887,
it came as sort of a shock, just because he seems
such a modern figure. Tell us about your sense
of Leopold and his place in history.
>> The aspect of Leopold that makes him unique in our history
is how he connects what's going on now
and into the future with the deep origins of conservation
and environmental thought. Now we're moving into
a new phase. We don't know what this next
maybe post-environmentalism phase is going to be,
or what it's becoming. But Leopold is still right there
in the middle.
>> It think Aldo Leopold is the philosopher
who stands between conservation and the modern
environmental movement. >> I think he is perhaps
the fundamental guiding light in the development
of modern conservation biology. >> One of the influences for me
of Aldo Leopold is realizing that I wanted a life
in conservation, more than I was interested
in a career in conservation. So the way it looks for me
is living on a piece of land, and caring for that land
as best that I and my family can.
>> People who say that they're students of Leopold,
or disciples of Leopold, or influenced by Leopold,
maybe it's our responsibility to look at the whole Leopold.
>> As Leopold was growing up, the Midwestern landscape
was changing dramatically.
Its prairies were being plowed under.
Its forests cut, and its rivers and wetlands transformed
by dams, dikes and dredges.
They lived at a time when the water fowl
along the Mississippi flyway were being depleted.
Market hunting was still an important force.
There was minimal concern about the decline of wildlife,
such as the bison and passenger pigeon, which
were headed toward extinction when Leopold was a boy.
n>> For one species to mourn nthe death of another
nis a new thing under the sun.
>> Aldo Leopold came of age as the conservation movement
grew to maturity.
Back then, if you were a young person
interested in conservation, there was only one profession
you could enter. And that was forestry.
So, Aldo Leopold was part of that first generation
of American foresters. Many trained at Yale
and then went off to work for the U.S. Forest Service,
going to places that most of them had never even heard of.
After graduating in 1909, Leopold's assignment
was to go to the brand new Apache National Forest
in what was then not even a state.
It was still the Arizona Territory.
Well, he takes the railroad out to the Painted Desert
in northeastern Arizona.
He gets off at Holbrook, one of the stops along the line,
and looks south across the vast expanse of the desert.
He could see a distant line of green
on the horizon. That was the Apache National
Forest, created just recently by the signature
of Teddy Roosevelt. Like other foresters, he
was starting from the beginning, so he got his proper ranger
outfit, and he did have to go buy his own horse.
Aldo Leopold's first real job in the Forest Service
was to go out and measure the Apache National Forest.
One of the best known passages of Leopold's writing describes
an event that occurred
at the very start of his career, when he saw a fierce green fire
in the eyes of a dying wolf. Yet the full meaning
of that experience eluded him for many years.
Imagine this. Aldo is, how old is he?
He's 22. >> Twenty-two.
>> Twenty-two years old. Less than two weeks on the job,
his first or second free Sunday, he comes out here.
Here's where the green fire started.
It's always struck me as entirely fitting
that he started his career in the Forest Service
with a moment that he didn't even fully understand.
It would take 35 years for that moment to emerge
in his own writing fully.
N>> Only the mountain Nhas lived long enough
Nto listen objectively Nto the howl of a wolf...
NMy own conviction Non this score
Ndates from the day NI saw a wolf die.
nWe were eating lunch non the high rim rock,
nat the foot of which na turbulent river
nelbowed its way. nWe saw what we thought
nwas a doe fording the torrent, nher breast awash
nin white water. nWhen she climbed the bank
ntoward us, nand shook out her tail,
nwe realized our error. nIt was a wolf.
>> As a young forester, Leopold was in a precarious position.
He had to enforce new grazing
regulations in communities that had long had unrestricted
use of the public lands. Over the next decade,
as Leopold traveled extensively throughout the Southwest,
he became deeply interested in the changes that had
taken place in the land, especially the impact
of severe overgrazing.
>> I mean, we were out here to conquer this country,
not to make it better.
I knew nothing about this country,
but I had a large family and a small ranch.
And it's self-defense. I had to figure out a way
to grow more grass for the livestock
and more wildlife habitat for the wildlife.
I had to figure it out, so I did.
My wife got a book about Leopold,
and I began to read about him
and see what he did. I thought, boy, if I'd
just read this 30 years ago, I could've saved a lot of time
and effort, because he already knew all the things
I was learning.
>> Early in his Forest Service career, Leopold began to see
the important connections between his work
and the health of the land. He would write to his
fellow foresters that, "We are responsible,
not just for this or that particular resource.
We are responsible for the well being of the forest
as a whole." That shift in perspective
would make all the difference.
n>> Our job is to sharpen nour tools and make them cut
nthe right way... nThe sole measure of our
nsuccess is the effect nwhich they have on the forest.
>> Leopold began to realize that the forest environment
included soils, waters, plants,
and animals. They were all
part of the system. He was one of the first people
to begin to look at the role of fire to protect
those southwestern watersheds.
>> The fact that I did burning, and wanted to do more, was
a mystery to all my neighbors. And because I was the new kid
on the block, they thought I was just too young and dumb
to know any better. They were scared I was going to
set their ranch on fire. My real objective here
would be to get it back to an open savannah,
like it was in 1850. I just kept burning, and people
began to see it might work.
>> Leopold's experience in the ranching communities
in the Southwest really taught him that you can't solve
any conservation problem if you don't address
human relationships, as well as human land relationships.
n>> There are two things nthat interest me:
nthe relation of people
nto each other, nand the relation of people
nto land.
>> He entered a landscape very different from the Midwest.
There were, of course, the many Native tribes,
Anglo ranchers from Texas, and Hispanic families that had
lived there for centuries.
>> Mother came from a family from Spain
that came over with Cortez, and came up through Mexico,
and settled in New Mexico, for bigger sheep ranches.
I've often realized that mother's family
had a lot to do with the overgrazing of the West.
And here she married dad, the forester, and together,
they blended very well.
Mother was teaching school, and dad was a young forester,
having just graduated from Yale. >> He was up in the north part
of the state, being very busy as a forest supervisor.
She was living down in Santa Fe. So he had to write to her
letters, and he courted her by mail, basically.
The letters between them are really quite touching.
It was the basis for a lifelong partnership.
n>> My dear Estella. nThis night is so wonderful
nthat it almost hurts...
nI would like to be nout in our canyon...
nand see the wild Clematis nin the moonlight.
nWouldn't you?
>> Aldo married into one of the preeminent
ranching families in the West. It gave Leopold a very different
appreciation of the cultural dimensions of conservation.
In the long run, it would feed his understanding that
conservation is not only about the land's ecological
relationships, but also about our own
communities and cultures.
Aldo and Estella would eventually have five children,
and each one would become a prominent scientist
and conservationist in their own right.
The family spent much time together in the outdoors.
These trips were often motivated by Aldo's great love of hunting.
As a young forester, Leopold wanted to increase game
populations, but neither he nor anyone else understood
the complex relationships connecting predators, prey,
people, and forests. Instead, he acted on the simple
premise that fewer predators meant more game.
>> Leopold actually received permission from the
Forest Service to travel throughout the Southwest,
organizing game protective associations that would
work for game protection. >> So, he was of his generation
and time. To kill a predator
was no big deal.
n>> I personally believed, nat least in 1914,
nwhen predator control began, nthat there could not be
ntoo much horned game, and that nthe extirpation of predators
nwas a reasonable price to pay nfor better big game hunting.
>> Due in part to the government's campaign against
predators, wolves would
eventually disappear from the mountains of the Southwest.
N>> In those days, Nwe had never heard
Nof passing up the chance
Nto kill a wolf. NIn a second, we were
Npumping lead into the pack, Nbut with more excitement
Nthan accuracy. nWhen our rifles were empty,
nthe old wolf was down nand a pup
nwas dragging a leg ninto impassable slide rocks.
>> Leopold wrote "Thinking Like a Mountain"
many years after the
wolf shooting incident occurred. The essay is, in many ways,
about the ability to change our ideas.
>> Later in his career, Leopold began to realize that
deer could be very destructive to the forest
if their numbers increased. So Leopold himself recommended
the removal of bounties on wolves.
One of the most successful areas in which
he began to pursue his ideas was the Gila National Forest.
As deer populations increased there, he began to go
into the Gila with horses and pack stock
on long hunting trips. He began to realize that there
was potential for developing a new kind of recreational
experience in the forests, what he called
wilderness hunting grounds.
n>> Wilderness is the one kind nof playground which mankind
ncannot build to order... nI contrived to get
nthe Gila headwaters nwithdrawn as a wilderness area,
nto be kept as pack country, nfree from additional roads,
nforever.
>> Roads were spreading across the country, threatening
the last great wild areas. So he began working to protect
the larger expanses of undeveloped land
in the Southwest. This led to the designation
of the Gila Wilderness Area on the Gila Forest in 1924.
It was the first federally designated wilderness area,
40 years before Congress passed the Wilderness Act.
. >> Hi, I'm James
Steinbach. I'ma volunteer
here at PBSWisconsin. We're just taking a
just a break from
this fantasticshow, which I know you'rewatching
, because Aldo Leopoldis for
Wisconsin, for the world, but for Wisconsin, really
a key figure in our understanding
of how the world works,
how thepieces connect together. His
love of the land and theimportance of
sharing that sothat we also can feel
that importance, that importance,
that critical importance. Aldo Leopold
so this show wonderful program, please
call now andpledge at one
(800) 236-3636.>> Thank you James I'm EricGreiling.
I'm director offriends of PBS Wisconsin. It's
such a privilege to share thisfilm with
you, with Aldo Leopold having a national and
international influence, but doing
his work right here local.And
if you haven't had a chance
to experience that locally, we've
got some great ways to say
thank you. When you call in withyour
gift, your pledge to support programs like this,
tosupport programs on PBSWisconsin at
$10 a month, we'd like to say
thank you to you foryour contribution with
the Aldo Leopold Sand County Almanac
book. This 75th Anniversaryedition
from the OxfordUniversity
Press. At $12 a month, we could say
thank you toyou with the DVD of
tonight'sprogram. Beautiful film , $15 amonth. We'd
like to say thank you
to you with a very
specialthank you to tour
passes. Theseare tours of The Shack
at at theAldo Leopold
Shack. Very specialguided tours.
There's only one a week. Really well done
by bytrained docents. So
very specialway for us to
say thank you and for you to learn
even more aboutAldo Leopold and get behind
thescenes $20 a month. We
can saythank you to you with the
book ,the DVD, and
the tour passes so you don't need
to choose at $20a month. We thank you
for yoursupport and you'd have all these
ways to continue learning moreand enjoying
Aldo Leopold.Please give us a call
at1-800-236-3636. I'm Michele Good from
Wisconsin Public Radio and AldoLeopold
was ahead of his time inthe way
he looked at the environment, how the environment
relates to people and how werelate
to the environment. But more
importantly, that he took steps to
protect and preserveit. Public
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to introduce you toBuddy Huffaker,
who is new to ustonight but not
n ew to us at
PBSWisconsin. So I almost saidWisconsin. I
told you I would dothat, but anyhow.
So. But youare the executive director of
the Aldo Leopold. Leopold Foundation, correct. So tell
u sabout what you
guys do. >> Yeah, well, thanks
for havingme, James. And great to be
apart of PBS Wisconsin and soexcited
to be showing Green Fireagain
on this channel. At theLeopold
Foundation, we try to continue Leopold's
legacy byowning and managing the
historicfarm, now a National LandmarkHistoric
Landmark. And we'realso the executor of Leopold's
literary estate. So we helpbring the book
out intodifferent languages anddifferent formats on
film . Andthe book has
now been translated into 15 different languages.
Andas you've all said in the
introduction, Leopold really is an
international figure. And some even call this
book theBible of the
conservationmovement. eah,
and we were talkingearlier,
you have people come tothe center from
all over theworld just this past week,
Croatia and Japan. Wow. Yeah,yeah.
So do your guides speak?
>> Most of our programing isdone in
English to date, but we're looking for
volunteers anddocents that can translate
. >> Well, this program
was made.What 12, 11, 12 years
ago?>> It. Yeah it aired 2011 was
the premiere. And then aired onthe public
television network in2012. >> Well, we were
really happy tohave it, as you know,
and happyto bring it
to you tonight. Andwe're happy to
ask you tosupport it with one with
a callto one (800) 236-3636.>> Please do
support this program. Give us your
call rightnow at one
(800) 236-3636 or goonline to pbswisconsin.org oruse
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of all three thank you gifts that we've
preparedfor you. At $10 a month, we've
got the 75th Anniversary Edition
of the book Sand County
Almanac.At $12 a month. We've got the
DVD of tonight's program so thatyou
can go back and dwell on
onwhat you've seen and learn moreabout
it, or share either
one ofthese with somebody that youfeel
also should learn more about Aldo Leopold and
thisgreat legacy. At $20 a
month,it's all three. The book,
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Two tour passes are available to you at
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Youcan book your time. So
these arecertificates for the tour
at the farm, the Historic Farm,
National Historically Registered Historic Farm
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we were just talking hereabout this
is an importantanniversary year
.>> Yeah. Just before the break,the film
was talking about theGila
Wilderness Area andLeopold's instrumental
role inenvisioning that and protectingthat
wild and sacred place downin New Mexico.
It's the 100thanniversary of the designation
of the Gila Wilderness as
theworld's first wilderness area.Anywhere
And it's also the 75thanniversary of his
book, a SandCounty Almanac, again
translatedinto 15 different languages. Andso this
year , we're doing allsorts
of special events, just trying to
elevate and remindpeople of the important message
of this book.>> That's
terrific. You know,when I was watching this
again,there's a lot of talk about his
family in particular, Nina adley. Nina Leopold
Bradley .And she passed away
ten yearsago. Was it? Yeah
>> So Nina passed away in 2011.So
it was really timely that wegot this
film made because you see Nina, you see
Carl, and yousee Estella in the film
and justthis past year, we lost
Estella.She was the last living child of
Aldo and Estella Leopold. So tocapture those
voices and thoseperspectives
was really special.>> And, you know
, preservinglegacy is what you guys are all
about . And that's not just
notjust the land, it's also thepeople
who made all this happen.>> Yeah. Well,
and the Leopoldfamily
is sometimes referred toas the
first family ofconservation in the UnitedStates
because all five of themwere involved in
science and conservation. All five of
themgot their undergraduate degreesright here at
the University ofWisconsin, and then went on
tohave their own influentialcareers. And so
we help ensurethat their work continues to
getout in front of people as
well.>> Really important work andreally an
important to programsupport,
like public television. Call us at
one (800) 236-3636.
Leopold championed our remote wild lands,
but he understood that wildness can be found anywhere,
even in our largest cities. >> We're gonna grow
some carrots. Is everybody ready?
>> Yeah. >> These seeds are very small.
I want you to put one or two of those seeds in the holes,
okay? Yes, in there for me.
This is 3-1/2 acres here. >> It wasn't always as pretty
as it is now? >> Oh, no.
Its history was a 35-year-old illegal dump site.
The community actually called it Dead Man's Alley,
because a few dead bodieshad been dumped here
in those 35 years. So, basically, there's so many
things taking place in a former illegal dump site,
you'll be amazed. We have a prairie.
We have a wetland. We have a children's
petting zoo. We have a Potawatomi
Indian village. And we've got garden over here
teaching people how to grow food.
It's amazing what you can do in these little bitty spaces,
trying to reconnect this community back to the land.
>> The land ethic, this idea that we're part of a community
includes the land and the land includes us.
It doesn't matter where you are. It doesn't matter if you're
in the most remote wild place or if you're in the heart
of a big city like Chicago. It doesn't matter where you are.
>> It doesn't matter. Nature is here.
It's everywhere to be found. We've got to really change
the mindset of so many people, especially in urban environments
that are so disconnected from the land.
I had the biggest argument with a student,
who argued with me where the eggs in our hen house
came from. I was showing him Henrietta,
our chicken layer, and he was saying,
she didn't lay that egg. "That egg came from Jewels."
I said, "You mean the grocery store?"
He said, "Yeah, that's where it came from,
the grocery store." I said, "Where do you think
the grocery store got it from?" Then he thought about it
and he said, "It came from the grocery store."
[laughs]
n>> There are two nspiritual dangers
nin not owning a farm. nOne is the danger
nof supposing that breakfast ncomes from the grocery,
nand the other that heat ncomes from a furnace.
>> In the late spring of 1924, Leopold made a major
career move.
He returned to the upper Midwest,
to Madison, Wisconsin, where he accepted a new position
as Assistant Director of the Forest Products Laboratory.
After several years, Leopold left the Forest Service
to devote himself to his most compelling interest, wildlife.
For three years, he conducted unprecedented surveys
of game populations and habitats across the Midwestern states.
Then, in 1933, he published the first text in the new field,
"Game Management," and became its first professor
at the University of Wisconsin, where he would help develop
this new idea of ecological restoration at the Arboretum.
>> It's always amazing to me, that he could
look into the future
without having a lot of role models to follow.
He had this vision that we could rebuild on this site,
prairies, savannahs and forests that were here, and rebuild them
the way they were before European settlement.
They went out and foraged over the landscape and
found small remnant prairies, collected sods, collected seeds,
collected plants, and brought them here
and established the species that used to be there.
n>> If a land mechanism nas a whole is good,
nthen every part is good,
nwhether we understand it nor not...
nTo keep every cog and wheel nis the first precaution
nof intelligent tinkering.
>> My father was head of the University of Wisconsin
Arboretum in the '30s. I think he was enjoying
that process so much that he decided he wanted to do it
on his own land. That's when he got
this property.
n>> On this sand farm nin Wisconsin, first worn out
nand then abandoned by our nbigger and better society,
nwe try to rebuild, nwith shovel and axe,
nwhat we are losing elsewhere. nIt is here that we seek,
nand still find, nour meat from God.
>> I remember dad at dinner one evening said that he had
bought some land
up in the sand counties along the Wisconsin River.
We all had dreams of a little cabin covered in vines,
where we would sit on the porch and watch the water.
Not so.
We finally got in to see this place,
and it was corn stubble and cockle burrs
as far as you could see. The old shed that remained
was the old chicken coop. It was waist deep
in frozen manure. >> Our first task
was to get rid of the manure that had accumulated
in this little shed that was the only building
left standing after the house burned down.
>> There were no windows. There was just an opening
for the door. I say my mother was a saint.
She said, "Oh, okay, all right..."
But as soon as we started fixing it up,
we all became addicted. We just loved it.
>> When my husband found this little place,
which was a worn out farm,
he decided to buy it to see what could be done.
>> The shack was as close to nothing as you could get,
and still it was everything.
It's where we learned to work. Where we learned to be together,
and to sing, and it just
lled the family together.
It was seven us, and the dog, and usually a pet or two.
It was quite a cheerful place.
>> There's one thing that my husband always said,
and which we kept to, "Never take anything up there
that isn't absolutely necessary."
>> We always had the guitar. There was always a gun,
the picnic basket, the dog. The essentials.
I think fundamental to everything was this
absolutely wonderful marriage
between my mother and my father.
>> You haven't any idea how much pleasure I have gotten
out of going into the country with my husband.
>> It seemed to me that that was one of the happiest
marriages I know of.
He'd say, "Your mother and I are going to the shack
for the weekend.
Anybody want to come?" And of course,
we all wanted to come. Now, I look at is as kind of
a metaphor of how one can find absolute happiness
with the least amount of stuff.
n>> Like winds and sunsets, nwild things
nwere taken for granted nuntil progress
nbegan to do away with them. nNow we face the question
nwhether a still nhigher standard of living
nis worth its costs nin things natural, wild
nand free.
>> When Leopold came out to his shack by the Wisconsin River,
there were no calls of sandhill cranes.
He had to go deep into the sand counties,
into the wilderness areas to find the last few birds
that were left. He estimated that there were
only about 100 cranes in Wisconsin.
And the whooping crane was practically extinct then.
He thought his "Marshland Elegy" was an elegy
to the sandhill crane that would soon disappear.
n>> When we hear his call, nwe hear no mere bird.
nWe hear the trumpet
nin the orchestra nof evolution.
nHe is the symbol nof our untamable past,
nof that incredible sweep
nof millennia which underlies nand conditions
nthe daily affairs of birds nand men.
>> In the midst of the Depression and the Dust Bowl,
Leopold was rethinking
our very idea of progress, and how it affects the land.
n>> The destruction of soil nis the most fundamental
nkind of economic loss which
nthe human race can suffer.
>> The upper Midwest was subject to massive soil erosion
and watershed degradation. So Leopold and a team
of like-minded colleagues pioneered a radical new approach
to conservation, working with all the landowners
in a given watershed to heal the land.
The first time they tried this was in western Wisconsin,
in a place called Coon Valley.
Here in this little valley, a revolution in conservation
began. Hundreds of farmers joined the
effort, working with specialists in agriculture, soil, water,
wildlife and forestry. With the newly enrolled
young workers of the Civilian Conservation Corps, together
they created the very first watershed scale conservation
project in the nation. We tend to think of something as
either public or it's private, and there's no overlap
between them. >> Leopold started
on the public land, the national forest lands,
and so on. But then, he came to realize
the importance after moving back to the Midwest, that
there really was very little public land.
In fact, most of the productive land
from a biological standpoint is really on private lands
and not on public lands. So, out of that came the idea
that if we really are going to protect
and preserve our environment, we would have to do it
through private land and private land owners.
n>> Conservation nwill ultimately
nboil down to rewarding nthe private landowner who
nconserves the public interest.
>> So, Leopold came in with the idea that we ought to
have a beautiful landscape, not just a utilitarian
landscape. He wrote back then
about conservation being harmony between people and land.
And land to him was more than just soil.
It also includes water, and wildlife, and plants,
and humans. Just drive through Coon Valley
today and see the beauty of the landscape.
Through Leopold's ideas and many others who began
back in 1933, we've been able to make that land
much healthier again.
>> In 1935, Leopold's interest in forestry and wildlife
conservation drew him overseas for the only time in his life.
On a trip to Germany, he got a firsthand look at intensive
resource management. N>> We Americans have not yet
Nexperienced a bear-less, Nwolf-less, eagle-less,
Ncat-less woods. nGermany strove for maximum
nyields of both timber nand game, and got neither.
>> Leopold's time in the forests of central Europe taught him
a critical lesson.
Germany had, over several centuries
developed an artificial, highly intensive approach
to forest and game management. But for Leopold,
something crucial was missing. >> He made a trip in 1935
to Germany, where he describes the slick, clean forests.
One of the contrasts of that was his trip in 1936,
and again in 1937,to the Rio Gavilan region
of northern Mexico, a region that I have become
familiar with in my own work.
This is a pretty wild, remote piece of country.
I think it had a profound influence on Leopold.
n>> It was here that nI first clearly realized
nthat land is an organism,
nthat all my life I had seen nonly sick land,
nwhereas here was a biota nstill in perfect
naboriginal health. nThe term
n"unspoiled wilderness" ntook on a new meaning.
>> We are all Aldo Leopold's great-grandchildren
intellectually,
and I happen to be personally, as well.
But he's pointed us down an important path.
And we'll be going down that path and finding our way
for some time, I suspect. That's a good thing.
>> Leopold's travels led him to realize that wilderness
must be protected, not just for its recreational
and cultural values, but also for its scientific value.
In his words, we need wilderness to serve as a land laboratory,
a place to understand the land's ecological processes.
During this period, Leopold joined forces with
other leading conservationists to form the Wilderness Society,
dedicated to protecting the wildest portions
of the nation's public lands from rampant development.
Eventually, the system of protected wilderness
would embrace
more than 100 million acres across the country.
n>> To those devoid nof imagination
na blank place on the map
nis a useless waste; nto others,
nthe most valuable part.
>> While Leopold fought to protect the spectacular
public wild lands, he was equally conscious
of the need to restore wildness and land health close to home.
n>> What more ndelightful avocation
nthan to take a piece of land
nand by cautious nexperimentation
nto prove how it works. nWhat more substantial service
nto conservation nthan to practice it
non one's own land?
>> That first year, we began to plant pines and
to bring it back to what it was originally.
>> We planted 3,000 a year, so I think it was approximately
48,000, something like that, all together.
n>> Acts of creation nare ordinarily reserved
nfor gods and poets,
nbut humbler folk nmay circumvent
nthis restriction nif they know how.
nTo plant a pine, for example, none need be
nneither god nor poet; none need only
nown a good shovel.
>> Leopold's thinking is pertinent everywhere.
It was very modern with regards of using science
and the new emergent science of ecology
for making decisions about managing the landscape.
>> It took ecology to bring us back to this notion
of communities, of things being deeply connected.
Leopold was the key translator of that idea.
>> I think today, Aldo Leopold's influence and his philosophies
are more apparent, and more of a guiding factor
in land management agencies than they've ever been.
N>> Our tools are better Nthan we are.
NThey suffice
Nto crack the atom, Nto command the tides,
Nbut they do not suffice nfor the oldest task
nin human history, nto live on a piece of land
nwithout spoiling it.
. >> Hi, I'm James
Steinbach. I'ma volunteer here at PBS
Wisconsin. We're taking just ashort break
from this terrificshow about Aldo Leopold. It
isabout Aldo Leopold, but it'sreally
as much about his legacy,his vision, the
g ift that hegave
all of us. And I mean allof
us with his understanding ofwhat came to
be called the land ethic. As you've heard
in this,but even more broadly than
that,how all the pieces connect,which is
something that I don'twant
to say people take it forgranted now,
but you hear about
but you didn't hear about itwhen he
was doing his work. Themost important thing
about thisparticular break is that it's a
challenge break. This is a timewhen members
of PBS Wisconsinhave set aside a pot
of money and your gift, your
support isgoing to be doubled. So this
isthe time to call. If you love
this show, call now. If you love
PBS Wisconsin, call now.
C all usnow at
one (800) 236-3636 andmeet this challenge
that othermembers have set for you to
support public television. PBSWisconsin,
call us now. 1-800-236-3636.
James. It is a challenge break. I'm Eric
Greiling. I'm director of Friends of
PBS Wisconsin. AndJames talked a bout
what a giftit was for
Leopold to establishthe modern conservation movement
to establish the land ethic. Andwhat a
gift it is for the
AldoLeopold Foundation to partne rwith us
to bring you this film,to
bring you some very specialgifts, some
very special ways we can say thank you
tonight whenyou make your
gift to PBSWisconsin, to
support this kindof programing, give us a
callnow. It is a challenge break.That
means your gift goes twiceas far and
it's a great time
tocall. Let us say thank you to
you. When you pledge $10 amonth, we'd
like to say thank you to you with
the gift of the Sand County Almanac, Aldo
Leopold's classic book at $12
amonth, the DVD of
this programthat you're watching tonight,both are
great to learn moreabout
Leopold. Both are great toshare with somebody
else andgive that
Leopold legacy on . At$15 a month,
we can say thank you to you with
two tour passes,certificates for tour
passes soyou can visit the farm that's
featured in the film tonight.Very special trip
to Baraboo.You can pick your time, work
with the Aldo Leopold Foundationto make that
guided tour trip at $20 a month. Why
choose thebook? The DVD
two tour passesthat you can
use and it's a challenge break, so it's
theperfect time to call. Go online,
give us a call one(800) 236-3636.
Eric said, that number is one
(800) 236-3636. I'm Michele Good with Wisconsin
Public Radio and Aldo Leopold'swork
challenges us to reassessour
priorities. What is important to us and
take care ofit and right
now we have this member challenge on that
is alsochallenging you to
look at your priorities. What is important
toyou ? Lifelong learning. You get
that here on PBS WisconsinQuality
Entertainment History .Things from all over
the worldare brought into your very
living room every day,
24 hoursa day. Is that important to
you?We've got some members
right nowwho are willing to match
yourdonation . Make it go twice
asfar. Please don't leave that onthe
table. This is an opportunity for you to
make an even bigger gift, a
biggerimpact by making a phone
call.That's all it takes
.1-800-236-3636. e
joined again byBuddy Huffaker, who is the
executive director of the Aldo
Leopold Foundation. You're aring
a lot about that in this
program, and we would like
tohear more about that. So tell us
about The Shack, the experiencethat people have
that you wantthem to have at the
shack. Yeah.>> So the shack again, is
thislittle family retreat that theLeopold family
would go to on weekends. And it was
barrenland, and they restored it byplanting
thousands of pine trees and prairie and so
when visitorscome now, what we want them
tosee are places right there
onthe ground that inspired a
SandCounty almanac. You can read itand
kind of be standing thereand
envision what he was experiencing. And then also
tosee how the family
transformedthat landscape by hard work, by
persistence, because it speaks to the fact that
we can all playa role
in helping theenvironment. This
was one familythat improved the health
of thisprivate land. >> It was
his land, right.>> So we talked
about this asthe 100th
anniversary of theGila Wilderness, an importantpublic
land, and Leopold worked as a public
land manager earlyin his career. But at
the end,he was very interested inprivate
land. How do we all takecare of
places that we own andcan care for?
>> And that part of the landethic
is something that is just
increasingly important, because you
understand if you look around that there's a
lot ofpublic land, but as you say,
most of it, most land isstewarded, stewa
rded by, bypeople
who own a farmers orbusiness people, folks
who own.And those are the folks who
haveto invest in this as well.>>
Well, and even connecting little pollinator gardens in
your yard to the Gila WildernessArea, that's
what conservationis about today, from urban to
working lands to wild places.>> What could
b e more important?What
could be more important ? Socall us now
during thischallenge break to support this
program about this land ethic.Call us at
1-800-236-3636.>> We'd like you to be
inspired.Just like Buddy was talkingabout by
a trip to the AldoLeopold shack,
the Aldo Leopoldfarm . Go there firsthandexperience
it. That would be one
of the ways we can say thank you
to you when you call. Now, whenyou
make your pledge of support
during this challenge break, weare at
seven. I can hear our
volunteers on the phone. If you're calling,
please be patient or go online
or use thatQR code
during this pledge breakto take advantage
of thatchallenge and make your gift
gotwice as far. Let us say
thankyou to you with your pledge
of $10 a month with
a copy of San County
Almanac 75th AnniversaryEdition at
$12 a month, we'd like to say thank
you to youwith the program DVD of
tonight's show. A great way togo through
again. See it all over or
share it with someone else. $15 a month.
It's thosetwo tour passes.
You choose thetime between
May and October to visit the Aldo Leopold
farm justoutside of Baraboo,
near theWisconsin River, and
be evenmore inspired for $20 a month.
The ultimate inspiration thebook,
the DVD, the two tourpasses. All
of it. We're still at
seven. I can hear our phonesare busy,
so please give us acall.
Be patient. Once you docall and that number
is1-800-236-3636. when you make that
call at 1-800-236-3636, if you
get abusy signal because
we aregetting quite a few calls, stay
on the line . You'll be put in
line so that your call
will betaken. Don't hang up the phone
,when you make a donation in anyof
those levels that Eric wassuggesting, you
get someadditional benefits. One of them
is "Airwaves". Our programguide. It's more
than just aprogram guide. Pretty
sure youknow what a program guide is,
but there's also some behind thescenes interviews
with our staff ,with creators who are
making the programs you'll see, as
well assome in-depth articles about thelatest
season. Some of the newshows coming up,
it's all yoursat any
of those levels that Ericmentioned. In
addition , you alsoget Passport,
which is sort ofour
little exclusive librarywhere you
can do a deeper dive,do some binge
watching if you like. All of that
is yours. Whenyou make a donation
right nowand get it
doubled. We're stilllooking for
12 more people to make a goal.
Please call now. 1-800-236-3636.
, Aldo Leopold mightbe best known for Sand
County Almanac other books as
well, buthe also kept remarkable journalsas
this went along . How do thoseplay
into into what you do
?>> Well, so the first part ofthe
book is all arranged chronologically as he's
naling and
understanding howthe world evolves over the
course of the seasons. And so wecontinue
those field recordsthat
Aldo Leopold kept. We nowdo
a phenology journal. So ifyou're interested, you
know,you're a birder.
You're likenative plants. This journalhelps
you track the seasons andwhat you should
be looking for.What migrating birds should be
arriving, what plants should beblooming right
?>> It sounds like a lot of work.
It must be pretty rewardingthough for the
people who do it. Well.
you know all of usare drawn to
nature in somedifferent ways, and I think
ourwork at the Leopold
Foundationis just to help provide people
access and to remember what isso important
about the naturalworld that we
need to take our own
actions to, to help care forit.
You know , it's justfascinating to
me and theprogram and to
what else I know about him and other
naturalists.The the, the ability to
observe,to pay attention, to listen, to
hear, to take that to
in,remember it, and then to put all
that together, whether it's in ajournal or
a book, that's a remarkable skill
and talent andthat kind of thing is
what you find on PBS Wisconsin
shows likethis . There is no show
likethis, but programs that are thisrewarding
are what you come toexpect on PBS
Wisconsin. And we will continue to bring
them toyou. So call us
at1-800-236-3636 during this challenge break
.>> It is a challenge break. Soit's
a great time to call. When
you do call, make your pledge ofsupport
for PBS Wisconsin. Make
your pledge of support forprograms
like this. We can saythank you to
you at the level of$10 a
month. We could say thankyou to
you with a copy of theSand
County Almanac. Veryspecial book if you already
haveit . It's a great chance
to get acopy of the book that
you canshare with somebody else. Yourgift
of $12 a month. We have aDVD
of tonight's program, but inaddition to tonight's
program on that DVD is also
the longer 73minute version
of this film , aswell as a
ton of bonus materials .So be further inspired
byLeopold. Be further inspired bythe story.
Make a gift at $12 amonth
for the program DVD. At$15
a month, the two passes tothe
Aldo Leopold Farm. Youchoose the
time special guided tour $20 a month.
The book, theDVD and the two passes.
We areover halfway towards our
goal inthis challenge break. I thinkwe'll
get there if you give us acall
now. One (800) 236-3636Aldo Leopold
became a professorso that he could devote
himselfto wildlife and then share
thatwith people. All of the discoveries
thathe made that reflects a
lot ofthe Wisconsin idea, which is
something that is at the
heartof PBS Wisconsin. The
Wisconsinidea is taking education out ofthe
classroom and bringing it toevery member
of the state.That's something we do here
every single day at PBSWisconsin is bring
education,bring enlightenment, bringinspiration
into your home
withprograms just like the oneyou're watching
right now.Please make a
donation. We don'thave much longer
during thischallenge break. This is youropportunity
to show your supportfor
this program and get yourdonation doubled. Call
now 1-800-236-3636.
if this break is over and you
call, it can beapplied
to the challenge. So please give us a call now
cause that's always betterthan later.
But if you don't can't
get in right now becausethe phones
are busy, then call us back. And in
just a littlebit. So one of the
things thatwe want to talk about is
howpeople can learn more, how theycan
get involved with the Leopold Foundation. So you're
the guy to talk to? Yeah>> Well,
the best thing to do iscome visit
us by supporting PBS Wisconsin. Then you get
theopportunity to come have thatspecial shack
experience. But ifyou're still just
out there wanting to learn more,
we have alot of resources on our
website.Waldo Leopold .org. We havediscussion
guides if you want touse
the Sand County Almanac inyour book group,
we have curriculum pieces for educators,
a lot of resources that
help youjust understand what Leopold
wastalking about and why it's stillimportant
and relevant .>> And when we
come back aftergetting to watch more of
this show, we'll be able to talk more
about those things. But for now,call us
at one (800) 236-3636and make your pledge. Thank you
. >> This is an area where wolves
have been reintroduced. In an ongoing process,
there have been about 100 wolves reintroduced over the years,
and about 52 at last count, occupying this country
and the adjacent country over in New Mexico.
We've got a ways to go in terms of building
our wolf numbers up to what we refer to as
ecologically effective population density.
This population was down to seven wolves at one time.
Every Mexican wolf
that's alive today in captivity or the wild can be traced
back to seven animals, so they were teetering
on the brink of extinction. It was nearly there.
Starting when the wolves were taken out of that system,
the aspens, willows and
the cottonwoods just ceased to reproduce, because the elk
increased in numbers. That's one of the roles
of wolves in ecosystems, is to control the elk population.
It's an amazing story of ecological regeneration.
Wolf recovery, of course, is an extremely controversial
topic.
So we need to find new ways to resolve conflict that leave
more wolves on the ground. So we can get to that objective
and help regenerate ecosystems.
n>> Conservation, nwithout a keen realization
nof its vital conflicts, nfails to rate
nas authentic human drama. nIt falls to the level
nof a mere utopian dream.
>> Leopold understood that these are complicated issues.
He understood that there were no simple solutions.
He himself contained so many different dimensions.
He was a hunter. He was also a protector
of wildlife. He was a forester
who understood the need for "wise use" of timber,
and other forest resources. But he was also
one of the great champions of preserving wild lands.
All the complex tensions that were built into
the conservation movement were there inside Leopold.
>> The amazing thing is that we could almost be
seeing a wolf here any time, because they're back.
>> And they are nearby, aren't they?
>> Yes, they are. There is a pack
about five miles from here. That's close in wolf terms.
That means they could be anywhere near us
at this point in time. >> We may never know
exactly where the wolf shooting incident happened,
but we can feel pretty confident that it was very close
to where we're standing. For the record, it's almost
exactly 100 years ago to the day that the incident happened here.
>> That's correct, in September. >> So he and his ranger,
Mr. Wheatley, are both shooting, presumably, we don't know which
fatal shots may have been whose. But the wolves are wounded,
a couple are down. The ones that are surviving
begin clawing their way back into the talus slopes,
Leopold comes up to the mother wolf, and sees
the green fire die right here.
N>> We reached the old wolf Nin time to watch
Na fierce green fire Ndying in her eyes.
NI realized then Nand have known ever since
Nthat there was something Nnew to me in those eyes,
Nsomething known only to her Nand to the mountain.
nI was young then nand full of trigger-itch;
nI thought that because nfewer wolves meant more deer,
nthat no wolves nwould mean hunters' paradise.
nBut after seeing nthe green fire die,
nI sensed that neither nthe wolf nor the mountain
nagreed with such a view.
>> In that one essay, that one moment
when he saw the green fire, that was a transformational
moment in his individual life. It also suggests the
transformational moment in our movement, if we're willing to
change ourselves. >> You know, we all have
the essence of the fierce green fire.
That's again, our hope, I think.
>> The fierce green fire Leopold saw in the eyes
of the dying wolf
would come over his lifetime to signify far more
than one creature's passing or one person's experience.
Remembering that fateful moment, Leopold bore witness to the
deep history of the mountain, the fullness of its community
of life, the complicated and changing role of people
within it. For Leopold, the encounter
with the wolf was an early turning point
on his own trail. He followed that trail
until it led to the Land Ethic. Finally, in the summer of 1947,
he sat down to distill his thoughts.
n>> Examine each question nin terms of what is ethically
nand aesthetically right,
nas well as what is neconomically expedient.
nA thing is right nwhen it tends to preserve
nthe integrity, stability, nand beauty
nof the biotic community. nIt is wrong
nwhen it tends otherwise.
>> The Land Ethic was the end result of a long process
of experience and reflection. In many ways, it was the
culmination of his life journey. These are Leopold's
field journals. He began them in 1917, when he
was still in the Forest Service and living in the Southwest.
These aren't his professional journals.
These are his more personal records of his own time
in the outdoors. And almost any time Leopold
was outside, the next thing he would do was come home
and write about it. On any given day, he'd note
the weather, what he saw, phenology, first and last blooms
of flowers. This is just two nights before
he would pass away, actually. In fact, over here we have
things that were on him when he suffered the heart attack
that killed him while he was fighting a fire.
This is actually materials that were in his pocket that
were singed during the fire. This is actually the final entry
in Aldo Leopold's field journals.
April 21, 1948. nBloodroot in Shower Bed,
nClosed, 6:00am.
>> My father was at the shack with mother, always.
My younger sister, Estella, she was about 15 years old then.
>> So, that week, we got all packed up,
just mother and dad and I went up to the shack
to plant pines. And of course,
that was the very week when the neighbor's fire
was a calamity for us. >> The farmer adjacent to us
was burning brush. The fire got away from him.
So dad and mother and Estella decided they would go and help
this farmer fight the fire. Each one went
in a different direction. All of a sudden,
I guess the fire was out, but dad was nowhere to be seen.
>> I went out into the marsh. I saw a man coming down
the hill, coming toward me. I had this sinking feeling.
He came all the way across the marsh, and when he got to me,
I said, "Something's wrong." And he said,
"Yes, your father's sick." I said, "It's worse than that,
isn't it?" I just knew.
>> We reached the old wolf in time to watch
a fierce green fire
dying in her eyes. I realized then
and have known ever since that there was something
new to me in those eyes... >> It was fortuitous, indeed,
that the same week that dad died, he heard from
Oxford University Press that they would publish his essay.
>> After several rejections, "A Sand County Almanac"
was finally published. At first, it sold modestly.
It took decades for it to become as some would say, "the Bible
of the environmental movement." It would sell in the millions.
>> His writing was so deep, and so layered,
that you can find something new each time you pick it up.
>> Now I read it at least once a year on my birthday,
just to see what I've learned. >> Even in Russian, it's,
you feel the poetry. >> That book is an absolute
masterpiece. It's so simple,
but that's only the construction,
because the thinking behind it is so, so deep.
>> I had the pleasure of reading this book,
"A Sand County Almanac," about 25 years ago.
I'm pleased to be with you this morning.
Thank you for the honor. We're going to share the reading
of "February." If one has cut, split, hauled,
and piled his own good oak, and let his mind work the while...
>> I remember one day I was at the shack with Estella Leopold
and her mother on Easter Sunday,
1969. We heard a sound
that was unlike anything I had ever heard.
It was an extraordinary thrill. You know, I had never heard
that sound before in my life. But somehow, I had heard it
in my imagination, because Leopold had described it
as this primordial bugling. The sandhill cranes
had come back to Aldo Leopold's marsh.
n>> Our ability nto perceive quality in nature
nbegins, as in art, nwith the pretty.
nIt expands nthrough successive stages
nof the beautiful nto values as yet uncaptured
nby language. nThe quality of cranes
nlies, I think, nin this higher gamut,
nas yet beyond the reach nof words.
>> Thanks to Leopold, and to so many who have followed him,
sandhill cranes
have rebounded dramatically. Although we face daunting
threats to nature's diversity worldwide, the cranes
demonstrate and symbolize our ability to work together
for the health of the land and its creatures.
Leopold's legacy endures, because he is asking
the fundamental questions of
our relationship to the earth, to other forms of life,
to the communities in which we live.
>> There's been a rediscovery of Leopold's significance
for community-based conservation.
More than a million organizations all over the world
are working on some aspect of conservation and restoration
of the environment. This, I've come to believe,
is a veritable green fire
of conservation and ecosystem restoration.
That, I think, is Aldo Leopold's living legacy.
>> Leopold said that the oldest task in human history is perhaps
to live on a piece of land
without spoiling it. Certainly, my generation
is no better than the one before us.
But I think there's a lot of hope in the land ethic.
A land ethic is not meant to be a last word.
It's not meant to be doctoring. It's really a guiding light
for the way we can find our way forward.
>> If you read "The Land Ethic," you'll see what I like to call
Leopold's most important
sentence. Toward the end of
"The Land Ethic," he has a sentence that says,
"Nothing so important as an ethic is ever written.
It evolves in the minds of a thinking community."
So here he is, in his essay, "The Land Ethic," saying
no one writes the land ethic. I think it's a stroke of genius,
maybe his greatest stroke of genius, because with that,
he liberates the idea. He opens it to the larger
thinking community. Us.
n>> I have purposely presented nthe land ethic as a product
nof social evolution,
nbecause nothing so important nas an ethic is ever written.
nIt evolves in the minds nof a thinking community.
Aldo Leopold.
This one forme. >> Hi, I'm James
Steinbach. I'ma volunteer. Here at PBS
Wisconsin, and we've been watching
this remarkable show.I'll be talking in just
a minutewith Buddy Huffaker. You've seen
him in the previous breaks, andhe'll be
back talking with us. But right now, he's
just keepingme company. But
there's so much more about Aldo Leopold
that youcan find in Wisconsin. A nd one
thing you can find on PBS
PBSWisconsin is a really greatlecture. That's
on the WisconsinChannel, on, on on the,
on theUniversity Place program.
Andyou can get to
it easily bygoing online to PBS Wisconsin
and just type in Aldo Leopold
and you'll find going goingthere
. And one of the amazingthings about this
is that if youget 30,
30 minutes into this, this guy
, this lecturer,Professor Temple reconstructedthe dawn
bird concert thathappens every morning, that Aldo
Leopold heard in 1940. And youcan hear
a recreation of that. It's really remarkable. And
you've worked with him,
right?>> Well, Doctor Temple is a
senior fellow at the LeopoldFoundation,
one of t
he world'sleading ornithologists. Sonobody knows more
about bird songs than Stan. And
thislecture and that audio recordingis
really worth checking out. It's
extraordinary.>> Call us at one
(800) 236-3636. Eric Greiling. I'm
director of friends of PBSWisconsin. The Leopold
legacy isreally important. And the SandCounty
Almanac, the book is akey
component of that legacy. At$10 a month,
your gift thatsignals to us
that you valuethis kind of programing. The
PBSWisconsin is important to
you.This kind of programing isimportant
to you . That's our wayto
say thank you to you with acopy
of the Sand County Almanacyou saw at
the beginning of the program how people were
comingto the shack and reading from
their own copies of the SandCounty Almanac,
and I have hereactually my dad's
copy of theSand County Almanac
. That's notthe one you're going to get.
You're going to get a brand newone.
But this one is inscribed1968 when my
dad got it and hekept it with
him for the entire rest of his life,
and it's wellworn and well referred to
andwas very important to him as he
became a park ranger and theconservation warden.
So it's ait's a great
book. It's a greatbook to
share with somebody you care about and who
cares aboutthe land as well. $12 a
month.We like to say thank you
withthe DVD of tonight's program.It's got
extras. It's got the longer version of this
film andso much more bonus material for
$15 a month, you you canexperience The
Shack , you canvisit the
shack, you can get aguided tour from
the experts atthe Aldo Leopold Foundation. And
you can schedule that
when theyare doing those tours from Mayto October a
t your convenience,as per their
availability for$20 a month. You're reallytelling
us this kind ofprograming
is important to you, and we'd like to
thank you in a
special way. The book, the DVD,and the two tour
passes. It'sall easy for
you to make your pledge of support by
goingonline or calling
one(800) 236-3636. I'm Michele Good
fromWisconsin Public Radio. Aldo
Leopold's ideas really revolved around people and community
and that's at the heart
ofeverything that PBS Wisconsindoes, helping
you learn aboutthe world around
you to have a better
understanding of it soyou can be
a better citizen, abetter person,
a better member of our planet, a
better human being. Show your support
.Support the community that youlisten to that
you watch every single day. PBS Wisconsin
showyour support by making a
giftone (800) 236-3636. You
can alsogo online. Become a sustainer.It's
the easiest way and thebest
way for you to support usat
pbswisconsin.org. Thanks
>> So just to reintroduce Buddy
Huffaker, who is the ExecutiveDirector of the
Aldo LeopoldFoundation, which is
a great jobto have. I'm
sure it's a pretty good job. So if
you if you had
one issue that was contentious,I imagine it
would relate aroundwolves because that's
that's atough issue for
people toresolve. And Leopold was deeplyinvolved
in that . This book, infact,
is based on that experience.
his signature essays,Thinking Like a
mountain, is allabout as a
young forest ranger,when he shot a wolf.
And itwould he would write this
essay30 years later, coming to grips
with the recognition that wolvesare an important
part of ourecosystem. We're still
arguingabout wolves. I also love one of
Leopold's lines when we makeconservation
easy, we make it trivial. It's not easy.
It's very complex. We have
to wadethrough a lot of realities
. But the progress that we've
made isin Wisconsin. We're stilldebating wolves,
but we're notdebating whether we should have
wolves. Now we're debating atleast
how many wolves we shouldhave.
love that if it's trivial
,it's not going to be important.That's a
that's a wonderful wayto
think about critical issues. So
anyhow thank you. So call usat
1-800-236-3636.>> Do give us a
call. Just asJames just invited you to.
I canhear our volunteers
are busy on the phone. You can
also use thatQR code that's on your
screen.Or go online to pbswisconsin.org
to make your pledge of supportfor programs
like this . Programsthat inspire programs
that makeyou think. I wasn't aware
of theexact circumstances of AldoLeopold's
death until I watchedthis
film, and it's interestingto think about
if he'd only been around for a few
more years, howmuch more would have he
inspiredus. Why don't you make a gift
now and be further inspired byreading through
the Sand County Almanac, which is our
gift toyou for a
gift of $10 a month
for $12 a month, we'd like tosay
thank you with a DVD
oftonight's program, whichincludes a lot
more footage than just the program you
watchtonight at $15 a month. It's the
inspirational tour to the farmAldo Leopold Shack
just outsideof Baraboo , alongside theWisconsin River.
For your giftof $20 a month. The
book, theDVD , and the two tour
passes,which you can schedule
as youfits your schedule with the
AldoLeopold Foundation. Please giveus a call
1-800-236-3636 and at any of those levels
that Ericmentioned, you get additionalbenefits.
You get "Airwaves" . Ourprogram guide, which
includes behind the scenes interviews
with our staff, our educationteam, as well
as previews ofwhat's coming up and sometimes
interviews with some of thestars that
you love that you seeon the shows
all the time. Additionally,
we have Passport ,which is a special
online library, of some of
your favorite PBS shows. There's
alsoyou can see new
premieres on it.You can see some of
yourfavorites as well as some
of ourWisconsin programing . If youlove Aldo
Leopold and this Green Fire
program, highly recommendWisconsi n
from the air. I liketo
think that part of the reasonAldo
Leopold came to some of hishis
thoughts was because of thefact that he
was living in thisbeautiful
state, Wisconsin, from the air is a
chance for you to see how gorgeous
our stateactually is. If you haven'ttraveled
a lot outside ofwhatever
area you're in, showyour support
for all thisamazing programing that
bringsyou closer to the state you live
in and the people you live with.
By making your donation rightnow.
>> 1-800-236-3636 so the foundation and the center
are really this gem in
Wisconsin that I hope more
and more peoplefind out about. And you've
beenthere 27 years. >> They haven't figured
out howto get rid of me
. It's a greatplace to
be.>> You started as an intern and
now you're. Yeah, the executivedirector.
a good day, that's whatthey call me.
And that's whatthe foundation is all about
.Just like this film. It's notjust about
protecting thelegacy. It's about helping usunderstand
that this idea of aland ethic is
still relevanttoday. We're still pursuing it
.>> Maybe even more so, arguablymore so
.>> And it's just exciting year.
It's the 75th anniversary ofSand
County Almanac, so I'd
encourage people to read orreread the book.
I'd encouragepeople to come
see us. So by supporting
PBS Wisconsin, youcan make both of those
thingshappen . And then just think
about your relationship to the
natural world and what you cando in
your own sphere of influence. Pollinator garden,
vegetable garden. Yeah. Support
PBS Wisconsin. Go visit a wildplace or
get out in nature. Yeah.
get thousands of people in a year
though.>> Yeah, yeah, we literally haveI
think last year we
had peoplefrom 20 different countriesvisit us
. Thousands come to see this place that
inspired a nowclassic book
that continues toinform and shape how we
relateto each other
and to the natural world.
film thatwe have been able to
watch, we really want to thank
you and thefoundation for making itpossible
for this program to bemade and then
sharing it withus.
And it's online on your site
as well, right? Correct. So ifyou want
to see this again atthe Foundation website
, AldoLeopold. . But you know, even
as wewere producing this, James, youand
P BS Wisconsin were integral
in helping us understand how todo a
film, how to navigate thePBS world
. Well thank you.>> We put your wonderful
information and knowledge with us and look what
happened. Callus at 1-800-236-3636. Make yourpledge
of support and thank you
. >>
.
This program was made possible
in part by contributions to your
PBS station from
viewers like you.
Thank you.
) - [Narrator] "All Creatures Gr
eat and Small" has lovingly captiva
ted readers, viewers, and animal love
rs
for the past half-century.
Every episode brings James Herr
iot's
timeless stories to life.
Filled with wonder, romance,
mischief
and cheer. (glasses cli
nking) - [James] Cheers.
- [Narrator] And while the Second World
War is being felt
throughout the Yorkshire Dales,
we're still transported back t
o a simpler time--
a pastoral setting where the
lives of villagers,
farmers and animals are inte
rtwined.
- [Helen] I don't think I'm re
ady.
I don't know how anyone can be.
- [Mrs. Hall] Well, neither did
any of the women
who came before you, and yet,
here we all are.
- [Narrator] Season Four of
"All Creatures Great and Small"
on MASTERPIECE
may have been the most magic
al yet.
It's a season for new hopes, ne
w faces, new animals,
new challenges,
and of course, for love.
- [James] You all right?
- [Helen] I am now.
(peaceful orchestral music)
- [Narrator] Join us and get co
mfy as we spend some time
in Darrowby with James, Helen,
Siegfried, Mrs. Hall
and all the colorful characte
rs in the Dales.
(movie slate clapping) We
'll explore a behind-the-scenes lo
ok
at this unforgettable world
as the cast and creators
share their heartwarming stories
about Season Four
in this special presentation,
"All Creatures Great and Small:
A Season 4 Change."
(gentle piano music)
- [James] Come in, this way.
We're here!
- [Siegfried] What?- Co
me through.
Now, before you say anything,
I said they...
- What, the whole pub? - ...c
ould come and watch.
- [Mrs. Hall] Well, you better co
me in, then!
- Come in. - [Melissa]
What the audience can expect in Seas
on Four
is an evolving house with new
characters,
new dynamics, and some goats.
- [James] Not in there! (goats
bleating)
Hilda! (goat bells tinkling)
Not the lunch! (goats bleating)
- [Mrs. Hall] Oh, heck, me iro
ning!
- [Nicholas] Viewers can expe
ct happiness, fun,
laughter, joy, and also reall
y touching moments.
- [Gerald] I- I- never imagined,
when you get to our age...
Y- y- you never think that y
ou...
might meet someone who changes yo
ur life the way you have mine.
- [Anna] We miss Tris enormo
usly.
So it's quite a big adjustment.
And we also need a bit more help
on the vet front.
- [Siegfried] Mr. Carmody, I
presume.
- [Carmody] You presume right.
- Final year RVC?
- Yes-- specializing in equin
e science.
- [James Anthony-Rose] There is
a new character
in Season Four and that's my c
haracter, Richard Carmody.
- [Siegfried] Fleas can jump ma
ny times their own body length
which enables them to spread re
ally rather rapidly.
(tense string music)
- [Carmody] Fascinating. (scr
atching)
(string music continuing)
(cheeky woodwind music)
- [Nicholas] There's characters
that you know and love,
and seeing them grow and growi
ng with them.
- [Jenny] What's it feel like?
- [Helen] Like I've eaten al
l the pies in Yorkshire.
It's exciting, but terrifying.
- Well, I can't wait to be an
auntie.
- [Rachel] There's more communit
y, love, togetherness.
- [Helen] It's all gonna be al
l right, pal.
Thanks to James.
- [James] Thanks to you.
- [Samuel] Skeldale House has
always been
a strange, wonderful ensemble
that's held together by willp
ower and string.
- [James] Fleas tend to come
with our occupation.
- [Siegfried] Also lice and wo
rms.
- [Mrs. Hall] And falling he
adlong in the muck.
(all laughing)- [Melissa]
Every series really is sort of the n
ext chapter
in the lives of our characters.
Where do we take them next?
What defines that chapter fo
r our characters?
(muffled heartbeats)
- [Helen] (laughing and crying)
Ohhh.
(muffled heartbeats) (soft orch
estral music)
It's the most beautiful sound
in the world.
(Helen laughing)
(orchestral music continuing)
- [Narrator] As Season Four st
arts,
there is a chapter with a stor
y about
A Boy & His Dog.
(soft orchestral music) (swiping
sound)
(car screeching to a halt)
- [James] I'm so sorry!
(James catching his breath)
(children talking and playing
nearby)
- [Wesley] Watch where you're g
oing!
- [Melissa] A character that ap
pears
at the very beginning of the s
eason,
is a character called Wesley
Binks, from the book.
(egg splattering) - [N
icholas] It's a wonderful story ab
out this young lad who's a bi
t of a delinquent.
But we actually find out a bi
t more about him,
and we kind of understand hi
s, backstory and,
it's kind of a tough upbringing.
- [James] Now, when times ar
e tough like these,
pets are often the first to go
without.
- [Granny Binks] Heh, you try
telling that to Wes.
Puts that dog before hisself.
- [Jamie] The way that his world
is depicted, er, in Episode One
really adds something
to the show that we haven't seen bef
ore.
(knocking) (door opening)
- [James] Hello, I'm here--
wait, I'm a vet!
I think your dog has distemper.
- [Wesley] What's that? - It's
a serious disease.
He must have caught it from ano
ther dog.
- I don't know what you're o
n about.
- Look, can I just--
Can I take a proper look at him?
Please, can I come in?
(children playing nearby)
- Piss off.
(door slamming)
- [Samuel] He's a boy that gr
ows up in extreme poverty.
And doesn't have a great deal o
f joy in his life,
And what he does have is a dog.
- [James] What's his name?
(footsteps)
- [Wesley] Duke.
- [James] And how old is he?
- [Wesley] What's with all the
questions?
- The more I know about him,
the better chance
I'll have of helping.
- [Melissa] James's challenge is act
ually to
get Wesley to let him treat h
is dog.
- Come anywhere near me and my
dog again
and you'll be sorry. -
Wes, if you don't let me help him, he
is going to die.
(tense string music)
- [Nicholas] They're at logger
heads, him and James.
He's kind of, torments James
a little bit.
But James isn't willing to kind
of give up on the boy.
(Duke whining and sneezing)
- [James] Hey, you're all right.
(Duke sneezing) (moody string
music)
It's all right, lad.
(string music continuing)
- [Wesley] You have to help him,
mister.
- [Anna] It's a beautiful story
about what that dog means to him
and the love and care he sho
ws for the dog
that he doesn't receive, perhap
s in other ways,
and that he doesn't show in o
ther areas of his life.
And so it's a little discovery
to see what his relationship
with his dog is.
- [Wesley] I've had him since
he were a pup.
He's me best pal in the worl
d.
- [James] I'll do everything I
can.
- [Samuel] The responsibility
that James gives him
in looking after the dog is good
for Wesley,
as it often is for people wh
o've never really been
given a chance in their life.
(uplifting orchestral music)
- [James] He's looking much bet
ter.
- [Wesley] I've been cleanin'
his nose just like you told me.
- Yeah, but it's more than that,
his eyes are brighter.
- He's been eatin' like an 'ors
e.
- (chuckling) That's good to
hear.
- [Melissa] It's a very moving
story,
and a really interesting story,
about how a young person's lo
ve of an animal ends up
actually changing their lives
and situations,
with the help of wonderful Jame
s.
- [James] How's Duke with snow?
- [Wesley] He loves it!
- [James] That's good.
- [Wesley] Why's that?
- [James] You'll see soon enou
gh.
(uplifting orchestral music)
(footsteps crunching snow)
(orchestral music continuing
)
(cows mooing)
- You're all right, mister.
- Go on.
(orchestral music crescendoi
ng)
- [Clifford] Hello, Wesley,
I'm Clifford.
- [Wesley] Nice to meet you.
- [Clifford] What's your dog
called?
- [Wesley] Duke.
- [Clifford] Hey, Duke.
(orchestral music fading)
(flipping pages)- [Narra
tor] One of the biggest changes in S
eason Four
is the arrival of a new appren
tice
named... Richard Carmody.
(swiping sound)
(cautious string music)
- [Carmody] Hello. I hope I'm
in the right-
- [James] Richard Carmody?
- Yes, I'm afraid I got somewh
at lost-
- James Herriot, come in!
- [Samuel] We do quite quickly de
al with the manpower problem
by getting a young apprentice,
called Richard Carmody.
- [Carmody] Interesting fact!
The average egg has over 17,000
pores.
- [Mrs. Hall] Boiled or scramb
led?
- [Carmody] Makes no difference.
They're in the shell.
- For your breakfast.
- [James Anthony-Rose] Richard Ca
rmody
is a new veterinary student, wh
o's come to Darrowby
from London. He's very
bright-eyed and bushy-tailed and, pe
rhaps,
a little bit too sure of him
self.
- [Carmody] I suspect we're
looking at a case
of brucellosis.
- [James] Perhaps we should
examine the creature
before we sentence it to deat
h.
- Ah... good point.
- [Nicholas] James thinks it's
a brilliant idea
to get a young whippersnapper i
n,
young vet that he can take u
nder his wing.
- [James] The animals are th
e easy part, of course.
It's the people who cause all
the bother.
(gentle orchestral music)
- [Melissa] James thinks that
Carmody will be his student
and thinks that he needs to stop
Siegfried from firing him like
he has done every student,
- [Siegfried] You were late.
- [Carmody] I was not.
I arrived in Darrowby an hou
r ahead of schedule.
- [Melissa] But that's not quite
how it turns out.
(orchestral music continuing)
- [Siegfried] I stand corrected.
Farnon. Siegfried.
Don't ask.
- [Carmody] It's a pleasure, sir
- [Nicholas] He turns out to
be a mini Siegfried,
and they end up getting on li
ke a house on fire,
finishing each other's sentence
s.
And James feels left at the si
de.
- [Carmody] "Ventos regere no
n possum."
- [Siegfried] (laughing) "Sed
vela aptare possum."
One can't control-
- [Both] the wind!
- Very good.
(Siegfried slapping table) (C
armody chuckling)
(Siegfried laughing)
- [Samuel] Siegfried cuts Carm
ody much more slack
than he did James-- or possi
bly anybody.
- [Carmody] I'm reviewing feline
digestion before surgery.
- [Siegfried] Splendid, carry
on.
(bumping into door)
- [Samuel] Carmody is allowed to
lose a little bit
of his book learning as he ge
ts his hands dirty.
(cheeky woodwind music)
- [Siegfried] Put that down.
- [Carmody] I'd like to double
-check which ligament--
- [Siegfried] Is double-checking
allowed
in the examination school?
- Well, no. - [Siegfri
ed] Confiscated until further noti
ce. Mrs. Hall, uh, please remo
ve all reference materials.
- [James Anthony-Rose] He has to,
uh, be taken down a peg or two a
nd, um, be put through his paces.
- [Carmody] Any farmer worth his
salt
knows to keep a new beast se
parate.
- [Sid] Excuse me! - [James]
I'm sorry--
Mr. Carmody's rather new to t
his.
He doesn't mean to be rude.
(slipping and falling) -Oof!
(cheeky woodwind music) (barny
ard sounds)
- He's, um... still learning.
- [Anna] He's a very sweet youn
g man
who needs a little nurturing,
little bringing around, little b
it of learning
how to understand people and th
eir affection for animals
and how this little community
works.
- [Mrs. Pumphrey] Now, Tricki!
Don't let us forget our manners.
- [Carmody] You do realize he
can't understand you.
The reason he responds is likel
y down to intonation
but there's no current research
which points
to a deeper level of compreh
ension.
- Then how do you think he knows
when it's his din-dins?
(clock softly ticking)
- [Rachel] There's a great scene
when Carmody actually turns up
at the Aldersons' house,
and he's met with Richard Alder
son.
And as you can imagine, that
dynamic is quite interesting.
- [Richard] How many, eh, years
have you spent on farms, lad?
- [Carmody] Years?
Well, we'd certainly be dealin
g in fractions.
I've been here four months,
perhaps a quarter of that ou
t on farms, so...
- [Richard] I've spent the wh
ole of my life on farms.
And I'm telling you what thi
s calf needs
is some linseed oil.
(calf mooing)
- Very well. - [Anna] H
e's a very sweet, young...
sort of slightly antisocial--
I'm not sure that's the righ
t word, but--
seems to know what he thinks
about things.
- [Mrs. Pumphrey] You told Mr
. Farnon
that you couldn't get behind
the wheel again.
This won't do at all.
- [Carmody] Yes, but I--
- [Mrs. Pumphrey] With Mr. Herriot
gone,
you need to pull your weight.
So I'm going to give you a dr
iving lesson.
- [James Anthony-Rose] Everybody
was so
welcoming and nurturing
and I felt like it was just
a big, warm embrace
from everybody.
- [Siegfried] Carmody, two questi
ons.
Question one--
will you pay Mr. Metcalfe a v
isit?
His pig's poorly.
- [Carmody] Of course. (keys jang
ling)
- [Siegfried] Question two--
Would you mind staying on
a little longer than planned?
Mrs. Pumphrey tells me you're not
inadequate.
Which is progress of a sort,
I suppose.
- I'd be delighted.
- [Anna] Bit by bit, slowly b
ut surely,
we welcome him into our fold,
as it were.
(laughing)
(peaceful orchestral music)
- [Carmody] Thank you, Mrs. Pumph
rey.
Somehow you've turned me into
a good driver.
- [Mrs. Pumphrey] Well, I...
(chuckling)
...wouldn't go quite as far as
that.
But fortunately, you don't need
to be a good driver.
You need to be a safe one.
(orchestral music continuing)
Come along, Tricki.
We've got things to do.
François, would you drive Uncle
Carmody back to Darrowby?
- [François] Of course, Madame.
(orchestral music concluding)
(pages turning)
- [Narrator] In a season full o
f ups and downs,
Mrs. Hall is also experiencing
a great deal of challenges.
(swiping sound)
- [Gerald] 'allo?
- [Mrs. Hall] In 'ere!
(door shutting)
Gerald.
- [Anna] At the end of Season T
hree, Mrs. Hall made
a rather dramatic gesture (l
aughing)
towards Gerald.
(romantic orchestral music)
And so he's still there. (lau
ghing)
- [Mrs. Hall] Oh, this is Miss
Harbottle.
She's just joined us.
- [Gerald] How do you do?
- [Miss Harbottle] Mr. Hall.
- Oh, no, I, I, I'm Gerald Ham
mond.
- Mr. Hammond is a friend.
- [Miss Harbottle] Oh, I assumed
(tittering)
(peaceful string music)
- [Narrator] However, Mrs. Hall
goes through
a number of changes this season.
Starting with a big decision t
hat
has been on her mind for years.
- [Mrs. Hall] I'd like to, emmm
...
What I'm 'ere about...
- [Government Clerk] Speak up.
I can't hear you. (low
murmuring of people conducting bu
siness)
- I'm looking to get a divorce.
- On what grounds?
- Emmm... I, I don't know wh
at you'd call it.
- [Narrator] And, although Mr
s. Hall
may not immediately admit it
,
she truly needs the other me
mbers of Skeldale House
to help her through this diff
icult process.
- [Siegfried] I'm glad you're
going to church.
(church bells ringing softly)
Nobody will judge you, Mrs. Hal
l.
And if they do, so bloody wh
at!
(sighing)
- [Anna] She's having a love
ly time
being friends with Gerald an
d living life,
and they're coping with the
small, incremental changes th
at the war is bringing.
- [Gerald] You aren't on you
r own anymore.
You've got my ear, too, now...
if you want it.
(romantic orchestral music)
- [Mrs. Hall] I do.
- [Narrator] However, after Mrs.
Hall's divorce is granted,
Gerald informs her of some ba
d news.
- [Mrs. Hall] Are you leaving?
- [Gerald] There's nothing I'd
love more
than for you to come with me,
but I know I can't ask that o
f you.
- [Narrator] Mrs. Hall realizes
that the only way
she can be with Gerald
is if she leaves Skeldale House.
And she's unsure of what to do.
- [Mrs. Hall] I don't want to
lose him.
- [Helen] If this war's taught
us anything,
it's to grab on to the things
you love and try and cherish
every moment.
- [Narrator] Following Helen's ad
vice,
Mrs. Hall returns to Gerald
with a decision.
- [Mrs. Hall] I don't want to
lose you, Gerald.
- [Gerald] I don't want to los
e you either.
But I have to go.
- Then I'm coming with you.
- Do you really mean that?
- Well, I'll get my divorce
papers soon, and then we can
go together.
- [Narrator] This change becomes
harder to accept
when she informs Siegfried she wi
ll be leaving Skeldale House.
- [Mrs. Hall] I need to talk
to you about my position
Mr. Farnon.
- [Siegfried] Right.
- The thing is...
- You're leaving me.
(poignant piano music)
- [Narrator] But it sinks in
even more
when she sits down with Helen.
- [Mrs. Hall] I'll come and vi
sit
as soon as the baby's born.
I promise. (sniffling)
- [Helen] I'm happy for you.
I just...
- You thought I'd be there for
the birth.
(touching string music)
- [Narrator] Both of these si
tuations
make Mrs. Hall realize
perhaps she is not as ready
to move on
as she thought she was.
- [Mrs. Hall] I don't think
I'm ready to go.
Not just yet.
I just... (exhaling)
There's Helen's baby...
And... (sighing) there's M...
Mr. Farnon.
- [Narrator] And of course, this
leaves Gerald heartbroken.
- [Gerald] You don't have to
say any more.
(plaintive string music)
- [Narrator] Later that day, th
ey say their final farewell.
- [Gerald] Goodbye, Audrey.
- [Mrs. Hall] Gerald.
(footsteps receding)
What I meant to say is...
Thank you.
(string music fading) (pages t
urning)
- [Narrator] Perhaps the biggest
change in Season Four arrives
when Helen and James make the
Decision to Have a Baby. (swipi
ng sound)
(crowd murmuring and laughing
)
- [Helen] Oh, James, look at
their little faces.
(children laughing and playing)
- [James] Is that broodiness
I detect?
- Mm... say that again, "brood
iness."
- Broodiness.
- [Nicholas] We see James an
d Helen
contemplating having a baby
and
it's difficult because James is
signed up.
There's a war going on.
(toddler babbling) - [J
ames] I know what you're thinking.
- [Helen] You must be thinki
ng it, too.
- We said we'd wait.
- [Helen] I know.
I'm just not sure what we're w
aiting for.
It could all be over soon.
- [James] Or it could go on
for years.
- [Nicholas] James is erring
more on the
side of caution than Helen is.
I think Helen's champing at th
e bit.
- [Helen] You care so much.
It's one of the reasons I love
you.
And why I know you'll make a w
onderful father one day.
- [Anna] While there is a war
going,
life also goes on-- and do you
make big decisions?
Do you wait? What do you do?
And I know what I want them to
do.
(laughing)
- [Mrs. Hall] Life carries on,
just as it should.
And it's a tonic to have some
thing
wonderful to look forward to.
- [Rachel] They're excited,
both of them,
and that's what they want to do.
It's the trajectory of their r
elationship.
And they were discussing havi
ng a family.
And then, it's so hard to avoid
that big elephant in the room,
that, well, what happens if y
ou're not here.
- [James] I'm so sorry.
(birds chirping outside)
- [Helen] For what?
- For abandoning you.
- [Rachel] They're tentatively
having those conversations
without having that conversatio
n at first.
And that dance is quite intere
sting.
But, you know, as the series
progresses,
these two are great communicat
ors,
so they end up having those conve
rsations and,
and having them well.
- Don't you dare be sorry.
You're not abandoning anyone.
We make decisions together.
And this was no different.
- [Nicholas] They finally just
lay it on the table,
and they find out that is exac
tly
what they both want to do.
- [James] I've been thinking
about what you said,
and I'm starting to think th
at we should...
(inhaling)
...carpe some diem.
- [Helen] Are you saying what I
think you're saying?
- If you want to start a family-
- You know I do. - Me too.
- Well, then..
- Shall we...
-...get cracking?
- Well, I was trying to think of
something a bit more romantic.
(soaring string music)
- [Nicholas] James gets those
worries out of the way
and then he's fully on board.
- [Helen] You know, I've been
tired all the time.
(peaceful piano music)
We might be getting our little
James
a bit sooner than expected.
- You never...
Already?
- Think so! (laughing)
I got so carried away with
us not getting there
I forgot to check me dates.
- Well, how far?
- Not far, it's early days.
Are you happy?
- Ecstatic!
Couldn't have gone better if w
e'd planned it!
(chuckling)
(rousing string music)
(kissing)
(giddy laughing)
(upbeat piano music)
- [Narrator] Stay with us,
because when we return,
we'll look at how Darrowby come
s together during the war,
and much more on
"All Creatures Great and Small:
A Season 4 Change."
) (music fading)
>> Hi, I'm James Steinbach. I'ma volunteer
here at PBSWisconsin.
And this is the lastnight
of this pledge drive. Sothis is a
great opportunity. Ifyou've been saying to yourself,
well, I'll catch it next time,
now is the next time. So call us
now at 1-800-236-3636. Thisparticular
show, All Creatures .You know, if you
think about it,this has really appealed
more than that. It is
it is charmed.It is enchanted viewers since
itfirst came on the air starting,of
course, with the books andthen moving
on to the broadcast. It's really
, I think, a programthat appeals
to people of allages, but in
particular peoplewho want to be
entertained butalso want to have something that
really is moving, that reallycan bring them
into an appreciation of animals and
oflife, of country life that you
don't always see on television
.And public television is whereyou where you
find it. So call us now.
One (800) 236-3636 makeyour pledge of support for
allcreatures but also
also for PBSWisconsin in general. And we
have some exciting news aboutseason five
and six. In just aminute
.>> Hi, I'm Eric Greiling. I'm
director of friends of PBSWisconsin James
Herriot storieshave been inspiring anddelighting
readers and viewers for decades now, and
thisMasterpiece series so perfectlycaptures
all of that . And if youwant
to signal that this kind oftelevision is
what you want to watch, it's a great
time for youto call and make your
pledge ofsupport. And we've got somewonderful
ways to say thank youwhen you do.
At $10 a month, wehave the season
four mug. It's a beautiful wraparound mug. It's
afull 16oz. So perfect
for a hotchocolate or whatever other kind
of warm beverage you want while
you're watching. All CreaturesGreat and
Small. Or for me, it's
harder to spill when the mug isa
little bit bigger. $12 amonth. We'd
like to say thank you to you
with the two DVD, DVD
set set of this season
for AllCreatures Great and Small,
$12 amonth for this season's DVD set
at $25 a month, let
us say thankyou. This way
seasons onethrough four DVDs of all of
those. The mug I was justtelling you
about and a mrs.Hall
tea tea shortbread teatowel
. All yours at $25 a month.Great
way to celebrate AllCreatures Great and
Small. Bereminded of it while you'rewaiting
for the new season, andshow your support
for PBSWisconsin and Masterpiece, call
one (800) 236-3636. I'm Michele Good
fromWisconsin Public Radio, and thisis a
very exciting time here at
PBS Wisconsin because it is timefor our
new seasons and new episodes and
new series arecoming in, and you make
all ofthat possible with your
supportat one (800) 236-3636.
One ofthe best ways for you to
showyour support for publictelevision is
by becoming a sustainer. It's very easy.
It's just ongoing support. It
keepsgoing until you tell us
to stopit. It is more
convenient for usbecause when we're budgeting, we
know how much to expect
comingin, and it helps make
yoursupport more reciprocal
, similarto how you depend on public
television. We depend on you.And then we
can make that thatrelationship more symbiotic.
Sowe're going to give you
a littlebit of a sneak peek coming
up about some of
the seriespremieres and what the new
seasons are that you can
expect there starting next Sunday
whenyou turn in. We won't be here,
but some of these will
makeother people out therefrightened
.>> Two dead bodies in quicksuccession.
We're dealing with a serialkiller.
the key witness. Whatdid you
see ? The landscape ofcriminal
investigation.>> Of course. >> We're not going
to miss this ,are we?
are all in this together
. >> So in addition
to what'scoming up, starting next week
and this fall, as I said, wehave
an announcement aboutseason five and six. Maybe
youknow this, but not everybodydoes that
because of yoursupport for
all Creatures. We will have seasons
five and sixreturning to PBS Wisconsin
Idon't know exactly when, but Isuspect
it will be over the
winter, so stay tuned for that.You'll
see it in your programguide, and undoubtedly
you'llhear all about it from all your
friends. So plan for that. And in the meantime,
call us at
one(800) 236-3636. One of thethings
about this program that Ithink is terrific
is that it'sreally
straightforward. I don'tmean simple in its
production,but you don't see a lot of
graphics , you don't see a
lot ofspecial effects, you don't see a
lot of whiz bang. It's reallyhuman drama.
And of course, notjust
human drama, animal drama as well, but drama
put onto thescreen in a
way that is, I think, realistic and watchable
and approachable and something that you can really
enjoy notbecause it's flashy, but becauseit
has integrity and it has somedepth. I
think that's important .So call us at
one (800) 236-3636.
nday nights on
PBSWisconsin? Great. Thank you for calling
suchgreat programs and where you can
find out about them
first is inairwaves. >> The
program guide that James just mentioned. At every
levelwe're going to talk abouttonight,
you can receiveairwaves as your monthly
programguide and find out about what'scoming
on Sunday nights first.So at $10
a month, your gift shows that you support
this kindof great programing. You love
all Creatures Great and Smalland the other
programs we'reable to bring you on Sunday
nights, and we can say thank youto
you with a special mug. Theseason four
mug, full wraparoundlandscape of the Yorkshire Dales
and a very specific to
AllCreatures Great and Small season
four. At $12 a month, we'd liketo
say thank you with the seasonfour two
DVD set , and for $25 a
month, we have a very special
thank you package for you. It's
season one. Season two. Seasonthree. Season four
DVD sets the season four mug and
the Mrs. Hall's shortbread tea towel.
It's not only a great tea towel,but
it's got the shortbread recipe right on it
, so pleasegive a call right now. Show
yoursupport by calling one(800) 236-3636.
All Creatures Great and Smallis such good,
riveting drama.The landscapes are
gorgeous, but there is a lot
of really amazingdrama programs
. History.Biography on PBS Wisconsin. Morethan
you could actually everwatch, even if
you tried towatch it
all. Which is great because there is
the PBS app.It's a streaming service that
you can watch on your yourphone, your
tablet, yourcomputer, or your
TV. It youdon't have to make a
donation.It's just it's there. You
justgo online. You can
watchwhatever you want. You can watchepisodes
when they first arrive,as well
as our new season that'scoming
up. Just go topbswisconsin.org and you
cancatch it there. But in
themeantime, show your support
forthis great program and thisstation by
making a call
one(800) 236-3636. know, pledge drives like
this one give us an opportunityto thank
you and they also giveus
an opportunity to remind you
really, of how this whole thingworks
with PBS. Because viewersupport,
your support. My support together is the
mainpart of the support. We do get
help from the federal governmentand from
the state and from corporations and foundations.
But the
bulk of it comes from,as we say,
viewers like you ,viewers like me. So
that supportis really what
allows us tobring you programs like All
Creatures and the programs that
you rely on day in and day out,
week after week. On PBSWisconsin one
(800) 236-3636.>> We're going right back to the
program, but let me first remind
you of some special ways we cansay
thank you if you go online.Now, if
you use that QR code onyour screen,
if you call one (800) 236-3636 to make your
pledge right now for $10 amonth, we'd
like to thank you with the mug for
$12. The DVDand
25, the very special packageof
DVDs mug and the tea towel.Show your
support for this kind
of programing and all creaturesby calling
one (800) 236-3636. ) - [Narrator] Welcome back to
"All Creatures Great and Small: A Season 4 Change."
Coming up, we will look at vari
ous
storylines of the fourth season,
including Helen's pregnancy.
But first, let's see how Darrow
by comes together in
The Community During Wartime.
(soldiers running) (car idlin
g)
- [Siegfried] Close the damn g
ate!
- [Private Briggs] Sorry!
(soldiers running)
- [Melissa] The spirit of a
community during war
is actually the spirit I think
is at the heart of the show
anyway.- [Private Briggs]
We're making ourselves useful.
Got anything that wants fixing?
- [Grace] I have, as a matter
of fact-- come on.
(serene string music)
So, what's your name?
- [Briggs] Briggs, Sidney Brigg
s.
(Grace laughing)
- [Nicholas] Mrs. Pumphrey's go
t a war garden going.
Gerald's got his potatoes in
the garden
and Mrs. Hall's still
making sterling meals for us, all on
the rations.
- [Anna] We see Mrs. Hall
starting to experiment a bit with
rationing--
of what else she can cook in th
ere.
- [Siegfried] Oh, what a treat--
thank you, Mrs. Hall.
- [Mrs. Hall] Well, I've had to
make some substitutions
on account of the rationing.
- [Samuel] Mrs. Hall
has some quite interesting
substitute ingredients for he
r recipes.
- Wha- What's in it?
- Well...
Carrots and Swede.
- That is, comfortably,
the most disgusting thing I'
ve had in years.
- [Samuel] As the season begins,
we're a man down
and with no Tristan, we're re
ally feeling
the pressure.
- [James] If I am called up, I
won't be here
for the next Teasel.
Neither will Tris.
- [Melissa] One of the most sort
of obvious things that affects
a farming community is that lo
ts of people are gone.
- [Clifford] Me farmhands have
gone off to fight.
- [Anna] Losing a generation of
young men
meant that you lost the laborers
on the farms.
And so it was hard to get the
work done.
- [Grace] How are we supposed
to just...
- [Siegfried] Carry on without
them?
Haven't a damn clue.
(poignant string music)
Take comfort in those we do
have...
I suppose.
(string music continuing)
There's also whiskey. (Grace
laughing)
(string music fading)
- [Rachel] There's a new family
-- young family--
that turn up, and they're st
ruggling.
- [Elsie] He's first one born
here.
We need him to thrive.
- [James] Where did you move f
rom?
- Bradford-- we're beginners.
- [Rachel] They're from the ci
ty.
They're sort of not getting on
with farming life,
and-- instigated by Helen, ac
tually--
she ends up sort of rallying l
ocal farmers
to come and sort of help them
out.
- [Elsie] I thought there were
nowt that could be done.
- [James] True, but we can he
lp you disinfect the farm.
- [Rachel] That's a beautiful
example of the humility
that exists within the Dales an
d this world.
- [James] Look, these are your
neighbors.
Helen spread the word and th
ey all wanted to pitch in.
Nobody around here wants to
see you fail,
Mr. Crabtree.
- [Nicholas] Mrs. Pumphrey ho
sts a party
and she invites all the troops
that are up training
in the Dales, so it's kind of a
rally to the troops.
- [Mrs. Pumphrey] I've extended
the invitation
to the infantry training camp.
If anyone needs a morale boos
t, it's those young men.
- [James] Mm-hm.
(quiet brass band)- [Rac
hel] That very much feels
like a, a sort of celebration.
- [Siegfried] Where're you from?
- [Private Briggs] Hulme-- Ma
nchester.
- So, a fish out of water, then.
- Don't see too many fields
as a plumber's apprentice, sir.
- Well, you're welcome here,
of course you are.
- [Nicholas] It's that community
feel
of everyone pulling together,
and, there's a big onus on it
in the Christmas episode,
- [Mrs. Pumphrey] Times like
this is about people
coming together isn't it?
I think it's wonderful, everyo
ne pitching in.
- [Yvonne] Mrs. Pumphrey offers
food, Mrs. Hall cooks it,
Siegfried and Carmody carry it.
(clinking glass)
(spoon clattering on table)
(people pushing away chairs)
- [Mrs. Pumphrey] May I...
thank everyone for making us
feel so welcome.
And may I raise a toast to
Mr. Farnon for bringing us all
together?
- [Siegfried] No, the, the, the
credit must go to Mrs. Hall.
As it nearly always should.
- [Samuel] The new season shows
us the community of Darrowby
dealing with shortages and miss
ing people
and coping in that beautiful,
hard way that we always do.
(heartwarming string music)
- To the remarkable Mrs. Hall.
- [Carmody] And Jesus, surely?
Isn't what this whole carry
on's about?
- [Mrs. Pumphrey] Um, hear, he
ar, well said,
Mr. Carmody.
- [Siegfried] All right, then.
To the remarkable Mrs. Hall and
I suppose Jesus, too.
- [All] To the remarkable Mr
s. Hall
and I suppose Jesus, too.
(laughing) (glasses clinking)
- [Melissa] There's a spirit
at the heart of this show abou
t community
and kindness, and supporting ea
ch other and pulling together
that is in the very DNA of the
Herriot books and stories.
- [King George VI] (on radio) Th
e feast of Christmas
is a time when we all
gather together in our homes.
To be good comrades and good nei
ghbors
in trouble is one of the fine
st opportunities
of the civilian population.
And not only do they do their
own duty,
but they play their part in h
elping
the fighting services to win
the war.
(bird calling) (orchestral musi
c swelling)
(orchestral music fading)
- [Narrator] Helen's Pregnancy
is a big part
of what makes Season Four so
full of twists and turns.
- [James] We'll have to start
telling people soon.
- [Helen] Soon.
Not yet.
I like things as they are.
Oh, except the queasy part.
- [Narrator] But we know that t
here's one person
in Skeldale House
who you can't hide anything
from.
(tinny radio music)
(Helen grunting)
- [Mrs. Hall] My egg thief.
- [Helen] I... I wasn't...
- [Mrs. Hall] Well, you're green
around the gills
every morning, and the pantry
thinks Tristan's back.
(muffled music continuing)
When are you due?
- December time.
(both giggling)
- [Narrator] Despite James be
gging her to rest,
Helen insists on helping with a
cow that has brucellosis.
However, they soon learn from
Carmody this interaction
could have serious consequenc
es.
- [James] Fever.
I wouldn't call that fascinat
ing.
- [Carmody] No, no.
The loss of the unborn fetus.
- [Narrator] And as James an
d Helen
worry about exposure,
it doesn't take long for the re
st of Skeldale House
to understand the complicate
d situation.
- [Helen] I invited meself to
'elp James today,
only, it turns out I shouldn'
t have.
- [Mrs. Hall] Why not?
- [James] Brucellosis.
This study, it seems to suggest
a link
between exposure to brucellos
is in cattle,
and the loss of unborn children
in women.
I wasn't aware of it,
but Carmody was. (sniffles)
- [Siegfried] And that's sign
ificant?
- [Helen] Because I'm expecting.
(tentative orchestral music)
- [Narrator] And as always,
the Skeldale family is quick
to work together to find a po
ssible solution.
- [Siegfried] If we put our he
ads together,
read everything we have on the s
ubject,
we might just find something
useful for Helen.
And there she is, hurray!
You can muck in, too,
starting with "A History of
Bovine Morbidity."
- [Narrator] And sure enough,
they discover
that Helen can take a blood test
to see if she has contracted
brucellosis.
- [Siegfried] The test is co
mpatible.
- [James] The test is compat
ible.
- [Helen] So we can find out if
I've got it.
- [Siegfried] We can!
The question is, how do we go a
bout it?
- [Carmody] I imagine one would
simply take a blood test,
label it as a cow's, and the
lab would be none the wiser.
- [Narrator] When James and He
len receive the test results,
they immediately share the news
with their Skeldale family.
- [Siegfried] Dare we ask?
- [Helen] I'm all right.
Like I said I would be.
(all laughing with relief)
The test was negative.
(laughing and hugging)
- [Narrator] As Helen's pregna
ncy progresses,
she decides to spend some time
with her family at Heston Gran
ge.
- [Helen] Some days she's li
velier than others.
It's easy to fret all the ti
me
when you've no idea what's nor
mal.
- [Jenny] Well, you got nowt to
worry about.
You've done it once already...
with me.
- That wasn't the same.
It's the giving birth part
that scares me.
I wish Mam were 'ere.
Not just to help me, but...
- Me, too.
- [Narrator] During her stay
at the farm
Helen is not interested in being
told to rest.
(cheeky orchestral music)
- [Helen] That better be for
you.
- [Richard] Eh, well, I, I know
you don't like to be
cooped up inside, so...
- I didn't come here to laze
about in the sun
like an 'ouse dog.
- Well, I weren't thinking ab
out you,
I were thinking about baby.
- Well, that's my job.
- Right. - [Narrator] B
ut after an argument with her father
,
Helen learns why he has been
so worried about her safety.
- [Richard] We lost a child.
- [Narrator] And Helen's father
has carried
a heavy weight all these years.
- I've never been able to forgi
ve meself.
- [Helen] I don't understand.
- [Richard] I used to beg her
to take it easy.
She's just like you.
She's stubborn as a bloody mule.
- I'm sorry, Dad.
- Well, I can't have it happen
again.
- [Narrator] The conversation
allows both father and daughter
to be honest about their love
for each other,
and for Helen's late mother.
- I hate that my baby won't
know her.
That she'll just be a name.
- [Richard] No, no, love, sh
e...
She'll always be more than a
name.
I see your mother in you ever
y day.
And in Jenny and all.
So in that way, she's not really
gone, is she?
(contemplative piano music)
- [Narrator] Still, despite all
of the ups and downs
of Helen's pregnancy, she's th
rilled for the arrival.
- [Helen] I think it's just hi
t me.
This is actually really happe
ning, i'n't it?
- [James] Aye.
(giggling) - Are you ready?
-No, not remotely. (both laughi
ng)
But I can't wait.
(soothing string music)
- [Narrator] With change all ar
ound in Season Four,
you can always count on Siegfr
ied to be Siegfried.
- [Siegfried] Slowly! Nearly!
I, I'll tell you what-- I'll t
ake him out.
Judge for myself.
- [Mrs. Hall] Sure that's a
good idea?
- What are you implying?
I'm known for my patience.
(glass breaking) - [Siegfried
] Oh, blast it!
- [James] Siegfried!
What did you want?!
- A suture kit! (grunting)
- [Mrs. Stokes] Having a right
ding-dong.
(giggling)
- [Narrator] As the season begi
ns,
we find Siegfried in his usu
al agitated state,
but much of his irritability
is the result
of how much he misses his br
other Tristan.
- [Mrs. Hall] He looks so proud
.
- [Siegfried] Rightly so.
- [Samuel] Siegfried, as much
as he would like to
think that he's in charge of
Tristan,
knows that he has to let him
go.
But now he finds he misses hi
m a great deal.
- [Mrs. Hall] Any news from
Tris?
- [Siegfried] Nope... he'll be
enjoying Christmas
in his own inimitable way, I
imagine.
- When were the last time you
two didn't spend it together?
- Ooh, gosh, I'd have to think.
Before Father died, probably.
- [Narrator] It becomes very c
lear
that without Tristan around,
the practice is not running ve
ry smoothly.
- [Siegfried] (at phone ring) I
suppose you want me to get that?
(ringing continuing) (Siegfri
ed sighing)
I never thought I'd admit this,
but we're missing Tristan.
- [Samuel] For a successful pr
actice that,
now, during the war,
has an extra pressure on it,
it's very difficult to make
ends meet.
And with no Tristan,
the demand, in some cases, even
higher than when he was there.
- [Siegfried] What's this?
- [James] A hoof knife.
- My hoof knife! - Well
, if you leave things lying around
, I-
- Perhaps instead of an equipm
ent cupboard,
we should just bury things in t
he garden.
- [Narrator] And that's where
Mr. Carmody
comes into the picture to help
with the workload.
- [Siegfried] Where is the boy,
anyway, is he late?
- [James] I don't believe so.
- If he had anything about hi
m, he'd be early.
- Mr. Carmody's rather beholden
to the train from London.
- [Anna] Initially, he's James's
assistant, which is quite nice.
But then, of course, Siegfrie
d takes over.
(laughing)
(plucky piano music)
- [Carmody] I'm extremely so
rry to hear that.
- [Siegfried] Mm-hm!
- Whatever happened?
- [Mrs. Hall] Well, paying you
to tell me, aren't I?
- [Siegfried] (chuckling) Ve
ry droll.
We've got ourselves a tricky
customer.
- [Samuel] Siegfried and he g
et on terribly well.
(laughing) And, uh, James feels
rather left out.
- [Carmody] If we could pinpoint
the exact
cause of the production
of diacetic acid and beta-oxy
butyric acid
in the metabolism,
we'd be well on the way to und
erstanding the problem.
Don't you agree? - [Sie
gfried] I do, wholeheartedly.
James?
- [James] Absolutely.
- [Narrator] But as excited as Si
egfried is to welcome
Carmody into the fold,
the reality of James going off
to war weighs heavily on him.
- [Siegfried] Without my brothe
r, we're already
stretched to the limit.
And the prospect of doing witho
ut James as well
has put us all under rather
a strain, to say the least.
- [Mrs. Pumphrey] They rely
on us to be
resilient, don't they?
But it isn't always easy.
- Quite.
- [Narrator] On the night be
fore
James's departure, he and Sie
gfried
share a late night drink. (g
lasses clinking)
- [Siegfried] It's all right
to be scared.
Be strange if you weren't.
- [Narrator] And Siegfried helps
James
through this difficult night.
- [Siegfried] Right!
I think it's our patriotic duty
to finish the bottle,
don't you?
- [James] Mm! (bottle uncork
ing)
- [Narrator] Later in the sea
son,
Siegfried is once again shattere
d when
Mrs. Hall informs him she is
leaving to be with Gerald.
- [Siegfried] You have your own
life now, Mrs. Hall.
You must make the most of it.
- [Narrator] However, he's back
to himself
when he spends more time with
the next generation.
- [Siegfried] Carmody, do you
want to complete this placement?
- [Carmody] Very much so, yes.
- [Siegfried] Then, may I sugg
est you try keeping
some of your thoughts to you
rself?
Unless you thought of buying me
another drink, of course.
- [Narrator] But, by the end of
the season,
Siegfried warms up to Carmody.
- [Siegfried] If you wanted
to stay,
um, you could always have Tr
istan's old room.
He shan't be using it for a whi
le.
- [Carmody] You're inviting
me
to stay at Skeldale?
In your home?
- Because it's convenient.
You can answer the night calls.
- Yes, sir.
- But keep your hands off my w
hisky.
Especially the good stuff.
- [Narrator] And as the season f
or change moves forward,
James Leaves to Serve
in World War II.
(kettle whistling)
- [Siegfried] You know that sou
nd means
it's boiling, yes?
- [James] They're saying we d
rop more bombs
than all the German raids on
London in the Great War.
- [Siegfried] Well, sounds to
me like they
don't need you after all.
I should withdraw my name if I wer
e you.
- Very funny.
- [Nicholas] We see James go
ing out
and dealing with things day
to day as a vet as he would,
always with that little thing
in his mind,
knowing that he is signed up a
nd
could be called upon at any t
ime.
- [James] When I signed up wi
th Tris,
It was the right thing to do.
It was a tough decision, but...
there wasn't a shadow of dou
bt.
But, so much has changed sinc
e then.
Our cities weren't being bombed.
You weren't expecting.
- [Rachel] I think Helen knows
there's a potential
that James will be called up.
I think she knows it's likely,
but she doesn't want to go there
until she needs to.
- [Helen] James should get hi
s papers any day.
We've no idea what's around the
next corner.
Are we mad?
- [Mrs. Hall] Course not.
Just have to keep praying summat
changes for the better.
- I have been... and for Tris
.
And Edward.
- [Samuel] There's a central
dilemma in the war story.
Do we join up?Or, as train
ed vets, as a reserved occupation,
is it our duty to stay at home so
that people can eat?
Carmody believes the second.
And I back him up.
- [Carmody] I intend to serve by
doing my duty to our farmers.
We're a reserved occupation f
or a reason.
- [Siegfried] Indeed, we are.
- [Samuel] James doesn't quit
e believe that,
and I do lose him.
- [James] Can I ask you someth
ing?
When you went to war...
...how did Evelyn cope?
- [Siegfried] We'll look afte
r her, James.
And the baby, too.
I promise you.
- Thank you.
- [Narrator] In Episode Five,
James receives notice
to join the Royal Air Force,
and says goodbye to his home an
d family.
- [Mrs. Hall] Won't be the same
without you.
- [James] Then just make sure
it's the same
when I come home.
(bus pulling to stop)
- Don't let it change you.
(bus idling) (poignant string m
usic)
- I won't.
(poignant string music)
- [Siegfried] Proud of you, Ja
mes.
We all are.
(string music concluding)
- [Narrator] But right before
going to the bus stop,
James says his hardest goodbye,
to Helen.
(tentative piano music)
- [James] You're going to be
an incredible mum.
(heartbreaking string music)
I've never been so sure of anyth
ing in my life.
- [Helen] Go, before I cry.
(string music intensifying)
- [Narrator] But, despite this he
artbreaking reality,
James leaves Helen a surprise
to remind her of his love,
loyalty and eagerness to retu
rn home safely.
(string music continuing)
- [James] "O my Love is like a
red, red rose
That's newly sprung in June;
(string music intensifying)
O my love is like the melody
that's sweetly played in tune;
(string music continuing)
As fair art thou, my bonnie la
ss,
So deep in love am I;
And I will love thee still,
my dear,
Till a' the seas gang dry.
Till a' the seas gang dry, my
dear,
And the rocks melt wi' the sun;
And I will love thee still,
my dear.
While the sands o' life shall
run.
And fare thee weel, my only
Love!
And fare thee weel awhile!
(string music brightening)
And I will come again, my Love,
Tho' it were ten thousand mile.
(string music fading)
(upbeat piano music)
- [Narrator] Stay with us, beca
use when we return,
we'll look at the Christmas mi
racle
that arrives in Darrowby,
as well as all the entertaining
animals and much more,
in "All Creatures Great and
Small:
A Season 4 Change."
) (piano music concluding)
.
>> Siegler. I'm James Steinbach, a
volunteer here at PBS Wisconsin,and like
you, just watching watching that last scene,
youknow, it reminds me
how powerfultelevision can be for reminding
us about the importance of
warmth and love and humanity.And this program,
I think,really does a really good job
ofthat, which is, I think, pretty
extraordinary. And as we move
onto season five and season sixand,
and in in their time,
worldevents are looming over them and
are going to shake thefoundation of
everything thatthey have in their
life. Andthat's something we've allexperienced in
our own lives.Watching
this program. I don'twant
to I don't want to go toofar
in this, but it allows youto have
an insight into how people can handle these
enormoustragedies and changes. Andwhether it's a
fictional pieceor whether it's real life.Sometimes
it's actually betterto
watch something in fiction, Ithink, because it
can revealmore that you
might never seeotherwise. So but
anyhow, callus at one
(800) 236-3636 becausethis is a
challenge break andwe're going to try and
get 20members calling and having your
membership doubled. So call usnow one
(800) 236-3636.>> Hi I'm Eric Greiling. I'm
director of friends of PBSWisconsin. And James,
you are soright. You're right. Twice. This
is a very special show. And
itis a challenge break, whichmeans your
gift is going to gotwice as far
when you callduring this break and become
amember. Our existing members arechallenging you
to show yourappreciation for a
very special program made with made
withcompassion for the charactersmade
with heartfelt feelings,and a real dedication to
thestories. We'd love to say thankyou
in a way that we
thinkhonors the show. At $10 a
month,we'd like to say thank you
withthe season four mug. Veryspecial
wraparound landscape mugYorkshir e
Dales, pictured thereon the mug
, 16 ounce mug, $12 amonth. Your
gift of $12 a month.We'd like to
say thank you with the season four two
DVD set andwith your gift of $25
a month,which, by the way
, during thischallenge break could go twiceas
far. We'd like to say thankyou
with the seasons one throughfour DVD
set, the season fourmug, and
a tea towel with Mrs.Hall's shortbread
recipe righton the tea towel. It's
a greattime to call. And that number
tocall is 1-800-236-3636.>>
All Creatures Great and Smallis a
big hit, and as fans, we
know why there is so much heart
in this show. There's agentleness. The
relationshipbetween people and the
land,people and their animals and the
community bonds. It's. It's inspiring and it's something
Ithink we all wish we had
more ofin our lives, especially in a
time like this where there's somuch derision,
theneighborliness, the kindness,the looking out
for each other,it's really special.
And if youget those
sort of warm feelings, it's like the chicken
anddumplings of television. It's so
comforting if you get those
warmfeelings when you watch
allCreatures Great and Small, showyour support
right now. This isa
great time to do it. You getyour
donation doubled. You get to give double the
s upport that
you actually might not be ableto afford.
Make that gift rightnow. Get
your donation doubled.Don't leave any
of that on the table
. Members would like toinspire you to
become a memberyourself. One
(800) 236-3636okay I'm I'm I'm
going withchicken and dumplings.>> I think
that's I think that'sthe reason to
pledge one (800) 236-3636 right here during
this challenge break . You know,this program
p utting
together ashow takes a tremendous amountof
work. Not only have to findgreat actors,
but you have to find the right location.
And tofind fictional darrowby and makethat
into a place that workedand felt right.
They landed in atown
called Grassington, whichyou may
know, and in fact youmay have that
on your bucketlist as a place to
go and see.Because, you know, of course
youcan tour everything now, but ifyou
don't get there, you canjust
keep watching the show, which is not quite
as good as going to a place,
but it'spretty darn good. And it has
allthe actors in it, of course. And
all the animals. So call us at
one (800) 236-3636. Make your pledge of support
during thischallenge break because because
your your contribution is doubled by members who
have setaside a pot
of money to see yours and double
it, call us one(800) 236-3636.
at six in our challenge
break. to get to 20.
Go ahead and make
that call. Rightnow I can hear our
volunteersare busy on the phone. So you
can also use that QR code that'son
your screen. Or go online
pbswisconsin.org and make yourgift
during this challenge break so that your gift
can go twiceas far.
Your new membership can go twice as
far, and we can saythank you to
you with some very special
gifts. All about seasonfour. Of all Creatures. For $10
a month, we'll say thank you
with the season four mug 16ounce mug.
Beautiful wraparoundimage from the
Yorkshire Dales, $12 a month. We'd
like to saythank you. With the season
fourtwo DVD set for $25 a month,
we'd like to say thank
you. Withthe seasons one, two, three,
andfour DVD set and the
season fourmug and the tea towel. So
my colleagues think it's a
chickenand dumpling kind of comfort
show. I think it's a shortbread
cookie kind of comfort show, andthat's what
you get . Theshortbread recipe. Mrs.
Hall'sshortbread recipe on this tea
towel . At $25 a month,
that $25goes twice
as far during the challenge break
. Please give usa call one
(800) 236-3636.>> So now we have our own
littlechallenge here. Is it ashortbread sort
of a show or achicken and dumplings?
K ind ofthe
show regardless, whicheverone it is,
it's a sweet treat. It is
comforting. There is so much heart into this
show . I'm abig softy
when it comes to animals, and I
think the firsttime I saw it, I
was very hesitant, very
hesitant. They treat the animals with
suchrespect. They really put it in
perspective. Their care and loveand nurturing of
these animals .If you're a big
animal lover and that's
one of the reasons youlove this show,
that's one ofthe reasons you tune in
tonature. Maybe you saw GreenFire. You
care about the environment. This is the
time toshow your support for more of
this programing . We listen.We're
bringing seasons five and six of All Creatures
Great and Small. Cast your vote,
get your support doubled during this
break. 1-800-236-3636.>> We are
at nine calls. Tenjust
went to ten. We're halfway
there. Come on, keep on calling
.1-800-236-3636. So PBS Wisconsin has
been providing service to people in Wisconsin for
70years. That's a that's a goodlong
time PBS public m
edia wasinvented in Wisconsin. Public
radio was invented in you know,you pick
your date . A lot ofpeople
say 1918. Some people say19,
14. It's a long time
, andit's always been focused oneducational
programing,sometimes very specifi cally
defined as learning in aclassroom, but often
definedmore as something which isuplifting
, enriching, taking youto a world you've never
b een
to,seeing something you could notsee otherwise.
And for example,where are you
going to findopera? The only place you
reallyfind it is in public media, TV
and radio. And if you're notgoing to
be able to get to
themet, it's your next best shot.
And in some ways it's betterbecause you
can just stay homeand relax. But rig
ht now, thething to
do is not relax. It'sto go to
the phone and call usat we're at
13 one(800) 236-3636 during this
challenge break .>> Membership
drives like thisone are a vital chance
for us tolet you
know just how importantyour membership, your
support is. It is vital
to continuingprograms like this
, tocontinuing all of the work thatwe
do in public media, bringing
you wonderful comfort programs like
this, programs from aroundthe world, and
doing educationwork and other
kinds of outreachthroughout the state. Some
ofwhich doesn't appear on the air,but
it is a challenge break.We're at 13,
and it's yourchance
to call 1-800-236-3636.Let your gift go twice
as far.It'd be great
for you to join asa new
member. I'd love you to
bethe newest member to join
PBSWisconsin right now with thecall, you
can cast your vote for
shortbread rather than chicken and dumplings as
well, or it's a great time if you're
already amember, to add to that gift
andsay, I really like this kind of
programing and the kinds ofgifts that you're
offeringduring this break, remind me howmuch
I like All Creatures Great
and Small for $10 a month. Letus
say thank you with the seasonfour mug
for $12 a month, w
e'dlike to thank you with the
season four two DVD set.
And for$25 a month, we've got a
full package for you all
fourexisting seasons of allCreatures, the Season
four mugand Mrs. Hall's ShortbreadCookie tea
towel. Give us a callif it's busy,
go online or be patient on the
phone. One(800) 236-3636.
>> So are you one of thosepeople
who stream TV shows? Doyou have
a streaming servicelike a
Roku player or Amazon also has a
streaming service. Ifyou do the
PBS app is a greatway to
watch your favoriteshows. You get to watch
themwhen they come out. You canwatch
it on your tablet , on yourphone, even
on your computer .Add it to all
the otherprograms, all the other
appsthat you have like Showtime
orNetflix. It's a great way foryou
to catch up to because you
get to watch it whenever it's
convenient for you. Or you canalso
binge watch, which is kindof the way
I like to watch . It'seasy to do.
Show your support at
one (800) 236-3636. And here's alittle
bit of a preview of someof the
great programs you can see on the PBS
app coming up .>> This is a
matter of life and death. Oh good.
Tell us everything.>> Something's not
right.>> It could be worse
.>> These two crimes areconnected.
changed everything upto your eyes in murder
again .>> Needle in a
haystack. Right.I trust my instincts
. I shouldleave this
alone.>> But you won't watch with
PBSWisconsin .>> You know, I
admit it's atough call between theshortbread
and the chicken and dumplings. And so my
view is.Get it all and do that
bycalling us at 1-800-236-3636. Weare
at 19 on our way to 20. That
is, if my math is correct. Onemore
call that we need to get to20.
So please make that callbecause you probably
know this,that your support is the single
largest support, largest area support of
any any of the support we get. We
get moneyfrom the federal government andthe
state. That's true. And corporations. But your support
my support is what really makespubl
ic television work
. Andthat's why we're asking you,especially during
this challengebreak when it's doubled to call
us. Excuse me, call us
at one800 236 21. Oh that's
great.Fantastic. Thank you . 21 andwhoever you
are, we thank you.
1-800-236-3636. ng
back to the show in seconds. Not minutes
butseconds. So this is
your lastchance to take part in
thischallenge. Break to make yourgift as
a new member. Go twiceas far. If
you get on the phonewhile this break
is stillhappening, be patient. You'restill part
of the challenge. Go online right now or
use the QRcode. Let us say thank
you toyou with some
very special gifts all part of the
season for AllCreatures $10 a month. We'd
liketo say thank you with the season
four wrap around landscape mugfor $12 a
month. The season four
two DVD set, and for $25 a
month ,seasons one through four.
Themug and the tea towel. It's
allour way to say thank you. Thank
you for calling. 1-800-236-3636.
- [Narrator] Welcome back to"All Creatures Great and Small: A Seas
on 4 Change." Coming up, we will look at
various storylines of the fou
rth season,
including Helen and James' Ch
ristmas Miracle.
But first, let's look at som
e of the new
animals of Season Four. (pages t
urning)
(knocking)(goat bleating
) - [Siegfried]: James, have you..
(bottles falling)
- [James] Siegfried!
- [Siegfried] What on earth...
God!
- [James] Sorry, Mrs. Stokes.
- [Yvonne] The goats have to be
the highlight of the series fo
r me.
(goats bleating)
-[Helen] No, no, no, no, no
t in there!
- [Mrs. Hall] Not in my pantry!
- [Anna] It was one of those
days where art echoed life,
where the goats caused ch
aos in the storyline around Skeldale H
ouse, and they caused
chaos in real life.
We were chasing them 'round, ha
ving to block exits.
(Dog barking) - [Mrs. Hall]
Oh!
Get down from there!
(Dogs barking)
- [Nicholas] They had food an
d a beeper.
So they would... "Beeeep."
And they would (making clicking
noises)
come in to find the food again.
So then they did this elaborat
e route through the set,
and it worked every time.
- [Helen] James, what just ha
ppened?!
- [James] Gotcha! (goats ble
ating)
(Pans and metal jars clatteri
ng to the floor)
(cheeky woodwind music)
(dog barking) - I'm so sorry.
- [Yvonne] They pooed all over
the set!
So we had-- literally, we had--
eh, the standby art department
running 'round with this little,
like,
(laughing) dustpan and brush.
(goat bells ringing)
- [James] As I was saying, Mr
s. Stokes,
keep her legs dry and apply th
is twice a day.
(goat bell ringing)
- [Mrs. Stokes] Aye.- [M
elissa] We have a very cute ferret
called Wilf,
which was an animal that's very
synonymous with Yorkshire.
- [Joe] (speaking Tamil)
(in English) Don't worry, he'
s a gent.
He'd never bite a lady.
- [Anna] They're very soft an
d very lovely, turns out.
And very good at playing a pa
rticular game.
- [Joe] Is it gonna be your
lucky day?
Because it is... ferret roule
tte!
- [Samuel] Ferret roulette is
quite the thing.
I expect it to take the town.
- [Joe] Yes, is it gonna be
that one? Is it gonna be that
one, is it gonna be that one?
Where's he gonna come out of?
(patrons yelling and coaxing)
- [Patrons] Ohhhh!
- [Nicholas] We had one really
fun moment with the ferret
where we had to chase it across
our Darrowby,
but obviously it's, it's loose,
so...
we come out and one time it's
(whooshing noise)
over that way, and next time...
over that way.
(footsteps across cobblestones)
- [Joe] (yelling in Tamil)
(in English) God, hang on!
Ahhh.
Come on, now, love. -
[Samuel] As ever, for me and for Si
egfried,
the great joy is working with
the horses.
- [Carmody] Reducing her expo
sure to allergens has
decreased the chronic inflam
mation of the lungs.
- [Siegfried] That means she's
on the mend.
- [James Anthony-Rose] I really
enjoyed actually
working with a horse named Te
asel.
I think she's probably been in mo
re TV
than, than I have, actually.
- [Samuel] They're much, much
more experienced than we are.
So if you start taking too much
time between shots,
they paw the ground.
Kind of, "Get on with it!"
- [Siegfried] I can't see any
reason why
she shouldn't make a full rec
overy.
(Grace laughing with relief)
- [Grace] I can't say how th
ankful I am, Mr. Farnon.
- [Melissa] Onscreen we have a
couple of new dog characters
this series, again.
One has, as described
in the scripts, rather anti-soc
ial malady.
- [Mrs. Pumphrey] He does seem
to suffer,
really quite terribly, from...
- [James] From?
- From...
(dog farting)
- [Carmody] Flatulence.
(spritzing perfume)
- [Nicholas] "Cedric," the boxer
dog,
she was so lively and just wan
ted to play
all the time and have fun.
And that was brilliant be
cause the dog was supposed to be.
- [Mrs. Pumphrey] Cedric!
(dog panting) (James gruntin
g)
Oh, dear!
I'm so sorry, Uncle Herriot.
(James chuckling)
- [Nicholas] She's like jumping
up on me
and, like, bowling me over.
So like... (laughing)
the shot's here, and I'm like,
yeah, just playing the scene.
And then... Boop! (laughing)
I'm out. - [Samuel] And
we also, I'm afraid, have the world
's most
beautiful kitten.
- [Helen] Hello, Oscar.
- [Rachel] Cats are notoriously
untrainable.
So every time we read a cat,
I think the general consensus
is...
(sighing deeply)
And then we were introduced
to this little cat, Humbug,
who plays Oscar, and we just co
uldn't have been more wrong.
- [Helen] Drink up. (cat lap
ping)
It'll make you better.
There's a good boy.
- [Anna] When Humbug's supposed t
o be asleep,
you just see these two little
ears pick up.
'cause every noise is just real
ly exciting and interesting.
(laughing) Two little ears go
up
and then you slowly see the cree
p of the head.
- [Rachel] All our fears diss
ipated
and it became an absolute joy.
They're some of my favorite sc
enes.
(gentle orchestral music)
- [Helen] They're gonna look af
ter you now.
You'll be all right, won't you?
Ha, 'course he will.
Bye, Oscar.
(birds chirping) (orchestral
music continuing)
- [Michael] You can visit an
ytime.
- [James] Don't worry, we will.
(orchestral music concluding)
- [Narrator] One of the most
unsuccessful agents of change
in Season Four
is the arrival of Miss Harbottl
e at Skeldale House.
- [Samuel] Siegfried, during one
of the many village dances,
meets Miss Harbottle.
How dazzled Siegfried is by her
bookkeeping and how much by
her looks,
I don't know, but he offers
her a job.
(Miss Harbottle giggling)
- [Siegfried] Miss Harbottle and
I met at the
farmers' union dance last week.
- [Mrs. Harbottle] The foxtrot.
- [Both] Carpe diem.
- [Melissa] This season, we have
the arrival of one of my
favorite characters from the He
rriot books, Miss Harbottle.
- [Mrs. Harbottle] You need
someone to take over
the administrative burden,
leaving you free to concentrate
on your veterinary work.
- [Nicholas] Without Tristan,
the running of the whole place
is becoming more difficult.
So, Siegfried thinks it's a
great idea to welcome in
Miss Harbottle.
- [Mrs. Harbottle] Any queries I
have,
I shall record it on one of t
hese.
- [Anna] Miss Harbottle thinks sh
e's going to bring new order.
And I think we know what...
(laughing)
might happen when you try and
bring order
to Mr. Farnon's life.
- [Rachel] Miss Harbottle brings
a really different
dynamic to the house.
And she comes in full force.
(phone ringing) - [Mrs. Hall]
It's fine,
I'll get it. - [Mrs. Ha
rbottle] I think it might be best
(ringing continuing) if I ans
wered the
telephone calls.
- Well, it's usually ju
st a case of who's free. (ringing con
tinuing)
- [Miss Harbottle] Well, I'm
here now.
Let it be my job, then
you'll be free to get on with you
r duties.
- [Anna] It's quite a fun story
watching somebody try to ass
ert a new
kind of control in the house.
- [James] In veterinary practice
the animal comes first.
Always.- [Mrs. Harbottle]
In my book, obedience to rules
is the mother of all success.
- [Nicholas] The way Neve play
ed Miss Harbottle, as well,
it was so much fun on set.
There was so much laughter.
- [Mrs. Harbottle] I- I'd like
more space.
- [Siegfried] Ah! Uh...
(mischievous piano music)
Hello.
(piano music continuing)
There.
Now, he's out of the way,
and he can still see what you
're doing.
- [Rachel] Objectively, we can
see the way
that she does things is proba
bly more streamlined,
a bit more modern, and would be
great for Skeldale,
but we quite like to keep th
ings as they are.
Thank you very much.
- [Mrs. Harbottle] All transact
ions can be
recorded in here.
Legibly.
(impudent woodwind music)
- [Siegfried] I sometimes dip
into the jug...
when I'm a bit short.
- [Samuel] Miss Harbottle's
lovely, but he has met his
match in terms of control fr
eak-ery and...sparks ensue.
- [James] Whatever it is you're
trying to fix,
Miss Harbottle is not the answe
r.
- [Anna] She slightly creeps in
to too many people's
territory, though, so it doesn'
t end well.
(giggling) - [Mrs. Harb
ottle] You, I am sorry to say, Mr. Fa
rnon,
are disorganized, erratic.
It's irresponsible.
- [Siegfried] And you are igno
ring the fact that
we are vets.
We put animals before profits.
(optimistic orchestral music)
Your ambition and tale
nt are unquestioned, Miss Harbottle.
But this is not a place for you.
I'm afraid I'll have to let y
ou go.
(orchestral music concluding)
- [Narrator] We decided to play
a missing word quiz
with the castto challen
ge what they remember from the show.
(orchestral music fading)
- [Siegfried] Herriot.
I distinctly recall telling y
ou we wanted
nothing to do with the TB te
sting program.
(quirky upbeat orchestral music)
- [Anna] "Money." (swiping sou
nd)
- [Samuel] "Money." (swiping s
ound)
- [Nicholas] "Money!"
Cha-ching!
- [James] I just called to see
if we could do more testing an
d possibly make more money.
- You don't appreciate how divi
sive
the matter is for farmers.
(mischievous vibraphone music)
- [Anna] Ooh, this is Mr. Farnon
to Tristan,
isn't it?
- [Siegfried] Tristan! -
[Tristan] I was never here.
(footsteps and door closing)
- [Samuel] It's when Tristan
leaves cyanide in an um...
badly-marked bottle.
- [Siegfried] Hydrogen cyanide.
Enough to kill half the dist
rict.
- [Samuel] It's a bottle.
(swiping sound)
Oh, what is it?That's rea
lly annoying, because I do know this
.
I can picture filming it...
"I dare you say..." (swiping s
ound)
- [Nicholas] Bottle.
"I dare you to say a bottle.
I bloody dare you."
"A bottle?"
"Another bottle?"
- [Interviewer] It was a bottle!
- [Anna] Ahh!
- [Siegfried] Do you know wh
at this is?
I dare you to say a bottle.
I bloody dare you.
(upbeat orchestral music)
- [Anna] "Run this place." (swi
ping sound)
- [Nicholas] Ahhh...
It's Helen, I think.
"Work?"
- [Samuel] "Run this place?"
- [Interviewer] Correct.
- Yes! Did actually learn my lin
es that day.
Amazing.
- [Siegfried] It may not always
seem like it, but I do, in fact,
still run this place.
Everyone under this roof is
in my care.
(uplifting string music) (pages
turning)
- [Narrator] As the season p
rogresses,
one of the biggest changes is
the arrival of
A Christmas Miracle. (swiping s
ound)
(phone ringing)
- [Mrs. Hall] Darrowby 2297.
James.
Merry Christmas.
Helen! It's James!
- [Narrator] At the end of Se
ason Four,
James and Helen try to reunite,
but because she is very close
to her due date, others disagr
ee with their plan.
(telephone static)- [Sie
gfried] James, far be it from me to s
tick my beak in,
but I really think you should re
consider this
hare-brained scheme to
have Helen drive 30 miles over hill
and dale.
- [Narrator] James realizes that
their plan is a risk for Helen,
and he asks his superior if he
can take a leave
to visit her.
- [James] My wife.
She's pregnant. I was du
e to meet her in the village for dinner
this evening.
She's in no fit state to travel.
I wondered if I could go back.
- [FO Woodham] (scoffing) Go
back?
(poignant piano and string m
usic)
- [Narrator] But, when his su
perior denies his request,
James takes matters into his ow
n hands.
(string music intensifying)
(vehicles moving)
- [Narrator] Unfortunately,
he doesn't get very far.
(car stopping, door opening)
- [FO Woodham] Get in.
- [James] Sir, just a few ho
urs-- please!
- You're lucky that it's me
that's come looking for you,
and not the military police.
Now, get in!
(piano and string music fading)
- [Narrator] Meanwhile, as H
elen gets
closer to going into labor, te
nsions rise at Skeldale House.
- [Mrs. Hall] Why don't you
two take the
lunch over to The Drovers?
Everyone'll be waiting.
- [Siegfried] Wouldn't you thin
k it would be wise
for me to stay around? If
worst came to the worst, I'd be on ha
nd to step
into the breach.
- [Helen] The breach?
- [Carmody] I think what he means is
that should the
midwife not arrive in time,
he could deliver the baby.
- Mm! - [Helen] No, no
, no, no, absolutely not.
- Not one of your best ideas
.
- [Siegfried] Why not?
I've delivered hundreds of anim
als.
Most of them have four legs.
In theory, it should be easier wh
en there's only two.
- [Narrator] But after James
saves a mascot bird
at the base camp,
and restores the morale of all
of the other soldiers,
he is granted the leave to be w
ith Helen.
- [James] Merry Christmas!
- [Townsfolk] Merry Christmas!
- [James] Merry Christmas, youn
g'uns!
- [Children] Merry Christmas!
- [James] Merry Christmas!
(uplifting orchestral music)
Helen?
Helen!
- [Siegfried] James, what're you
doing here?
- [James] Helen!
Helen?
(footsteps running upstairs)
- [Helen] James?
(orchestral music intensifying)
What on Earth?
- Oh, God, I've missed you.
I've missed you so much, I-
- [Narrator] James is so happ
y to see Helen
he doesn't realize that his grea
test Christmas present
is next to the bed.
- [James] No...
(dreamlike piano music)
- Yes.
- When?
(piano music continuing)
- [Helen] Last night.
(piano music continuing)
(baby fussing slightly) (James
removing coat)
(gasping)
(piano music continuing)
(baby mewling)
- I'd like you to meet your son.
- You gave me a little boy.
(both laughing)
(baby crying) (James laughin
g and crying)
Hello there, wee man!
(piano and string music contin
uing)
(James sniffing and sighing)
(baby fussing)
(piano and string music contin
uing)
Funny-looking thing, isn't he?
(clicking tongue)
- And I suppose every foal that
's born's a beauty.
- Near enough.
And how are you-- how was it
?
- Awful.
- I wish I could've been here.
- [Helen] We managed.
And there's a reason why you
don't have the men around.
(piano and string music contin
uing)
(Helen clearing throat) (James l
aughing softly)
- [James] What're we going to
call him?
- [Helen] I thought we'd name h
im after his dad.
(piano and string music conclu
ding)
- [Narrator] As much as this wa
s a season for change,
we are still left with that wonde
rful Sense of Family
that "All Creatures" always cre
ates.
- [Mrs. Hall] So this is where yo
u all slunked off to.
- [Helen] Hello.
- [Jamie] It's been an absolute
joy to work on this show.
It feels like a family.
The people are extraordinary.
So i- it really brings the best
out of everyone.
- [Carmody] This... is my fi
rst-ever Christmas present.
- [Mrs. Hall] Your first?!
Goodness me.
- Mother and Father...
We're not that sort of family.
- Well, here at Skeldale, we a
re.
So you'd best get used to it.
- [James Anthony-Rose] Everyb
ody was so
welcoming and nurturing and
I felt like it was just a big, eh
, warm embrace from everybody,
- [Mrs. Hall] Did you enjoy
yourself at The Drovers?
- [Carmody] Everybody was so k
ind.
They made me feel completely
at home.
(water running) - [Mrs.
Hall] Well, I'm glad it went well.
- [James Anthony-Rose] It's
very rare, I think,
to actually work on a show whi
ch is making good work
and also is made by really love
ly people.
- [James] I'm to meet them outs
ide Wesley's place
in an hour. - [Helen]
Well, at least that poor dog
will stand a chance now.
- [Siegfried] Cut it out! (pho
ne ringing)
- [Mrs. Hall] Come on, Jess.
- [Siegfried and Mrs. Hall]
Come on. - [Jamie] It feels li
ke a family,
and it's what makes it
such a warm and emotional show.
- [Helen] I have to look forw
ard, Dad.
(plaintive string music)
Skeldale's my home.
And I want us to be there when he
comes back-- me and the baby.
- [Richard] Makes sense.
- [Samuel] It's very interestin
g, playing a character
for four years and not knowing
when it's going to stop.
Because it's like life.
- [Maggie] Usual for you all?
- [Siegfried] No, I'll get the
se.
Least I can do.I realize
I've made everyone's lives a bit mise
rable.
- [Helen] Thank you, Siegfr
ied.
- [Melissa] It's such a family
behind the scenes,
and it's such a team,
and we make the show together.
(gentle string music)
- [Mrs. Hall] Aren't you hand
some?
(baby cooing)
Yes.
- [Siegfried] Do you want to
come and say hello
to your Uncle Siegfried?
- Oh, you'll frighten him.
- I'm not going to frighten him.
I'm not in the least bit frig
htening.
- You'll have your turn in a m
inute.
- [Samuel] The question, "Wha
t can I look forward to?"
is... a bit like what c- I could
look forward to in, in life.
I mean... staying toge
ther with these lovely people would
be nice.
- [Siegfried] I think this c
alls-- - [Carmody] I wonder whe
re we should begin.
Clostridial diseases in sheep?
Avian pox.
Infectious dermatitis in rep
tiles.
- [Siegfried] Yes. Thank yo
u, Carmody.
Nobody likes a know-it-all.
And we're about to eat.
- [Mrs. Hall] You were sayin
g.
- This calls for a toast.
To knowledge,
fleas,
and our growing family.
(cheerful string music)
- [All] Knowledge, fleas, an
d family.
(string music crescendoing)
(family chatting) (utensils an
d plates clinking)
- [Narrator] And of course,
we toast you
for spending this time with us
to celebrate "All Creatures Gr
eat and Small" on MASTERPIECE.
Thank you for joining us for
this look back
at the engaging and emotional
fourth season.
The heartwarming cast, lovable
animals, and charming stories
from the breathtaking Yorkshir
e Dales
will be back in your homes ve
ry soon.
Until next time,
this has been "All Creatures
Great and Small:
) A Season 4 Change."
.
>> Hi, I'm James Steinbach. I'ma
volunteer here at PBS Wisconsin. This is the
last break of the last
program of this pledge drive, so
we'reabout to head into a new season
in the fall of programs
. Thethings you've been lookingforward to and
of course,continuing the programs
that youlove, I mean, they go together,
new and I don't want to saylegacy
or iconic, but favorite,you know, that's that's
whatwe're about here. And we areable
to do this work. We're ableto do
this work because of yoursupport. Your support
is whatmakes it possible for PBSWisconsin
to continue day afterday,
year after year. To providethis, we've
been doing it now for 70 years. That's
a longtime. And it's always beenalways
been something that relied on viewer support.
Soplease continue that tradition.It's a
wonderful tradition ofsupporting PBS Wisconsin andcall
us at 1-800-236-3636.>> Hi,
I'm Eric Greiling. I'mdirector of
friends of PBSWisconsin This is a great
timeto make your gift. It's a great
time because you can be the next
member of PBS Wisconsin, thenewest member of
PBS Wisconsin.And going into that new season
of fall programs that James was
talking about, this is a greattime to
propel us into that season and say, you
know , thekinds of programs
we get to see on Sunday nights
all Creatures,the Masterpiece schedule, theMasterpiece Mystery
schedule.Those are programs that Icherish. Programs
that I want to see, that I want
to be a comforted
by, that are familiar to me. But
also surprising anddelightful and new. And we'd
love to say thank you
to youwhen you do become that newest
member or add to yourmembership.
And at $10 a month,we'd like to
say thank you. With a season for All
Creatures Greatand Small mug at
$12 a month,we'd like to
say thank you with the season four two
DVD box set.And at $25
a month, we'd like to
say thank you to you. With
allfour seasons of All Creatures SoFar
and the mug and a special
shortbread recipe tea towel,please give
us a call at1-800-236-3636 PBS Wisconsin
hasbeen serving the people ofWisconsin for
70 years.>> public media in Wisconsin
hasbeen here for over a hundred.
Wewere a was one of
the leaders inbringing public education
public media to everybody
. Anybody. Itall started right here in the
state of Wisconsin. It'ssomething
you can be proud ofand
that 70 years of PBSWisconsin
it is really a legacyof
quality programing,educational pr ograming
,inspirational programing. You too can leave a
legacy with yoursupport when
you make adonation, you are helping bring
this program to the people
ofthe state , to people who maybe
can't support PBS Wisconsin.You're making
it possible for everyone to watch it,
but youhave to support
one(800) 236-3636. Make your donation.
want to take a minutejust
to thank the members of thedirector's
circle who have made extraordinary gifts to
make surethis service continues. And ifyou
have the means to contribute
$1000 or $100 a month, pleasethink about
joining them . Butwhatever you contribute,
that'sthat's an important thing forus.
And, you know, it is alsotrue. Michele
was talking about.It's almost like paying it
forward ,
that that there might have been a time
in your lifewhen you couldn't support public
media. You had other things youhad
to do, you know, stuff withthe kids
and all the things thatthat occupy our
life and our and our checkbooks. But now
ifyou're in a position where youare
able to support public media, PBS Wisconsin
considerdoing it now in a way, on
behalfof your neighbors, or maybe
onbehalf of your grandkids. It's away
to ensure that this servicecontinues
into the future so that you and future
generationscan continue to enjoy
PBSWisconsin and the shows that youknow
what I like about PBSWisconsin
is that shows respectto you as
a viewer. They aren't things which are just
going tobe having
things that sort of slap you
around emotionally. Theprograms that we have here
arethoughtful . They they, theycontain
important news andanalysis . They're entertaining.And above
all, they'reeducational. So please give us a
call at one (800) 236-3636 atthose special
directors levelproducers level , executiveproducers level that
James wastalking about. >> And at
every level we'retalking about tonight, one of
the ways we can say thank you to
you is with Airwaves Magazine.Airwaves is our monthly
programguide. It'll let you know all
the programs for the comingmonth, so you
can plan ahead and circle some of your
favorites.It's got tips andrecommendations. It's also
gotsome behind the
scenesinformation and news and
information about events that wehave coming up
that you might beable
to take part in. So that'savailable at
all the levels that we're saying thank you
in otherways at and another way that
wewant to thank you for
being amember, for doing your part to
keep this great legacy
of publictelevision, public broadcastingactive here in
Wisconsin , andreally enjoy the
wonderfulprograms . Please make a gift
at$10 a month and let us say
thankyou with the season four mug at
$12 a month, we can thank youfor
your gift with the two DVDsthat have
all of season four ofall
creatures on them, and foryour gift of
$25 a month, we'd like to thank you
with fourDVDs, that's
the first. That'sactually six DVDs,
but it's thefour seasons of
All Creaturesand the season four mug,
and awonderful special tea towel
withthe shortbread recipe on it
allhappens with you calling1-800-236-3636, while the
castand crew are busy getting
seasonfive of All Creatures Great andSmall
ready for us, we alreadytold you season
six has beenapproved again, thank you to
your support. could not do
that withoutyou. Just want to give you
onelittle kind of behind the
scenesinformation. Just a little
tidbit for hardcore AllCreatures Great and
small fans .Someone is coming back
during next season, somebody you
mayhave missed quite a bit. Names,
Tristan . Keep your eye out
forit. You heard it here
first, butin the meantime, while we'rewaiting
for the next season,there is so
much to enjoy. Check out the PBS app
at all of the levels that
Eric mentioned. Youalso get PBS, Passport, and
there is so much t
o see there.Take a look at what
we've got craving adventure
Passport isyour ticket to the
hottestdestinations in drama ?>> Check into luxurious
hotels ,hit exclusive beaches
, but fairwarning travel plans can
sometimes get complicated ifyou've got the
itch for drama ,travel the world and
stream nowwith Passport on
the PBS app
.>> So one of the most important
thank yous of all is to thankthe
volunteers who are answeringthe phone tonight.
Without them,well, we wouldn't answer thephone.
So that's a key part ofwhat we're
doing here. The other key thing is the
folks whosupply food for the volunteers.
And tonight it's GreenbushBakery and Willy
Street Co-op,and I have to
say, we eat these those
donuts. We like the plainold fashioneds, but
I can't sayI know, I know, I
know otherpeople like it, but that's our
favorite. So Greenbush thank you. And Willy Street, thank
you. Call us now. One
(800) 236-3636. Not for the
donuts, although they're great, but call us for
the programsbecause these
shows, if youthink about it, these are
programs that you can rely on.You
know that you're going toget something of
quality,something of distinction ,
something that is going toreward you as
a viewer, not just sit
down and kind of have thingspass over
you. These programs ,as I said before,
respect youand will reward
your time withimportant ideas
, importantrelationships as you as youwatch
people really wonderful,wonderfu l
ways to see the world,to
see Wisconsin. Think of allthe shows
about Wisconsin,Wisconsin from the air. I could
go on, call us now.
One (800) 236-3636.
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) (lively piano music)
This program was made possible
in part by contributions to your
PBS station from
viewers like you.
Thank you.
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