Call the Midwife

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WOMAN, VOICE-OVER: WELCOME TO THE 10TH ANNIVERSARY CELEBRATIONS OF "CALL THE MIDWIFE."

FULL OF LOVE STORIES, CRIME, COMEDY, TRAGEDY, ALL FIRED BY THE TIES BETWEEN FAMILY, FRIENDS, AND COMMUNITY.

WITH NURSING AT ITS CORE, "CALL THE MIDWIFE" DEPENDS ON HUMAN INTERACTION MORE THAN MOST SHOWS.

[CRYING] OH, LASS.

AGUTTER, VOICE-OVER: SINCE THE SERIES LAUNCHED IN 2012, MILLIONS AROUND THE WORLD HAVE TAKEN OUR CHARACTERS TO THEIR HEARTS.

[RINGING] HELLO.

I'M JENNIFER LEE.

WE ARE THE SISTERS OF SAINT RAYMOND NONNATUS, MIDWIVES AND DISTRICT NURSES.

PRESENT AT LIFE'S COMMENCEMENT AND AT ITS END.

THE NAME'S TURNER.

PATIENT'S G.P.

SISTER BERNADETTE, THIS IS NURSE LEE.

OH.

GREETINGS.

I UNDERSTAND YOU QUALIFIED BY A WHISKER, NURSE FORTESCUE- CHOLMONDELEY-BROWNE.

I DID PASS; IT WAS A BIT OF A SCRAPE.

"CALL THE MIDWIFE" IS A LITTLE BIT LIKE A WATCH.

IF YOU TAKE THE BACK OFF IT, YOU SEE ALL THESE TINY INDIVIDUAL WHEELS AND COGS.

AND NOT ONLY DOES EACH HAVE A ROLE OF REAL IMPORTANCE, BUT IT WORKS IN CONJUNCTION WITH OTHER WHEELS AND COGS, SO, EVERY CHARACTER IN THE DRAMA HAS A PARTICULAR RELATIONSHIP WITH ANOTHER ONE.

NURSE GILBERT?

WELCOME.

I'M SISTER JULIENNE.

I'M PATIENCE MOUNT, BUT PEOPLE CALL ME PATSY.

WOMAN: THIS IS FRED-- OUR HANDYMAN.

PHYLLIS CRANE.

SRN.

SCM.

HELLO!

WOMAN, VOICE-OVER: ONE OF THE THINGS THAT MAKES THE JOB SPECIAL IS THAT IT'S AN ENSEMBLE CAST AND THEY'RE ALL WONDERFUL AND IT'S A JOY TO ACT WITH THEM.

NURSE CALLING.

VALERIE DYER.

I'M A NURSE.

QUEEN ALEXANDRA'S ARMY CORPS.

[DOOR CLOSES] [BELL RINGS] OH, HELLO, REGGIE, LOVE.

HELLO, MUM.

OH.

WE'RE GOING TO GO STRAIGHT AHEAD AND THEN TURN RIGHT INTO LISBON STREET.

DON'T FORGET YOUR HAND SIGNALS.

I JUST STICK OUT MY ARM, DON'T I?

SLOW DOWN NOW, CHUM.

HOW?

LEAN IN AS YOU TURN.

I DON'T KNOW HOW TO TURN.

I'VE FORGOTTEN HOW TO TURN!

[ALL SCREAMING] MAN: BRAKE!

BRAKE, NURSE!

[BICYCLES CRASHING] MAN: WHAT HAPPENED?

MAN 2: THEY WERE GOING TOO FAST!

[ALL GROANING] [MAN SPEAKING INDISTINCTLY] WOMAN, VOICE-OVER: I THINK THE SUCCESS OF THE SHOW REALLY IS DOWN TO THE FACT THAT HEIDI THOMAS IS STILL WRITING FOR US.

AGUTTER, VOICE-OVER: THE PROGRAM HAS SHOWCASED THE LIFE AND WORK OF A MIDWIFE AND THE ESSENTIAL HUMANITY OF THE ROLE.

...CARRIE.

PUT ANOTHER ONE BEHIND YOU.

WOMAN, VOICE-OVER: I THINK "CALL THE MIDWIFE" HAS REALLY BROUGHT MIDWIFERY INTO PEOPLE'S MINDS.

IT'S BECOME A SORT OF HOUSEHOLD NAME IN A WAY THAT PERHAPS IT WASN'T BEFORE.

IT'S DISCUSSED MORE.

IT'S BECOME A CAREER POSSIBILITY FOR MANY WOMEN AND MEN.

THE WORD "MIDWIFE" MEANS "WITH WOMAN."

A WOMAN IN THAT SITUATION NEEDS SOMEBODY BY HER SIDE, WHATEVER MISTAKES OR CHOICES BROUGHT HER TO OUR DOOR.

[BREATHING HEAVILY] THAT'S IT.

THAT'S IT.

KEEP IT COMING.

[GROANING] WOMAN: GRAVITY CAN DO AMAZING THINGS.

IT KEEPS OUR FEET ON THE GROUND AND BRING BABIES DOWN TO EARTH.

WOMAN, VOICE-OVER: YOU HAVE TO REMAIN CALM AND MEASURED IN YOUR RESPONSES AND YOU HAVE TO BE KIND AND EMPATHETIC.

[CRYING] YOU'RE UNBELIEVABLY BRAVE.

AND I WISH WE ALL HAD YOUR COURAGE.

[BABY FUSSING] GEORGE, VOICE-OVER: I THOUGHT I DESERVED ALL MANNER OF MEDALS.

UP ALL NIGHT, CYCLING FOR MILES, A WALL OF WIMPLES AT EVERY SINGLE MEAL TIME.

AIN'T YOU EVER HEARD OF A MOTHER'S INSTINCT BEFORE?

I NEED HIM TO COME!

BLONDES HAVE MORE FUN.

THEY DO.

AIN'T THAT RIGHT, NURSE?

ABSOLUTELY.

WE ARE MIDWIVES.

AND WE'RE ALSO NURSES AND WE'RE YOUR FRIENDS.

[SNIFFLES] WHILE WE'RE LOOKING AFTER YOU, WE'LL BE WHICHEVER OF THOSE YOU NEED MOST.

[CRYING] AAH!

[LAUGHS] YOU MARK MY WORDS.

THE JOY OF MIDWIFERY NEVER DIMS.

MAN, VOICE-OVER: WITH MUSIC, YOU CAN SOMEHOW EXPRESS THINGS THAT GO BEYOND WHAT YOU CAN SAY WITH WORDS.

WE'RE HERE IN ABBEY ROAD STUDIOS, WHERE WE HAVE JUST RECORDED AN EPISODE OF SEASON 10.

[ORCHESTRA PLAYING MUSIC] THE MOST IMPORTANT INSTRUMENT IN THE PALETTE OF SOUNDS IS ACTUALLY THE DIALOGUE, THE SCRIPT OF HEIDI THOMAS, AND THE MUSIC IS WRITTEN IN COUNTERPOINT WITH THE STORY.

WHAT HAPPENS IN THE STORY RESONATES IN THE MUSIC AND CREATES AN AVID LANGUAGE.

IT IS JUST A UNIVERSAL HUMAN LANGUAGE.

SOME OF THE SCENES I LIKE TO SCORE THE MOST ARE THE BIRTH SCENES.

[ORCHESTRA PLAYING MUSIC] THEY SAY "MYSTERY OF THE CREATION OF LIFE" AND THE MUSIC CAN GO BEYOND WHAT WE SEE IN THESE SHOWS.

[ORCHESTRA PLAYING MUSIC] [BABY CRYING] WOMAN: A RECEIVER FOR THE PLACENTA, PLEASE, PUPIL MIDWIFE CORRIGAN.

YES, MRS. TURNER.

[FUSSING] AGUTTER, VOICE-OVER: PLAYING THE PART OF A COMPETENT MIDWIFE IS NOT THE SAME AS BEING ONE.

CONFRONTED BY THE REALITY, COULD ANY OF US REALLY HANDLE IT?

I COULD DELIVER A BABY.

ABSOLUTELY NOT.

I THINK I'D PROBABLY RUN THE OTHER WAY.

[LAUGHS] BECAUSE IT'S NOT LIKE IT IS ON TV IN REAL LIFE.

[LAUGHS] AGUTTER, VOICE-OVER: IF I SEE SOMEONE WHO IS QUITE LARGELY PREGNANT AND LIKELY TO HAVE A BABY AT ANY TIME, I MOVE VERY FAR AWAY SO THAT I'M NOT SPOTTED, BECAUSE THE IDEA OF BEING ASKED WHETHER I COULD DO ANYTHING... [LAUGHS] YEAH, I SORT OF THINK, OH, I'D KNOW WHAT MAYBE SOME OF THE STAGES WERE.

UM, NOT REALLY.

NO, I THINK I'D RATHER, ERM, LEAVE IT TO THE EXPERTS.

IN TERMS OF MY FAVORITE BIRTH, GOSH, THERE HAVE BEEN SO MANY.

I'D LIKE TO KNOW HOW MANY I'VE DONE ON THE SHOW.

THERE'S BEEN SOME REALLY INCREDIBLE ONES AND I THINK EACH TIME IT'S AN EMOTIONAL BUBBLE THAT BURSTS.

EVEN THOUGH IT'S ACTING, IT SOMEHOW FEELS REAL.

MAN: SHE SAYS, "I LOVE YOU "AND YOUR FATHER LOVES YOU.

"AND IF YOU NEVER HEAR HIS VOICE, "OR IF I NEVER HEAR YOURS... "JUST KNOW THAT WE LOVE YOU FROM THE BOTTOM OF OUR HEARTS."

[FUSSING] [CRYING] PARFITT, VOICE-OVER: I NEVER STOP BEING MOVED EVERY TIME I SEE A BABY BORN.

IT DOESN'T MATTER HOW MANY TIMES.

ERM, AND I THINK THAT'S WHAT THE AUDIENCE LOVE, TOO.

IT'S FRESH LIFE.

AND IF YOU'RE SUGGESTING THAT A FEW DEEP BREATHS AND NOT THINKING ABOUT WHAT'S FOR DINNER IS ALL THERE IS TO LABOR, YOU ARE LEADING YOUR PATIENTS UP THE FAIRY WAY.

BABIES COME ALONG WHEN THEY FEEL INCLINED.

WE CAN ONLY PREPARE.

WE CAN NEVER PREDICT.

[SHIP'S HORN BLOWS] OH, LORD, IF I'VE EVER GIVEN YOU THE IMPRESSION THAT I DON'T BELIEVE IN YOU, I ABSOLUTELY PROMISE THAT I DO NOW.

[INDISTINCT CHATTER] [BREATHING HEAVILY] I DID IT.

[MEN LAUGH] I WANT TO BE GLAD, BUT I DON'T KNOW HOW.

LET HIM HOLD YOUR FINGER.

LET HIM KNOW YOU'RE HERE.

YOU HAVE A SON.

OH!

[BABY FUSSING] MRS. TURNER: HELLO.

AGUTTER, VOICE-OVER: "CALL THE MIDWIFE" HAS NOT SHIED AWAY FROM DIFFICULT SUBJECTS.

WHAT IS IT?

BABY'S HAD SOME COMPLICATIONS, RUBY.

AGUTTER, VOICE-OVER: SPINA BIFIDA.

IT'S A PROBLEM WITH HIS BACK.

AGUTTER, VOICE-OVER: FEMALE GENITAL MUTILATION.

THERE'S NOTHING THERE BUT A SCAR FROM FRONT TO BACK.

ARE YOU SURE?

AGUTTER, VOICE-OVER: ABORTION.

THIS IS ENGLAND AND WE DO NOT GIVE OUT ABORTIONS TO ANY WOMAN WHO DEMANDS ONE.

AGUTTER, VOICE-OVER: RACISM.

ONE AS NECESSARY, JUST AS YOU'VE BEEN TAKING THEM.

I TELL YOU WHAT-- EVERY WOMAN IN THE FAMILY WAY IS GONNA BE BANGING YOUR DOORS DOWN FOR THESE.

WHAT'S THAT MAGIC STUFF IN THEM AGAIN?

THE TABLETS ARE KNOWN AS DISTOVAL AND THE MAGIC INGREDIENT IS CALLED THALIDOMIDE.

WELL, BETTER GET SOME MORE IN.

I'M GONNA SPREAD THE WORD!

HA!

SHALL WE?

MAN, VOICE-OVER: I THINK ONE OF MY FAVORITE MOMENTS HAS TO BE SERIES 5 AND THALIDOMIDE, AND THE REASON BEING THAT I WAS OLD ENOUGH TO REMEMBER THESE KIDS PLAYING IN THE STREET THAT WERE A BIT OLDER THAN I WAS.

CATCH YOUR BREATH FOR NOW.

OHH!

[WOMAN CRYING] OH, WHAT IS IT?

A BOY OR A GIRL?

[BREATHING HEAVILY] McGANN, VOICE-OVER: IT ALSO AFFECTED THE CHARACTER PERSONALLY.

IT'S A DAUGHTER.

[LAUGHS] McGANN, VOICE-OVER: IT INVOLVED FANTASTIC SPECIAL EFFECTS AND ENORMOUS COMMITMENT TO ACCURACY AND AUTHENTICITY IN THE SCRIPT.

[BABY CRYING] BRING HER OVER.

I WANT TO LOOK AT HER.

McGANN, VOICE-OVER: MY FAVORITE "CALL THE MIDWIFE" SCENE IS PROBABLY THE SCENE IN THAT EPISODE, AN ORDINARY MUM HAS THE BABY IN HER ARMS AND SHE UNCOVERS FOR THE FIRST TIME THAT THIS CHILD IS FORM IN DEFICIENT.

[EXHALES] [SOFTLY] OH, LOVE.

[REGULAR VOICE] WHAT A MESS.

WHAT A MESS, HEY?

[SNIFFLES] WE'LL SORT SOMETHING OUT.

I PROMISE.

'CAUSE YOU'RE MINE.

MINE.

AND I'M NOT BAILING OUT ON YOU.

BUT ME AND LAURA WORKED A LOT WITH THE WONDERFUL ANIMATRONIC MODEL, WHICH WE CALLED BABY SUSAN.

THAT'S HER CHARACTER'S NAME.

SHE CAN HOLD A RATTLE IN THEM, DR. TURNER, AND A SPOON.

SHE CAN'T GET IT IN HER MOUTH YET, BUT...

MOST CHILDREN CAN'T FEED THEMSELVES UNTIL THEY'RE A WEE BIT OLDER.

ONE OF THE MOST IMPORTANT PROSTHETICS WE HAD MADE WAS FOR BABY SUSAN, AND WE HAD LOADS OF RESEARCH MATERIAL FROM HEIDI, AND WE WORKED WITH REALLY BRILLIANT PROSTHETIC TECHNICIANS.

...SO MISSHAPEN.

WE WERE ALSO TALKING TO GROWN-UP THALIDOMIDERS WHO HADN'T SEEN THEMSELVES AS BABIES.

SO, IT WAS REALLY MOVING FOR THEM.

THAT'S IT.

LIFT IT OFF THE BIG ONE.

MAN: LOOK AT THAT!

WOMAN: YAY!

McGANN, VOICE-OVER: AND AT THAT TIME, OBSERVING THOSE THINGS AND BEING PROUD TO PLAY A PART IN THAT, ER, IS POSSIBLY MY PROUDEST MOMENT ON "CALL THE MIDWIFE."

COME ALONG, SALLY.

YOU CAN BRING YOUR MOTHER WITH YOU.

WOMAN, VOICE-OVER: MY FAVORITE STORY WAS INCREDIBLY MOVING.

IT WAS ME AND CYNTHIA-- CHUMMY AND CYNTHIA-- THAT DID THE BIRTH FOR THAT SCENE AND THAT WAS INCREDIBLY TOUGH TO DO, ACTING-WISE, AND JUST SORT OF BEING IN THE MOMENT OF THAT STORY.

THAT'S AN EXAMPLE OF A HEIDI THOMAS GENIUS SCRIPT.

I THOUGHT IT WAS AMAZING, INCREDIBLY MOVING.

I HAVEN'T HEARD IT CRY YET.

IS IT HURT?

IT'S JUST VERY, VERY LITTLE, SALLY.

CYNTHIA: IT'S JUST THE PLACENTA, SALLY.

[BREATHING HEAVILY] CAN I GO HOME NOW?

THOMAS, VOICE-OVER: WE DO DEAL WITH THE HARSHER REALITIES OF BEING A YOUNG BLACK WOMAN IN WHITE BRITISH SOCIETY AT THAT TIME.

MIDWIFE'S HERE.

[BREATHING HEAVILY] NURSE ANDERSON, THIS IS MARJORIE CHIVVERS.

HELLO, MRS. CHIVVERS.

TEXTBOOK PREGNANCY THIS TIME, TOO.

KNOWN MARJORIE SINCE SCHOOL.

BIGGEST COMPLICATION IS LIKELY TO BE THE MOTHER.

BIT OF A CHARACTER.

WOMAN, VOICE-OVER: I MEET THE MOTHER OF THE EXPECTANT MOTHER CALLED MAE STANTON, WHO'S PROBABLY NOT SO PLEASED TO SEE ME.

I NEED TO EXAMINE YOU.

WHO DIED AND MADE HER THE BOSS?

LOOK, IF YOU'RE GONNA BE FUNNY, YOU CAN CLEAR OFF!

CAN'T NO ONE TAKE A JOKE THESE DAYS?

RIGHT, MAE.

WHY DON'T YOU GET BACK DOWN... WOMAN, VOICE-OVER: SHE DOESN'T WANT A FOREIGN MIDWIFE TO, UM, YOU KNOW, LOOK AFTER HER DAUGHTER.

HELLO, GIRLS.

GIRL: HELLO.

AND HOW IS LITTLE DENNY?

HANDS OFF!

MRS. STANTON!

COME ON, GIRLS.

COME WITH ME.

MAE: I DON'T WANT YOU LOT ANYWHERE NEAR MY FAMILY!

AND ESPECIALLY NOT HER!

COME ON, GIRLS.

I DID AN EPISODE ABOUT FGM, AND PEOPLE COULDN'T BELIEVE THAT IT WAS-- WENT AS FAR BACK AS THAT, THAT PEOPLE WERE ADDRESSING IT THAT FAR BACK, BUT, ER, THEY WERE, AND, ER, THAT WAS SORT OF WHEN WE WERE FIRST STARTING TO SEE IT IN THIS COUNTRY.

MY NAME IS NOT MRS. FARAH.

IN MY COUNTRY, A WOMAN DOES NOT TAKE HER HUSBAND'S NAME.

SHE IS HER OWN PERSON, CALLED AFTER HER OWN FAMILY LINE.

MY NAME IS NADEFA GHEDI JAMA!

AND NO MAN WOULD DARE CUT ME OR MY SISTERS.

THE PERSON WHO HOLDS A KNIFE IS A WOMAN.

THE PERSON WHO CALLS DEKA BACK TO BE CUT IS A WOMAN.

HER OWN MOTHER WHO LOVES HER.

WHO WANTS HER TO BE RESPECTED, TO BE CLEAN, AND TO FIND A GOOD HUSBAND, AND TO BE THOSE THINGS... SHE MUST BE CUT.

SHE WILL NOT BE SCARED.

SHE IS BRAVER THAN ME.

"CALL THE MIDWIFE" DOES ADDRESS SOME OF THE ISSUES THAT WE HAVE TODAY.

I THINK THERE'S A REAL FOCUS ABOUT ABORTION AND, UM, PEOPLE'S OPINIONS ON THAT.

OBVIOUSLY, IT WAS STILL ILLEGAL AT THE TIME, UM, SO, PEOPLE WERE GOING TO, ER, DESPERATE MEASURES TO REACH THEIR END GOALS.

GRAN...GRAN, HAS SOMEONE BEEN DOING AN ABORTION?

YES.

ME.

[FOOTSTEPS] [DOOR OPENS] YOU KNOW IT GOES ON ALL OVER.

JUST LIKE EVERYBODY ELSE DOES.

SHE AIN'T NEVER HAD THIS HAPPEN BEFORE.

NOT ONCE!

YOU WANTED TOWELS.

DON'T YOU DARE BRING THOSE FILTHY ARTICLES ANYWHERE NEAR MY PATIENT.

THROW THEM ON THE FLOOR, PLEASE, SO I DON'T SLIP IN THIS MESS.

THANK YOU.

CAN YOU PUT SOME GLOVES ON, NURSE DYER, IN CASE I NEED YOU TO PREPARE SOME ERGOMETRINE?

SWEETHEART, CAN YOU TELL ME YOUR NAME?

IT'S TERESA.

OH!

TRIXIE: I'M JUST GOING TO TAKE A LITTLE LOOK DOWN BELOW, TERESA.

I SEND THEM HOME TO BED, USUALLY.

THEY LOSE IT AT NIGHT OR THE NEXT DAY.

TRIXIE: MOVE YOUR KNEES APART FOR ME.

I'VE NEVER SEEN ANYTHING LIKE THIS.

TRIXIE: GOOD GIRL.

WE'RE GOING TO SORT THIS OUT.

WOMAN: I RECKON THERE WAS ALREADY SOMETHING WRONG WITH HER.

TRIXIE: IT'S THE HEMORRHAGE SHE'S HAVING NOW THAT CONCERNS ME.

DID YOU USE INSTRUMENTS?

YES.

THANK YOU.

NURSE DYER, I NEED STERILE PADS AND I NEED YOU TO CALL FOR AN AMBULANCE.

I CAN'T DO THAT.

YOU KNOW I CAN'T.

IT'S WHY WE SENT FOR HER.

YOU CAN AND YOU WILL.

BECAUSE IF EITHER NURSE DYER OR I HAVE TO LEAVE THIS POOR GIRL'S SIDE TO DO IT, WE'LL BE COMING BACK HERE WITH A POLICE OFFICER.

WON'T WE?

YES.

TERESA: I DON'T WANT MY MUM AND DAD TO KNOW.

[CRYING] I PROMISE, TERESA, RIGHT NOW, NOBODY IN THIS ROOM IS THINKING ABOUT ANYONE BUT YOU.

AGUTTER, VOICE-OVER: IF I WERE TO STEAL SOMETHING FROM A SET ON "CALL THE MIDWIFE," I'M AFRAID THAT THERE ARE TWO MAIN PLACES OF FOCUS AND ONE IS MY OFFICE.

I ABSOLUTELY LOVE ALL THE PROPS IN MY OFFICE.

I'D LIKE TO TAKE MY UNIFORM HOME.

I LOVE THIS BUILDING AND I WOULD--EVERY TIME I HAVE AN IDLE MOMENT, I STROLL AROUND IT AND IMAGINE IT AS A FABULOUS HOUSE THAT I COULD LIVE IN, AND THIS ROOM THAT WE ARE IN IS ACTUALLY MY EN-SUITE BATHROOM.

ARMCHAIRS.

THEY'RE NOT COMFY BUT THEY LOOK FANTASTIC.

YEAH.

I'D LIKE AN ARMCHAIR.

I'D WANT TO TAKE HOME THAT.

WELL, I THINK, CONTRACTUALLY, IT'S GOING TO FOLLOW ME ON EVERY JOB I DO.

AND I MIGHT TAKE IT HOME.

[WHISPERS] Don't tell anyone.

THERE'S A FEW COSTUMES THAT I REALLY WANT TO TAKE HOME.

I'VE GOT THIS BEAUTIFUL BRIGHT BLUE SUEDE COAT, WHICH IS A GORGEOUS SORT OF SIXTIES VIBRANT COLOR, AND I REALLY WANT TO TAKE IT HOME.

I HAVE BEEN EYEING UP THE CLOCK IN DR. TURNER'S SURGERY.

I REALLY WOULD QUITE LIKE THAT ON MY KITCHEN WALL.

I'D PROBABLY TAKE MY CROSS.

AND THE OTHER THING I'D LIKE TO STEAL, IF I MAY STEAL SOMETHING ELSE, IS A TEA SET FROM THE TEA TABLE, BECAUSE SO MUCH OF OUR LIVES ARE PLACED AROUND THAT, AND THEY'RE SO MUCH OF THE PERIOD.

IF THERE IS SOMETHING I'M ALLOWED TO TAKE HOME FROM THE SET, IT WOULD BE AN ENAMEL BUCKET WITH A LID.

I, GEORGIE, WOULD LIKE THE DONKEY FROM THE FIRST NATIVITY PLAY THAT WAS MY--I THINK IT WAS MY VERY FIRST SCENE.

THERE ARE ONE OR TWO YOUNG MEN I WOULDN'T MIND TAKING HOME, BUT APART FROM THAT, NO.

IN A SCENE, I MAY BE OPENING A LETTER, AND, WHEN I OPEN IT, SOMEONE'S TAKEN THE TROUBLE TO WRITE THE LETTER TO SISTER JULIENNE, AND IT WILL BE ABOUT A PROBLEM THEY'RE HAVING, AND IT'S NOT A LETTER THAT'S BEING SEEN.

IT'S NOT PART OF THE STORY.

BUT THAT'S WHAT THE PROP DEPARTMENT DO, AND I MIGHT STEAL ONE OF THOSE.

MAN, VOICE-OVER: THIS IS THE PROP STORE, AND WE HOLD THOUSANDS OF ITEMS HERE.

I'VE BEEN TO SOUTH AFRICA WITH THIS SHOW AND WE'VE BEEN TO SCOTLAND.

SOUTH AFRICA PROBABLY WAS THE HARDEST CHALLENGE I HAD BECAUSE WE WERE IN THE HEAT.

SO, WE WERE UP AGAINST ALL THE ELEMENTS.

GEORGE, VOICE-OVER: THERE HAVE BEEN SO MANY WONDERFUL SCENES OVER THE LAST 10 YEARS.

I THINK ONE OF MY FAVORITE ONES WAS, UM, WHEN WE WERE IN SOUTH AFRICA AND WE WERE TRAVELING BACK ON THE BACK OF A TRUCK THAT DR. TURNER WAS DRIVING.

[LAUGHS] QUITE BADLY, I HAVE TO SAY.

BUT WE HAD THIS WONDERFUL MOMENT, MYSELF AND THE LADIES, WHERE WE JUST SORT OF WATCHED THE SUNSET AND SANG.

I THINK WE SANG "AMAZING GRACE" AND IT WAS JUST THIS REALLY PEACEFUL MOMENT.

I DON'T THINK WE WERE EVEN BEING FILMED.

IT WAS JUST A WONDERFUL MOMENT.

I HAD HUGE RESISTANCE IN ME TO GOING TO THE OUTER HEBRIDES, LOOKING AT THESE PICTURES OF WHAT SEEMED TO BE A VERY GRAY AND DIFFICULT PLACE.

AND I LOVED THE EXPERIENCE OF BEING THERE.

THERE WAS THAT INEXPLICABLE SCENE OF FOLLOWING SISTER MONICA JOAN ACROSS THE MOORSIDE AND THEN HAVING HER SEE A WHITE STAG.

IT'S PART OF THE MAGIC OF THE WAY HEIDI WRITES.

I THINK THAT SHE DOES WRITE IMAGINATIVELY.

YOU CAN'T HELP BUT BE TOUCHED BY SOMETHING LIKE THAT.

[GASPING] [GASPING] SISTER MONICA JOAN: I KNEW HIM AT ONCE... FROM THE LOVE IN HIS GLANCE.

HE CAME.

HE LOOKED.

AND HE DEPARTED.

IN THAT CASE, WE WILL ACCEPT HIS BLESSING AND GO TO SEEK HIM IN ANOTHER PLACE.

MAIN, VOICE-OVER: I'LL NEVER FORGET BEING TOLD WHAT WAS PLANNED IN THAT SERIES, BECAUSE IT JUST FELT LIKE SUCH A GIFT OF A STORYLINE AND IT--SUDDENLY, THE JOB WAS EVEN MORE AND GREATER THAN I THOUGHT IT WAS GOING TO BE.

SO, ALL OF THAT SERIES AND THOSE MOMENTS, I'M REALLY FOND OF, LOOKING BACK.

DAD!

THERE'S A WOMAN IN THE WRONG CLOTHES AND I THINK IT'S HER!

WHAT IF IT HAD STARTED RAINING?

WHAT IF YOU'D GOT LOST?

I WAS LOST.

I GOT THE WRONG BUS.

I WAS ON THE RIGHT ROAD.

YES.

I KNOW YOU SO LITTLE, BUT I COULDN'T BE MORE CERTAIN.

I AM COMPLETELY CERTAIN.

I DON'T EVEN KNOW YOUR NAME.

SHELAGH.

PATRICK.

THERE.

WE'VE MADE A START.

I CAN'T, JIMMY.

I BELIEVE IN THE FILMS, THEY SAY, "YOUR PLACE OR MINE?"

I'D LIVE IN A DITCH IF IT WAS WITH YOU.

WILL YOU JUST LET ME LOVE YOU AND ACCEPT THIS BLADE OF GRASS?

YES, I WILL.

BARBARA GILBERT, WILL YOU MARRY ME?

OH!

AND WHEREVER I GO NEXT... YOU'RE COMING WITH ME.

I LOVE YOU, NURSE ANDERSON.

AGUTTER, VOICE-OVER: OVER 10 YEARS OF POWERFUL DRAMA... HELLO, BAMBINO.

AGUTTER, VOICE-OVER: PARTICULAR SCENES TOUCH US IN A SPECIAL WAY.

I'M YOUR DAD.

AGUTTER, VOICE-OVER: I THOUGHT IT WAS A WONDERFUL SCENE WHEN THE NUNS WENT THROUGH THE TRUNKLOAD OF DRESSES THAT THEY HAD HAD FOR THEIR MARRIAGE TO CHRIST AND GAVE A REVELATION AS TO WHO THEY WERE AND WHAT THEY'D FELT AND THEIR COMMITMENT.

...UNTIL I HAD BLISTERS.

AND THIS ONE'S MINE.

IT WAS ALMOST THROWN OUT BECAUSE THERE WAS SILVER EMBROIDERY ON THE SLEEVES.

IN THE END, I HAD TO UNPICK EVERY STITCH.

I FELT RATHER SORRY FOR THE BRIDE THAT DONATED IT.

[GIGGLES] I WAS QUITE SAD WHEN I WAS TOLD I'D BE MAKING MY VOWS IN MY HABIT.

I HADN'T REALIZED THE ORDER HAD GIVEN UP THE CUSTOM UNTIL THEN.

WOMAN: SISTER, THE EXPRESSION ON YOUR FACE WAS WORTH A THOUSAND THRILLS AND FOLDEROLS.

I DON'T MIND TELLING YOU I FELT LIKE AN ABSOLUTE SIDESHOW IN MY BIG, WHITE FROCK.

I'M SURE YOU LOOKED LOVELY.

IT WAS JUST A LOAD OF NONSENSE.

I'D NEVER HAD ANY DREAMS OF A WEDDING DAY.

WHEN SISTER EVANGELINA DIED AND THE COFFIN IS AT THE ENTRANCE TO NONNATUS HOUSE AND SISTER MONICA JOAN BRINGS OUT HER SHOES AND PUTS THEM ON THE COFFIN LID, I THOUGHT THAT WAS THE MOST BRILLIANT THOUGHT ON HEIDI'S PART BECAUSE IT WAS SO EMOTIVE.

IT SUMS UP THE CHARACTER.

[HOOFBEATS] BASSETT, VOICE-OVER: I THINK MY FAVORITE STORY WAS THE ONE WHERE WE RESCUED A YOUNG MOTHER FROM AN ABUSIVE HUSBAND.

HER MOTHER WAS ALSO A BULLY, SO, SHE WAS HAVING A VERY BAD TIME.

AND SHE HAD A LITTLE SON AS WELL AS THE BABY.

MICKEY, MICKEY, RUN AND BANG ON THE DOOR.

BANG ON IT.

[POUNDING] HELP!

HELP!

[WOMAN CRYING] SISTER JULIENNE: COME INSIDE.

COME INSIDE WHERE WE CAN HELP YOU.

BASSETT, VOICE-OVER: WE GOT HER AWAY, SO, THERE WAS A LOVELY SCENE AT THE END WITH THEM GETTING ON THE BUS, GOING OFF TO A BETTER HOME LIFE, AND THE LITTLE BOY HOLDING HIS BALLOON AS HE WENT OFF AND WAVING BYE-BYE.

YES, I LIKED THAT STORY.

MICKEY: THANK YOU!

WOMAN: BYE.

ONE MAKEUP THAT I REALLY DID ENJOY DOING WAS A FEW SERIES AGO NOW, BUT IT WAS ON SISTER CYNTHIA, AND SHE'D UNFORTUNATELY, IN THE STORYLINE, BEEN BADLY BEATEN UP.

WE DIDN'T REALLY GO OVERBOARD WITH IT, SO, IT WASN'T ABSOLUTELY EXCRUCIATING TO LOOK AT HER, BUT IT WAS ENOUGH TO MAKE HER LOOK REALLY VULNERABLE AND FRAIL.

IT'S VERY IMPORTANT THAT WE CREATE JUST THE RIGHT SUPPORT.

I THINK IT CAN REALLY HELP AN ACTOR.

SISTER, WHAT HAPPENED?

I WASN'T RAPED.

BEFORE YOU ASK ME, I CAN SAY THAT.

I WASN'T RAPED.

YOU WERE VICIOUSLY ATTACKED.

JUST NOW, THE DETAILS DON'T MATTER.

I DON'T WANT YOU TO COME NEAR ME.

I JUST-- I DON'T WANT ANYBODY TO TOUCH ME AT ALL.

I'LL CALL SERGEANT NOAKES.

O'FARRELL, VOICE-OVER: BRYONY WAS SO BRILLIANT IN THAT PART.

THANK YOU.

O'FARRELL, VOICE-OVER: THERE WAS A LITTLE BIT OF PROSTHETIC ON HER EYE, BUT NOT TOO MUCH.

BUT I THINK IT REALLY WORKED, ACTUALLY.

THERE IS A TIME FOR US TO MORTIFY OUR FLESH... AND A TIME TO CHERISH IT... AND MARVEL AT ITS STRENGTH.

[GASPS] ELLIOTT, VOICE-OVER: MY ENTRANCE COMING IN IN THE BIG FREEZE, TRUDGING THROUGH THE FAKE SNOW, MEETING VAL AND THE REST OF THE CAST.

THAT'S PROBABLY MY FAVORITE MOMENT.

[WIND BLOWING] [POUNDING ON DOOR] COME IN QUICK OUT OF THE SNOW.

DO YOU NEED TO SEE A MIDWIFE?

I AM A MIDWIFE.

I'M NURSE ANDERSON.

LUCILLE ANDERSON.

OH.

COURSE YOU ARE.

AND I JUST FELL OVER.

I'M SORRY.

WE'RE IN THE MIDDLE OF A POWER CUT.

I'M SORRY I'M LATE.

I'VE BEEN TRAVELING FOR TWO DAYS.

HAVE YOU BROUGHT A SUITCASE OR ANYTHING?

I BOUGHT TWO.

BUT I HAD TO LEAVE THEM BEHIND WHEN WE WERE FORCED TO EVACUATE THE TRAIN.

OH.

[CHUCKLES] A POETESS?

OH!

ONE DABBLES, SERGEANT WOOLF.

GLEN, VOICE-OVER: I'D HAD A ROMANTIC LIAISON WITH SERGEANT WOOLF AND I'D ALLOWED MYSELF TO GET A BIT SILLY AND ROMANTIC ABOUT IT ALL.

I FEEL IT WOULD BE UNFAIR OF ME TO CONTINUE WITH OUR RELATIONSHIP.

GLEN, VOICE-OVER: IT ENDED BADLY AND TRAGICALLY AND I FELT EMBARRASSED AND SILLY ABOUT IT.

NURSE CRANE OFFERED A HAND OF FRIENDSHIP AND WE HAD A LITTLE SCENE WHERE WE SAT IN THE ALLOTMENTS, AND IT WAS A VERY SPECIAL MOMENT BECAUSE I THINK IT WAS THE FIRST TIME MISS HIGGINS HAD ACTUALLY ALLOWED HERSELF TO LET DOWN HER DEFENSES AND REALIZE THERE WAS SOMEONE THERE WHO WAS OFFERING SOME SORT OF FRIENDSHIP, AND SHE COULD REALLY SPEAK OPENLY, AND I FOUND THAT THAT WAS QUITE AN IMPORTANT MOMENT FOR ME.

I FEAR I HAVE MADE MYSELF LOOK RATHER FOOLISH.

NOT IN THE LEAST.

ONE BECOMES SO STARVED OF COMPANIONSHIP.

I LET MYSELF IMAGINE IT WAS SOMETHING MORE THAN IT WAS.

YOU'VE BEEN DISAPPOINTED IN LOVE.

IT DOESN'T MEAN THERE WASN'T LOVE THERE TO BEGIN WITH.

I HAVE MANY FAVORITE MOMENTS BUT ONE THAT STICKS IN MY HEAD IS WHEN CYRIL PICKS UP LUCILLE IN THE MOTORBIKE AND THE SIDE CAR.

I JUST FIXED IT UP.

YOU'RE THE FIRST PERSON TO RIDE IN IT.

HOW DO I GET IN?

JUST CLIMB IN.

THERE'S NOTHING TO IT.

TAITTE, VOICE-OVER: IT JUST LIT THAT KIND OF EXCITEMENT ABOUT THIS NEW RELATIONSHIP THAT'S FORMING.

[MOTOR WHIRRING] WHAT MAKES ME FEEL SO HAPPY IN FITTINGS IS WHEN THAT ACTOR ACTUALLY FEELS THE CHARACTERS THAT THEY'RE PLAYING AND YOU JUST SEE IT IN THEIR FACE.

YOU KNOW, I KNOW THAT I'VE DONE MY JOB THEN.

A FAVORITE OUTFIT WOULD BE TRIXIE'S RETURN.

TAXI!

LYNCH, VOICE-OVER: EVERYBODY WATCHES WHAT TRIXIE'S WEARING... [SIGH] SO, THERE WAS QUITE A LOT OF PRESSURE TO MAKE SURE WE HAD AN OUTFIT THAT WAS EYE-CATCHING.

VALERIE: TRIXIE, YOU LOOK WONDERFUL.

NURSE CRANE: I DARE SAY YOU'LL BE WANTING A DECENT CUP OF TEA!

AND IF IT COMES WITH CAKE, YES, PLEASE.

[GIGGLES] THE GOOD THING WITH TRIXIE IS THAT WE DO HAVE THE, ER, THE RICH AUNT FROM PORTOFINO, SO, WE DO HAVE A LITTLE BIT OF ARTISTIC LICENSE ON GIVING HER A WARDROBE THAT'S SLIGHTLY MORE SOPHISTICATED AND GLAMOROUS THAN PERHAPS WOULD BE FOR A NORMAL MIDWIFE'S WAGE.

AGUTTER, VOICE-OVER: FAMILY BONDS ARE ESPECIALLY IMPORTANT HERE.

THEY ARE THE BEATING HEART OF THE DRAMA.

PEOPLE WRITE IN ALL THE TIME SAYING HOW MUCH THEY ENJOY WATCHING FUNCTIONING, GROWING FAMILIES.

BOY: ARE YOU SAD, DAD?

HOW COULD I BE SAD WHEN I'VE GOT YOU?

I'M HAPPY.

WELL, THAT'S A GOOD THING, ISN'T IT?

TO BE HAPPY?

NOT IF MY MUM'S ANGRY.

WHY WOULD SHE BE ANGRY?

BECAUSE SHE'S NOT HERE.

OH, REGGIE.

YOUR MUM WOULD BE DELIGHTED.

ALL SHE EVER WANTED WAS FOR YOU TO BE HAPPY.

AND FRED AND I ARE GONNA MAKE SURE THAT YOU ARE.

DON'T WORRY, AUNTY VI.

I'M NOT SAD, I'M HAPPY.

[RASPY BREATHING] [CHUMMY SNIFFLING] [SOFTLY] I LOVE YOU.

[CRYING] THE FAMILY, TO THE TURNERS, IT SHOULD FEEL LIKE HOME.

[LAUGHS] I SENT YOU A DUNDEE SO IT WOULD LAST.

McGANN, VOICE-OVER: WE HAVE TIM, A WIDOWER'S SON, AND WE HAVE ANGELA, WE HAVE MAY, WE HAVE BABY TEDDY, WE HAVE A NUMBER OF RABBITS.

WELL DONE, TIMOTHY.

McGANN, VOICE-OVER: TO HAVE A FAMILY AT THE CENTER OF A DRAMA LIKE THIS, A FAMILY THAT GROWS LIKE OTHER FAMILIES WHO WATCH THE PROGRAM... OH, YOU'VE GROWN A WHOLE INCH!

McGANN, VOICE-OVER: THAT IS MORE TRUE TO MORE PEOPLE OUT THERE THAN, SAY, A SERIAL KILLER DRAMA OR, YOU KNOW, A SPY MYSTERY THAT YOU CAN HAVE 100 OF.

THIS IS MORE OF A REAL THING.

WE JUST HAVE TO CHECK IF YOU'RE TALL ENOUGH TO DRINK BEER.

DR. TURNER: HA HA!

SHELAGH: OH.

[BOTH LAUGH] SHELAGH: SEEMS YOU ARE.

HA!

THE BISHOP SAID THAT BBC TELEVISION WANT TO FILM A CAROL SERVICE IN AN ORDINARY LONDON CHURCH AND BROADCAST IT ON CHRISTMAS DAY.

FILMING, MR. HEREWARD?

IN A CHURCH?

MY SENTIMENTS EXACTLY.

IS NOTHING SACRED?

AGUTTER, VOICE-OVER: "CALL THE MIDWIFE" DEALS WITH BIRTHS, MARRIAGES, AND DEATHS.

[RINGING] ALL MAJOR LIFE EVENTS THAT HAVE TRADITIONALLY BEEN MEDIATED BY FAITH.

[WOMEN SPEAKING INDISTINCTLY] AND GRANT THAT THIS DAY WE FALL INTO NO SIN, NEITHER RUN INTO ANY KIND OF DANGER, THAT ALL OUR DOINGS, IN ORDER BY THY GOVERNANCE, MAY BE RIGHTEOUS IN THY SIGHT.

EVERYONE ALWAYS SAYS I SOUND LIKE I'M FROM A DIFFERENT TIME AND SO IT FITS PERFECTLY FOR THIS.

SO, IT'S NICE TO HAVE A LITTLE SING, ACTUALLY.

[INAUDIBLE] YEATES, VOICE-OVER: IT'S VERY SOOTHING DOING THOSE PSALMS.

THERE'S SOMETHING THAT COMES OVER YOU WHEN YOU'RE DOING IT.

IT'S A REALLY NICE THING TO DO WITH THE OTHER NUNS WHEN YOU GET TO DO THOSE SCENES.

[INAUDIBLE] FRED, VOICE-OVER: I WOULD BE A LITTLE BIT FED UP WITH YOU IF I WAS THE MAN UPSTAIRS.

THE MAN UPSTAIRS KNOWS MY REASONING.

IN WHICH CASE...

HE ALSO KNOWS YOU'RE SCARED.

YEA THOUGH I WALK THROUGH THE VALLEY OF THE SHADOW... YEA THOUGH I WALK THROUGH THE VALLEY OF THE SHADOW OF DEATH, I WILL FEAR NO EVIL, FOR THOU ARE WITH ME.

THY ROD AND THY STAFF, THEY COMFORT ME.

CHOIR: I ONCE WAS LOST BUT NOW I'M FOUND WAS BLIND BUT NOW I SEE SISTER MONICA JOAN, VOICE-OVER: WE ARE NONE OF US CAST ADRIFT IF WE HAVE FAITH.

ALL ISLANDS HAVE A BOUNDARY AND YOU LIVE YOUR LIFE WITHIN IT.

AND YOU LOVE IT OR YOU BREAK OUT AND MAKE A LIFE ELSEWHERE.

AND ON EVERY ISLAND IN THE WORLD, NO MATTER HOW MAGNIFICENT, THERE ARE THOSE WHO CANNOT LEAVE AND THOSE WHO CANNOT STAY.

AND I WAS ONE OF THOSE WHO COULD NOT STAY.

WE HAVE ALWAYS HELPED OUR NEIGHBORS WHERE WE CAN, AND THE PEOPLE IN THIS DISTRICT ARE OUR NEIGHBORS, NOT OBJECTS OF CHARITY OR PITY.

SO, WHY DO YOU THINK THEY CHOSE TO COME TO YOU?

BECAUSE THEY WANT TO STAY IN THE COMMUNITY.

THEY WANT THE MIDWIVES WHO SAW THEM THROUGH THEIR PREGNANCY AND THEY WANT THEIR FAMILIES CLOSE AT HAND.

WITHOUT THE MATERNITY HOME, MANY OF OUR PATIENTS WOULD HAVE THE CHOICE BETWEEN GIVING BIRTH IN DAMP, OVERCROWDED HOUSING OR A BUS RIDE, WHILE IN LABOR, TO A HOSPITAL WHERE THEIR CHILDREN COULDN'T VISIT.

PERSONALLY, I DON'T THINK THAT'S ANY CHOICE AT ALL.

BABIES ARE NOT STATISTICS AT NONNATUS HOUSE.

WE KNOW WHEN THEY ARE WANTED OR UNWANTED, WHETHER THEY ARE CHERISHED OR DEPRIVED.

WE SEE WHEN THEY'RE IN WITH A CHANCE IN LIFE OR STAND NO CHANCE AT ALL.

WE VALUE EVERY INFANT AND EVERY MOTHER EQUALLY.

WE ARE PART OF THEIR WORLD AND THEY ARE PART OF OURS BECAUSE THAT IS WHAT HAPPENS WHEN YOU ENTER PEOPLE'S HOMES.

MAN: BEAUTIFUL BUNCH, EH?

AGUTTER, VOICE-OVER: THE POWER OF THE STORIES LIES IN THEIR ESSENTIAL TRUTH.

JOINED THE GREAT WAR AND NEVER CAME HOME.

AND MY SALLY.

HUH.

YEAH.

AGUTTER, VOICE-OVER: CIRCUMSTANCES CHANGE BUT PEOPLE ARE MUCH THE SAME FROM ONE GENERATION TO THE NEXT.

I'M SORRY.

DON'T BE.

I LOVE THEM, THEY LOVED ME.

[KISS] [SIGH] ONE OF MY OWN PERSONAL FAVORITES, ERM, IS A STORY OF A COUPLE CALLED THE GELINS WHO LIVED IN POPLAR, AND MRS. GELIN WAS DYING, AND THERE IS ONE PARTICULAR SCENE WHERE HE TELLS HIS WIFE HOW MUCH HE LOVES HER, AND EVERY TIME I SEE THAT SCENE, IT MAKES ME CRY, BECAUSE IT REMINDS ME OF MY OWN PARENTS AND HOW THEY FELT FOR EACH OTHER.

[PANTING] IF I NEVER SAID I WAS GRATEFUL TO YOU, I SAY IT NOW.

IF I NEVER SAID I WAS PROUD OF THE HOME THAT YOU KEPT...

I SAY IT NOW.

IF I DIDN'T TELL YOU THAT YOU WERE BEAUTIFUL WHEN YOUR FACE GREW LINED, WHEN YOU DIDN'T HAVE A NEW BLOUSE FROM ONE SUMMER'S END TO THE NEXT...

I SAY IT NOW.

AND IF I DIDN'T TELL YOU THAT I LOVED YOU...

I SAY IT NOW.

MISSING YOU...

I WILL TALK ABOUT TOMORROW.

EVEN THOUGH OUR STORIES TOOK PLACE PERHAPS 70, 60-70 YEARS AGO, THEY'RE STILL TRUE TODAY.

BECAUSE IT'S HONEST AND BECAUSE IT DEALS WITH PERIODS OF TIME, VERY PARTICULAR PERIODS OF TIME, ONE'S ABLE TO SEE THE EFFECT OF THE CHANGES IN SOCIETY.

[MEN RECITING MEMORIAL PRAYER] AGUTTER, VOICE-OVER: MY OWN SENSE IS THAT PEOPLE IN A WAY DON'T CHANGE THAT MUCH EMOTIONALLY, BUT OUR LIVES ARE RUN BY WHAT HAPPENS AROUND US, WHICH WE FELT VERY MUCH WITH COVID.

I MEAN, WE'VE ALL HAD TO ADAPT TO A VERY DIFFERENT WAY OF LIFE, ERM, AND I THINK IT'S A WONDERFUL OPPORTUNITY DOING THIS TO ADDRESS ALL OF THOSE THINGS, ALL OF THOSE PROBLEMS, THE FRAILTIES, THE VULNERABILITY, THE HUMOR, THE RESILIENCE OF PEOPLE.

THIS WAY, DOCTOR.

HE'S JUST ROUND HERE.

WE NEED AN AMBULANCE RIGHT AWAY.

AND BRING SOMETHING TO KEEP HIM WARM.

THOMAS, VOICE-OVER: EVERY YEAR WHEN I START TO PLAN MY STORIES, I GO INTO MEDICAL ARCHIVES.

ONE OF THE THINGS I FIND VERY INTERESTING IS WHEN I STARTED WRITING "CALL THE MIDWIFE," WE WOULD HAVE TB STORIES, WE WOULD HAVE POLIO STORIES.

NOW I CAN'T TELL POLIO STORIES AND I CAN'T TELL TB STORIES BECAUSE THEY DID NOT EXIST AT THAT TIME.

THEY WERE BEING STAMPED OUT.

[CAMERA BUZZING] TIMER'S ON!

[CAMERA'S SHUTTER CLICKS] AGUTTER, VOICE-OVER: THE CHRISTMAS SPECIAL, ER, IS...AS ALWAYS WITH HEIDI, SHE CREATES A REALLY, ERM, EXCITING AND DIFFERENT STORY.

AND IT'S ALSO VERY MEASURED IN TERMS OF BRINGING IN ALL OF THE DIFFERENT CHARACTERS, BECAUSE IN A WAY, IT'S AN INTRODUCTION EACH YEAR TO THE SERIES SO THAT YOU REMEMBER WHERE EVERYBODY IS AND WHAT THEY'RE ABOUT AND WHAT THEY'RE DOING.

[INDISTINCT CHATTER] [SISTER MONICA JOAN CHEERS] WOMAN: SO, WE ARE IN THE TURNERS' HOUSE AND IT'S OUR MOST CONTEMPORARY SET.

VERY SIXTIES.

THE KITCHEN AND FURNITURE.

WE'RE CELEBRATING CHRISTMAS HERE AT THE MOMENT AND THE IMPORTANT THING ABOUT CHRISTMAS IS THE DECORATIONS THE CHILDREN DO.

LAST YEAR, THEY MADE FATHER CHRISTMASES, SO, THEY WILL RECOGNIZE THINGS THAT THEY DID LAST YEAR, WHICH I THINK GIVES THE CHARM AND THE REALITY TO THEIR CHRISTMAS TREE.

SISTER MONICA JOAN HAS ARRANGED THE FIGURINES IN WHAT SHE CALLS "CONVERSATIONAL GROUPINGS."

WHAT IN THE NAME OF GOODNESS IS THE ANGEL GABRIEL GOING TO SAY TO THE ASS?

McGANN, VOICE-OVER: '62 GOING INTO '63.

THERE'S SOMETHING THAT OBVIOUSLY PRESENTED ITSELF TO US STRAIGHT AWAY.

AND THAT WAS SOMETHING KNOWN AS THE BIG FREEZE.

OOH.

FRED!

IT'S A LONG TIME SINCE WE'VE SEEN ANYTHING LIKE THIS!

MORNING, NURSE CRANE, OR SHOULD I SAY, ER, BABY, IT'S COLD OUTSIDE!

IT WAS QUITE ASTONISHING WITH ICICLES HANGING OFF THE ROOF AND IT AFFECTED A LOT OF THINGS.

PEOPLE'S TRAVEL.

THE MILK FLOATS DIDN'T ARRIVE.

PEOPLE AREN'T GETTING HEAT AT HOME.

THAT'LL TEACH YOU TO SNUB COMPLIMENTARY THERMALS.

AGUTTER, VOICE-OVER: BABIES BEING BORN AGAIN WITHOUT ELECTRICITY.

ALL THE PROBLEMS THAT THAT BRINGS.

PUT THAT IN WITH HIM.

DON'T SEEM RIGHT, SENDING THE BUBBI OUT INTO THE COLD.

[EXHALES] [BABY FUSSING] [GASPING] [CRYING] HELP!

HELP!

QUICKLY!

HE'S ALIVE!

I THOUGHT HE WAS STILLBORN!

WE, AS EVER, AT CHRISTMAS TELL STORIES WHICH ARE QUITE EMOTIONAL AND CHALLENGING AT TIMES, BUT RESOLVE IN AN INCREDIBLY JOYFUL, POSITIVE, LOVING WAY.

[PUFF] DR. TURNER: ABSENT... ALL: ABSENT FRIENDS.

WOMAN: MERRY CHRISTMAS, EVERYBODY.

THE FIRST TIME THAT WE SANG WITH THE CHOIR, IT WAS AT NIGHT AND THEY CAME INTO THE CHAPEL.

IT WASN'T THEIR FIRST SCENE BUT IT WAS THE FIRST TIME WE'D ALL BEEN THERE AND IT WAS SUBLIME.

WE SANG "HARK THE HERALD ANGELS SING" AND IT WAS VERY, VERY UPLIFTING AND WONDERFUL.

CHOIR: GLORY TO THE NEWBORN KING [CHEERING AND APPLAUSE] AGUTTER, VOICE-OVER: CHARACTERS ARE SOMETIMES SEVERELY TESTED... [GUNSHOT] BUT THERE ARE MOMENTS, TOO, OF SHEER JOY AND ABANDON.

THE LOVE AND ENERGY OF THESE SCENES ARE VITAL TO THE SUCCESS OF "CALL THE MIDWIFE."

OPEN FOR BUSINESS.

[CHEERING] [FIREWORKS EXPLODING] [APPLAUSE] [CROWD CHEERING] [INAUDIBLE] [CHEERING AND APPLAUSE] [GASPING] DID YOU DO ALL OF THIS FOR ME?

I DO EVERYTHING FOR YOU.

ALWAYS.

[CHEERING AND APPLAUSE] TRICKLEBANK, VOICE-OVER: WE WOULD LIKE TO THANK ALL OF THE ACTORS AND THE THOUSANDS OF CREW MEMBERS WHO HAVE HELPED US AND SUPPORTED US OVER THE LAST 10 YEARS.

BUT MOST OF ALL, WE WOULD LIKE TO THANK YOU, OUR AUDIENCE, BUT HOPEFULLY, WE WILL SEE YOU VERY SOON.

THANK YOU SO MUCH FOR WATCHING OVER 10 YEARS, ERM, AND IF YOU'RE NEW TO THE SHOW, YOU'VE GOT LOADS OF EPISODES TO WATCH, SO, GET WATCHING.

THANK YOU FOR WATCHING BUT THANK YOU FOR SUPPORTING US, BECAUSE THERE'S NO WAY A SHOW COULD DO THAT FOR 10 SEASONS WITHOUT THAT REALLY LOYAL FAN BASE.

MAIN, VOICE-OVER: WE LOVE ALL FANS OF "CALL THE MIDWIFE," BUT THERE'S AN EXTRA SPECIAL THANK YOU TO FANS WHO'VE BEEN WITH US FROM THE BEGINNING.

THAT IS WHY WE'RE STILL HERE.

McGANN, VOICE-OVER: IT'S VERY, VERY SPECIAL, THIS SHOW.

IT'S NOT LIKE ANY OTHER JOB I'VE EVER DONE.

WE'RE SINCERE.

WE BELIEVE IT'S SOMETHING BEAUTIFUL.

THAT IT'S ABOUT LIFE AND LOVE AND DEATH AND ALL THOSE IMPORTANT THINGS, AND WE ABSOLUTELY MEAN IT.

AS LONG AS YOU STILL WANT TO WATCH US, WE WILL STILL TRY GIVING YOU THE BEST WE CAN.

THAT'S ALL WE CAN SAY.

AND THANK YOU FOR WATCHING.

STAY WITH US.

WE'VE MORE TO DO.

[CROWD CHEERING]