03/08/2025

Summary

The Archers Omnibus: Detailed Summary of Episode 03/08/2025

Introduction

In this week's episode of The Archers Omnibus, BBC Radio 4 delves deep into the bustling life of Ambridge, unraveling the intertwined stories and pressing issues that shape the community. Hosted by Ruth Jones, the episode captures pivotal events, intense conflicts, heartfelt moments, and the enduring spirit of the village residents.

---

1. Village Fete Planning and Tug-of-War Challenge

The episode opens with Ruth Jones engaging in a conversation with David about the upcoming village fete. The central focus is on securing Grey Gables as the venue, a popular choice that has garnered mixed reactions.

• David's Concerns: David expresses unease about Linda's commitment to hosting the fete at Grey Gables, citing disagreements over event planning.

  "[01:28] Ruth Jones: She's as brave man as me. You're saying braver, but I'm hearing dafter."

• Linda's Vision: Linda insists on incorporating competitive, team-based events to reflect village life authentically. She vetoes traditional options like a tombola, prompting Ruth and Chris to brainstorm alternatives.

• Tug-of-War Proposal: Chris Carter suggests a tug-of-war between the village and Grey Gables, aligning perfectly with Linda's desire for competition. This idea gains immediate support from Ruth, who begins assembling a team.

  "[06:21] Ruth Jones: A tug of war could work. They've had them at the fete before, but not for a while. It's perfect."

• Community Involvement: Ruth reaches out to fellow villagers, rallying support and volunteers to ensure their team is formidable. The initiative fosters a sense of unity and enthusiasm within the community.

---

2. The Rewilding Plan Conflict

A major tension point revolves around Justin's ambitious rewilding project, which threatens to remove 500 acres from food production to enhance soil health and biodiversity.

• Adam vs. Ruth: Ruth and Adam engage in a heated debate about the rewilding proposal. Adam emphasizes the financial risks and jeopardized food security, while Ruth acknowledges the environmental benefits but remains skeptical of the plan's execution.

  "[06:55] Ruth Jones: Justin is going to take half the land out of the contract. Maybe one of us should talk to Lillian."

• Board Meeting Dynamics: The conflict culminates in a pivotal board meeting where differing viewpoints clash. Ruth and Chris advocate for opposing Justin's plans, highlighting the dire economic implications for Home Farm and the broader community.

  "[64:03] Chris Carter: It's about whether I've harmed her."

• Feasibility Study Proposal: Amidst the uproar, a feasibility study is proposed to assess the viability of the rewilding plans, temporarily stalling Justin's progress but leaving the outcome uncertain.

  "[65:18] Ruth Jones: I'll keep you all fully updated as things progress."

---

3. Shop Closure Due to Dry Rot and Community Response

The village shop faces an unexpected closure due to dry rot infestations, necessitating extensive repairs and temporarily halting operations.

• Discovery and Assessment: Ruth identifies the issue with dry rot in the shop's infrastructure, leading to the decision to close the premises for necessary renovations.

  "[15:07] Ruth Jones: You could let me into the flat upstairs, if you would."

• Impact on the Community: The closure disrupts daily routines, forcing Susan and Joy to relocate stock and manage customer expectations. Chris expresses frustration over the loss of business and the shop's pivotal role in community life.

  "[25:03] Ruth Jones: It's half the contract with BL. There's no guarantee we'd find more contracting work either."

• Voluntary Support: Demonstrating the village's resilience, residents rally to support the storefront owners. Volunteers assist in moving stock, ensuring minimal disruption and reinforcing communal bonds.

  "[32:09] Chris Carter: I've just given him the option. Don't feel you have to stay at ours to save upsetting us."

---

4. Personal Struggles: Chris and Alice’s Relationship & Martha's Health

Ambridge's intertwined personal relationships take center stage as Chris grapples with concerns over his daughter Martha's health, stemming from Alice's past alcohol use during pregnancy.

• Martha's Health Appointment: Alice schedules a specialist appointment to rule out Fetal Alcohol Spectrum Disorder (FASD) for Martha. While tests confirm Martha's well-being, Alice remains burdened by guilt and anxiety.

  "[53:22] Ruth Jones: She only said that because you pushed her to completely rule it out."

• Chris's Guilt and Worries: Despite the positive outcomes, Chris struggles with self-blame and the fear that his actions may have impacted Martha's development. Conversations between Ruth and Chris reveal deep-seated emotional turmoil.

  "[60:08] Chris Carter: I can't stop worrying."

• Support Systems: Ruth provides emotional support, urging Chris to focus on farming and the positive aspects of their lives together. Their interactions highlight the challenges of balancing personal traumas with daily responsibilities.

  "[60:49] Ruth Jones: She's great and does nothing wrong."

---

5. Community Support Amidst Crisis

As multiple crises unfold, Ambridge's residents exemplify solidarity and collective action.

• Shop Renovations: Ruth coordinates repairs, ensuring the shop's structural integrity while managing the emotional and logistical strain on the owners.

• Drone Evidence Against Marky: Unintentional drone footage captures incriminating evidence against Marky, leading to heightened tensions and the villagers' pursuit of justice.

  "[33:39] Ruth Jones: Drone over my pub last Friday morning. Don't remember it was recording."

• Volunteering Efforts: The sudden influx of volunteers underscores the village's unwavering support for one another, even in the face of adversity.

  "[35:02] Chris Carter: It's really something, isn't it? Because I love this little shop."

---

6. Board Meeting Outcomes and Future Implications

The board meeting serves as a turning point in the rewilding debate, revealing the community's divided stance and foreshadowing future conflicts.

• Feasibility Study Approval: The board agrees to commission a feasibility study, providing a temporary reprieve for Justin's plans but leaving the community uncertain about the future.

  "[65:18] Ruth Jones: I'll keep you all fully updated as things progress."

• Justin's Defiance: Frustrated by the opposition, Justin remains resolute, threatening to proceed regardless of the board's decision, escalating the conflict.

  "[67:48] Chris Carter: Is that true? You and Justin have done some kind of dodgy deal?"

• Ongoing Tension: The unresolved nature of the meeting results in lingering tensions, with key players like Martin and Annabelle aligning with Justin, while others remain steadfast in their opposition.

---

7. Character Highlights and Developments

Throughout the episode, key characters undergo significant developments, reflecting the complex tapestry of relationships in Ambridge.

• Susan Carter: Portrayed as diligent and emotionally resilient, Susan faces the threat of losing her shop but remains the cornerstone of the community.

  "[99:17] Ruth Jones: In every other respect, Christopher's perfectly normal. But he's got what we call a unilateral cleft lip."

• Chris Carter: Torn between personal guilt and professional responsibilities, Chris embodies the struggles of balancing family dynamics with community obligations.

  "[44:36] Ruth Jones: I am so not interested in that. You know, David, all I want to do, all I've ever wanted to do is farm."

• Alice: Her journey from addiction to motherhood illustrates the themes of redemption and the enduring impact of past actions on present relationships.

  "[91:00] Chris Carter: She doesn't need any. She's got me."

---

Notable Quotes

• "[06:17] Chris Carter: Lucky you."
  Highlights Chris's casual remark amidst planning tensions.

• "[12:53] Ruth Jones: I don't know."
  Reflects Ruth's uncertainty in opposition to the rewilding plan.

• "[25:03] Ruth Jones: It's half the contract with BL. There's no guarantee we'd find more contracting work either."
  Emphasizes the severity of the economic threat posed by the rewilding plan.

• "[60:48] Chris Carter: I know. And you need to stop this, Alice, because I don't know how much more I can take."
  Captures the emotional strain Chris faces regarding Alice and Martha.

• "[65:18] Ruth Jones: I'll keep you all fully updated as things progress."
  Signifies ongoing developments post-board meeting.

---

Conclusion

This episode of The Archers Omnibus masterfully encapsulates the essence of Ambridge—its resilient community, intricate personal relationships, and the delicate balance between tradition and progress. As the villagers navigate economic uncertainties, environmental debates, and personal challenges, their unwavering unity and spirit continue to define the heart of The Archers.

---

Stay Connected

For those who missed this episode or wish to revisit specific moments, be sure to subscribe to The Archers Omnibus on BBC Sounds. Engage with the community by sharing your thoughts and theories, and stay tuned for upcoming episodes that promise to delve even deeper into the lives of Ambridge's cherished residents.

Transcript

[Ruth Jones]

This BBC podcast is supported by ads outside the uk.

[Chris Carter]

In Turkey, if you're willing to take a detour, you'll discover the food even social media hasn't got to yet. From Michelin Stars and Wine and Ula to traditional recipes and the home of baklava in the East, Discover the culinary capital of Gaziantep and talk to the locals. Every dish has its own story, flavours, experimentation and tradition. Turkia has it all. Plan your [e-mail]. hello, I'm Ruth Jones and I love the Archers. This week I'm standing in for Emma Freud to host the Archers Podcast, celebrating everything about the Archers, from interviews with the cast and writers, exploring the issues behind the stories and delving into the riches of the archive. Do stay on after this week's Archers Omnibus to hear our latest episode exploring the week in Ambridge. And if you enjoy it, do subscribe to the Archers podcast, only available on BBC. Sounds.

[Ruth Jones]

Penny for them. Oh, hello, David. How are you? And how are Kenton and Jolene? Oh, well, they're pretty shaken, to be honest. What an awful thing. The police haven't caught anyone? No, not yet. Someone must have seen something. What, half five in the morning? They knew what they were doing. Anyway. Sorry, don't let me disturb your coffee. You looked very content when I saw you from across the green. Truth be told, I'm a long way from. From content. Oh, sorry to hear that. Is it anything in particular or something? Very particular indeed. The village fit. Oh, yeah. I heard you were involved this year. You're a braver man than me. You're saying braver, but I'm hearing dafter. Is it not going well? No, it is. Grey Gables have agreed to host it. So I hear. Dane has been very helpful and they're putting in a fair bit of money, so. So what's the problem? Linda. Not that she's the problem. No, of course not. But between us, I don't think she's completely on board with holding the fate at Great Gables. She says she is, but then we had a meeting with Dane last week. He told us about all this amazing sounding stuff he and Zenab have arranged and Linda wasn't impressed. She told him his Helter Skelter and his carousel are all very well, but that she would have to arrange three events that represent village life. Like what? That's the million dollar question. She's got something up her sleeve for two of them, apparently, but she wants me to come up with the other one. Trouble is, all my ideas are a bit. I Don't know. Naff. It's a village fate. Surely naff is good. You know, a couple of years ago, the star attraction was Eddie Grundy's Ferret's wheel. Mozzaret's Wheel. It's a Ferris wheel for ferrets. Okay. Linda's decided she wants something competitive, team based. The village versus Grey Gables.

[Chris Carter]

You two look cheap in thought.

[Ruth Jones]

Oh, hi. Akram's helping Linda with the fate this year.

[Chris Carter]

Lucky you.

[Ruth Jones]

Lucky me. Only he's got a problem.

[Chris Carter]

What is it? Well, actually, maybe I don't want to know.

[Ruth Jones]

Charming.

[Chris Carter]

Sorry. But I've learned you really do have to keep your head down where the village fate is concerned.

[Ruth Jones]

She's right.

[Chris Carter]

Show the slightest interest, the next thing you know you're in charge of litter. Or if you're lucky, run in the tombola.

[Ruth Jones]

Oh, you're safe on that, Scott. I suggested a tombola, but Linda vetoed it. I need something better.

[Chris Carter]

Better than a tombola? You don't want much, do you?

[Ruth Jones]

They're putting the farmhouse up for sale. Where did you hear that? Joy told me. Mix friendly with the gills.

[Chris Carter]

Oh.

[Ruth Jones]

Jenny and I always hoped by the time it came onto the market again, we'd be in a position to buy it back. Do you know how much she hated leaving that house? I wish she hadn't had coffee. Thanks. So. So. Well, it's before 10 on a Sunday morning. I'm guessing you haven't dropped in to inquire after my health. No. Although. Well, how are you? Fine, thanks. Oh, good. So, pleasantries out of the way. All right. I'm worried about Justin. Aren't we all? I'm serious, Brian. So am I. If he goes ahead with this half baked rewilding plan, Home Farm stands to lose thousands in revenue. I'm aware of that, Adam. Things are tough enough already. Yes. Not that it's a bad thing for Justin to be thinking about nature and soil health. In many ways, it's about time I introduced Herbalase to Ambridge. I know, but rewilding half the land at a time like this? With massive global uncertainty, Farms around here should be prioritizing food security above all else. Adam, do you think I don't know all this? You know it. But what are you doing about it? I beg your pardon? It sounds like Justin's going to try to push this through at the board meeting on Friday. You need to be doing everything in your power to oppose him. And how do you propose I do that exactly? Adam, everything you've just said, I've already said. To Justin more than once. I'm not sure what else I can do. So, I mean, if you got a brilliant idea, I'd love to hear it. Well, to be absolutely honest, I'd have tried to avoid it getting this far in the first place. Well, you would, would you? Because you always make flawless judgments. Oh, come on. No, you come on. I don't know how you got the nerve, Adam, coming around here, lecturing me on how to deal with Justin. We all stand to lose an awful lot if he goes ahead with this Home farm when your cash is threatened. I see. Be fair, Brian. Home farm's my family farm. No, Adam, it's my farm and I will continue to run it as I see fit. I certainly don't need your advice. There's always wellywanging.

[Chris Carter]

Wellywanging? I used to love that when I was a kid.

[Ruth Jones]

What is it?

[Chris Carter]

Basically, a load of people chucking wellies about.

[Ruth Jones]

I suppose there are a lot of wellies in Enbridge. It's not traditionally a team sport, though. Didn't Linda say it had to be the Village against Grey Gables?

[Chris Carter]

True. You need something really basic, don't you? Two teams, one goal. Like a football match.

[Ruth Jones]

That's two goals.

[Chris Carter]

Do you want my help or not?

[Ruth Jones]

Sorry.

[Chris Carter]

What about a tug of war?

[Ruth Jones]

A tug of war?

[Chris Carter]

It's old school, but.

[Ruth Jones]

No, old school is good. A tug of war could work. They've had them at the fake before, but not for a while. It's perfect. Two teams, one goal, high stakes, clear rules, traditional. Linda's going to love it. Plus, if you rope in that, excuse the pun, if you rope in some farmers, Ambridge are bound to win. I'm sure that Ben, Josh, Pip, they'll do it. And Stella. And then there's Ed and Will, Jazza, the Bridge Farm lot. You know, I think we might be on to a winner.

[Chris Carter]

You've dragged us all here to talk about Justin? Elliot. Couldn't this have waited?

[Ruth Jones]

I'm afraid not. We've left things far too late as it is.

[Chris Carter]

Well, I can't be long. Jakob and I are going for a walk. Go on, Adam.

[Ruth Jones]

I'm worried about Brian.

[Chris Carter]

Why?

[Ruth Jones]

I tried to speak to him about Justin's rewilding plan. There's a BL board meeting this Friday, which could be crucial. When I suggested Brian should be doing something, he just blew up at me.

[Chris Carter]

But what can dad do, really?

[Ruth Jones]

I don't know what anyone can do now.

[Chris Carter]

That's what I mean.

[Ruth Jones]

But the point is, it should never have been allowed to get to this stage.

[Chris Carter]

How could anyone have predicted that Justin was going to go for rewilding?

[Ruth Jones]

Stella might have. She's the one who suggested the ecological survey.

[Chris Carter]

Look, Adam, in her shoes, you'd have done the same.

[Ruth Jones]

I'm interested in working with nature, supporting the farm as an ecosystem.

[Chris Carter]

Yes, well, there you go, then.

[Ruth Jones]

But there's a massive leap between improving soil health and biodiversity and taking 500 acres of land out of food production altogether.

[Chris Carter]

Well, Stella couldn't have known Justin would go this far.

[Ruth Jones]

But now he has. We need to stop him.

[Chris Carter]

I think Stella's trying to. She's as worried as the rest of us.

[Ruth Jones]

Well, not as worried. At the end of the day, it won't affect her. Not really. She can go and get a job anywhere.

[Chris Carter]

I have wondered whether one of us should be back at Home Farm.

[Ruth Jones]

I thought you were Team Stella.

[Chris Carter]

No, I am. But you're right. She won't be at Home Farm forever.

[Ruth Jones]

Exactly.

[Chris Carter]

But Adam, I don't think she imagined for one minute that this would be the outcome of the ecological survey.

[Ruth Jones]

And yet here we are. If we don't do something soon, Justin's going to take half the land out of the contract. Maybe one of us should talk to Lillian.

[Chris Carter]

No point, Auntie. Lillian's on Justin's side.

[Ruth Jones]

How can she be?

[Chris Carter]

Pretty easily, I'd imagine. No matter what you say, Adam, it's not such a dastardly plan. Justin has made his money from the land and now he wants to leave it in a better state for the next generation.

[Ruth Jones]

Really?

[Chris Carter]

Yes. Gran started the ball rolling with rewilding Ambridge. Why shouldn't Justin take up the baton?

[Ruth Jones]

If Justin was really interested in legacy, he'd be investing in soil health and recovery alongside food production. He doesn't have to rewild half the land. But that's Justin all over. All grand gestures and self importance.

[Chris Carter]

Well, he is the custodian of that land. Yeah, but these decisions affect everyone, and especially Home Farm.

[Ruth Jones]

Kate, are you seriously saying that you think this could be a good thing?

[Chris Carter]

Yes. Like it or not, Adam, we all need to be thinking about what state we're leaving the land in for our grandchildren. I certainly am. Hello again.

[Ruth Jones]

Oh, Gesty.

[Chris Carter]

What did Linda make of your tug of war idea?

[Ruth Jones]

Your idea? She loved it.

[Chris Carter]

Oh, that's great.

[Ruth Jones]

So I'm just putting together a potential team. Linda's giving me some numbers. I'm going to start ringing around. I mentioned it in the yard just now to Pat and Tony. They seemed keen.

[Chris Carter]

Pat and Tony?

[Ruth Jones]

Linda thought Jazza could be our secret Weapon. But apparently he and Tracy have gone out for the day.

[Chris Carter]

Well, it is Sunday. Don't you fancy a day off yourself?

[Ruth Jones]

No, I've got a really busy week at work, so I need to crack this today. If I can just spread the word, get a few people signed. Oh no.

[Chris Carter]

What?

[Ruth Jones]

Look, it's Zenab with a photo of the Grey Gables team. How's Dane manage to get a team together so quickly? Linda only told him about the tug of war half an hour ago.

[Chris Carter]

Crikey, they look like gladiators, don't they?

[Ruth Jones]

Zenab says watch out, they're all the young ones who work in the gym.

[Chris Carter]

This lot will just be the people on shift today. He's just gathered them together for a photo call to scare you.

[Ruth Jones]

It's working. Dane just clicked his fingers and summoned a ready made team of personal trainers. Linda's counting on me to put together a winning team. Those were her actual words.

[Chris Carter]

Don't lose your nerve. You just need to start making calls.

[Ruth Jones]

I suppose. So what are your plans this afternoon?

[Chris Carter]

Oh no.

[Ruth Jones]

What? All I'm asking is a few phone calls or join the team yourself.

[Chris Carter]

No and no. I'm gonna take my coffee, my croissant and sit in the sun and enjoy my day off. Good luck. I am allowed to have a different opinion, Adam. There's no need to get so stressed.

[Ruth Jones]

I'm stressed because you're not listening. The point is that farming and the environment don't need to work against each other. It's not either or.

[Chris Carter]

I know that.

[Ruth Jones]

This is no more than a vanity project for Justin.

[Chris Carter]

Who cares? The environmental arguments are as important as the financial ones. You stand to lose a massive chunk of your annual income if this goes through. You know we all do. I'm not worried about that.

[Ruth Jones]

You should be. We all rely on that income from the Home Farm partnership. I spoke to Debbie last night and she said she sent a long email to the board outlining the importance of retaining the contract for food production.

[Chris Carter]

And Rory said he'll support us however he can. Well, Debbie can write all the emails she likes, but she's not here, is she? And neither is Rory. Neither of them seems to be in any rush to come back to Home Farm. So what about you two? Are either of you ready to take over when the time comes? None of us know what's going to happen, Kate. Quite. But we should have a plan, don't you think? Regardless of what Justin's doing, Home Farm needs to be thinking about the future. Maybe diversifying out of arable ourselves. What you Said yourself you don't think Dad's up to it.

[Ruth Jones]

I. I didn't say that.

[Chris Carter]

But you're worried, aren't you?

[Ruth Jones]

I don't know.

[Chris Carter]

Now, I spoke to him the other day and he was. He was sharp, focused. Oh, hang on. He seems fine to me, but the.

[Ruth Jones]

Fact remains it shouldn't have come to this. And maybe if one of us was in charge, it wouldn't have. Oh, really?

[Chris Carter]

Yeah. What a coincidence. Drop by. Hi, dad. Jakob and I are off for a walk. I just popped in to try and persuade Alice to come with us.

[Ruth Jones]

Oh, well, snap. I was feeling a bit stir crazy and Miranda's off with her pal, so I was going to suggest a walk down by the river. Hello again, Adam. Yeah, hi, Brian.

[Chris Carter]

A walk would be lovely.

[Ruth Jones]

Well, we could all go together if that suits. Yeah, why not? Sounds great. Marvelous. A family outing. You can fill me in and whatever it is you've all been gossiping about.

[Chris Carter]

We weren't gossiping, dad. No, no, we were just chatting.

[Ruth Jones]

If you say so. Well, chop chop them. Get your shoes on. If you're good, I might treat you all to an ice cream.

[Chris Carter]

Oh, I must say, Susan, this wool has been flying out. This is the second time I've had to restock these shelves in a week. Yeah, it has been popular. Who knew there were so many knitters in Umbridge? You? That too. I mean, it's. Susan, you've really got your finger on the pulse. I don't know about that. And not just the wool. The DIY stuff has been very popular and all. And the world food shelf has gone down a storm. Yeah, I noticed that. Few people have said how they can get stuff here that they can't get at the supermarket. I know there have been a few skeptics, Jim Lloyd, but look at us now. We haven't felt the impact of Underwood's local opening at all. No, our profits have held steady. Maybe even increased a bit. Really? But we can't afford to get complacent. Oh, no, we need to keep thinking. What do our customers want? What do our customers want? Yes, very good. And then we give it to them. That way we'll stay one step ahead.

[Ruth Jones]

Morning.

[Chris Carter]

Oh, good morning. How can we help you?

[Ruth Jones]

You could let me into the flat upstairs, if you would.

[Chris Carter]

Oh, you're the builder.

[Ruth Jones]

Yeah. I tend to go by Terry.

[Chris Carter]

Sorry. Of course. Hello, Terry. Yeah. Hazel sent me a message this morning.

[Ruth Jones]

Yeah? She wants me to check the floor in the flat. Apparently one corner's a bit spongy.

[Chris Carter]

Oh, it is. Shall I show you. My son's the tenant, you see, so I know about it.

[Ruth Jones]

All right.

[Chris Carter]

Joy, would you pass me those keys? They're just under the till. Yeah, of course. Here you are. Follow me, then, Terry. Stairs are outside. Oh, excuse the boxes. We're in the middle of a big restock. Recently diversified, you see. Well, you have to if you want to stay relevant, don't you? Oh, hi, Dad.

[Ruth Jones]

I went home with this yesterday. I was just going to leave it on your doorstep.

[Chris Carter]

Oh, my son. Cream. You didn't need to bring it.

[Ruth Jones]

Oh, that's no problem. I didn't know if you needed it for Martha. Oh, you're not working today?

[Chris Carter]

Oh, no, I am. I've just got some stables paperwork to do. So I said to Lillian I'd do it here after I drop Martha off.

[Ruth Jones]

How is Martha?

[Chris Carter]

Great. Yeah, really good, actually. I had a letter with the appointment. You know. Azra referred her.

[Ruth Jones]

Of course. And you know Alice. I've not mentioned it to anyone like you asked.

[Chris Carter]

Oh, thank you, dad.

[Ruth Jones]

So, the appointments of the hospital, is it?

[Chris Carter]

Yes, on Thursday.

[Ruth Jones]

This Thursday?

[Chris Carter]

Mm.

[Ruth Jones]

Right. Well, that's good, isn't it?

[Chris Carter]

Yes. Yeah, it is. Hopefully they can give us some reassurance.

[Ruth Jones]

I'm sure they will. What time on Thursday? I'll come with you if you like.

[Chris Carter]

Oh, dad, you don't need to do that.

[Ruth Jones]

I don't mind.

[Chris Carter]

No, honestly, it's fine. Chris will want to be. Be there, so.

[Ruth Jones]

Oh, okay.

[Chris Carter]

Thank you, though.

[Ruth Jones]

Anytime.

[Chris Carter]

How about you? Aren't you working this morning?

[Ruth Jones]

Well, I should be. I on my way to try to track down Justin. No doubt he'll be nowhere to be found again.

[Chris Carter]

Dad, are you all right?

[Ruth Jones]

Yes, of course. I mean, but I've been better. It's all BL stuff. It's a headache. And I had Adam over yesterday to give me a lecture.

[Chris Carter]

Oh, well, I don't think he intended it to be Be a lecture.

[Ruth Jones]

Well, that's how it came out. He told you, did he?

[Chris Carter]

Yes.

[Ruth Jones]

Ah, so that's what I walked in on yesterday. An emergency family meeting that I wasn't invited to.

[Chris Carter]

Oh, I think we'd better admit defeat, don't you, George? I think we better had. If we put any more on these shelves, we might risk them collapsing. I'll just put these boxes out the back and then I'll take a cup of tea to Terry. It's been a while checking that floor, hasn't he? I suppose he had to pull up the carpets to get a good look at the floorboards. Oh, hello, Terry. I Was just gonna come and see if he wanted a tea. Been up there a while?

[Ruth Jones]

Yeah. Took a bit of time to pull back the carpet and get a proper look at it.

[Chris Carter]

We thought that didn't miss Susan and. Oh dear, that face doesn't say good news.

[Ruth Jones]

Afraid not.

[Chris Carter]

No, not dry rot.

[Ruth Jones]

And lots of it.

[Chris Carter]

Oh, dear.

[Ruth Jones]

I'm gonna have to give Hazel a bell. Get the okay to pull up some floorboards so I can get a proper look at the joists.

[Chris Carter]

Right.

[Ruth Jones]

That will give us an idea of the extent of it.

[Chris Carter]

So it might not be in the joists?

[Ruth Jones]

It might not, but there again, it might. We won't know until we have a look at it. I'll just bob outside. Mine's a milking too, if you're brewing up. Thanks very much.

[Chris Carter]

Right you are, Terry. It's nice, isn't it? If the dry rot is in the joists, will that mean Christopher will have to move out, do you think? Oh, I don't know. He might, I suppose. You have to treat dry rot with fungicide, don't you? You wouldn't want Chris and Martha to be breathing that in. True. I mean, he can always come and stay with us. Course he can. It's a lot of upheaval, though, especially for Martha. Oh, but I bet she'd love a little holiday at a Nana and granddad's, bless her. Anyway, I'll go and pop the kettle on while we're quiet. You ready for a cup of tea, Susan? I'd say so. Thanks, Joy.

[Ruth Jones]

I'm as worried as you all are. However you look at it, it'd be a massive blow to lose half the contract with blood.

[Chris Carter]

Yes.

[Ruth Jones]

There's no guarantee we'd find more contracting work either.

[Chris Carter]

No, well, a lot of landowners are going down a similar route.

[Ruth Jones]

I mean, it's not like we haven't done our bit. We're not just sitting here digging our heels in. We've adapted to more regenerative farming methods. I mean, look at the no till drill. I know, but I still believe it's so short sighted to abandon food production.

[Chris Carter]

You're right. Of course you are.

[Ruth Jones]

You try telling Justin that.

[Chris Carter]

He won't listen.

[Ruth Jones]

He's avoiding all my calls and Stella's.

[Chris Carter]

But you can make these points at the board meeting on Friday, can't you? I mean, surely other board members are feeling similarly.

[Ruth Jones]

Well, they are, yeah. I mean, certainly Martin and Annabelle. I can't imagine Glenda Andrew in that trucker rewilding.

[Chris Carter]

That's something. I honestly don't think Justin will Go ahead. If there's strong opposition, he knows he needs the board on side.

[Ruth Jones]

You never know it, Justin.

[Chris Carter]

No, but you do know that the right thing for the land is to keep it in food production. I mean, you said it yourself. It is entirely possible to farm in an environmentally beneficial way with regenerative agriculture. That's what Justin should be focusing on.

[Ruth Jones]

Do you ever think about coming back to farming?

[Chris Carter]

Me, I mean. Yes, in an abstract kind of way. I suppose I do.

[Ruth Jones]

What about a natural kind of way?

[Chris Carter]

Home farm, you mean?

[Ruth Jones]

Well, I need someone to take over at some point.

[Chris Carter]

Well, yes, I know, but I.

[Ruth Jones]

But what?

[Chris Carter]

Well, I don't know. Dad, why are you asking me this now?

[Ruth Jones]

Well, I don't know. I suppose because. Sorry, darling, it's Annabelle. I better get this.

[Chris Carter]

No, it's fine. I need to get on anyway.

[Ruth Jones]

Annabelle. Any news? See what I mean? Let me just zoom in for you. It's those bits there.

[Chris Carter]

Oh, too terrible. Oh, yes. It's all over everything, isn't it?

[Ruth Jones]

Pretty much. And it's a nightmare to deal with.

[Chris Carter]

But you can deal with it?

[Ruth Jones]

Oh, yeah, don't worry about that. Take a few weeks. Like once the specialist has done a full assessment, we'll cut it out, replace the affected joists and treat the whole area.

[Chris Carter]

So Christopher will have to move out?

[Ruth Jones]

He will, yeah. Sorry. Really, it should be Hazel telling you all this. I did just call her to see if she wanted to come and take a look herself, but apparently she's too busy. She asked would you let your son know?

[Chris Carter]

Oh, dear me. I'll ring him now. Oh, she's got a cheat, that woman. Well, she can whistle if she thinks Christopher will be paying rent while the flat's uninhabitable. When do you need him out? Bye.

[Ruth Jones]

Well, sooner the building's empty, the sooner I can get started. If I give you a day, say I'll start Wednesday morning.

[Chris Carter]

Oh, right. Terry, when you say the building, do you mean just the flat on?

[Ruth Jones]

I'm afraid not. But you can't be too careful when it comes to dry rot. And if I'm replacing the joist, that's your ceiling. Exposed, messy, not to mention unsafe.

[Chris Carter]

You mean we'll have to close the shop. Hello again, Alice.

[Ruth Jones]

Come in.

[Chris Carter]

Did you find Justin?

[Ruth Jones]

No, he's gone to ground. I went to Barrow and then gave up. I got better things to do than chase Justin. It's around Amridge. Anyway, Annabelle wants to meet tomorrow to discuss strategy.

[Chris Carter]

That's a good idea.

[Ruth Jones]

Everything all right with you?

[Chris Carter]

Me? Oh, yeah, all fine. I'M just on my way to get Martha. I thought I'd make the most of the weather and take her to the park after nursery.

[Ruth Jones]

Good for you.

[Chris Carter]

But I just wanted to. I've been thinking about. Were you serious earlier when I offered.

[Ruth Jones]

To come with you on Thursday?

[Chris Carter]

No. Although. Thank you. I appreciate it.

[Ruth Jones]

The offer's there if you need it.

[Chris Carter]

What about the other offer? Not offer. But you know when he said, were you serious? When you asked me if I'd be interested in running a home farm?

[Ruth Jones]

Completely serious. Yes. Why? Are you interested? You are, aren't you?

[Chris Carter]

No.

[Ruth Jones]

I can see that you are.

[Chris Carter]

I mean, I. I've got so much on my plate at the moment, I can't even really think about it.

[Ruth Jones]

But you will?

[Chris Carter]

Yeah, I will.

[Ruth Jones]

Good.

[Chris Carter]

Thank you for asking, dad.

[Ruth Jones]

So it's not a no, then?

[Chris Carter]

It's an I don't know. Is that okay?

[Ruth Jones]

Yes, that's okay.

[Chris Carter]

Good. Great. Well, I'll see you later.

[Ruth Jones]

Give Martha a hug from me.

[Chris Carter]

I will. What about all this stock? What about the post office? If the building's closing, the post office will have to close and all.

[Ruth Jones]

I can't have people in the building while the work's going on.

[Chris Carter]

Yeah, no, no, I understand that. It's just a bit of a shock, isn't it, Susan? Yeah. We've got to clear all this by tomorrow night. We'll manage. How, though? Mick will help. And you can ask your Neil and I bet there's other people would give us a lift with boxes and boxes of stock in the back. We can barely contain it as it is. Where's it all going to go?

[Ruth Jones]

You'll need to shift the fridges and freezers as well.

[Chris Carter]

Oh, I didn't even think thought about that. Oh, this is an impossible task. No, it's not. It's. I mean, it's a big job. Yes, but we'll do it.

[Ruth Jones]

You could leave the shelving units if you like. I can stick them in the back, out the way, cover them up. They'll be all right.

[Chris Carter]

There you are. That's something. Oh, come on, Susan. I know it's a blow, but we'll get there. It's a blow, all right. But if the work needs doing.

[Ruth Jones]

It does need doing.

[Chris Carter]

Yeah, I know that, but. Joy, when Underwoods Local opened, I was so worried that they'd gradually take all our business and we'd end up closing. I know. I've been doing everything I can to boost our little shop, keep our customers, make sure we're not losing trade. And now we're having to close anyway. Temporarily, yes. But if we close for two weeks.

[Ruth Jones]

Two or maybe three at least, people.

[Chris Carter]

Will have to go elsewhere, won't they? And once they've gone, who's to say whether they'll come back? Whatever spin you put on it, however much it can't be helped. This is a disaster, Joy. It's an absolute disaster.

[Ruth Jones]

You alright?

[Chris Carter]

Mia?

[Ruth Jones]

What are you doing here?

[Chris Carter]

Waiting for you. I knocked on the door but nobody's in.

[Ruth Jones]

No? Well, Emma and Kira have gone into Felpersham. Hey.

[Chris Carter]

Hey.

[Ruth Jones]

How are you going?

[Chris Carter]

It's good. Yeah.

[Ruth Jones]

Sorry I missed you when you were in Ambridge last week. It's good to see you.

[Chris Carter]

Oh, it's just a flying visit this time. I'm heading back to Newcastle at the weekend. Got a job on this holiday play scheme for kids.

[Ruth Jones]

Oh, good for you. Not planning to fly back on that thing, are you?

[Chris Carter]

What? Oh, the drone? Haha. Yeah. No, George said I could borrow it for this uni project I'm doing about water courses. Oh, yeah? Yeah, Kirsty and Rex said I can film where the beavers are going to be.

[Ruth Jones]

Well, sounds great.

[Chris Carter]

Well, the thing is, my filming's rubbish.

[Ruth Jones]

It just takes a while to get the hang of it, that's all.

[Chris Carter]

Can you help me?

[Ruth Jones]

What now?

[Chris Carter]

Please. I spent an hour flying it earlier and then I realized I hadn't actually recorded anything useful.

[Ruth Jones]

I thought your generation will mean to be good at technology.

[Chris Carter]

I am good at technology. I've just never used a drone before and you have. So go on, show me the basics and then you can just leave me just to it. Oh, hi, Jolene. You've just caught us. I was about to turn that sign round. Oh, look, Derek Fletcher just told me the news. You're shutting up shop? Temporarily Only whilst we've got the builders in.

[Ruth Jones]

I'm glad to hear it.

[Chris Carter]

It'll be a right hassle going up to the EV charging place every time I want a loaf of bread.

[Ruth Jones]

What are you gonna do with all these boxes?

[Chris Carter]

Sorry about those. We're having to pack away all the stock, you see. We're moving it to Susan's. Well, you two are moving all this? Well, you'll never get it done in time. Not just us, Mick. Neil and Christopher are coming after work to shift the fridges and freezers for us. I'm hoping they'll fit in my summer house. Yeah, Mick's borrowed his fruit friend's van. Just the bread, is it?

[Ruth Jones]

Yeah, please. Even so, there's a heck of a.

[Chris Carter]

Lot of stuff here. And it's all going to yours, is it, Susan? The ambient stock? Yeah. Helen kindly said she'd store all the frozen stuff in the Bridge Farm freezers. And I found a charity who will take the perishables for community groups. So that's good. That's 2, 10 when you're ready, Jolene. Right. Thank you, my darling. I wish I could stay and help, only I got a pub full over there and Kenton's out all evening. Oh, don't worry. I did put a call out for volunteers on social media, but I don't know whether anyone will have seen it. It's all been a bit of a whirlwind, hasn't it, Susan? We only found out we had to close yesterday. Oh, well, look, good luck, huh? Thanks, Jolene.

[Ruth Jones]

So, look, if you press that button there, we should be able to watch it back there.

[Chris Carter]

Hang on, that's not right. What's this? It looks like the Bull.

[Ruth Jones]

Let's have a look. Oh, no, no. I think this is some practice footage I took the other day. Must have been filming when I flew it near the pub. No, he just pressed the wrong file.

[Chris Carter]

Wait, what's that?

[Ruth Jones]

What?

[Chris Carter]

Well, it looks like a fire or something in the corner there.

[Ruth Jones]

Let's have a look. Zoom in a bit, Ed.

[Chris Carter]

It's the pub sign on fire last Friday morning.

[Ruth Jones]

There's someone getting into that car.

[Chris Carter]

Look, if only we could make out the number plate.

[Ruth Jones]

I reckon we can zoom in a bit more There. Clear as day.

[Chris Carter]

Been one of them days, has it? It has been one of those weeks. How are you doing? Yeah, you know. Any news from the police? Nothing. Hell, really. Kenton's really anxious, but he's right to be. We don't know what they might try next. And the police know it was this Marky bloke. Everyone knows it were Marky. He knows we know, but thanks. We can't prove it. Kenton's out tonight at a brewery function and I'm all over the place. I get the jitters if someone so much as slams a glass down on the bar. I'm really sorry.

[Ruth Jones]

Oh, thanks.

[Chris Carter]

But, you know, I've just seen poor Joy and Susan in the shop. They're having to empty the place ready for building work. I just wished I could stay there with them and get away for a.

[Ruth Jones]

Bit and take my mind off it all.

[Chris Carter]

Oh, Jolie, Jolie. Can we have a word? Of course you can, my darling. Is everything all right?

[Ruth Jones]

We've got something we think you should see. I've got it on the laptop over here.

[Chris Carter]

Well, all right, then, let's have a look. Oh, hi, Stella. Oh, hi, Kirsty. No one's serving. Oh, Joanie's just gone to talk to Ed and Mir. I think they're short staffed. Oh, well, maybe it's a sign I should cut my losses. Fine. I was supposed to be meeting Helen, but I didn't see a message cancelling till I was already here. I thought, oh, well, I'm an independent woman. I can have a drink on my own. Cheers to that. But if no one's serving, I might just take the hint. You know, if you're at a loose end, what do you reckon to an evening packing up tins of beans and dry pasta? I reckon I'm all right, thanks. Well, even if it's in aid of a very good cause, how am I allowed a glass of wine first? Oh, I'm sorry. Stop apologising. It's just all a bit. A bit much. I know. What was I thinking of, Joy? Buying in all this stock? I've made it twice as hard as it might have been. You weren't to know I'd have to shift it all. Oh, it's not just that. It's all this carry on with George and Amber. Neil says to put it to one side, but I can't. I know, but it sounds like you've done all you can. It's up to George now. He wants nothing more to do with me. He was quite clear about that. He'll come round. Give him time. I wish I had your confidence. Oh. Oh, Joy, look at the state of this place. We've been at it for hours and if anything, it looks worse than it did before. That's a natural part of the clear out process though, isn't it? Oh, hello, Akram.

[Ruth Jones]

Hi, Joy. Susan. Azra sent me. She'd have come herself, only she's hurt her back. So you've got me. My car's outside. Shall I start loading some of these boxes in?

[Chris Carter]

Oh, if you would, Akram. Yes, please. Thank you.

[Ruth Jones]

No problem. I'll just prop this door open. Oh, hello.

[Chris Carter]

Hiya. We've come to help with the movie effort. Oh, how are you, Akram Team coming along?

[Ruth Jones]

Oh, yes. Jazza, Pip, Josh and Ben are on board. Actually, I'm glad I bumped it to you, Stella.

[Chris Carter]

Oh, right, yeah. Are you right, Joy? Oh, yeah, sorry, I'm just. This feels like a bit of a Christmas miracle, doesn't it, Susan? We were just staring at all the boxes and wondering how we were going to do it all on our own.

[Ruth Jones]

And Then your fairy godmothers.

[Chris Carter]

Where do you want us? I've got no plans till 9am so I'm using yours till then. Well, hopefully it won't take us that long now you're all here. Right. Okay. Well, Kirsty, if you want to start loading these finished boxes into the car with Joy and Stella, you can help me with the tins. Right you are. We'll have this done in no time. I don't know about that, but we might just stand a chance of getting it finish. The officer said the recording is clear evidence. Oh, fingers crossed. It'll be enough to send Marky and his cronies back to prison. That is brilliant. Oh, isn't it? It's all there in glorious Technicolor. Oh, bless you, Ed, for flying your.

[Ruth Jones]

Drone over my pub last Friday morning. I didn't remember, I had, to be honest. Saying Amir. That was when I was playing, about getting used to controlling it. I didn't realize it was recording.

[Chris Carter]

Wow. It's a good job Mia found it, isn't it? Oh, I'm sure Ed would have come across it in the end. Honestly, I. I can't thank you enough. Both of you.

[Ruth Jones]

Come on, sit yourselves down.

[Chris Carter]

Let me get you a drink.

[Ruth Jones]

Oh, go on then. Why is it so dead in here?

[Chris Carter]

Ah, I've been turning away customers all night, sending them to the shop. You know, Susan and Joy are having to empty it overnight. Really? Yeah, ahead of the building work starting. It's a big job, so I've been trying to persuade people to go and help. Well, come on then, Ed. No time for a drink.

[Ruth Jones]

Well, not even a quick one?

[Chris Carter]

No. Tell you what, why don't you come back in tomorrow night and there'll be a slip up meal on the house for you.

[Ruth Jones]

You don't have to do that, Jolie. No, I want to.

[Chris Carter]

I mean it. You bring the family. The more the merrier. It's the least I can do. I won't take no for an answer. Oh, wait till I tell Kenton. Bruise off.

[Ruth Jones]

Oh, thank you, Joy.

[Chris Carter]

Thirsty work moving boxes about, isn't it? Here, Kirsty. Stella. Oh, lovely, thank you. I tell you what, I'll open a packet of biscuits as well. Custard cream's all right.

[Ruth Jones]

Excellent. Joyce.

[Chris Carter]

You know, I think we're making some progress.

[Ruth Jones]

Definitely. My car's nearly full. Just a bit. Bit of space in the front seat. I'll drink this tea and then I'll set off.

[Chris Carter]

Do you want me to come with you, help you and load at the other end? Good. Idea. Yeah, and when Mick and Neil get back with the van, we can get this lot loaded in. Then I reckon we're nearly there. Oh, hello, everyone.

[Ruth Jones]

Hi, Jolene. Thought you might need a hand. We're moving some stuff over to Susan.

[Chris Carter]

Oh, bless you, Ed. As you can see, we've been inundated with volunteers.

[Ruth Jones]

Well, we brought the van then.

[Chris Carter]

You are a godsend. Hi, Mia, love. Nice see to see you. How you enjoying Newcastle? Oh, I'm loving it, thanks. I say you would. Oh, sorry. I better get this. I'll be back in a minute.

[Ruth Jones]

Yeah, all right. Well, she's obviously made a lot of friends. Her phone never stops ringing.

[Chris Carter]

That's good to hear.

[Ruth Jones]

Right, where do you want me?

[Chris Carter]

You could start dismantling that shelving in the stock room with Stella, if you like. Thanks, ace. Yeah, right.

[Ruth Jones]

No problem. Okay.

[Chris Carter]

What's that look for? No, nothing. Just people love this little shop so much, they're willing to turn out for free in the middle of the night to help us out of a hole. It's really something, isn't really? Is Because I love this little shop. And running the post office, it's been more than a job to me over the years. It's been a lifeline. And it'll still be here in a few weeks, you'll see. And so will all our customers. People around here are loyal. I hope you're right, Joy. I really do.

[Ruth Jones]

Hello, Stella.

[Chris Carter]

Oh.

[Ruth Jones]

What are you doing perched up there?

[Chris Carter]

Defrazzling David. Or attempting to, least.

[Ruth Jones]

Well, you picked a good spot.

[Chris Carter]

Yeah, I saw how lovely the sun looked over the field, so I thought I'd come and sit on the gate for a minute. Although it's not as comfortable as I imagined it might be. You walking back?

[Ruth Jones]

Yeah, I am. I am surprised that you've got the energy to be climbing gates. Pip said you were up late helping Susan and Joy move the contents of the village shop last night.

[Chris Carter]

Yeah. To Susan's? Yeah. It was quite a crowd of us in the end. It was nice, actually. Welcome distraction from. Well, everything else.

[Ruth Jones]

By everything else, I take it you mean Justin.

[Chris Carter]

Justin, Brian. Just all this stuff with Rosie and the mobile phone. Poor Pip's really stressed. Like I said, everything.

[Ruth Jones]

Oh, you've got a lot on your plate, Especially given harvest has started.

[Chris Carter]

Harvey's fine. Actually, it might be the only thing keeping me sane at the moment. At least harvest is predictable. Barley now, wheat next. You always know what's coming.

[Ruth Jones]

Yeah, unlike with Justin.

[Chris Carter]

Should have known better, shouldn't I?

[Ruth Jones]

But what could you have done, really?

[Chris Carter]

Not joined the board, not suggested the ecological survey? I don't know, David. All I know is that things are a mess and they might get worse.

[Ruth Jones]

You know, I'm pretty much done for the day, so I was thinking I might grab a beer, sit out here for half an hour and enjoy the sun. You fancy it?

[Chris Carter]

Oh, weird. Look at them flowers. Don't it look lovely? Oh, it's beautiful.

[Ruth Jones]

Honestly, Jolene, you didn't have to go to all this trouble.

[Chris Carter]

I wanted to. Kenton and I are so grateful. Without Ed and Mia, we'd still be looking over our shoulders all the time, scared to go out to the bins. Still, I've done nothing to deserve this. Daft. I said bring the whole family. We wanted to give you a proper thank you. Thanks, Jolie. The special tonight is Fallon's tandoori cod and we got two pies on steak and ale or mushroom and roasted garlic. That one's vegan, Mia. Oh, it sounds lovely. What? You have a think and I'll be back to take your orders and we.

[Ruth Jones]

Can come to the bar. Jolie, don't you dare.

[Chris Carter]

You're my guest of honor. I might try that card.

[Ruth Jones]

Everything all right, Mia?

[Chris Carter]

Yeah, yeah. Sorry, I'll turn it off. You don't need to do that. You are allowed to read a message. We don't mind. No, it's fine. It's fine. One of your mates from uni. Oh, probably.

[Ruth Jones]

You've obviously made a lot of friends. Your phone never stops.

[Chris Carter]

Leave her in.

[Ruth Jones]

No, I'm just saying it's good you've settled in so well up there.

[Chris Carter]

Yeah. Oh, Mia, you seem so happy. Don't she, Ed? Yeah, yeah, yeah. No, I am happy. I love the course, I've made really good friends and. Yeah, yes, it's good.

[Ruth Jones]

Good, good.

[Chris Carter]

Actually, I'm seeing someone. We did wonder. I wasn't going to say anything, but. Yeah, it feels silly sitting here messing with him and not telling you.

[Ruth Jones]

Well, you don't have to tell us, but it's nice.

[Chris Carter]

You got a boyfriend? I wouldn't call him that yet. Oh, sorry. But we are, you know, exclusive.

[Ruth Jones]

Oh, glad to hear it.

[Chris Carter]

I'm going red anyway. Should we have a look at the menu? Absolutely, yeah.

[Ruth Jones]

Good idea. No, at the risk of stating the obvious, none of this is your fault.

[Chris Carter]

It was me who bought the no till drill. Not to mention the other bits of expensive kit. And to justify the outlay, it all needs to be in full time use and it won't be if we lose the BL contract.

[Ruth Jones]

It's half. Half the contract.

[Chris Carter]

500 acres, thousands of pounds in revenue. The thought of it just sends a shiver down my spine. I'm dreading Friday's board meeting. Like it's my GCSEs.

[Ruth Jones]

Well, it's not a done deal yet, though, is it?

[Chris Carter]

No, but Justin has the majority shareholding, so.

[Ruth Jones]

Yeah, but if the board opposes his plan and he just pushes it through regardless, it'll be disastrous for him. I don't think he'd risk resignations.

[Chris Carter]

So this is Justin we're talking about. He might have somehow persuaded the board to support him.

[Ruth Jones]

Oh, surely not. And even if he does succeed, there's still time for Home Farm to find new contracts to make up the shortfall.

[Chris Carter]

I think that's what they call clutching at straws, David.

[Ruth Jones]

No, like you say, Home Farm have got the no till drill now and that's a big draw. I'm sure you'd be able to pick up other contracts if you had to.

[Chris Carter]

I wish I had your confidence.

[Ruth Jones]

And in your new house, share you living with people off your course?

[Chris Carter]

Yeah, a couple. And a few people who I lived with in Holland.

[Ruth Jones]

The girls or a mixture all right? No, no, good. I mean, that's great. And is one of them your. The lad you've been?

[Chris Carter]

Jessie? No, we've only been together a few months. Didn't want to rush moving in together. Very sensible. Be a bit awkward for everyone if we split up.

[Ruth Jones]

True.

[Chris Carter]

Not that I'm planning for us to split up. I mean, I like him. And do Will and Andrew know about Jesse? No one knows about him. I mean, what? Everyone at uni does, obviously, but no one in Ambridge. I don't know why. It just. It just felt weird to come back and make a big announcement.

[Ruth Jones]

No, but you could tell your dad and Will.

[Chris Carter]

Yeah, sure. Actually, there's someone else I think I should tell. Who? Brad. Brad. It's a good while since you two broke up, isn't it? Well, I know. That's what I thought. Like, would he even care? But Amber reckons he still, you know, likes me.

[Ruth Jones]

So it's Amber that's got you worried, is it?

[Chris Carter]

Well, once she said it, I could kind of see what she meant. What if he's thinking we'll get back together? He doesn't know I'm with Jesse. He doesn't even know Jesse exists. I think it's better if I tell him and then everyone knows where they stand.

[Ruth Jones]

Would it make you feel better?

[Chris Carter]

I think it would, yeah.

[Ruth Jones]

Oh, I didn't mean right now.

[Chris Carter]

Well, I know but now I've decided I just want to get it over with. I'll go and see him. Is that all right? I won't be long. Of course. You do what you need to do.

[Ruth Jones]

I'm sure Rosie understands, as you say, it's probably for the best if you're Stella and Pip is Mummy. It's clearer.

[Chris Carter]

Yeah, that's what I thought. But I don't want to confuse Rosie.

[Ruth Jones]

I don't think she's remotely confused. She just likes you. So.

[Chris Carter]

Yeah, I like her.

[Ruth Jones]

You're very good with her, as you think. Of course I do. Don't you?

[Chris Carter]

Oh, I don't know. Sometimes when she's kicking off like she has been this week about the phone, honestly, it's been awful. She's been on and on a Pip little matter. Yeah. And I think just send it to her room. But, you know, that's not Pip style.

[Ruth Jones]

I don't think that's many people's style these days.

[Chris Carter]

No, you're probably right.

[Ruth Jones]

No, Ruth and I were lucky, really. And when we brought up our three, we didn't have to worry about half the things Pip does.

[Chris Carter]

No, no, I really feel for Pip. Until now, my philosophy has been to try and stay out of it. Rosie's Pip's child, not mine.

[Ruth Jones]

But you're Pip's partner.

[Chris Carter]

I know. You know, what I do affects Rosie. And what Rosie does affects us too.

[Ruth Jones]

You know, Stella, Ruth and I are always here for you if you need to talk. You're dealing with a lot, especially with Justin and Brian, all the politics and backstabbing and.

[Chris Carter]

I am so not interested in that. You know, David, all I want to do, all I've ever wanted to do is farm. Why can't they just let me get on with that?

[Ruth Jones]

I know exactly, exactly what you mean. Farming makes sense. Everything else, you know, you should hold on tight to that. Whatever happens at this meeting on Friday, all you need to do is focus on what brought you here in the first place. Farming.

[Chris Carter]

So there's a sticky toffee and the lemon tart. Just give me a shout when Mia gets back from Brad's and I'll bring her ice cream over do. Thanks, Jolene. Oh, it's nice they're still pals. Has she gone to take him a birthday present? A what? It's Brad's birthday today, isn't it?

[Ruth Jones]

Is it?

[Chris Carter]

I'm sure it is. Tracy was telling me they're doing a barbecue at the weekend for him. Yeah. No, Jolene's right, it is. It's Brad's birthday.

[Ruth Jones]

Oh, crikey.

[Chris Carter]

Well, if you've been all right. Yeah, I just don't think Mia remembered, that's all. Oops.

[Ruth Jones]

She was just popping over to see him about something else.

[Chris Carter]

I'm sure Brad'll understand. They didn't like they're together anymore, so. Any more drinks? Oh, no, we're fine, thanks, Jolene. Okay. My pleasure.

[Ruth Jones]

Poor Brad.

[Chris Carter]

Poor Mir.

[Ruth Jones]

No point calling her. She'll be there by now.

[Chris Carter]

We should have stopped her going. She didn't need to tell Brad anything.

[Ruth Jones]

I know, but she wanted to. So churned up about it. And if Brad is still carrying a torch, it's better that he knows.

[Chris Carter]

There's no chance on his birthday, though.

[Ruth Jones]

Yeah, I know.

[Chris Carter]

Lemon tar.

[Ruth Jones]

Oh, go on. Oh, yeah, that is lovely.

[Chris Carter]

So summery, isn't it?

[Ruth Jones]

Very nice. In fact, this whole evening's been lovely.

[Chris Carter]

Free meal, you mean?

[Ruth Jones]

Well, yeah. And chatting to Mia. We don't see her much now she's in Newcastle.

[Chris Carter]

She's doing really well, isn't she?

[Ruth Jones]

Yeah.

[Chris Carter]

Off meeting new people, learning new things. Cooking lentil stews every night with her mates. So lovely, hey? No. I used to imagine George might end up going to uni.

[Ruth Jones]

Well, he was never keen.

[Chris Carter]

No, I mean, when he was really little, I used to daydream about the future. He was so bright. I know every parent thinks that about their kid, but he was, wasn't he? And now he's in prison planning a wedding to see someone he's only known for a few months.

[Ruth Jones]

Amber's all right.

[Chris Carter]

It's not her. It's just. None of this is what you choose for your child, is it?

[Ruth Jones]

Maybe not.

[Chris Carter]

Definitely not. If I could choose, I'd have him off at uni making lentil curries and meeting a girlfriend in the normal way.

[Ruth Jones]

What?

[Chris Carter]

I would.

[Ruth Jones]

Kara might go to uni.

[Chris Carter]

Yeah, she might. It's not that I'm desperate for one of my kids to go to uni. It's just sitting here talking to Mir. Her life is. Is carefree and innocent and beautiful. Just like it should be. Her biggest problem is breaking it to Brad that she's got a new boyfriend.

[Ruth Jones]

Yeah.

[Chris Carter]

I wish George's life was as uncomplicated and carefree, that's all.

[Ruth Jones]

Maybe it will be one day. Maybe. I know we wouldn't have chosen for him to get married like this, but what if.

[Chris Carter]

What if what?

[Ruth Jones]

What if it's a chance for George to do something, I don't know, normal? Maybe him and Amber will settle down and be good for each other until.

[Chris Carter]

It all comes crashing down.

[Ruth Jones]

Well, it might not come crashing down. That's my point. I mean, it's possible.

[Chris Carter]

You're right. Is possible. Let's hold on to that, shall we? Travis fell in love with the perfect woman. She listened. She cared. There was just one catch. She wasn't human. She was an AI companion. But when her behavior takes a disturbing turn, Travis finds himself at the center of a much darker story. This is Flesh and Code, a true story of love, loss, and the temptations of technology. Listen to Flesh and Code wherever you get your podcasts.

[Ruth Jones]

Brad, over here. Hi, George. Good to see you, mate. Yeah, you too. Sit down, sit down. Make yourself comfortable. Those things. Same old. How about you? Yeah, you know. Hey, happy birthday for yesterday. Thanks, mate. Sorry I haven't got you nothing. Don't be daft. Was it a good one? It was all right. What'd you get up to? Just the usual. Never mind that. How are you? Well, since you ask, I'm not great. No? No, I'm a bit worried. Worried? About Amber. Amber? She's all right. She. I saw her the other day and she seemed fine. What's all this about Chelsea bullying her? Oh, that. Yeah, that. Did you know? Not till last week. Chelsea didn't even know. Yeah, right. No, I mean it, George. She didn't remember nothing about it. She felt awful when she realized. She's trying really hard to put it right, but Amber won't speak to her. Of course she won't. Would you want to hang out with your school bully? Amber was really upset. You know, it was a massive shock seeing her at the tea room. And then she finds out we're related. I know, I know, but it was a long time ago. High school was a jungle. We were all just getting through it best we could. Why are you making excuses for her? Because she thinks she feels terrible about it. She really wants to make it up to Amber. No. Tell her to stay away. She's done enough damage. I'm not gonna tell her that. I mean it, Brad. Amber might seem all confident, but she's having a really hard time. Her parents have been horrible to her ever since she told them about us. She feels like she's got no one on her side apart from me, and I'm stuck in here. That's tough. Yeah. So I told her you'd have her back. Me? Yeah. Well, that's all right, isn't it? She needs someone on her side in Ambridge. Okay, but I'm on Chelsea's side, too. Brad, Amber is my fiance. Yeah, and Chelsea's my sister. And she's genuinely sorry about what happened back then. She didn't realize at the time how much it affected Amber. But now she does, and she's mortified. Well, good. That's something at least. I think it'd be better if Amber gave her a chance.

[Chris Carter]

Chelsea's even offering to do her hair.

[Ruth Jones]

And makeup for the wedding. All right. I'll talk to Amber. As long as you promise to look out for her. Yeah, of course. Brian asked if you wanted to take over the farm.

[Chris Carter]

Well, no, it wasn't like, alice, will you come and run home farm? It was more. Would you be interested in theory?

[Ruth Jones]

And would you?

[Chris Carter]

Well, yeah, I would in theory, but not right now. With everything that's going on. You can't tell anyone.

[Ruth Jones]

Of course not.

[Chris Carter]

No, I mean it, Chris. If Adam and Kate find out, all hell will break loose.

[Ruth Jones]

There's Debbie and Rory, too.

[Chris Carter]

Yeah. I mean, nothing's happened. It's just a conversation.

[Ruth Jones]

It's not nothing. It's massive.

[Chris Carter]

All right, it's not nothing, but it's potentially nothing. Right now we just need to focus on trying to get Justin to drop this rewilding plan. I mean it, Chris. You won't say anything, will you?

[Ruth Jones]

I promise. Exciting, though.

[Chris Carter]

Yeah, I know. Anyway, I. I can't think about that right now. I mean, that's what I said to dad. There's. There's just too much going on with Martha and everything.

[Ruth Jones]

What's going on with Martha?

[Chris Carter]

This.

[Ruth Jones]

Oh, but it's not an ongoing situation, is it? It's just an appointment. That's all it is. Hopefully they'll tell us there's nothing to worry about and that'll be that.

[Chris Carter]

Well, I hope so. And, you know, if they do identify anything concerning about her development, they won't. Then they'll be able to advise us about how to support her.

[Ruth Jones]

Well, yes, I suppose so. But I honestly think they're gonna take one look at her and send us on her way.

[Chris Carter]

That'd be great. I made a list of things to discuss.

[Ruth Jones]

Flipping ick, Alice.

[Chris Carter]

Well, just so we don't forget anything. It's what they advise you to do, do. So if your mind goes blank, you've got something to refer to.

[Ruth Jones]

Inability to focus on tasks, occasional meltdowns, difficulty managing emotions, possible balance issues. Alice, what is this?

[Chris Carter]

Don't overreact. Just a list of things that might be relevant.

[Ruth Jones]

Martha does not have balance issues.

[Chris Carter]

She can't stand on one leg.

[Ruth Jones]

I don't think that constitutes balance issues. And anyway, yes, she can. She's never off that scooter.

[Chris Carter]

She was pretending to be a flamingo the other day and she fell over. She couldn't do it.

[Ruth Jones]

You're seriously gonna go in there and tell them her flamingo impression isn't up to scratch?

[Chris Carter]

Please don't make fun of me. I'm sorry, but I'm not saying it means anything, Chris. I'm saying it could mean something, that's all. And now we're here, we might as well tell them everything. That could be a cause for concern, no matter how insignificant it seems.

[Ruth Jones]

You know, Pip's having a nightmare with Rosie at the moment.

[Chris Carter]

Is she?

[Ruth Jones]

Apparently. Mum said she saw Pip last week and she looked run raggish and said Rosie's going through a bit of a difficult patch.

[Chris Carter]

Oh, I didn't know that. Is she alright?

[Ruth Jones]

Well, it sounds like Pip's pretty stressed. But the point is, no one's suggesting that there's anything wrong with Rosie developmentally because it's just par for the course with kids, that they push boundaries, go through phases.

[Chris Carter]

I know.

[Ruth Jones]

And Martha isn't even doing that. She's fine. She's literally, absolutely, completely fine.

[Chris Carter]

Well, hopefully that's what they'll say.

[Ruth Jones]

Oh, yeah, she loved it. She'd never seen a sunrise like that before. I couldn't believe it. But then if you don't grow up haymaking and that, you don't see so many sunrises. She loved Mia too. Did she? Wouldn't stop going on about how nice she is. Have you seen her since she's been back? Who? You know who. Mia. Oh, yeah, yeah, a bit. And? And nothing. She's seeing someone else.

[Chris Carter]

What?

[Ruth Jones]

She never said. Nothing. Well, she is. She came over last night specially to tell me on your birthday. Oh, she didn't mean to. I mean, she did mean to, but she'd forgotten it was my birthday. Oh, I don't know if that makes it better or worse, to be honest. Sorry, mate, that's rough. It's fine. I know you were hoping you might get back together. No, I. I wasn't. Not till she came back anyway. And then she seemed so happy and. I don't know, sorted. It was really nice hanging out again. And yeah, I started to think that maybe me worst thing is, I thought she started to think it too, when actually she was trying to work out how to tell me about her amazing new uni boy for dollar. Oh, it's so embarrassing. No, it's not. It is. It's embarrassing that I thought I was in with a chance and it's Even more embarrassing that I'm so good about it. Like it somehow feels worse than when we split up the first time. She was with someone else now. So that's it? It's really over? Sorry. What are you sorry for? Well, we've not got long left. I'm going on about your stepsister. Let's talk about something else. What are you doing this afternoon? Flat white.

[Chris Carter]

Oh, thanks.

[Ruth Jones]

Where's Martha? Ah, yeah, top of the climber frame. Didn't waste any time getting up there, did she? Alice, you all right?

[Chris Carter]

What are we supposed to do now?

[Ruth Jones]

What do you mean?

[Chris Carter]

I really hoped she was gonna keep. Give us some certainty. She basically said nothing at all.

[Ruth Jones]

No, she observed Martha. She asked us lots of questions. She read your list.

[Chris Carter]

Yeah, and then she said we will have to wait until she's six if we want to know for sure whether there's anything to worry about.

[Ruth Jones]

No, that's not. She didn't say that. She said there's nothing about Martha's development that concerns her at the moment.

[Chris Carter]

If we want to completely rule out the possibility of fetal alcohol spectrum disposal.

[Ruth Jones]

She only said that because you pushed her to completely rule it out.

[Chris Carter]

Yes. And she couldn't. I wanted her to run some tests and then say, no, Martha is absolutely fine. And. And then send us on our way.

[Ruth Jones]

She kind of did.

[Chris Carter]

You know, we need to keep on top of this from now on. We need to make a note of any concerns we have about Martha, anything that might suggest fasd.

[Ruth Jones]

What are you talking about?

[Chris Carter]

So that in two years time we can go to the specialist with a really clear picture of where Martha's up to you.

[Ruth Jones]

No. No way. We're not going to follow Martha around for the next two years noting down her every move like she's some sort of lab rat and then subject her to more unnecessary tests. No, Listen to yourself, Alex.

[Chris Carter]

I'm worried, Chris. It isn't an easy thing to diagnose. The characteristics are wide ranging and often mistaken for other things.

[Ruth Jones]

Do you think I don't know that?

[Chris Carter]

Yeah, well, I've done a lot of research into it.

[Ruth Jones]

Yeah, me too. Oh, of course I have. As soon as I knew about your drinking. I don't know how many sleepless nights I had looking up alcohol damage to unborn baby, praying that she'd even survive.

[Chris Carter]

Chris.

[Ruth Jones]

But she did survive. We were lucky. Martha is here and she is perfect. And you need to stop this, Alice, because I don't know how much more I can take. Poetry? Yeah. So you've actually written a poem? Well, I Can write, you know. Yeah, I know that. I just didn't think you were interested in poetry. I'm not. But in here you'll do anything to kill the time. And it's actually all right. This chaplain comes in and reads poems to us. Not dusty old stuff either, like. Some of them are proper good. Funny even. Then he, like, helps us write our own. That's amazing, George. I wouldn't go that far, but it's a laugh I'm writing a poem from. Wow. Well, I haven't given her yet. I was thinking of saving it for our wedding day. Need to work on it some more, though. Don't want her to think it's rubbish. She wouldn't think that. She's really into you. You'll find someone you know. Shut up. No, listen. I know you feel gutted about Mia. Of course you do. She was your first girlfriend. But that doesn't mean she was the right one.

[Chris Carter]

Yeah.

[Ruth Jones]

Is it alright if we don't talk about. For ages, I thought Tilly Button could be the one for me. But now I can see that would never have worked out. When I met Amber, it all made sense. Hey, maybe you'll meet someone at the wedding. Maybe. Yeah, you'll be there looking all handsome and your best man suit.

[Chris Carter]

Stop. Now.

[Ruth Jones]

I know you're trying to cheer me up, but. Hang on, what did you just say? I said, brad, will you be my best man? Are you serious? As if I joke about something as important as this. Wow. I don't know what to say. Best man. You're my best mate. And this is the biggest day of my life. I need you there with me. Thanks, mate. So you'll do it? Of course I'll do it. I'd love to. I'd really love to. Brilliant. I'm sorry, I shouldn't have.

[Chris Carter]

No, it's fine.

[Ruth Jones]

I lost it.

[Chris Carter]

I understand.

[Ruth Jones]

I just think all this. You're searching for something to be wrong with Martha when anyone can see there is nothing wrong with her. And actually, it's not about Martha, it's about you.

[Chris Carter]

It's about whether I've harmed her.

[Ruth Jones]

You're an alcoholic, Alice. You couldn't help it. You need to stop blaming yourself and. Blaming yourself for what? Anyway, Martha is brilliant and kind and funny and who cares if a flamingo impression's rubbish? We love her for who she is.

[Chris Carter]

I know. And I do love her. But I can't stop worrying.

[Ruth Jones]

I know.

[Chris Carter]

I worry about her all the time.

[Ruth Jones]

Me too. I think it comes with being a parent.

[Chris Carter]

Where is she? I Can't see her.

[Ruth Jones]

She's there.

[Chris Carter]

Where?

[Ruth Jones]

On the monkey bars. Oh. Oh, she's gonna go for it. Wow. Did you know she could do that?

[Chris Carter]

No. Usually she makes me hold her legs.

[Ruth Jones]

Yeah, me too. When did she learn to do that? That is some impressive upper body strength.

[Chris Carter]

Yeah, it really is. Oh, go on, Martha. You can do it.

[Ruth Jones]

Well done, Martha. Yay. Oh, bless her.

[Chris Carter]

Oh, she's embarrassed.

[Ruth Jones]

We're those parents.

[Chris Carter]

Yeah.

[Ruth Jones]

Oh, well, you see, she's absolutely fine. She's brilliant.

[Chris Carter]

Yeah, she is. Unbelievable.

[Ruth Jones]

Nothing should surprise us when it comes to Justin. Elliot. You having coffee? Annabelle?

[Chris Carter]

I need to something. Coffee will have to do. Even for Justin, this is ludicrous. To spend all that time waxing lyrical about rewilding the land only to decide to build a massive concrete warehouse while he's at it.

[Ruth Jones]

Quite. I mean, well, he's realized there's no money in his rewilding vanity project, so he's had a quick rethink.

[Chris Carter]

And Martin seems to be supporting him.

[Ruth Jones]

After everything he said. Yes. He knows which side is. Bread's buttered, I suppose. Annabelle, we're heading back in.

[Chris Carter]

All right, we're coming.

[Ruth Jones]

Snake, how do you think it's going to go?

[Chris Carter]

It's hard to tell. There's a lot of opposition in the room. I can't see Ira or Glinda being convinced. Nor Andrew. But you never know with Justin. He might just try to force it through.

[Ruth Jones]

What then? Would you resign?

[Chris Carter]

Ideally not. But if he leaves us with no.

[Ruth Jones]

Choice, it might come to that. Oh, it's nice having Chris and Martha here. She didn't half make me laugh at breakfast this morning. Did you hear her?

[Chris Carter]

Make sure you brush every tooth, Daddy. She's a character, isn't she?

[Ruth Jones]

Yes, she certainly is.

[Chris Carter]

And it was lovely reading her a story last night. Although her choice of book was a bit close to home. Squashing a squeeze, I said to her, oh, Martha, it's. It's like Nana's house, isn't it? Yes, she said, but it's no good for her living in all this chaos.

[Ruth Jones]

She doesn't seem phased to me. And anyway, she's with Alice now for a few days, so she'll have a bit of space there.

[Chris Carter]

Well, I suppose having separated parents has its moments. Oh, look, Christopher will be home soon. You sorted anything out for Turkish?

[Ruth Jones]

No. Oh, Neil, I said, because Chris rang me earlier and said he wanted to take us out to the ball.

[Chris Carter]

He doesn't need to do that.

[Ruth Jones]

Well, he said that, but there was no persuading him.

[Chris Carter]

Yeah, well, he probably wants to spend the evening somewhere that doesn't resemble a junk shop.

[Ruth Jones]

I think he just wants to do something nice.

[Chris Carter]

Oh, I know that, Neil. I'm just feeling sorry for myself.

[Ruth Jones]

You're not listening, Justin. If you were, you'd see there's very.

[Chris Carter]

Little support for this scheme because it's totally irresponsible. The future of food security depends on land being kept in farming. You know this.

[Ruth Jones]

Yes. He just doesn't care. Now, Brian, Annabel, let's try to keep calm.

[Chris Carter]

Keep calm? Don't patronize us.

[Ruth Jones]

This whole meeting has been pointless. He isn't interested in listening to advice on the board.

[Chris Carter]

He.

[Ruth Jones]

He's just going to do what he wants. If members of the board feel unable to come with me, they are, of course, free to resign. I'd be sorry to lose you. There you are, you see. Now, let's have some order, please, Justin. There's no need for that. What? There are clearly many differing views in the room. And that's always the way with proposals like this. It's right and proper that we should hear both sides. The last thing we want is for this to result in resignations. But if that's what people want to do. I don't think anyone wants to resign. The environmental benefits of the proposal are very clear, but obviously some members feel they need to fully assess the financial impact of the plans. So I suggest that we commission a feasibility report. Oh, really? Shut you up. Thank you, Brian. Once we have the report, we'll be better placed to fully understand and evaluate the potential success of the plan.

[Chris Carter]

Yes, thank you, Martin. We know what feasibility means.

[Ruth Jones]

I'll keep you all fully updated as things progress. Right, thank you, everyone. Oh, really, Martin, is this necessary? It's a complete waste of time. Let's debrief.

[Chris Carter]

Have a good mind to tell Martin where to stick his feasibility study.

[Ruth Jones]

Right. I mean, if it's stuck to his guns and opposed Justin, like he said he would, then we wouldn't be in this mess. It's not just a shot, Chris. It's all this business with George and Amber and your Nana Ivy's ring. It's really getting her down. I'm not surprised. Don't tell Emma I said this, but George really has behaved like a right little. Yeah, I know. You don't need to tell me. Keep telling your mum. We've done nothing wrong. It's up to George now. It's all a bad feeling. She hates that. Poor mum. Yeah, I do too. It's not natural, us being at odds with George, but what's the alternative? We let him get away with that kind of behavior? That's not doing him any favors. Having me and Martha staying isn't making things any easier.

[Chris Carter]

Oh no, no.

[Ruth Jones]

That's what's keeping her going.

[Chris Carter]

Really?

[Ruth Jones]

Absolutely. Don't you go making alternative arrangements because we're very happy to have you. I mean that.

[Chris Carter]

Sorry about that. Just wanted to thank Kirsty for her help the other night. Shall we order? You know, I think I'm going to have the tandoori card. Emma said it was lovely.

[Ruth Jones]

Oh, sounds good. I might join you.

[Chris Carter]

There you go.

[Ruth Jones]

Oh, thanks.

[Chris Carter]

I fear we'll need more than this to take the edge off. After that meeting. I noticed Stella didn't stick around.

[Ruth Jones]

I don't blame her. The whole thing was a disaster from start to finish. A feasibility study.

[Chris Carter]

I know. What's the point?

[Ruth Jones]

The point is that Justin and Martin think we're stupid. Whatever it says, it won't change the fact that this is a non starter.

[Chris Carter]

And how long will it take?

[Ruth Jones]

I know. Hello. Hello you two. Anyone need a drink? No, thank you.

[Chris Carter]

I'm surprised you got the cheek to be honest, Martin.

[Ruth Jones]

Oh come on Annabelle, be fair. That was a result back there and you know it. A result? All that was needed was a bit of diplomacy to achieve a way forward.

[Chris Carter]

You mean you've kicked the ball into the long grass? Well done.

[Ruth Jones]

What happened? You were completely against Justin's plans five minutes ago. This to do with Borsicher Water supporting the beaver project.

[Chris Carter]

Is that true? You and Justin have done some kind of dodgy deal?

[Ruth Jones]

Absolutely not. That's nothing to do with me.

[Chris Carter]

Really? Well, all I know is that you were totally opposed to the rewilding plans when we last spoke. And now apparently you're backing.

[Ruth Jones]

Justin's plans have developed significantly as you heard. I genuinely think the inclusion of a food storage facility in a vertical farm makes a massive difference to the viability.

[Chris Carter]

Or are you just trying to to keep in with Justin?

[Ruth Jones]

No. Oh, come off it, Martin. This proposal is wrong headed in every aspect. Not to mention disastrous for Home Farm. Ah. Drink anyone?

[Chris Carter]

Just another day in the office for you, isn't it Justin?

[Ruth Jones]

To be honest, yes. I don't know why you're smoking. I'm not. This is just my face. This feasibility study is surely going to expose your plans for the nonsense they truly are real. What do you mean? I mean once the study is complete, we'll hear the outcome of it. Will this study actually be impartial? Have you lined up one of your cronies? To do it. Oh, now you're just being paranoid.

[Chris Carter]

Is it anyone now?

[Ruth Jones]

Justin, come on. It doesn't help winding people up like that. Of course it'll be impartial. Of course it will. Oh, sorry, I didn't realize everyone had lost their sense of humor.

[Chris Carter]

How was your pilot?

[Ruth Jones]

Oh, very nice. Yeah. I wish Christopher would let us at least split the bill though. And I wish you would stop asking. This is my treat. A thank you for having us.

[Chris Carter]

You don't need to thank us, but we appreciate it. It's been lovely. Oh.

[Ruth Jones]

Alice has sent me a picture of Martha blowing night night kisses. Look.

[Chris Carter]

Oh, she looks happy to be back in her own room, didn't she? Yeah, we were saying it's handy when it comes to situations like this, isn't it? Her having two bedrooms.

[Ruth Jones]

I've been thinking the same thing.

[Chris Carter]

It's not good for her, is it? Staying at ours with all the stock piled up everywhere.

[Ruth Jones]

No, it's not for long.

[Chris Carter]

Well, there's barely any floor space for her to play.

[Ruth Jones]

No, it's not ideal.

[Chris Carter]

Well, look, we love having you.

[Ruth Jones]

Yes, we do.

[Chris Carter]

But Christopher, honestly, if you felt it would be better for you to find somewhere else.

[Ruth Jones]

He doesn't need to do that.

[Chris Carter]

I've just given him the option. Don't feel you have to stay at ours to save upsetting us. We won't be upset, will we?

[Ruth Jones]

Well, no, but. Because actually these last few days have been a bit of a nightmare. Have they?

[Chris Carter]

Of course they have. It's time. Terrible. If I had anywhere else to go I would.

[Ruth Jones]

So it might be better for everyone if we found somewhere else. A short term holiday let or something. You sure you wouldn't mind?

[Chris Carter]

Of course not.

[Ruth Jones]

Well, no, no. You need to do what's best for you and Martha. Okay, great. Same again.

[Chris Carter]

Oh, let me get them for the last time.

[Ruth Jones]

Mom, will you sit down? I'll get some dessert menus while I'm there. Are you all right?

[Chris Carter]

Me? Of course.

[Ruth Jones]

Well, you're not too upset?

[Chris Carter]

About what?

[Ruth Jones]

Christopher wanting to move out.

[Chris Carter]

Upset? I'm over the moon. I mean, don't get me wrong, it's lovely to see him and Martha. And there's always a bed for him if he needs it. But the last few days have nearly sent me over the edge. Oh, at least with Christopher gone we can pile all the stock in his room. We might even be able to see the telly.

[Ruth Jones]

And there's the gin and tonic and a dry white wine.

[Chris Carter]

Thank you.

[Ruth Jones]

Yes, thank you, Justin. Yeah. Although if you think you can win Us over the round of drinks. You're very much mistaken. I'm not trying to win you over. No, quite. No, you don't need to. As the majority shareholder, you can do what you want. Yes. Yes, you're right. I can, can't I? Justin? You're just joking. But seriously, I'd much rather bring the board with me. I genuinely believe in this project. This land will be a model of nature restoration, not to mention sound business. I don't know how you work that one out.

[Chris Carter]

Neither do I. Your vertical farming would be at the behest of supermarkets, even riskier than arable.

[Ruth Jones]

There's always risk involved. But the feasibility study will show it stands a good chance of success. And that's why we included the food storage facility. Yes, which shows that you aren't interested in the environment at all. You want to take land out of our contract to build a whopping great warehouse. But Brad, in the nicest possible way, you aren't impartial, are you? Your main concern is understandably, home farms arable contract. You've got a cheek, Justin. Suggesting I'm the one acting out of self interest here. No, merely stating a fact. The fact that is, Justin, that your every move is self serving. To hell with the contractors, national food security and everything else. As long as your legacy is safe. No need to get upset, Brian. Yes, I am upset. I don't know how you sleep at night. I really don't. What you're doing is totally irresponsible. Steady on, Brian. You'll talk yourself out of the contract altogether. I don't care. In fact, good idea. Excuse me. I've had enough of this nonsense, Justin. We all have. I don't give a damn about the home farm contract. So you find someone else to do your wheat harvest.

[Chris Carter]

Sam. BBC Sounds Music Radio podcasts hello, I'm Ruth Jones, sitting in for the inimitable Emma Freud, who's taking a well deserved break and doing a spot of haymaking while the sun shines. She literally is doing a course in haymaking. Now I've been an avid fan of the Arches since the early 90s. And despite being an actress and writer myself, the thought of actually being in the Arches or writing it absolutely terrifies me. Because in my mind, Ambridge really exists. Well, it's been a tumultuous week. The village shop is closing temporarily due to dry rot that Hazel Woolly may or may not have planted. Akram is planning a tug of war for the fate. It's the Grey gables gym bunnies versus the Ambridge Brian's quit farming BL's contract and he's having a full on toddler meltdown coming out with lines such as, no, it's my farm and I don't give a damn about the home farm contract. And Alice and Chris continue to grapple with the fallout of Alice's drinking during her pregnancy. I'm Ruth Jones and this is the Archers podcast. This week I am joined by Ambridge's most eligible bell ringing blacksmith, Chris Carter, played by Wilf Skolding. Wilf, little question for you. Have you ever shoed a horse?

[Ruth Jones]

I haven't put a shoe on a horse, but I have shoed horses away.

[Chris Carter]

That will do. That'll do. Also here, the most dedicated postmistress the village shop has ever seen, Susan Carter, played by Charlotte Martin. Charlotte, have you ever heard the expression ambient goods before? And do you actually know what they are? No, I know what a good ambiance is, but in terms of ambient goods, I don't know. Custard creams. Good answer, good answer. And playwright and writer of this Week's Archers, Sarah McDonald Hughes. If Stella's not going to be Mummy. So, Stella, what would you have Rosie call her? Well, this might be controversial, but I'd go with Stella.

[Ruth Jones]

Outrageous.

[Chris Carter]

I think. So Left might just work. Okay, now to my scene of the week. I am breaking with tradition and have picked two because, quite frankly, it was impossible to choose. So, first up, it's the moment the villagers came to the rescue in the shops and hour of need. This was like the Ambridge version of It's a Wonderful Life. If we open up again now, Susan, come on. Oh, hello, Akram.

[Ruth Jones]

Hi, Joy. Susan. Azra sent me. She'd have come herself, only she's held her back. So you've got me. My car's outside. Shall I start loading some of these boxes in?

[Chris Carter]

Oh, if you would, Akram. Yes, please. Thank you.

[Ruth Jones]

No problem. I'll just drop this door open. Oh, hello.

[Chris Carter]

Hi there. We've come to help with the movie. Oh, how are you Akron team coming along?

[Ruth Jones]

Oh, yes. Jazza, Pip, Josh and Ben are on board. Actually, I'm glad I bumped into you, Stella.

[Chris Carter]

Oh, right, yeah. Are you right, Joy? Oh, yeah, sorry, I'm just. This feels like a bit of a Christmas miracle, doesn't it, Susan? We were just staring at all the boxes. Boxes. And wondering how we were going to do it all on my own.

[Ruth Jones]

And then your fairy godmothers.

[Chris Carter]

Where do you want us? I've got no plans till 9am, so I'm yours till Then, well, hopefully it won't take us that long. Now you're all here. Right, okay. Well, Kirsty, if you want to start loading these. Oh, that's so lovely. So heartwarming. Absolutely. I. I have to say, as well, actually, Charlotte, I think that's a really good example of showing your breadth of. Of acting skill, because, you know, we're so used to Susan being this sort of personality that is very controlling and all of that sort of comedy character. Lots. Lots of the time. But I love hearing her when we hear the more, you know, the vulnerability. Yeah. And I think. I think the vulnerability in Susan is. Is probably the key characteristic in. If you. If you really delve down into what makes her tick, I think there's a. A big layer of vulnerability. But I think the shop and Susan are almost the same thing. I think Susan is the shop. And I think. I was talking to Sarah downstairs, actually, about this. She. She's a menopausal woman and she. I think she struggles to deal with that kind of invisibility. Right. That women get. And I think the shop and all the responsibilities around the shop give her a real identity and I think that's why she felt so emotional about it. Yeah, that means a lot to her. It's the heart of the village, really, isn't it? It's where people meet. And, of course, it's Chris's home. He lives above it. Yeah.

[Ruth Jones]

I have to come past the shop every time I go home and.

[Chris Carter]

But not for much longer.

[Ruth Jones]

Not for much longer. No, no. There's a bit of dry rock, so that was planted by somebody that was new. Oh, that was a little.

[Chris Carter]

We're just throwing shade.

[Ruth Jones]

Oh, well, yeah.

[Chris Carter]

I wouldn't put it past her, would you? I mean, come on, she's got history, hasn't she? Well, that's true. She has, really. When I heard Terry the builder arrived this week, I actually thought he might have been one of Markie's cronies, you know, And I thought, oh, my gosh, who is it? Because I think when you hear a new voice in the Archers, it does make your ears sort of prick up, doesn't it? Go, who is this? Who is this person? Now, we'll go now to my second scene of the week. It was the moment that Brian told Alice she was the chosen one. Were you serious when you asked me if I'd be interested in running Home Farm?

[Ruth Jones]

Completely serious, yes. Why? Are you interested? You are, aren't you?

[Chris Carter]

No.

[Ruth Jones]

I can see that you are.

[Chris Carter]

I mean, I've got so Much on my plate at the moment that I can't even really think about it.

[Ruth Jones]

But you will?

[Chris Carter]

Yeah, I will.

[Ruth Jones]

Good.

[Chris Carter]

Thank you for asking, dad.

[Ruth Jones]

So it's not a no then?

[Chris Carter]

It's an I don't know. Is that okay?

[Ruth Jones]

Yes, that's okay.

[Chris Carter]

Good. Do you know what I loved about that is, you know, we talked about that village shop scene being something like It's a Wonderful Life. That scene between Brian and Alice reminded me of succession and the whole relationship between Logan, Roy and Shiv Roy and I think, I mean, Sarah as a theme in the Archers succession is a really massive one, isn't it? Because we've got all of, you know, we've got the different farms and who's going to inherit what. But I think it gives such potential for drama and does what the Archers does really, really well is to have these long running storylines. Yeah. Does it appeal to you as potentially all of that kind of tension or unspoken kind of years old conflict between siblings and who's gonna get what and who in the Aldridge's case, who does Brian love the most? Just feels like that. So vivid for them all, all the time. And obviously Adam feels very outside of it all. He's a big farmer. And we had not so long ago with Kate and Alice, there was that one she said to Brian, Kate said to Brian, you will always believe Alice, you will always trust what she says. And that's so deep. So it's great. Yeah. So much potential there to play with. And you do imagine, don't you, when that time comes, if it ever does, how will Adam, I mean, Adam will go ballistic. Oh, won't he just? And then what about Debbie? Well, that's what I was just thinking. I said, gosh, this is an interesting choice. I'm not saying Alice wouldn't be up to it, but she's had to deal with such a lot recently. It's a massive thing to ask her to consider, isn't it? Absolutely. In light of all the things that have gone on. I wonder if that's part of it, that he kind of knows. He's just testing, planting some seeds. He knows he's causing trouble. It's like feeling what's. What's kind of. What do they all feel? Yeah. A bit King Lear, isn't it? Yeah, it is. How much do you love me? Yeah. Like what? Because he does. He does respond very differently to all his children, doesn't he? Yeah, he does. Plays them off. Yeah, absolutely. Wilf, this is your first time on the podcast.

[Ruth Jones]

It is.

[Chris Carter]

Thank you for having me. Welcome.

[Ruth Jones]

Thank you very much.

[Chris Carter]

Charlotte and Sarah have both been on it before. You took on the role of Chris Carter in 2017.

[Ruth Jones]

That's right, yeah.

[Chris Carter]

What was it like picking that role up sort of on the run, as it were?

[Ruth Jones]

It was quite. I felt quite a lot of pressure. What was really lovely was that Charlotte was there at the very beginning of my journey. She was there in the audition and she very kindly read in with me. Oh, that was nice. And so it was just a really lovely welcome. So from that side, I never felt any pressure, but it is quite an institution. And taking on a role that is a fully sort of fleshed human being. And there's such degree detail to all of the characters. That was a bit of.

[Chris Carter]

Did you listen to the Archers before you got the job?

[Ruth Jones]

When my mum put it on.

[Chris Carter]

All right. Okay.

[Ruth Jones]

When it was dinner time, it was quite the Archers, which is quite right.

[Chris Carter]

Yeah.

[Ruth Jones]

But since being in it, I've really got into it.

[Chris Carter]

Oh, wow. I'm always interested in that. Like. Do you listen to it every once in a while? Yeah, I do. And I think it's really helpful as an actor doing that. Yes, I listen every night.

[Ruth Jones]

Do you live every night?

[Chris Carter]

Yeah. And the thing is, I listen to it. No, I listen to it. I listen to the. On play again sound. Okay. What do they call it? Yeah, I play it sounds.

[Ruth Jones]

Sorry, Again sound.

[Chris Carter]

I listen to it on play again sound. No, it's BBC sounds. I listen to it every night. And unfortunately, sometimes I do fall asleep. That's not because of your acting. Can I just say. And not because of your writing. It's just that sometimes it sends me to sleep and then I might miss something really major. And my sister Maria is a big listener as well and I'll. And she'll say, oh, my gosh, did you hear? Blah, blah, blah. And I go, no, I don't. So that's quite funny. So it's usually quite good to catch up on the omnibus on a Sunday. Yeah, well, sort of. Being a blacksmith in the show, we hear a lot about shoeing horses. But does Chris actually do anything with any other ironware?

[Ruth Jones]

Does, actually, yes. Sometimes a few gates. Sometimes there was some. He went through a phase of making some odd sort of ornaments.

[Chris Carter]

Did he?

[Ruth Jones]

I think so. Do you remember that?

[Chris Carter]

Gosh, yes.

[Ruth Jones]

Rings an iron wrought bell which Susan.

[Chris Carter]

Has on display when he's round. But when he's got.

[Ruth Jones]

Yes.

[Chris Carter]

He touches the cupboard.

[Ruth Jones]

Right.

[Chris Carter]

He's gone.

[Ruth Jones]

I think it's mostly farrying. Shoeing horses.

[Chris Carter]

Yes. And never a barbecue grill.

[Ruth Jones]

Barbecue grill. I'll chat to him.

[Chris Carter]

Yeah, I think that'd be quite a good little sideline. When do you want it for Sarah? We talk about Will picking up from, you know, with a ball, as it were, and running away with the character. It was a similar situation for you when you joined the writing team. Yeah, I was terrified because it felt like such a responsibility, these characters that the audience know so well, never mind the actors. And I had listened. My parents are big fans so I'd heard it throughout my life. And then I'd really got hooked over the Helen and Rob storyline like so many people. So I was fully in. But still I don't think I spoke in a script meeting for the first six months. I was terrified. And you know, the people in the room know so much. So you would kind of say something and someone across the table would say very politely, actually that character would never do that because in 1973 things happened at the Village. So what was your first storyline? Can you remember? Oh, I can't remember. I had. Do you know what I think my first episode might have had? The Flower and Produce show, which looking back feels quite a mean thing to have given me. I think so. Because how on earth you make that happen? I didn't know what a Flower and Produce show was. I always think as well it's quite fascinating when you listen to the end, when you know when the end of the episode is coming up because the lines are often things like, well, that's going to be very difficult, very difficult indeed. Dun dun dun dun dun dun. And I love sort of identifying those moments. So that must be quite fun. Yeah, it's fun. It's fun knowing where to kind of leave, leave a scene because you are trying to really hook him for the next episode. Of course the big story in Chris's life has been Alice. And I want to take you all back now to early on in that relationship. Chris and Alice had been dating since 2008. They eloped in 2010, getting married in Las Vegas. Susan phoned Jennifer to share the good news. This is one of my favorite all time scenes. Jennifer was less than impressed. I think it's a little bit early to be talking about parties, Susie. Maybe we should just let the dust settle first. No, well, we can talk about that anytime. The important thing is our children are united in love. I tell you, it was such a shock. Yes, it was certainly that. A thrilling shock though. Now I've got to go, I want to ring my mum and dad. Oh, she Wants to throw a party.

[Ruth Jones]

Oh well, don't marry Jenny. They'll probably just book the bull upstairs, invite the Horribin tribe, get thoroughly hammered and go home. End of story.

[Chris Carter]

Oh, good grief, Brian. I'm related to a Horribin. I've never heard that.

[Ruth Jones]

That's amazing.

[Chris Carter]

I can remember it really well, you know, and so joyful. I mean, thank you to Naomi for emailing the Arches page [e-mail] and reminding us of that glorious moment. Can you, can you remember that? Absolutely. I love working with Angie Piper. It was, it was an absolute blessing for us to, for the writers to realize that actually this lovely kind of, you know, one end of the spectrum and another coming together and having an unlikely sort of friendship really. But you know, all the things that Susan wanted. Susan was a massive fangirl of, of, of Jennifer and you know, wanted. I think, I think, gosh, I think as growing up she's probably witnessed Jennifer and Shula being the very rich young women in the village, riding horses and having a perfect life by the looks of it. And I think she's, it was everything that, that Susan wanted, you know, she could see in, in their lives and so actually suddenly to be connected in that way with, with the older Jews was just an absolute, absolutely amazing for her. So yeah. Wilf, what do you think attracted Chris to Alice?

[Ruth Jones]

I think there was a little bit of that as well. I think the sort of the, the star girl of the village riding around on horses are from a wonderful family, owning some, a huge amount of the farmland. But I think he just loves who she is.

[Chris Carter]

Absolutely.

[Ruth Jones]

And she's incredibly hard working and intelligent and talented and she's a wonderful mum and she's had her own struggles and she's really strong through those and I think he loves all those, those qualities.

[Chris Carter]

And I think he as a, as a character, to my mind there's something, there is something so wholesome about him. The fact that he, his, his skill, his trade is a very ancient art. Like you know, being a, being a blacksmith and I think he just does take people as they come and the, the whole class difference thing doesn't really come, come into play.

[Ruth Jones]

No, I think it's quite non judgmental in that respect.

[Chris Carter]

Yeah.

[Ruth Jones]

Unless it's Brian.

[Chris Carter]

Yes, exactly. But I think, but I think you get, I think Chris gets that from, from Neil. I think Neil's very similar. Yeah, yeah. He's a calming influence. He's level headed. Yeah. You know, he treats everyone the same and of course Chris and Alice were very Happy, despite the family reservations and the class differences. But things started to go wrong in 2017 when Alice began drinking heavily. And in 2021, Chris returned home with baby Martha, thinking Alice was back on the wagon, only to find her passed out on the sofa. Alice wanted to breastfeed Martha, but Chris refused to let Alice have her. Let's have a listen.

[Ruth Jones]

What have you been doing?

[Chris Carter]

Let me undo my buttons. Oh, where'd they gone?

[Ruth Jones]

What is that, a wine bottle?

[Chris Carter]

Now? It'd be a minute. They're quite fiddly.

[Ruth Jones]

A few pin, are you?

[Chris Carter]

There we go. Let me have her. Chris. Chris, come on.

[Ruth Jones]

You had one thing to do.

[Chris Carter]

What? I fell asleep.

[Ruth Jones]

One thing.

[Chris Carter]

This is silly. I was tired. But I'm fine now. Give her here.

[Ruth Jones]

I'm sorry, darling.

[Chris Carter]

Come on, before she starts crying. Look, I'm not sure what the fuss is, but can we talk about it afterwards? Chris, please. You'll upset her.

[Ruth Jones]

I'm so sorry, Martha.

[Chris Carter]

Chris. Here, I'm ready for her.

[Ruth Jones]

She is not coming near you. You've been drinking, Alice.

[Chris Carter]

No, I. Chris, please. What are you doing? She'll need feeding.

[Ruth Jones]

Won't take us long, sweetheart.

[Chris Carter]

Where are you going?

[Ruth Jones]

Just get you some phone. What? There'll be some places open.

[Chris Carter]

She doesn't need any. She's got me. Yeah, give her to me.

[Ruth Jones]

Get away from us. Hey, shush. Shh. I'm here, darling. I'm here. Shush.

[Chris Carter]

No, Chris, don't bring her here. Please, she needs me. Chris, please. Oh, God. Oh, dear. Oh, it's heartbreaking. Really, really heartbreaking. I mean, you know, despite the scene that we just heard, Chris stayed with Alice for quite a long time after that. And he was incredibly loyal. He's a bit of a saint, isn't he?

[Ruth Jones]

Oh, I don't know about that. I think he absolutely loves her. I think he really does. And Chris is still sad about them breaking up and still holds a candle for her. And every so often we get little hints from the writing team that might be reciprocal, but.

[Chris Carter]

I would like to bring up the subject. So I'm being devil's advocate here. He is very loyal and he is a saint. Where Alice is concerned, he's not completely saint. No, thank you. I'm gonna say two words. Amy.

[Ruth Jones]

Well, yeah.

[Chris Carter]

And Hannah.

[Ruth Jones]

Yeah, Amy was a low blow.

[Chris Carter]

Right.

[Ruth Jones]

I mean, that was. That was Alice's best friend.

[Chris Carter]

Yeah, for a while.

[Ruth Jones]

And even if they'd been divorced for years, that's close to the bone territory, shall we say?

[Chris Carter]

But it's good, though, to know that he's well rounded in that regard, isn't it? And I mean, his.

[Ruth Jones]

Flawed. Yeah, nobody likes a saint. Come on.

[Chris Carter]

This week we obviously, we heard the outcome of Martha's referral to the fetal alcohol spectrum disorder specialist, which for Chris, confirmed that there was nothing wrong with Martha. But for Alice, being told that they had to wait another two years for confirmation meant a painful wait. And it all goes back to that time. What is Chris's position now on Martha in the light of what the specialist told him this week?

[Ruth Jones]

I think Chris doesn't think there's anything wrong. He could listen to Alice more. But also I think he does have a point that the doctors are saying that there doesn't seem to be anything developmentally wrong.

[Chris Carter]

Sarah, can I ask you about this? Because obviously you wrote a lot of this story. Can you unpack what Alice's mindset is here? I mean, the. The. So the doctors have said Martha's okay. Chris believes that she's okay. Why do you think Alice isn't hearing this? I think because, well, a. From the research we've done, fetal alcohol spectrum disorder is really tricky. It's a collection. It's a spectrum. It's a collection of different symptoms and presentations that could be lots of other things. So it's not easy for her to be reassured. But also, I think really this is a story about Alice's kind of guilt and her inability to forgive herself. And that's what she needs to do. You know, she can say the words, I was an alcoholic. That's an illness. It wasn't my fault. But I think she does think it's her fault and she can see the damage that she's wrought on Chris and Martha and her family. And I think she needs. She hoped to go into that appointment. And the doctors say Martha definitely, definitely, definitely has not been harmed by your drinking. She's fine. And they can't say that. They kind of said that, as Chris says to her. Look, she basically said she is fine. Yes. But I think Alice has just heard, well, she seems fine. Yes. There could be things we won't know. We wouldn't do an assessment till she's a bit older. And Alice has just gone, oh, well, this is a disaster. But you almost feel that even if there could be a definitive answer, she still wouldn't believe it. Absolutely. Because as you say, it is about her guilt. Yeah. Now we're talking about Chris and Alice. The Archers loves a long romance.

[Ruth Jones]

Well, they've got one.

[Chris Carter]

I mean, again, I do think this is what the Archers does so well, is to keep a storyline going for a really long time. And it gives you, as a listener, such a wonderful payoff. I'm gonna play you now a scene from 2023 between Alice and Chris. And it's where Chris was showing Alice how to bell ring in St. Stephen's and I think there's a lot more going on here. Cause I do love a bit of subtext.

[Ruth Jones]

That's it. That was really good.

[Chris Carter]

It's all right, wasn't it?

[Ruth Jones]

I can't believe how quick you picked it up.

[Chris Carter]

It's only. What do you call it back?

[Ruth Jones]

Yeah, backstroke. I think you're a natural.

[Chris Carter]

Oh, you think?

[Ruth Jones]

Totally.

[Chris Carter]

It's fun, isn't it?

[Ruth Jones]

You see, I was always on at you to give it a go.

[Chris Carter]

Yeah. I don't know why I didn't. I always liked coming up to all watch you, though.

[Ruth Jones]

Well, I liked having you here. What?

[Chris Carter]

Sorry, I'm just remembering that time. When was it I'd come up here to watch for some reason, and you. You missed the rope completely.

[Ruth Jones]

Hey. That was not funny. I thought I was going to break a stain.

[Chris Carter]

I can still picture your face.

[Ruth Jones]

I don't know why you're laughing. It was your fault.

[Chris Carter]

My fault? Yes.

[Ruth Jones]

I couldn't concentrate with you watching me.

[Chris Carter]

Sorry. You were right in the end, though.

[Ruth Jones]

Yeah. Just mortified.

[Chris Carter]

Yeah. Actually, I was wondering whether I might be able to come up and watch you do the quarter peel for the Coronation. But maybe I shouldn't.

[Ruth Jones]

No, of course you should.

[Chris Carter]

I wouldn't want to put you off.

[Ruth Jones]

You won't. I mean, that was, you know, a long time ago. We'd only just got together.

[Chris Carter]

Yeah. A long time ago. Aw. Reunited through a love of Belgium.

[Ruth Jones]

I know Taylor's oldest time was a bit steamy at the start there, wasn't.

[Chris Carter]

It was very steamy. Very. Is that right? Is that right? Do you think? There are cards on the table. I'm opening this up to the room.

[Ruth Jones]

Oh, gosh.

[Chris Carter]

Will Chris and Alice get back together? Oh, Charlotte. Definitive. Yes. Absolutely. I can't see. They love each other. They are soulmates. Yeah. And I think they've shed some so much that it's inevitable that they will end up together. I will be furious if they don't. So will I. So will I.

[Ruth Jones]

So will I. I hope so. Yeah. I have nothing more to add than. You're absolutely right. I think they are made for each other.

[Chris Carter]

We heard the bell ringing there. How do you do bell ringing in a studio? Is it just sound effects played in or.

[Ruth Jones]

Yeah. We have our wonderful Foley artist, Ness, who. Who does a lot of the sound effects live.

[Chris Carter]

That's a great name. I'm not gon.

[Ruth Jones]

She creates a lot of those sound effects live and she's.

[Chris Carter]

So did she have a bell on the. Did she.

[Ruth Jones]

I can't remember for that. I think a lot of it as well is the actors making effort noises.

[Chris Carter]

Yes, yes, exactly.

[Ruth Jones]

That's it. Sarah, just pick up these custard cream.

[Chris Carter]

When you write a bell ringing scene, have you researched. Have you ever been up a belfry? No, I've never rung a bell. However, we have excellent research on the Archers. And actually for that I remember one of our script editors is a bell ringer, Rose, and she said to me, I'll talk you through it. So she gave me a little crash course and. And then helped, you know, I kind of said to her, so I want this to happen here. What. What are they going to be doing? Because I have to write that in for the actors, of course. So, yeah. Susan Carter. Yes, Charlotte? You have been playing Susan for 43 years. Don't remind us. Incredible, isn't it? Amazing. We've touched on it a little bit, but what kind of a mum is Susan? I think she's probably overprotective, to be honest. I think she wants the very best for her children, as all mothers do. But Susan has got particular fears, and I think some of those core fears are, you know, unhappiness and being judged and, you know, being lacking status and connection in, you know, social groups. And I think she really wants that to happen for both her children. And I think she succeeded quite well, actually. Susan is no stranger to parental anxiety. And she's spoken before of how much she struggled in 1988 when Chris was born with a unilateral cleft lip. Let's listen to that moment.

[Ruth Jones]

In every other respect, Christopher's perfectly normal. In fact, he's a beautiful baby. But he's got what we call a unilateral cleft lip. What does that mean? What can you do about it? I'm glad to say there's a lot we can do. We'll be able to start treatment within a very few weeks. Three months at the outside. When you say treatment, every case is different, but by nine months, the lip will be pretty well repaired.

[Chris Carter]

For goodness sake. Please let me have him. He is mine.

[Ruth Jones]

Of course. I just wanted you to be prepared.

[Chris Carter]

Please give him to me.

[Ruth Jones]

There you are.

[Chris Carter]

Oh, my God.

[Ruth Jones]

There, there now, Susan. He's got lovely eyes. Are you gonna hold him, love? He's a good weight for 38 weeks. Gestation, six and a half pounds.

[Chris Carter]

That's not my baby.

[Ruth Jones]

Nearly three kilos, I should say. Of course it is. Look at his little hand.

[Chris Carter]

No, I don't want to look at him at all.

[Ruth Jones]

Susan. Don't worry, Mr. Mr. Carter. It's often something that's very difficult for the mother to accept. Would you like to hold the baby? Yeah. Yeah. I love him. He's getting too heavy for me now. Look, Susan, I know you're upset. That's perfectly understandable. But believe me, although it looks very alarming now, it's something which can be put right.

[Chris Carter]

Why should he have anything wrong with him at all? Why does it always happen to me?

[Ruth Jones]

I'm afraid we don't know what causes a cleft lip.

[Chris Carter]

We.

[Ruth Jones]

We know how it happens, but we don't know why.

[Chris Carter]

What did I do wrong? Nothing.

[Ruth Jones]

Nothing at all. And there's nothing you could have done to prevent it.

[Chris Carter]

There must be something. I did.

[Ruth Jones]

Oh, look, he's got hold of my finger. It's nobody's fault, Susan. You're not to blame yourself.

[Chris Carter]

Well, how can I help it? He looks like a monster. A hair lipped monster.

[Ruth Jones]

Susan.

[Chris Carter]

I said it. Now he does. Oh, gosh. Oh, dear. So, gosh. Beautifully acted. I've forgotten. Forgotten that. I mean, this is a lovely thing about this podcast is you come on and you hear these blasts from the past and think, oh my God, I forgot that. Do you remember, remember playing that? Yeah, I do. It's funny actually, you saying I've been on the program over 40 years. That sounded. Well, the consultants there sounded like he was from the 1930s. And also Susan. Susan. I couldn't get over how Susan sounds like Emma. Yes, like now. Youthfulness of her. Absolutely. Emerald's done a fantastic job of kind of mimicking and being. But yeah, that was a very traumatic, you know, set of episodes to. To record because, you know, it's, it's. There must have been so many people listening who'd experience similar things, even if it was just, you know, postnatal depression. But. Well, actually, we did have an extraordinary email from Angie who said, on the 22nd of June, 1988, I gave birth to a baby boy, Billy. He was born with a cleft lip and palate. My mum phoned her sister to tell her the news. Her sister, my Auntie Marie, thought my mum was joking and told her so. My auntie thought mum had been listening to the Archers as Susan had given birth to Christopher on the same day. And he too Had a cleft lip. When I came home from hospital and could tune in again to the story, I was heartbroken to hear Susan's reaction. I cried and cried and wanted to tell Susan just how beautiful her baby was and to love him like I loved mine. My Billy is very, very handsome, just like Christopher. Oh. Oh, my goodness. That's unbelievable. Gosh. Gosh. Thank you. To who did you say? To Angie. To Angie, for sharing that with us. Because, you know, it's moments like that when you do scenes that are so emotional and so important to hear stories like that. I mean, Sarah, as a writer, how do you sort of honor these enormously rich histories and also invent a new story, but while staying true to the character? It's great. It makes it easier almost somehow, because, like you were saying, it's like real life. Well, it is. It is a bit like they're real because they've got such a detailed kind of backstory and all these things that have happened to them that have made them who they are. So it's great, actually, to. You know, you're not having to invent all of that. You can really know how someone would react to a situation in the present by looking at their past. And with a character like Susan, it really. She really is the product of what she's been through, isn't she? Yes, absolutely. And, gosh. And she's been through so, so much. Susan wasn't the only mum in Ambridge to go through the ringer with a newborn. When Jill Archer gave birth to Elizabeth in 1967, it was discovered that Elizabeth had a heart condition, which meant spending a lot of time in hospital and much uncertainty. But Jill, in true Farmer's Wife fashion, reacted stoically and seemed to take it in her stride. And it's ever so nice to see you, Jill. Thanks for coming, Mum. As you see, I'm absolutely fine. Everything all right? Yes, just like clockwork. That's the irony of the situation. It's a poor baby who's not well, but she's holding her own. Oh, she's very much better today, thank goodness. Are they letting you feed her? Yes, but we've got to get her onto the bottle as soon as possible. But what about you? Oh, they'll fix that. I'll be all right, Mum. In fact, when I've had my week or 10 days here, they expect to push me off home. And leave the baby here? Afraid so. Tough, isn't it? I shall hate it, I know, but as Phil says, better to be without her for a Few weeks now than lose her altogether. Oh, yes, certainly a few weeks, though. Does it have to be as long as that? Between you and me, Mum, I have a feeling it may be longer. Oh, I'm rather afraid they may be breaking it to me gently. Oh, God, it's incredible, isn't it? To hear the difference in that maternal reaction? Completely. I mean, you almost think, oh, she's going to go home and just make a lemon cake and put a cup of tea on. You know, like she was talking about a lamb. Yeah. You know, but do you think it was more to do with the time that. That maybe emotions were not shown so much in the script? Sarah, do you think that maybe. Yeah. And maybe, I don't know, there was less emotion shown? It must have been there underneath. Do you think as well? It's interesting hearing the accents, isn't it? You're Talking about the 1950s, the doctor In Susan scene. Do you think that? I find that quite fascinating that as time has gone. Gone on. Is there a little bit of you Wilf, that would like to talk really, really sort of posh in 1950s?

[Ruth Jones]

Ideally, yes.

[Chris Carter]

I think we should do one after. We should do an episode. Christopher, hello. Over here, darling.

[Ruth Jones]

Alice.

[Chris Carter]

We need. We need a spin off, don't we? Really? Yes, absolutely. The Carters. Now it's time for Ruth's pet peeves. Since I have got the reins this week, I am taking full advantage and I want to put to bed a few things that have been bothering me about the arches for some time now. So here they are, my loose ends. Listeners, I want your theories on what happened next. Because, Sarah, correct me if I'm wrong, but we still don't have the answers and I need them. Okay, here we go. What dodginess was Rob Titchener up to on the night of the Ambridge floods? Oh, gosh. Because he was definitely up to something thing. There was definitely something. He was. Yes, he was laundering money. In the days of Ambridge, Extra Fallon and Jazza had a one night stand. And yet it's never been alluded to. Why did you know that? I don't know if I did. Well, I'm telling you now, I think. I can't remember. It just involved a camper van. Jaz has always had a soft spot. Yeah, he has. See, I think they could. Talking of one night stands, what became of that fella from Farm Tech who Alice got off with when she was working at Price Bowman? Do you remember that?

[Ruth Jones]

I do remember that. It still rankles me to this day that's right. Yeah.

[Chris Carter]

And then it, it never was, never went mentioned again.

[Ruth Jones]

I don't think Chris knows to this day.

[Chris Carter]

Rochelle, Rochelle is never mentioned anymore. Where has she gone, please? And my final peeve, when, oh, when will Matt Crawford return for a bit of tiger and puss cat drama to put Justin's nose out of joint? Now, if you have any ideas, from the sublime to the ridiculous, send them in to us@the Archerspodcastbc.co.uk and next time I'm on, I will rate them. Right, enough with the negativity. Here's some things that I love the Ambridge residents characters, foibles. I love Lillian's delicious cackle and darling and Jazza's wicked laugh. I love the way that David, when he has to say no in a don't be silly sort of way, he goes, no, no, I've not noticed that. I love the way that Linda does that sharp sniff of disapproval. Oh, yes, that's just fantastic. And how Ruth Archer's volume increases exponentially whenever she gets heated. When she starts to get crossed about something, she gets really loud. And more Geordie, do you think? And more Geordie, do you think Chris and Susan have any. I think Susan does that great sort of noise that she makes, don't she, where she sort of goes, oh, no. Oh, she does, yeah. Do you know, I often get people listeners when they find out, I mean, they say, oh, say, oh, Neil, take your boots off. So I'm asked for that a lot. So, yeah, that probably is the foible that I'm known for. And also I love her euphemism when she's made a chili. Oh, and oh, yeah, yeah, don't mention the chili. Don't mention the chili because we don't know what'll end up. Not in front of Chris. Come on, too much information, please. Well, that is it for this week. Thank you to all my guests today, Charlotte Martin, Will scolding and Sarah McDonald Hughes. Please send my love to Ambridge and its residents. You have made my year. Please do keep getting in touch. You can email us on the Arches podcastbc.co.uk or WhatsApp us on 082-89044 with any archive request, comments or questions. Next week, Emma is back from her haymaking talking harvest with Ruth Archer. But I'm going to leave you with one of my favorite moments, which Sarah, you actually wrote. It's with one of my favorite Archers couples, Tracy and Jazza. And the moment they finally got together New Year's Eve 2020. They were locked in the cricket changing rooms and as the clock struck 12, Tracy made her move.

[Ruth Jones]

Right, give that door another go, shall I?

[Chris Carter]

If you like.

[Ruth Jones]

I did it.

[Chris Carter]

Well done.

[Ruth Jones]

What?

[Chris Carter]

What?

[Ruth Jones]

I got the door open like you wanted.

[Chris Carter]

Well, yeah, at one minute to midnight, so. Brilliant. Missed it. Thanks for nothing.

[Ruth Jones]

Missed it. It's happening right now. 20, 21. Here it is. How do you think you wanted to spend a lot in the changing room?

[Chris Carter]

Don't be ridiculous.

[Ruth Jones]

You're the one being ridiculous.

[Chris Carter]

Oh, shut up and come here. Oh, I love it. Chris playing the bells, is he?

[Ruth Jones]

Yeah, yeah, with Alice, actually.

[Chris Carter]

While Susan is making a chilli. Hi, Natasha here. I'm super busy today, but I do have time to let you know that you can only listen to the Archers podcast on BBC Sounds, so do subscribe and make sure you have push notifications turned on and we let you know as soon as a new episode is available. Oh, now, where did I put my credit cards? Most travellers stick to the highlights, but in Turkey, if you go off the beaten path, you'll experience a whole lot of adventure. Like the St. Paul Trail, where cyclists chase the thrill, or Erla, where you can kite surf to your heart's content. For exploring on your feet, hike up to Mount Nemrud or walk in Patara through ancient civilizations that might revolve reveal the history of humanity itself. Plan your [e-mail] for a gripping adventure.