WEBVTT

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[gentle orchestral fanfare]

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♪

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[resonant strings
lead building orchestration]

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♪

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(male narrator)
Welcome to "Our State,"

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a production of UNC-TV

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in association
with "Our State" magazine--

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for over 70 years,

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bringing the wonders
of North Carolina

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to readers across the state.

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On this edition,

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the geologic marvel

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known as Linville Caverns...

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♪

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the medieval fantasy come true

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known as Castle McCulloch...

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♪

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and the elaborate creations

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of a group of artists

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known as "Sandy Feat."

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♪

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[gentle piano melody]

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(male announcer)
From Manteo to Murphy

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and all the small towns
and big cities in-between,

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BB&T believes opportunity lives
everywhere in North Carolina.

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It's a belief we've held
for more than 130 years

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and guides us
as we support our communities

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from the mountains
to the coast.

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We love calling
North Carolina home,

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and we're proud to provide
major funding for "Our State."

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Quality public television
is made possible

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through the financial
contributions

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of viewers like you,

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who invite you to join them
in supporting UNC-TV.

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♪

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[glass harp resonating]

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♪

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[flowing strings]

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♪

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(narrator)
It started with a story.

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Back in the 1800s,

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fisherman returning from a trip
claimed there was treasure

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buried deep
in Humpback Mountain.

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Spurred by their curiosity,

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why fish mysteriously appeared

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out of the side
of the mountain,

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they followed a stream
deep inside.

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♪

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Imagine their excitement
and disbelief

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as the light
from their candle

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flickered off the gold hues
of Linville Caverns.

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♪

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It must have been like entering
into another world,

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both frightening
and beautiful.

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♪

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For well over 100,000 years,

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water flowing through
the mountain's limestone

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has carved out
this underground labyrinth.

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♪

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In 1937,
nearly a century

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after they were
first discovered,

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a group of businessmen
formed a corporation

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to open the caverns
to the public.

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The business lasted
only a couple of years

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before a devastating
flood crippled the region.

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The caverns were hard hit,

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wiping out buildings
and the electrical system

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that powered
the lights inside.

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(woman, voiceover)
It was at that time

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that my grandfather
bought stock in the caverns,

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and he was offered
all of the stock,

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and he bought
the caverns that way

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and started
rebuilding.

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♪

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(narrator)
Now, three generations later,

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the family is still managing
the geologic treasure

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pretty much
along the original lines,

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making improvements
for safety and convenience

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but preserving
the natural beauty

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for all to enjoy.

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(Davis)
A lot of caverns,

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their biggest draw
is the size of their rooms,

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the size of different
formations and stuff.

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We have a lot of color

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because of all the minerals
inside the caverns.

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(male guide)
Now, if you are claustrophobic,

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it's not a good idea
to be the first one in.

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(narrator)
Entering the caverns,

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the first thing you may notice
is that it's a little dark,

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a little damp, and little cool.

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(Davis)
The temperature is 52°

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and stays that way year round.

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The only place that it
changes is just inside the door.

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(narrator)
The perfect environment

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for all kinds of critters.

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♪

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(Davis)
We have granddaddy longlegs.

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They hibernate in there.

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We have eastern pipistrelle
and brown bats.

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We have salamanders.

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We have one spider that's
named after Linville Caverns.

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It was discovered here.

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(guide)
Now, as you're walking
right through here,

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this is what we call
a "bedrock table."

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Millions of years ago
the stream ran there--

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right here.

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♪

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(Davis)
The water temperature varies

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according to time of year
that you're in there.

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The water, we believe,
feeds from the outside,

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from north fork
of the Catawba River,

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and then it flows
through the caverns,

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and at one point it veers off
to feed the bottomless pool.

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It's been measured
over 250 feet,

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and they didn't touch bottom.

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Everybody remembers
the bottomless pool

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and total darkness.

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(narrator)
The lights are turned off
to give visitors a true sense

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of what it's like without
the benefit of illumination.

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[children chattering excitedly]

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Total darkness is startling,

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except perhaps to the bats

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and the so-called blind fish.

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♪

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(Davis)
They're not born blind

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but a sort of film-covering

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comes across their eyes

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as they stay
in the dark for so long.

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They have sight, to a point,

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but we call them
blind trout.

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[hammered dulcimer joins]

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♪

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(narrator)
Linville is considered
an active cavern.

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The formations that decorate
the inside

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are still forming drop by drop,

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sparked by the rainfall
on Humpback Mountain.

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♪

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(Davis)
It takes about three days

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from the time we get rain
on the outside

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for the water to make its way
down through the mountain

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and through the cracks
and crevices

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to where
it's dripping in there.

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♪

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(narrator)
A drop emerges

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from the cracks and crevices

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carrying the basic
ingredient needed

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to create
the underground marvels--

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the mineral calcite.

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No longer able to hold
the minerals collected

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as the water
percolates downward,

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the drop deposits
its tiny mineral load

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as a single crystal.

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♪

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Billions and billions
of drops later

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formations take shape.

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♪

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It's easy to see shapes

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in the formations
the drops have made--

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drying tobacco leaves...

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♪

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or a wedding scene
with bride, groom, and priest.

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(Davis)
We've had people

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that have wanted
to have weddings there.

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We did have one couple.

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They weren't
actually married there,

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but they sort of said
a few vows there.

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In this caverns,

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unlike others
where you stand back

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and look at large rooms
and large formations,

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here, you're right next
to formations,

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but that gives you
a better look and a better view

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of what's actually going on
in the caverns.

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This is our
Guess What formation.

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It's the one formation that
we ask all our visitors to name

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because it looks like
so many different things.

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♪

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Behind me
is the Frozen Niagara

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This is the largest

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and oldest stalactite
in the caverns,

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starting from up
at the ceiling

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and forming down.

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Just down in this corner
is the heart of the caverns;

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it looks like a heart.

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And above your heads
is the profile

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of George Washington.

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♪

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We ask from the beginning

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that you don't touch
the formations.

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When you touch it,

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the oil from your skin
stays on a rock,

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and that prevents the mineral
from adhering to the rock

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to cause it
to grow anymore.

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And in the narrowest sections

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we don't mind people
touching the formations

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because we don't want it
to close up any tighter.

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(guide)
Watch your heads
as you come along.

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(Davis)
So there are low rocks
and low places

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where you do have to duck
and watch your head.

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And there's one;
we call it the headache rock.

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Most people hit that.

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You're looking at the fish

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and don't realize
that rock's there.

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We've all hit it too,

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most of us.

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I definitely have,
heh, heh!

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♪

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(narrator)
Modern improvements
such as electric lighting

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have made the beauty
of this cave readily visible.

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It's hard to imagine, however,

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what early explorers
might have seen,

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with only a candle
or tiny hand lantern

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to light their way.

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(Davis)
In 1884,

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Thomas Edison sent a team

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headed by William--
W.E. Hidden.

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He was in search of platinum

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to be used in Edison's
incandescent bulb,

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and he was
in Linville Caverns.

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He went as far back
as you can possible go,

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past where a tour goes.

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And didn't find the platinum
he was looking for,

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but everybody in his team

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scratched their names
on the rock back there.

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So it's called
"Signature Rock."

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(narrator)
W.E. Hidden might not
have found platinum,

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but he's credited
with discovering

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another mineral in the area

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that's since
been given his name--

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hiddenite.

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This far back
in the caverns

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your senses have a tendency
to play tricks on you.

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(Davis)
When you're in there,

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especially getting towards
the back of the caverns,

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and you know you're
the only ones in there,

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you can hear--

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it sounds almost
like a woman singing

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way back in the back.

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It's just the water
coming across the rocks,

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but it scares a lot of people.

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(narrator)
The watery siren

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echoes her song into the
darkest part of the caverns.

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(Davis)
There is more to the caverns.

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It goes back
about the same amount

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that the public sees.

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We don't intend
to do any more opening

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of the caverns

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because it would endanger
what's already there.

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♪

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(narrator)
And what is there

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has been hundreds of thousands

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or, perhaps, millions of years
in the making.

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♪

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It's hard to comprehend
the extreme age

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of something like
the Linville Caverns,

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but it's not hard
to be thankful for the care

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the attraction has received

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from Sarah Davis
and her family

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over many decades.

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It's pretty well assured
that future visitors

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will see just as much beauty
and spectacle

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as people visiting
Linville Caverns today.

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[bells punctuate
flowing strings]

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♪

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[serene harp melody]

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♪

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[violins drone
as tambourine thumps]

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♪

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(narrator)
Richard Harris is a man

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who knows how to dream...

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and this particular dream

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began when he
was ten years old.

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(Harris)
The way I found the castle was,

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I was riding
my bicycle out here

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from High Point
with three of my buddies,

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and we stopped
at Kersey Valley Grocery.

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The little old lady
behind the counter,

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I always remember
what she said.

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I was ten years old,
and she said,

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"You boys wouldn't want to see
an old, haunted castle

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down in the woods,
would ya?"

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Well, of course,
we all came tearing down here,

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and it looked very much

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like an old haunted
ruin of a castle.

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(narrator)
The pile of ruins
he saw that day was the remains

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of an old Randolph County
gold-stamping mill

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built in the 1830s

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by a Scotsman
named Charles McCulloch.

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♪

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It was abandoned
after the Civil War

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and fell into ruin,

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and it was
the early 1980s

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before Richard could revive
his boyhood dream

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to buy the property

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and reconstruct what he called
"Castle McCulloch."

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♪

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(Harris)
We had to rebuild everything,

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and we built about 20%
of the stone back.

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We laid over a million pounds
of stone in the restoration.

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I once calculated

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it took in excess
of 1 billion hammer blows

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to quarry the stone.

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(narrator)
Chisel marks from
the stonemasons' hammers

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are visible today
on the heavy granite blocks,

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and because the old building
had housed a steam engine,

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the windows
were nothing more

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than just open holes
for ventilation.

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But of course,
a castle has to have windows,

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so Richard made some.

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(Harris)
That's English leaded glass.

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We added the crystal and
stained glass over the door.

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Of course,
we put in the chandelier,

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and we added
the iron railings.

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There were no railings around
when there was a steam engine.

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The oiler would walk
on those balconies.

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There was no wooden
structure remaining

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when the building
was restored,

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so all these beams
were cut new.

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This one weighs
about 8,500 pounds.

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The paneling in the back
was a replica of paneling

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that's in the Lost Colony
Museum near Manteo.

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I like the simplicity
and everything.

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It was the period
that I wanted for the castle.

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(narrator)
And in case you hadn't noticed,

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Castle McCulloch
also has a moat.

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It's not hard to imagine
some fair maiden

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crossing over to safety
in the castle,

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which brings us
to the next part of the story

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because,
in Richard Harris's mind,

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there's much more
to a castle

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than just four walls
and a moat.

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I really wanted to create
what I'd seen in Europe,

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where a whole little valley
was created with bridges

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and dams and waterfalls
and fountains.

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So I set about that,

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and we've been building on it
for 20 years now.

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So far, we have
a nice granite lake,

14:43.301 --> 14:45.468
a fountain,
a couple buildings.

14:45.568 --> 14:48.334
I won't be finished
till I'm dead, I think.

14:48.434 --> 14:50.201
(narrator)
The unstoppable Mr. Harris

14:50.301 --> 14:53.668
has crafted a medieval
wonderland at Castle McCulloch

14:53.768 --> 14:56.034
and also built
a thriving business.

14:56.134 --> 14:57.568
The place is now

14:57.668 --> 15:00.601
North Carolina's largest
wedding venue.

15:00.701 --> 15:02.967
(man)
We welcome all who have come

15:03.067 --> 15:04.968
to share in this
sacred occasion.

15:05.068 --> 15:08.401
(narrator) Countless brides have
been married in the Great Hall.

15:08.501 --> 15:10.601
[light violin tune]

15:10.701 --> 15:12.968
Before long, the wedding
business was so successful

15:13.068 --> 15:15.600
that Richard needed to have
more than one place

15:15.700 --> 15:17.967
to stage a wedding,

15:18.067 --> 15:21.134
and thus,
the Crystal Garden was born.

15:21.234 --> 15:23.434
It's an exuberant bit
of architecture

15:23.534 --> 15:26.433
fashioned after Queen
Victoria's Crystal Palace,

15:26.533 --> 15:28.134
and as usual,

15:28.234 --> 15:31.234
Richard's creative juices
were flowing freely.

15:31.334 --> 15:32.935
(Harris)
A friend of mine

15:33.035 --> 15:35.468
gave me $50,000 worth
of this beveled glass--

15:35.568 --> 15:37.134
very expensive stuff--

15:37.234 --> 15:40.734
and so I designed the building
just for the glass.

15:40.834 --> 15:42.868
[gentle harp melody]

15:42.968 --> 15:44.701
(narrator)
The centerpiece of this room

15:44.801 --> 15:47.267
is a giant chandelier
Richard made in his workshop

15:47.368 --> 15:49.434
when he discovered
that buying one like it

15:49.534 --> 15:52.934
would cost upwards
of $60,000.

15:53.034 --> 15:55.768
Now the property
boasts seven locations

15:55.868 --> 15:59.567
to have a wedding,
either indoor or out.

15:59.667 --> 16:01.901
And as you might suspect,

16:02.002 --> 16:04.468
given Castle McCulloch's
many attractive features,

16:04.568 --> 16:06.134
there's a whole lot more

16:06.234 --> 16:08.234
that goes on here
than just weddings.

16:08.334 --> 16:10.134
Well, now which
way do we go?

16:10.234 --> 16:12.667
Pardon me--
that's a very
nice way.

16:12.767 --> 16:14.301
(narrator)
In the fall,

16:14.401 --> 16:16.533
talent from the Community
Theatre of Greensboro...

16:16.633 --> 16:17.801
Hooray!

16:17.901 --> 16:20.134
(narrator)
transforms both grounds
and buildings

16:20.234 --> 16:23.002
into an exciting
Land of Oz adventure.

16:23.102 --> 16:25.934
[Dorothy and Scarecrow]
♪ Weee're off
t o see the wizard ♪

16:26.034 --> 16:27.801
♪ The wonderful
Wizard of Oz ♪

16:27.901 --> 16:30.201
(narrator)
No matter where Dorothy
and her young friends

16:30.301 --> 16:33.034
may go in their search
for the Wizard of Oz,

16:33.134 --> 16:34.767
there's always
a fantastic setting

16:34.867 --> 16:36.568
available
for the story...

16:36.668 --> 16:38.567
(baritones)
♪ Oh-ee-oh ♪

16:38.667 --> 16:40.967
whether on the drawbridge

16:41.067 --> 16:42.967
or in the castle itself.

16:43.067 --> 16:44.401
[children screeching]
ahhhh, ahhhh...ahhhh

16:44.501 --> 16:47.101
(witch)
Ring around the rosie,

16:47.201 --> 16:50.800
my broom
has chosen you!

16:50.900 --> 16:52.667
(Dorothy)
No, I won't let you!

16:52.767 --> 16:54.368
Ahhhh!

16:54.468 --> 16:56.501
(narrator)
And if you click
your heels twice...

16:56.601 --> 16:58.334
(Dorothy)
There's no place like home.

16:58.434 --> 16:59.868
(narrator)
and really believe...

16:59.968 --> 17:01.834
(Dorothy)
There's no place like home.

17:01.934 --> 17:03.434
(woman)
Good-bye, Dorothy.

17:03.534 --> 17:05.167
(narrator)
you could end up...

17:05.267 --> 17:06.801
in December.

17:06.901 --> 17:09.101
[flute and harp play
"Deck the Halls"]

17:09.201 --> 17:10.701
This particular dream--

17:10.801 --> 17:12.967
maybe the most
elaborate one yet--

17:13.067 --> 17:14.800
started back in July,

17:14.900 --> 17:17.035
when Richard
began devising a way

17:17.135 --> 17:20.900
to transform the property
into a Christmas spectacle.

17:21.001 --> 17:22.867
[winch
clicking]

17:25.234 --> 17:26.668
That's good.

17:26.768 --> 17:29.401
(narrator)
It's a sight that folks
in Charles McCulloch's time

17:29.501 --> 17:32.101
could scarcely
have imagined.

17:32.201 --> 17:34.567
Twinkling lights abound...

17:34.667 --> 17:36.700
from the castle...

17:36.800 --> 17:39.267
across the pond...

17:39.368 --> 17:41.267
and along Amber Bridge.

17:41.368 --> 17:43.700
[synthesized piano playing
"Here Comes Santa Claus"]

17:43.800 --> 17:45.267
The castle's Great Room

17:45.368 --> 17:48.301
looks almost like something
from Currier & Ives,

17:48.401 --> 17:50.267
complete with Santa
reading letters

17:50.368 --> 17:52.667
from his true believers.

17:52.767 --> 17:54.668
♪

17:54.768 --> 17:57.368
And each February,
there is an elaborate,

17:57.468 --> 17:59.568
richly styled
winter festival,

17:59.668 --> 18:02.500
called "Castle Carnevale."

18:02.600 --> 18:12.500
♪

18:12.600 --> 18:19.067
♪

18:19.167 --> 18:21.400
You may sit
wherever you wish.

18:22.668 --> 18:24.868
(narrator)
All of this
plus whatever Richard Harris

18:24.968 --> 18:28.167
may add to his castle
and grounds in the future

18:28.267 --> 18:31.767
is very much in keeping
with the vision of a man

18:31.867 --> 18:34.133
who never stops dreaming.

18:34.233 --> 18:43.834
♪

18:46.634 --> 18:49.033
[shovel digging]
chh, chh...chh

18:55.067 --> 18:57.900
[waves breaking]
shhhh

18:58.001 --> 18:59.867
[synthesized drums
play upbeat arrangement]

18:59.967 --> 19:02.034
♪

19:02.134 --> 19:04.568
(narrator)
Oh, to be young again...

19:04.668 --> 19:06.835
with nothing
but a wide beach

19:06.935 --> 19:09.934
of inviting sand
stretching out before you.

19:10.034 --> 19:12.568
[guitar joins]

19:12.668 --> 19:15.967
When we were 6 or 7,
maybe even 10 or 12,

19:16.067 --> 19:17.868
there wasn't anything
too much better

19:17.968 --> 19:21.001
than time spent
building castles in the sand.

19:21.101 --> 19:22.967
[piano joins]

19:23.067 --> 19:26.067
♪

19:26.167 --> 19:28.968
But then reality
inevitably intervenes,

19:29.068 --> 19:33.001
changing sun-splashed
dreamers into doctors, lawyers,

19:33.101 --> 19:35.368
salespeople, machinists,

19:35.468 --> 19:37.934
or architects...

19:38.034 --> 19:40.534
unless, of course,
you are Ed Moore,

19:40.634 --> 19:43.534
a Raleigh architect,
who regularly carves time out

19:43.634 --> 19:47.568
from his busy career
to play in the sand.

19:47.668 --> 19:49.701
This self-proclaimed
"sandbox CEO"

19:49.801 --> 19:52.034
and the other
latter-day castle carvers

19:52.134 --> 19:54.567
are known
as Sandy Feat--

19:54.667 --> 19:56.434
f-e-a-t--

19:56.534 --> 19:59.468
and from time to time,
their work can be seen,

19:59.568 --> 20:02.234
at least temporarily,
at festivals, fairs,

20:02.334 --> 20:05.834
and other venues
all across our state.

20:05.934 --> 20:07.568
Give them a weekend,

20:07.668 --> 20:09.600
and they'll create
something marvelous

20:09.700 --> 20:12.368
out of nothing but sand.

20:12.468 --> 20:14.867
Start with stacks
of the stuff--

20:14.967 --> 20:17.234
16 to 24 tons of sand.

20:17.334 --> 20:18.768
(Moore)
It's loose-grain sand,

20:18.868 --> 20:21.434
and you can back on it
and beat on it,

20:21.534 --> 20:23.301
and it just doesn't
hold its shape

20:23.401 --> 20:26.166
because it doesn't have
any moisture in it.

20:27.434 --> 20:29.434
And when you add
some moisture

20:29.534 --> 20:31.534
and you start
packing that sand,

20:31.634 --> 20:34.634
then it can hold its shape.

20:34.735 --> 20:37.234
Add extra
moisture to it,

20:37.334 --> 20:39.867
and it actually
won't hold together.

20:39.967 --> 20:41.867
So we've gone
past the point

20:41.967 --> 20:44.134
that we want to have
moisture in it.

20:44.234 --> 20:45.835
It's kinda like
makin' homemade biscuits--

20:45.935 --> 20:48.434
you can either put
too much or too little.

20:48.534 --> 20:51.002
[violin leads lively
bluegrass tune]

20:51.102 --> 20:53.534
(narrator)
What will this
"sandy feat" become?

20:53.634 --> 20:55.401
No doubt,
a uniquely wonderful

20:55.501 --> 20:57.534
and, most likely,
whimsical creation

20:57.634 --> 21:00.867
to commemorate this year's
Festival for the Eno.

21:00.967 --> 21:03.900
♪

21:04.001 --> 21:06.667
This year's
Eno River theme?

21:06.767 --> 21:08.534
The slider turtle.

21:08.634 --> 21:11.468
(Moore)
You know, I wanted to capture
something using turtles.

21:11.568 --> 21:12.967
Last year,
it was--

21:13.067 --> 21:15.234
Last year,
it was the
lighting bugs.

21:15.334 --> 21:16.868
the lightning bugs,
last year.

21:16.968 --> 21:19.301
And so we had kids
catching lighting bugs,

21:19.401 --> 21:22.934
but then we had two giant
lighting bugs catching kids.

21:23.034 --> 21:24.601
I decided
that I wanted

21:24.701 --> 21:27.101
to have a giant turtle
on a log,

21:27.201 --> 21:30.034
and I've got to have
the shape of the turtle.

21:30.134 --> 21:31.434
It's kinda rounded.

21:31.534 --> 21:33.900
(narrator)
One wonders how long
his design will last

21:34.001 --> 21:36.134
before Ed
and his artist team members

21:36.234 --> 21:38.701
start carving
outside the lines.

21:38.801 --> 21:41.368
(man)
Uh, that whole cylinder
would be the back

21:41.468 --> 21:43.434
of, like,
a hollow tree coming up.

21:43.534 --> 21:45.567
(Moore, voiceover)
Sand sculpture's
a little bit different

21:45.667 --> 21:47.301
from other types of art.

21:47.401 --> 21:50.301
We can have two or three
artists working together.

21:50.401 --> 21:51.700
They climb up
this thing.

21:51.800 --> 21:52.967
Exactly.

21:53.067 --> 21:54.568
That's how
you get up.

21:54.668 --> 21:57.368
And you say, well,
hey, that's a great idea,

21:57.468 --> 21:59.267
or why don't you fly with that?

21:59.368 --> 22:02.168
And then it's sort of blending
of art form together,

22:02.268 --> 22:05.067
and that's sort of what I like
about the sand-sculpting.

22:05.167 --> 22:07.101
[piano leads]

22:07.201 --> 22:08.934
[indistinct talking]

22:09.034 --> 22:11.568
♪

22:11.668 --> 22:15.034
(narrator) A few rough cuts here
and there using familiar tools,

22:15.134 --> 22:17.334
setting the stage
for what comes next--

22:17.434 --> 22:19.734
drawing the image
out of the sand,

22:19.834 --> 22:23.101
so to speak,
with finer tools.

22:23.201 --> 22:24.900
(Moore)
These are just mason's trowels.

22:25.001 --> 22:26.568
Some of 'em are pointed.

22:26.668 --> 22:28.434
Some of 'em
used to be square,

22:28.534 --> 22:30.301
like this,
and you've worn it down

22:30.401 --> 22:31.901
because that sand
wears it down.

22:32.002 --> 22:34.667
It's a wonder we have
any fingerprints left.

22:34.767 --> 22:37.035
♪

22:37.135 --> 22:39.801
(narrator)
Since sand-sculpting
is a "performing art,"

22:39.901 --> 22:42.167
there's always
an appreciative audience.

22:42.267 --> 22:44.134
(Moore)
And people
can watch it progress.

22:44.234 --> 22:46.067
They can come back
later that day

22:46.167 --> 22:48.401
and see new things
that have come out.

22:48.501 --> 22:50.267
They're here
to have a good time.

22:50.368 --> 22:51.967
We're here to help
entertain everybody,

22:52.067 --> 22:53.568
and it's for us.

22:53.668 --> 22:55.735
We're here to have
a good time.

22:55.835 --> 22:58.568
(narrator)
One of the craft's
more fascinating techniques

22:58.668 --> 23:01.167
is how grooves
and pockets in the sand

23:01.267 --> 23:05.035
are carved out to produce
contrast and character.

23:05.135 --> 23:06.934
(Moore)
Since sand-sculpting
is monochromatic--

23:07.034 --> 23:08.768
you're only working
with one color--

23:08.868 --> 23:10.900
the only way
that you can create things

23:11.001 --> 23:12.434
is to create shadow.

23:12.534 --> 23:15.102
We have to be able
to carve in and up

23:15.202 --> 23:18.101
and carve under something
and make something protrude out

23:18.201 --> 23:21.567
to create
a change in light.

23:21.667 --> 23:23.501
[indistinct talking]

23:23.601 --> 23:25.501
We do have
to tell people

23:25.601 --> 23:27.034
when they're
taking photographs,

23:27.134 --> 23:28.701
"Don't use your flash."

23:28.801 --> 23:32.634
The light goes into
and takes away all the shadow.

23:32.735 --> 23:35.768
(narrator)
The process
is a lot more free-form

23:35.868 --> 23:38.568
than you might think
an architect would allow.

23:38.668 --> 23:42.168
(Moore)
And since we modified what
we were originally gonna do,

23:42.268 --> 23:45.568
we don't even have a drawing
of this particular one at all.

23:45.668 --> 23:47.568
It's going according
to the shape

23:47.668 --> 23:51.334
of the sand
that we're working with.

23:51.434 --> 23:53.101
(narrator)
So, somewhere in there,

23:53.201 --> 23:56.301
you can bet there's
a raft of slider turtles

23:56.401 --> 24:00.401
ready to express themselves
in some nonturtlelike way.

24:00.501 --> 24:02.334
(Moore)
Well, turtles are sorta docile.

24:02.434 --> 24:04.901
They sit around,
and what can ya do with 'em?

24:05.002 --> 24:06.701
And then we said,
well, slider turtles,

24:06.801 --> 24:08.234
and that's when
we started talking

24:08.334 --> 24:10.034
and saying, well,
they could be sliding.

24:10.134 --> 24:11.835
Well, let's put 'em
on a slide.

24:11.935 --> 24:14.501
So we're gonna have these
turtles climbing up this stump

24:14.601 --> 24:17.900
to get up to the top
to come zipping down.

24:18.001 --> 24:30.800
♪

24:30.900 --> 24:32.468
(narrator)
Alas,

24:32.568 --> 24:35.968
the art of Sandy Feat
is not meant to last...

24:36.068 --> 24:38.934
except as a memory
of that perfect summer's day

24:39.034 --> 24:41.268
at Eno River State Park.

24:41.369 --> 24:44.468
(Moore)
People say, "Don't you want
to save it and have it,

24:44.568 --> 24:46.267
"you know, permanently
covered with something

24:46.368 --> 24:47.834
and make it
stay forever?"

24:47.934 --> 24:49.634
And I say,
"No, not really,"

24:49.735 --> 24:52.166
because it's the fun
of doing it.

24:52.266 --> 25:00.867
♪

25:00.967 --> 25:02.601
(narrator)
A child's sandcastle,

25:02.701 --> 25:04.234
like their
latest creation,

25:04.334 --> 25:07.368
will not survive
the test of time and tide,

25:07.468 --> 25:09.668
but the wonder of it all,
of course,

25:09.768 --> 25:12.334
is that you get to start
on a new creation

25:12.434 --> 25:13.935
anytime you want,

25:14.035 --> 25:17.167
and that is a splendid
metaphor for life itself,

25:17.267 --> 25:19.800
no matter
what your age.

25:23.101 --> 25:25.401
[gulls calling]
ehhh, ehhh...ehhh

25:25.501 --> 25:27.834
[waves crashing gently]

25:46.401 --> 25:48.400
ehhh, ehhh...ehhh

25:58.368 --> 26:00.767
slsh, slsh...slsh

26:21.001 --> 26:23.001
[crickets chirping]

26:26.301 --> 26:28.300
[waves crashing]

26:42.633 --> 26:44.567
[birds chirping]

26:46.701 --> 26:49.001
[violin leads
stately melody]

26:49.101 --> 27:00.401
♪

27:00.501 --> 27:02.934
[piano suggests chamber music]

27:03.034 --> 27:11.301
♪

27:11.401 --> 27:13.300
[violins join]

27:13.400 --> 27:23.867
♪

27:23.967 --> 27:31.801
♪

27:31.901 --> 27:34.533
Captioning by Caption Perfect
www.CaptionPerfect.com

27:34.633 --> 27:36.967
[water sloshing]

27:41.501 --> 27:44.134
(announcer)
To subscribe
to "Our State" magazine,

27:44.234 --> 27:47.333
visit the Web
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27:52.334 --> 27:55.167
[gentle piano melody]

27:55.267 --> 27:57.735
From small towns
to bustling cities,

27:57.835 --> 28:00.534
from the Outer Banks
to the Blue Ridge Mountains

28:00.634 --> 28:02.601
and all the places in-between,

28:02.701 --> 28:07.534
BB&T believes opportunity lives
everywhere in North Carolina.

28:07.634 --> 28:10.101
And for more than 130 years,

28:10.201 --> 28:13.134
we've helped people
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28:13.234 --> 28:15.668
We're proud
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28:15.768 --> 28:18.700
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28:18.800 --> 28:20.934
♪

28:22.368 --> 28:24.434
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28:24.534 --> 28:25.967
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28:26.067 --> 28:27.634
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28:27.735 --> 28:31.735
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