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Welcome to The Repair Shop,
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where cherished family heirlooms are
brought back to life.
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This is the workshop of dreams.
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Home to furniture restorer Jay
Blades.
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Nowadays, everybody spends a fortune
on stuff that, once it's broken,
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they just bin it. But everybody has
something that means too much to be
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thrown away and that's where we come
in.
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Working alongside Jay will be some
of the country's leading
craftspeople...
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Every piece has its own story.
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It's amazing to think that some of
my work becomes part of that story.
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I've always played with things, I've
always repaired things,
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and I just love it. There is a real
pleasure in bringing people's pieces
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back to life again.
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..each with their own unique set of
skills.
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The right tool for the right job.
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They will resurrect,
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revive... I'm warm, man!
..and rejuvenate
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treasured possessions and
irreplaceable pieces of family
history...
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Wow. She's fantastic!
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..bringing both the objects...
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Oh! This is what I remember.
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..and the memories that they hold...
Wow! ..back to life.
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Oh, my God!
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In The Repair Shop today, a
much-loved toy lies in tatters.
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That is quite serious, isn't it?
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Yeah. So how are you going to fix
this?
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You've got no reference -
there's nothing there.
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And Brenton's search for some
precious metal leads him to a fellow
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expert's stash.
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Have you got any bigger diameter
brass bar?
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That might be the piece.
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Failing that, THAT might be the
piece.
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That IS the piece! I can turn it
down from there!
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First to arrive at The Repair Shop
clutching a cherished possession are
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Roger and Frances Livet.
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Hello, how are we doing? Very well,
how about yourself?
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I'm very good, actually. Good.
I'm Roger.
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I'm Jay. Jay, nice to see you.
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They've brought with them a piece of
wartime history that survived
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against the odds. A music box, a
rather battered music box.
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OK, I know just... Steve!
We've got a music box here, mate.
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This job calls for the skills of
music box maestro Steve Kember.
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Steve's the man. Yeah, Steve is the
man.
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Steve, nice to see you. Nice to see
you.
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Hello.
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This poor fella was involved in a
bomb in September 1940.
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Hold on, let's rewind it a minute.
What do you mean, involved in a
bomb?
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It was in a house near Beckenham and
in 1940, a bomb landed on the house.
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This was in there as well,
hence this damage.
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Like all things in the Second World
War, you were either lucky or
unlucky.
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My grandmother, her two sons and an
aunt were in the house at the time.
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The bomb destroyed the family home,
killing everyone inside.
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Fortunately, Roger's mum Charlotte
wasn't in the house at the time.
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She had moved out a few years
earlier after getting married.
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The family she grew up with,
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the family she expected to see for
years and years,
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had been taken away from her in just
one afternoon.
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It was something that hurt Mum all
her life.
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The family music box was one of the
only possessions to survive the
fatal blast.
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There, in that music box, I have
something that they have touched,
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they have listened to.
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It does bring a connection to the
family which I wish I had known,
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but I'm afraid I never did.
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So this means a hell of a lot to me.
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I can understand just the history to
it.
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What would you like us to do to
this?
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If possible, I'd like you to make
sure that's safe to play.
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Obviously the glass bit.
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Yeah. I haven't got the other bit of
that.
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If possible, if you can make the lid
fit again,
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that would be absolutely fantastic.
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OK. One thing I do ask,
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can we leave as much of the scars
and bruises as possible?
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Because I think that's part of it.
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Yeah. To me. That's part of your
family history right there.
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That's the history of it. I'm so
pleased you said that, because
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it's sort of a monument to what
happened. Yes.
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And you don't want to sort of remove
its history.
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Well, it's things that they would
have touched. Yeah.
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If you make it too clean, they
wouldn't have touched it. Yeah.
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And it won't be there any more.
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No. The approach I would take if it
were mine,
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was I would do the best job possible
on the mechanism and the outside,
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the approach is more one of
conservation.
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Yes. Rather than. I certainly don't
want...
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..restoration. Yes. If that's
possible, that would be fantastic.
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It's very possible. It's in safe
hands.
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Jay, thank you very much indeed.
Thank you for bringing it along.
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Thank you both. Thank you.
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Steve, thank you very much.
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In order to determine the extent of
the damage and which bits are
missing,
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Steve will have to first dismantle
the entire mechanism.
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It looks pretty dreadful, to be
honest.
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But don't worry - a lot of that is
just dirt and grime.
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Yeah, but you've taken all of that
out of there, yeah?
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No, no, no. I've just taken that out
of there.
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And these parts here... You're
showing off again, aren't you?
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Yeah! All right.
..are from my graveyard.
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All of these parts came from the
same village that this was made in.
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If we have a quick look at the cone.
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Cor blimey! There's a bit of fluff
in between them two.
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There's a bit of fluff, we'll deal
with the fluff. Oh, my God!
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We've got the equipment, we have the
technology to deal with the fluff!
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I like your thinking!
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Some of the items that enter The
Repair Shop haven't just been handed
down through generations.
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They've been lovingly crafted by a
family member.
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Jonathan Dukes has a handmade
heirloom for the attention
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of silversmith and metals expert
Brenton.
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Hello there. Hello.
I'm Brenton. I'm Jonathan.
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Nice to meet you. What have you
brought me?
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I've brought you some tongs from a
set of fire irons that were made by
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my great-grandfather in his foundry
in the Black Country.
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Wow. Yes. These are fabulous.
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But unfortunately, the hinge has
come apart.
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And are these all the parts?
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These are all the parts of the
tongs. Because it's brass,
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it's quite soft and it will wear out
in time, unfortunately. Yes, and
that's what's happened.
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I'm sure when these were made, they
weren't expecting them to last that
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long, so they've done really, really
well. Yes.
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And the fact that you've still got
this is brilliant.
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These fire tongs mean a lot to me,
because they were made by my
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great-grandfather but our family's
manufacturing history goes back
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to at least 1829.
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It would be nice to have them in
their proper state.
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Outside in the metal workshop,
Brenton sets about his task.
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So what I've got to do with these is
replace the thread
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in here.
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Brenton's got a stash of threaded
brass rods in his toolkit, so he
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tries them for size.
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That's going to be too small.
I've got a bigger bit here.
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That should do it.
No, that's too small as well.
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So these two bits I've got
are no use.
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So I'm going to need to get some
brass from somewhere.
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First port of call is clock maker
Steve with his collection
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of odds, ends and offcuts.
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Steve, you know the fire tongs
that I'm repairing?
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Yes. I've brought some brass from my
tool box but they're too small.
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Have you got any bigger diameter
brass?
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Do you want a thread?
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I can make the thread. You don't
want a big thread?
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Have you got a big thread?
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Actually, no, I haven't.
All right, I'll make my own, then!
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Here we go.
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How big?
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That might be the piece.
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That might be the piece.
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Failing that, THAT might be the
piece.
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That IS the piece, I can turn it
down from that!
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THEY LAUGH
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If I could borrow those two.
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Yeah, of course you can. And I'll
probably have about an inch of one
of them.
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That would be brilliant, thank you
very much. Okey doke. Thanks, Steve.
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Steve Kember is rescuing a music box
that miraculously survived
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a World War II bomb during the
Blitz.
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Having never actually restored a
music box that's been bombed before,
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I'm quite happy with that.
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Meanwhile, Jay assigns the task of
repairing the music box case
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to furniture restorer Will.
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How you doing, Will? I've got a
little present for you.
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An actual present? Of course not,
it's a job!
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So it's a music box.
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Steve's working on the actual
mechanism in there.
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OK. What we need you to do is fix
that.
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So it's missing a piece and you
don't have the missing piece?
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Don't have the missing piece. OK.
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What Roger wants is - not to be
fully restored.
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There's a lot of history in there
and he doesn't want to lose it.
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Doesn't want to lose it. So it is
sympathetic restoration.
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But it's even more sympathetic in
the sense that... Yeah. ..we don't
want any if this to go.
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OK. No damage to be hidden.
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OK. Yeah, that makes sense.
All right, I'll leave it with you.
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Next to arrive, Anne Bailey and her
grandson Elliot.
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They have brought in an old friend
who met with an unfortunate
accident.
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They're hoping he can be revived by
soft-toy restorers Amanda and Julie.
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Oh! What have you got for us?
We have something from my childhood.
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Right.
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And he's seen... Oh, look.
..better days. Bless him!
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Oh, dear. A bit of stuffing there.
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I'm fairly sure that she was damaged
by my Irish setters.
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Yeah. It's what they do. So can you
tell us a little bit more about him?
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Yes, of course. I was given him by a
person called Arthur Askey who was a
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comedian... Gosh, yeah. ..who lived
in our village. Right.
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And he went, "Goo goo goo goo
goo goo!" into my pram and I went...
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"Argh!" Yeah, as you would!
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As you would. And I screamed and
screamed and screamed,
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because I was only about one.
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And he said, "I don't think she
likes me."
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So he went away, and a couple of
days, weeks later,
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he came back with this, and gave it
to me...
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Fantastic. Oh, wow!
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..with the hope that I wouldn't
scream at him again!
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And did you? No, I don't think I
did!
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SHE LAUGHS
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That's nice.
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Yeah, we should be able to sort him
out for you.
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That would be wonderful.
You're welcome.
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00:10:57,800 --> 00:11:00,480
And can you put a buttercup...? Of
course he can have a buttercup.
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00:11:00,480 --> 00:11:04,520
Yes, that's not a problem.
I remember him having a yellow
buttercup in his mouth.
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00:11:04,520 --> 00:11:08,320
But the main thing you want is to
see him with a body.
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00:11:08,320 --> 00:11:10,920
Absolutely. He needs to be cuddled
again.
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00:11:10,920 --> 00:11:15,560
Absolutely. Thanks for bringing him
in. Nice to meet you.
Thank you. Bye-bye. Bye-bye.
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00:11:17,840 --> 00:11:20,320
Amanda and Julie are going
to need all of their wealth of
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experience to get this poor little
lamb back on its feet again.
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00:11:26,520 --> 00:11:28,960
What do you think? That's quite
serious, isn't it?
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00:11:28,960 --> 00:11:31,400
Hello, Jay. Yeah. So how are you
going to fix this?
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You've got no reference -
there's nothing there.
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We have got a bit of a clue,
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in that we've got - if we turn him
this way...
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..so there's a tummy panel here.
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Right. OK? That's still intact.
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From here, we can kind of see how
fat the body was. OK.
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If we just hold him up.
That would have dropped down a bit.
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This sort of era, the style of this
era, his head would have been up
here... Right.
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..and he would have been quite short
in the body and very long in the
leg.
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You know you can rebuild that?
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00:12:03,800 --> 00:12:05,600
Yeah, yeah, yeah. Yeah, yeah.
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00:12:05,600 --> 00:12:08,320
There's a lot of work here because
it isn't just about doing that.
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00:12:08,320 --> 00:12:09,960
We've got to completely dismantle
him.
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This seam, we will undo all of this.
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And the tail and the head will come
off.
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00:12:15,520 --> 00:12:18,240
Right. And also, I don't know if you
can see here, Jay... Yeah.
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..there's a little piece of wire
here.
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00:12:20,800 --> 00:12:25,200
It's suggesting to us that he had a
wire frame.
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OK. Certainly these sort of toys
from this era were very often wired.
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00:12:30,280 --> 00:12:32,960
So this is going to take quite a
while to do, isn't it?
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00:12:32,960 --> 00:12:34,400
Yes. It's very intricate, this one.
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00:12:34,400 --> 00:12:38,520
I'm going to be off to do some
painting. Thanks, Jay. Cheers,
Jay. See you later. Bye.
228
00:12:47,720 --> 00:12:53,400
Outside, Brenton's made his brass
screw for the 140-year-old fire
tongs.
229
00:12:53,400 --> 00:12:57,960
He now needs to create a new thread,
so that he can attach them together
again.
230
00:12:57,960 --> 00:13:01,920
It will make my life a lot easier if
I can get the back plate off
231
00:13:01,920 --> 00:13:06,520
here. It means I can drill all the
way through and then it'll be easier
232
00:13:06,520 --> 00:13:09,680
for me to cut the thread. So I'm
just going to try and lever that
off.
233
00:13:14,040 --> 00:13:16,120
Brilliant, OK, that's got that off
there.
234
00:13:17,320 --> 00:13:20,880
So I'm really pleased I managed to
get this plate off here.
235
00:13:20,880 --> 00:13:25,040
I'm going to start cutting the
larger thread in this piece.
236
00:13:28,760 --> 00:13:33,800
And this brass cuts really nicely.
It's nice and soft.
237
00:13:33,800 --> 00:13:37,120
You go half a turn forward and then
you go half a turn back.
238
00:13:46,080 --> 00:13:50,120
So I'm just going to solder this
plate that we took off earlier back
239
00:13:50,120 --> 00:13:52,320
on now that I've cut the thread.
240
00:14:00,640 --> 00:14:03,360
I'm really happy. That's soldered
really, really nicely.
241
00:14:03,360 --> 00:14:07,800
That plate is now stuck back onto
the handle of the tongs -
242
00:14:07,800 --> 00:14:09,200
how it originally was.
243
00:14:10,520 --> 00:14:13,600
We've got to polish this up and this
bit is now finished.
244
00:14:20,200 --> 00:14:21,920
Back inside the workshop,
245
00:14:21,920 --> 00:14:26,040
Steve has reached a critical point
in the repair of the bomb-damaged
246
00:14:26,040 --> 00:14:29,920
music box. He's given all the
components a thorough clean.
247
00:14:29,920 --> 00:14:32,240
Now he needs to get it singing
again.
248
00:14:32,240 --> 00:14:33,560
We're getting serious now.
249
00:14:33,560 --> 00:14:37,200
This is the cylinder. It's had all
the oil removed.
250
00:14:37,200 --> 00:14:41,480
Now, we've prepared the clockwork
mechanism, and that's all good.
251
00:14:41,480 --> 00:14:45,080
If we have a look along the pins on
the cylinder,
252
00:14:45,080 --> 00:14:48,880
there are a significant number of
them that are bent.
253
00:14:48,880 --> 00:14:53,600
That one's bent forward, and so the
timing of the note will be wrong -
254
00:14:53,600 --> 00:14:58,720
it will be late. If they're either
bent to the right or to the left,
255
00:14:58,720 --> 00:15:03,200
we'll end up with some gibberish,
and these deficiencies can be heard.
256
00:15:03,200 --> 00:15:07,360
While Steve continues the
painstaking process of straightening
257
00:15:07,360 --> 00:15:13,360
the 8,000 pins, Will is tackling the
section of the box's lid lost in the
bomb blast.
258
00:15:13,360 --> 00:15:16,640
I've actually salvaged this
drawer front,
259
00:15:16,640 --> 00:15:20,680
which was going in a skip, and I
think that this'll be perfect,
260
00:15:20,680 --> 00:15:23,240
if I can cut a section out of there
261
00:15:23,240 --> 00:15:26,080
and splice it onto the front of
this.
262
00:15:27,080 --> 00:15:29,600
However, when you look at it like
that,
263
00:15:29,600 --> 00:15:33,520
you can actually see that the top is
actually slightly domed.
264
00:15:33,520 --> 00:15:35,800
You can actually see the gap on the
outside,
265
00:15:35,800 --> 00:15:38,160
which is going to be a bit of a
problem for me,
266
00:15:38,160 --> 00:15:41,200
because the only bit that I have to
replace is flat.
267
00:15:49,280 --> 00:15:51,680
It might look like I'm being quite
forceful with this plane -
268
00:15:51,680 --> 00:15:55,320
however, there's a lot of excess
wood that needs to be shaved down,
269
00:15:55,320 --> 00:15:58,800
and if I just used a file or
sandpaper, I'd be there for days.
270
00:16:00,080 --> 00:16:02,440
So the pressure is really on.
271
00:16:02,440 --> 00:16:05,520
I don't want to do any more damage
to the original top,
272
00:16:05,520 --> 00:16:09,760
but I need to almost shave so close
that I get a nice,
273
00:16:09,760 --> 00:16:12,000
even surface for the new piece of
wood.
274
00:16:15,480 --> 00:16:19,520
That's pretty well finished for the
pin-straightening part of the
procedure.
275
00:16:19,520 --> 00:16:21,720
Now we're going to produce some
music.
276
00:16:21,720 --> 00:16:27,480
We'll give it a go, and we'll see
what we've got. Give it a wind.
277
00:16:27,480 --> 00:16:34,520
TWO TUNES PLAY SIMULTANEOUSLY
278
00:16:34,520 --> 00:16:37,160
TWO TUNES PLAY SIMULTANEOUSLY
279
00:16:37,160 --> 00:16:39,640
Well, as you can hear, it's not that
great.
280
00:16:39,640 --> 00:16:43,160
We're playing a bit of one tune and
a bit of another.
281
00:16:43,160 --> 00:16:49,800
The cylinder is clearly not aligned
properly with the tips of the
comb.
282
00:16:50,800 --> 00:16:54,560
The cylinder's pins play the notes
of ten different tunes,
283
00:16:54,560 --> 00:16:57,720
but if they're not perfectly in line
with the teeth of the comb they
284
00:16:57,720 --> 00:17:03,000
strike, the chosen tune will be
either incomplete or jumbled up with
another.
285
00:17:03,000 --> 00:17:04,600
Let's have another go.
286
00:17:04,600 --> 00:17:07,560
DISCORDANT SOUND
287
00:17:07,560 --> 00:17:09,920
That's lovely!
288
00:17:09,920 --> 00:17:11,160
We've got gibberish now!
289
00:17:11,160 --> 00:17:16,000
Imagine somebody playing the piano
and somebody sneaks up and shifts
290
00:17:16,000 --> 00:17:19,200
the piano one key-width to the left
or the right,
291
00:17:19,200 --> 00:17:23,920
so you're playing all the wrong
notes, in all the right places,
292
00:17:23,920 --> 00:17:25,560
and that's what we've got here.
293
00:17:34,520 --> 00:17:40,080
Soft toy restorers Julie and Amanda
are trying to rescue a childhood
treasure.
294
00:17:40,080 --> 00:17:42,280
With a large portion of
the lamb missing,
295
00:17:42,280 --> 00:17:46,160
the duo must rely on their years of
experience to fill in the gaps.
296
00:17:46,160 --> 00:17:47,360
At the moment,
297
00:17:47,360 --> 00:17:52,680
I am making the pieces that I need
for the body out of felt.
298
00:17:54,040 --> 00:17:58,520
I've made myself a pattern, so I've
now got the body filled in,
299
00:17:58,520 --> 00:18:02,120
so I know now, you know, what shape
his body was.
300
00:18:02,120 --> 00:18:04,720
Making them out of felt initially
for two reasons -
301
00:18:04,720 --> 00:18:07,960
one, because I want to sort of do a
dummy run,
302
00:18:07,960 --> 00:18:10,560
just to make sure that I've got
everything in proportion.
303
00:18:10,560 --> 00:18:16,440
And two, because I'm going to use
this felt to line the pieces,
304
00:18:16,440 --> 00:18:20,080
because we have sourced some
fabulous fabric,
305
00:18:20,080 --> 00:18:23,560
but it is a little bit...
just a tad stretchy,
306
00:18:23,560 --> 00:18:27,120
so the felt is going to support it
and give it a bit of stability.
307
00:18:29,120 --> 00:18:32,280
Now it's a case of completing the
jigsaw puzzle,
308
00:18:32,280 --> 00:18:36,160
as all of the lamb's existing pieces
are stitched back together and
309
00:18:36,160 --> 00:18:37,920
assembled with a new wire frame.
310
00:18:40,200 --> 00:18:43,360
Hold on. Look, I can see sewing
going on, and I said I'd been
practising my buttons.
311
00:18:43,360 --> 00:18:45,280
That's fine, we've got a
job for you.
312
00:18:45,280 --> 00:18:46,960
Oh, is it? We've been saving a job
for you.
313
00:18:46,960 --> 00:18:48,800
Yep. You can turn this leg, OK?
314
00:18:48,800 --> 00:18:50,280
What do you mean, turn it inside
out?
315
00:18:50,280 --> 00:18:54,280
It already is. Pull this through so
it looks like this.
316
00:18:54,280 --> 00:18:56,880
Like that? So like pulling my socks
on? Yeah. Yeah.
317
00:18:58,320 --> 00:19:01,800
There you go. So now, the frame goes
into...
318
00:19:01,800 --> 00:19:04,240
Yeah. The legs. That'll go down
inside there.
319
00:19:06,000 --> 00:19:07,800
Now it looks like a proper lamb.
320
00:19:07,800 --> 00:19:10,280
It's going to look like a lamb,
isn't it? I think that's quite cool.
321
00:19:10,280 --> 00:19:13,280
We're getting there.
That's kind of where we're at.
322
00:19:13,280 --> 00:19:15,480
So you know what?
I did have my doubts.
323
00:19:15,480 --> 00:19:19,720
Yeah, we know you did. But, yeah,
you've got it all under control now,
look. Yeah, it's getting there.
324
00:19:19,720 --> 00:19:22,000
Oh, but this... You've missed a bit!
325
00:19:22,000 --> 00:19:24,280
What about the leg? Yeah.
Are you going to put that on?
326
00:19:24,280 --> 00:19:27,920
There's a bit of a problem going on
round here. Oh, OK, all right,
that's cool. You're welcome.
327
00:19:34,080 --> 00:19:36,280
Back outside in the metalwork area,
328
00:19:36,280 --> 00:19:40,240
Brenton wants to get the components
of the antique fire tools gleaming
329
00:19:40,240 --> 00:19:42,200
before he puts the pieces back
together.
330
00:19:44,200 --> 00:19:46,920
As you can see, that comes up really
nicely,
331
00:19:46,920 --> 00:19:49,120
so I've just got to work on the rest
of this handle,
332
00:19:49,120 --> 00:19:52,720
get all of these marks off here that
are a result of me heating it up,
333
00:19:52,720 --> 00:19:54,760
and then it'll be fine to give back
to Jonathan.
334
00:19:59,560 --> 00:20:02,400
It's the moment of truth.
Let's see if it goes together.
335
00:20:02,400 --> 00:20:04,280
And, more importantly,
stays together.
336
00:20:09,080 --> 00:20:13,400
The tongs have been in Jonathan's
family for 140 years,
337
00:20:13,400 --> 00:20:16,280
but they haven't been working for
the last 40.
338
00:20:16,280 --> 00:20:20,160
Now he's back to reclaim a piece of
his family's manufacturing past.
339
00:20:21,360 --> 00:20:23,400
Jonathan. Yeah, hello again,
Brenton.
340
00:20:23,400 --> 00:20:27,400
Nice to see you. I'm hoping you've
got something nice to show me.
341
00:20:27,400 --> 00:20:28,760
Do you remember what you gave me?
342
00:20:28,760 --> 00:20:33,840
I certainly remember what I gave
you, which was a pair of fire tongs.
343
00:20:33,840 --> 00:20:35,160
It was a pair, wasn't it?
344
00:20:35,160 --> 00:20:37,720
Well, it was a pair,
because it was two bits.
345
00:20:37,720 --> 00:20:41,080
I'm really interested know whether
you've been able to fix them for me.
346
00:20:41,080 --> 00:20:43,760
Well, would you like to see them?
I'd love to see.
347
00:20:43,760 --> 00:20:46,320
Let's reveal what we've got under
here.
348
00:20:46,320 --> 00:20:49,120
My goodness! They're a lot more
shiny than they were before,
349
00:20:49,120 --> 00:20:51,960
and they look to be in one piece.
350
00:20:51,960 --> 00:20:54,840
They haven't fallen apart, which is
lovely.
351
00:20:54,840 --> 00:20:57,320
They open and shut -
that's really good.
352
00:20:58,600 --> 00:21:03,040
I'm really keen to know how you've
actually done the fixing.
353
00:21:03,040 --> 00:21:05,840
OK, well, if you want to take it
apart for me.
354
00:21:05,840 --> 00:21:08,120
If I take it apart, right.
355
00:21:08,120 --> 00:21:09,920
This is the knob that unscrews.
356
00:21:09,920 --> 00:21:15,520
Correct. And you've somehow put a
lovely new brass thread on that.
357
00:21:15,520 --> 00:21:18,280
I've drilled the old thread out.
358
00:21:18,280 --> 00:21:22,240
Yes. And cut a new thread into it,
and then...
359
00:21:22,240 --> 00:21:23,760
It all screws together again.
360
00:21:23,760 --> 00:21:26,360
Polished it all up. And polished it
all up. And, yeah.
361
00:21:26,360 --> 00:21:30,720
That's exactly what I was hoping
you'd be able to do, something like
that.
362
00:21:30,720 --> 00:21:34,480
OK, well, they're back to new again
for you.
363
00:21:34,480 --> 00:21:36,680
That's really good, I'm really
pleased.
364
00:21:36,680 --> 00:21:38,280
Good. I really am.
365
00:21:38,280 --> 00:21:42,120
It's so nice to have it working,
rather than just something that
clatters
366
00:21:42,120 --> 00:21:45,360
to the floor every time you
touch it.
367
00:21:45,360 --> 00:21:47,520
I'm glad you're really pleased with
them.
368
00:21:47,520 --> 00:21:51,080
Yeah, thank you ever so much
Brenton, thank you. OK. Bye-bye.
369
00:22:04,360 --> 00:22:06,960
Over on Julie and Amanda's
workbench,
370
00:22:06,960 --> 00:22:10,680
the once-disembodied toy lamb is
being brought back to life.
371
00:22:11,920 --> 00:22:14,080
We need to get on and get the
stuffing in,
372
00:22:14,080 --> 00:22:17,000
because he's looking a bit starved
at the moment.
373
00:22:17,000 --> 00:22:19,720
We have to kind of build it up. It's
a bit like a brick wall, really.
374
00:22:19,720 --> 00:22:21,840
You can't start at the top and work
down.
375
00:22:21,840 --> 00:22:24,240
That's better. There we go.
376
00:22:24,240 --> 00:22:26,320
Really pleased with how he's turning
out -
377
00:22:26,320 --> 00:22:29,640
finishing touch will be his
buttercup,
378
00:22:29,640 --> 00:22:32,880
which we'll put back in his mouth,
and we might even put a bow on him!
379
00:22:34,240 --> 00:22:38,680
It's been decades since Anne saw her
childhood playmate in fine fettle.
380
00:22:41,800 --> 00:22:45,360
Hello! How lovely to see you.
Come on over. Thank you.
381
00:22:48,640 --> 00:22:51,960
This must be it, is it? Yeah.
Wonderful. Ready to go for it?
382
00:22:51,960 --> 00:22:53,000
Yeah.
383
00:22:55,320 --> 00:22:58,040
Oh, wow! He's fantastic!
384
00:22:59,040 --> 00:23:02,560
Even with the blue ribbon!
Absolutely.
385
00:23:02,560 --> 00:23:06,320
Wonderful. He looks almost real,
doesn't he?
386
00:23:06,320 --> 00:23:08,120
Yes, he does, yeah.
387
00:23:08,120 --> 00:23:10,680
That is absolutely amazing.
388
00:23:10,680 --> 00:23:13,120
I just can't believe you've managed
to match that.
389
00:23:14,120 --> 00:23:16,960
You are an absolute poppet!
Give him a cuddle.
390
00:23:16,960 --> 00:23:18,840
There you go. That's nice.
391
00:23:18,840 --> 00:23:21,400
You are an absolute love!
392
00:23:21,400 --> 00:23:23,120
Even with your buttercup.
393
00:23:23,120 --> 00:23:26,040
Wow! Oh, yeah, he's got his new
buttercup. New buttercup.
394
00:23:27,760 --> 00:23:30,400
He has got a wire frame in him now.
395
00:23:30,400 --> 00:23:32,880
Has he? He would have had,
396
00:23:32,880 --> 00:23:35,960
with the research that we did of
that style and that era.
397
00:23:35,960 --> 00:23:38,840
Right. But the frame that's in him
is not so rigid
398
00:23:38,840 --> 00:23:43,120
that you won't be able to pose him a
little bit, and obviously with care.
399
00:23:43,120 --> 00:23:46,680
I will, I will. Yes, I shall look
after him lovingly this time.
400
00:23:48,000 --> 00:23:49,760
There you go. He's all yours.
401
00:23:49,760 --> 00:23:53,440
Wonderful. Do enjoy him. He's got a
good few more years in him now.
402
00:23:53,440 --> 00:23:56,560
He has. He's lasted 74 years.
403
00:23:56,560 --> 00:23:59,400
Probably do another 74.
Yeah, another 74.
404
00:23:59,400 --> 00:24:02,000
Absolutely. Wonderful.
Thank you so much. You're welcome.
405
00:24:02,000 --> 00:24:03,880
It's a pleasure.
406
00:24:03,880 --> 00:24:06,560
Bye-bye. Thank you. Bye. Bye.
407
00:24:18,480 --> 00:24:24,200
Music box fanatic Steve is lovingly
restoring a precious piece of family
history.
408
00:24:24,200 --> 00:24:27,600
Grafting alongside him on
the woodwork is Will,
409
00:24:27,600 --> 00:24:33,800
whose remit was to restore the case
while retaining traces of its
turbulent past.
410
00:24:33,800 --> 00:24:36,080
Stevie. Ah! For you. Lovely.
411
00:24:36,080 --> 00:24:38,360
I think this is as they specified.
412
00:24:38,360 --> 00:24:41,480
So we've got some of its original...
Some of its original...
413
00:24:41,480 --> 00:24:45,200
..character, and he's got a link
with the event that...
414
00:24:45,200 --> 00:24:47,840
That has taken place, yeah. Yeah,
excellent. Exactly. I'll leave you
to put that in.
415
00:24:47,840 --> 00:24:50,200
Thank you very much. All right,
matey. Cheers. Bye.
416
00:24:51,280 --> 00:24:53,520
Right, let's see.
417
00:25:03,440 --> 00:25:06,200
That's it. Rather splendid, I think.
418
00:25:06,200 --> 00:25:12,480
This music box is the only link
Roger has to the part of his family
he never knew.
419
00:25:12,480 --> 00:25:16,920
But will it look and sound just as
he remembers it when he was a child?
420
00:25:19,800 --> 00:25:22,840
Hello. Nice to see you again.
Good to see you.
421
00:25:22,840 --> 00:25:24,640
Great to see you. And you.
422
00:25:24,640 --> 00:25:27,080
Hi, Steve. Are you as nervous as me?
423
00:25:27,080 --> 00:25:28,760
Yes. Probably. Probably more.
424
00:25:28,760 --> 00:25:31,440
OK. Anyway, are you ready?
425
00:25:31,440 --> 00:25:32,920
Yeah. Yeah.
426
00:25:34,480 --> 00:25:35,840
SHE GASPS
427
00:25:35,840 --> 00:25:37,560
HE LAUGHS
428
00:25:40,960 --> 00:25:43,400
Look at that!
429
00:25:43,400 --> 00:25:45,760
It's reborn.
430
00:25:45,760 --> 00:25:48,440
That is absolutely fantastic.
431
00:25:48,440 --> 00:25:50,560
That is gorgeous.
432
00:25:50,560 --> 00:25:53,080
Am I allowed to have a quick peek
inside?
433
00:25:53,080 --> 00:25:54,440
Yes, carry on. It's yours.
434
00:25:57,000 --> 00:25:59,120
I can't believe it's the same thing.
435
00:25:59,120 --> 00:26:02,800
Look how clean that is.
It looks beautiful.
436
00:26:02,800 --> 00:26:06,200
Well, it has to be clean and
sparkly, so it performs
437
00:26:06,200 --> 00:26:10,960
as it was originally intended, and
as your relatives once enjoyed it.
438
00:26:10,960 --> 00:26:14,400
Yeah. Now then, is it going to...?
You know what to do, don't you?
439
00:26:14,400 --> 00:26:17,480
Can I just...? Yeah. Here we go.
440
00:26:17,480 --> 00:26:27,200
MUSIC PLAYS
441
00:26:27,200 --> 00:26:30,880
That is brilliant.
Absolutely brilliant.
442
00:26:30,880 --> 00:26:32,360
This is a brilliant job, Steve.
443
00:26:32,360 --> 00:26:35,640
You really have done a fantastic
job. Thank you very much.
444
00:26:35,640 --> 00:26:37,640
Can you imagine, 1905,
445
00:26:37,640 --> 00:26:40,840
people sitting around the fireplace
with this playing in the background?
446
00:26:40,840 --> 00:26:44,000
That sort of brings a connection
with your family, does it?
447
00:26:44,000 --> 00:26:46,920
Yes, very much so. The fact they had
this, and you have it.
448
00:26:46,920 --> 00:26:49,000
Because of what we've done here,
449
00:26:49,000 --> 00:26:54,960
your family now will be hearing the
same music as your family then.
450
00:26:54,960 --> 00:26:58,200
So it's quite an interesting
thought, isn't it?
That is a very good thought.
451
00:26:58,200 --> 00:27:00,000
I'll tell you what, Steve,
452
00:27:00,000 --> 00:27:03,840
one of the things I wanted more than
anything else was not to change it
453
00:27:03,840 --> 00:27:08,600
too much, because the scars, the
damage, the bits and pieces -
454
00:27:08,600 --> 00:27:10,360
that's part of its history to me.
455
00:27:10,360 --> 00:27:12,880
I had hoped that it would look like
this,
456
00:27:12,880 --> 00:27:16,080
but this is actually way beyond my
expectations.
457
00:27:16,080 --> 00:27:17,920
It is fabulous.
458
00:27:17,920 --> 00:27:22,000
I'm pleased you're happy
with the finish and the result.
459
00:27:22,000 --> 00:27:25,320
More than happy.
It's brilliant. Thank you.
460
00:27:25,320 --> 00:27:27,200
Thank you, too. All right, then.
461
00:27:27,200 --> 00:27:31,560
Thank you very much. Thanks very
much. Thanks for the privilege of
working on it. Thank you.
462
00:27:32,640 --> 00:27:35,800
This is something I've anticipated
a long, long time.
463
00:27:35,800 --> 00:27:39,240
I don't think anything prepared me
quite for what I saw.
464
00:27:39,240 --> 00:27:41,040
It was an emotional moment.
465
00:27:42,880 --> 00:27:48,160
It's something that binds you to the
people who have gone before.
466
00:27:48,160 --> 00:27:49,880
If Mum was here now,
467
00:27:49,880 --> 00:27:53,920
knowing that we're all listening to
something she listened to
468
00:27:53,920 --> 00:27:57,240
when she was a little one of five or
six years of age,
469
00:27:57,240 --> 00:28:00,720
that would just bring a big smile to
her face.
470
00:28:01,880 --> 00:28:04,680
As indeed it's going to bring a big
smile to my face, too.
471
00:28:08,520 --> 00:28:11,200
Join us in The Repair Shop next
time,
472
00:28:11,200 --> 00:28:15,840
as the team gets to grips with more
precious pieces in need of some TLC,
473
00:28:15,840 --> 00:28:18,400
and breathes new life back into
them.
474
00:28:18,400 --> 00:28:20,120
Oh, my goodness! Beautiful!70136
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