The Repair Shop (2017–…): Season 7, Episode 32 - Episode #7.32 - full transcript

Welcome to the Repair Shop,

where precious but faded
treasures... This is bad.

I don't think I've ever seen a chair
quite so broken as this.

..are returned
to their former glory.

That is lovely.
Isn't it? That's lovely, isn't it?

Furniture restorer Jay Blades...

Bringing history back to life

is what makes The Repair Shop
so special. ..and a dream team

of expert craftspeople...

Amazed. It's a bit like
brain surgery. Go on!

..come together to work
their magic. Yahoo!



When you look at something
that looks so hopeless like this,

it makes me even more determined
to get it back.

That's teamwork.

Employing heritage
craft skills

passed down the generations.

It is a privilege to be able to do
something for somebody that means

so much to them.

Preserving irreplaceable heirlooms.

To bring those pieces back to life,

it's just the most wonderful thing,
and I'd like to do it forever.

The team will restore
the items... Wow!

..the memories...

I'm so happy to see it!

..and unlock the stories
that they hold.



It's made it all worthwhile.

Morning.

In The Repair Shop today...

..Brenton struggles...

It's absolutely wedged in there.

..to get a 1930s camera
snap-happy again...

I'm convinced I'm going
to get it out.

..and Steve's in horology heaven...

Good. That seems to be quite
nicely balanced, actually.

..restoring a handmade clock
that's never told the right time.

Now I need to get on with
the anti-clunk mechanism.

But first, a much-loved childhood
toy in need of a makeover.

Emma Pattinson from Somerset
is hoping Julie and Amanda

can work their magic
on her quirky companion.

Hello. Hello, welcome to the barn!
Thank you very much.

So, I have a puppet that my dad
gave me in the 1970s...

Oh, look! ..who's looking a little
bit sorry for himself,

but his name is Billy Willy, right?

Oh, what a fab name!
Is there a reason for that?

I was about eight years old
and I loved the name Billy,

and what eight-year-old doesn't
like a rhyme? Absolutely.

So Billy Willy it was.
So how does he work?

So he has a stick at the back.

Yeah. And a little piece of string
that you pull that works his mouth.

Oh, wow.

He has hands.

Oh, I love him.
That's wonderful!

So was he... Christmas, birthday -
was he a present?

So he was a present from my dad.

My dad got cancer, so my nan

thought it would be good for him
to go to Scotland to a health farm.

Yeah. He was gone probably a couple
of months, which is a long time

when you're eight.

And I can remember he phoned us
and said, what did we want

as a present when he came back?

And in the '70s,
puppets were all the rage.

I remember that.

Yeah, so I just asked for a puppet
and I got Billy Willy and yeah,

I was absolutely thrilled
with him, so...

It was the last thing that my dad
gave me because he died soon after.

Oh. OK. We don't have many
photographs of Dad,

so this is all I've got from my dad.

Yeah. Nothing else.

So yeah, so that's
why he's so special.

Oh. Sorry!

It's OK. It's all right.

I don't think I ever really went
anywhere without him

kind of between the age of eight
and kind of 11, really. OK.

I loved him then and I love him now,
but my kids absolutely hate him.

They're scared stiff of him.

That's to do with his crack
on his face.

I'm presuming he didn't
always only have one leg.

No, I was about 11... Right.

..and me and my brother were
having an argument and my brother

pulled his leg, which came off.

He flew out of my hand and smashed
against the wall,

so that hence
the crack on his face.

We'll have to ask Kirsten
about this, this head,

because I'm sure you're going
to need a little bit of help

from her. He's lovely.

Yeah, he must have been very
special. Yeah, he is.

That's why I've still got him
after, you know, all these years.

How do you think your father
would feel?

I think he'd be quite chuffed
to know that...

that I kept him,

you know, at a time in his life
when he was...

he was at his lowest,

you know, he had the energy
to pick presents for his children

that he knew would mean
something to them.

And I think he'd be over the moon

to know that Billy Willy
was getting

a second chance and that hopefully,
you know, grandchildren

that he'll never see
will get to play with him.

Thank you so much for bringing him.

We will look after him for you.

We'll be in touch when he's ready.

Perfect. Lovely to meet you.
You too. Bye-bye.

It's difficult to understand
what happens when you lose a parent

and you take it with you all
through your life, you know,

it's always there.

Billy Willy was such a kind
of a fun gift.

You know, you can't be sad when
you're playing with a clown puppet.

He's a big part of who I am

and hopefully a big part
of my kids' lives.

And he'll always be that reminder
of my dad.

And, you know, he's always held
really special memories

and he always will.

I'll tell you what's going
through my head. OK.

We need to get his head
off because we need to get

it over to Kirsten.

His kind of outfit's all in one,
but I feel we need to get

it into parts.

He's got a very long leg.
Keeps going up to his armpits!

OK.

So that... that, I think, is the
bit that his legs are attached to.

It's very clever, actually,
in a sort of simple way.

If I pull this leg... Yay!

I think this all just needs
a really lovely clean.

There's only a few bits I think
we'll need to actually replace...

That's good. ..which is great.

I'm just going to carry on.

I'm going
to take all these bits off now.

Do you know what? I think the best
thing we can do here

is hand this to Kirsten as it is.

When it comes back,
I will pop a new hat on him.

So Kirsten's got the head,
you've got the clothes.

I've got a sort of body and the
leg.

Brilliant.

Hiya. Hello.

Thought you might be heading
this... Look who I've got!

Billy Willy. OK.

He needs your help.

This nasty crack
runs right down his face.

I'll have a look.

Leave him with me.

I'll see what I can do.
Thank you.

The next visitor
is Eloise Badger from Essex.

She's hoping antique camera
restorer Brenton West

can fix her treasured heirloom,

with a little help from leather
expert Suzie Fletcher.

Hello there!

Hiya!

What have you brought us today?

So I've got my great-grandmother's
camera with me.

I'll get it out for you so you can
have a look...

..if I can, because it's a bit
stiff.

Is it? It looks fairly old.

It is very old.

Goodness. 90 years, I believe.

90 years. Wow. Yeah.

How did your great-grandmother
come across it?

So I believe she worked
for it, earned money for it,

so that she could buy it so that
she could photograph her young

family growing up.

So what year would this be, about?

1932. '32?

Gosh, that's amazing, because
normally you never sort of

think of great-grandmothers
handling cameras.

I think great-grandfathers,
perhaps. Yeah.

In those times to be
working to buy her own camera...

For a woman to own one.
Yeah.

Breaking the rules.
Yeah, yeah.

But, yeah, she really
enjoyed photography.

My grandad's sister said they never
saw her mum without this, so...

There's a lot of photos
of my grandad and his brother

and sister when they were younger,
like outside in the garden.

Lovely.

So who gave you the camera?

My grandad did, so.. Because
it was his mother, so he passed

it on to me.

I do fine art at university and I
wanted to try and use film cameras,

and along came this.

But unfortunately, it didn't work,
so I couldn't use it.

So when was the camera last used?

My great-grandmother died in 1957,
I believe.

It stopped working
just after she died, really?

So... The camera you say,
is broken? Yes.

So the lens is supposed
to pull out to about here.

I tried and tried and tried to pull
it out, but I couldn't move

it and I didn't want to break it.

It's best you didn't force it out.
OK. Yeah.

The bag - is the bag...?

I'm just a bit wary of the strap.
It's kind of breaking along here...

..and just general scuffing.

So what's this going to mean
to you, using this camera

that was your great-grandmother's?

Just the absolute world.
It's just really special.

It's something... literally a piece
of history right in front of me

that I'm... I've got...

Yeah. I can see your excitement.

I can see how excited you are,
and it's really nice to see

the enthusiasm you got for it.
Oh, thank you.

Thank you so much, Eloise,
for bringing the camera in.

I hope we can get it working
for you and hope Suzie can make

the bag look lovely for you.

We'll do our best. OK. See you
later. Take care. Bye-bye.

This camera is really special to me.

If this camera did get working

again, just being stood
taking a photo on it would

just... be like stepping
back in time, really.

So Eloise has given me her Kodak
1A Autographic camera,

a nice camera.

It will hopefully take
great pictures.

It doesn't look like
there's anything broken.

I'll just have a little fiddle
and see if I can get it to open.

Hm.

It's absolutely wedged in there.

It's going to be really quite hard
to get this out.

I'm convinced
I'm going to get it out.

There we go.

I felt something sort of click

and I think it's just really,
really tight in there.

And now, for the first time
in over 60 years, the camera

is being extended.

Fabulous.

Looking at it now, I can see
that these two bars here

are very slightly bent.

At some stage this has been forced
shut, I think

without this part being back.

I've got to clean the lens
inside and out, test the bellows

to make sure no light
leaks out of it.

Now, unfortunately, you can't get
116 film,

which is what this takes, any more.

So I'm going to have to make some
spacers

so I can use modern
film in it.

But the first thing I've got
to do is straighten that bar

and then straighten that bar
a little bit so they sit

on their springs properly.

This is not sitting on
its spring here.

What I don't want to do
is give Eloise a camera back

without a method of opening it.

On the bear ladies' bench,
the 1970s puppet's outfit

is about to be overhauled
for the first time in 40 years.

Because we are dealing here
with vintage cloth,

I'm just going to use
a very gentle hand-washing soap.

Everything looks quite grubby,
which isn't

surprising, really.

billy Willy's been well
played with, well-loved.

There's a lot of dirt coming out.

Now that we've got Billy
Willy apart,

we can start
to look at making him a new leg.

The first thing I need to do

is unpick this one so
that I can make

a template from that
to make him a new leg.

It's pretty much a rectangle,

so I can just measure that and put
it onto the new fabric,

and I'll be ready to make
his new leg.

There seems to be this really
large crack that's running

down from his
delightful orange hair.

The plastic has twisted out of shape
and has become very hard.

I'm going to use some of
this stretchy bandage

to try and pull the face back into
shape.

I'm going to try and exert
a little bit of force.

I can hear a slight sort of creaking
sound as the plastic moves.

Slightly alarming, but you can
feel how much pressure

it's safe to apply.

The two edges don't meet completely.

I just need something to bridge
that gap, so I'm going to bulk

the adhesive and then push it in.

I'm going to pick it up and try
and align the cracks now.

It's quite quick drying but I don't
know if it's going to work.

So this is very much an experiment.

Oh!

Channel... the pressure.

Oh, my hands are aching.

I'm going to let go now
and see whether that has worked.

I think it has.

Which means I'm going to hold
it a little bit longer.

So just to make doubly sure.

That's great -
that's really worked well.

I'm choosing some fabric to make
Billy Willy a new leg.

I'm leaning towards this orange

because there is a lot of orange

going on with other parts of him,

and this has that kind of retro
feel about it.

I really like it.

The adhesive has now cured,
and Billy Willy's head is stable,

but because of the nature
of Billy Willy's head,

I couldn't force the edges
any closer together without possibly

breaking him further.

This means that I'm going
to have to step fill, and that means

I've got the two edges like this,
and the way I'm going to join them

is to put a fill
from one side to the other.

I'm going to have to build up a few
layers of filler, and then once

I start retouching, he should
look as Emma remembers him.

I think it's going to look great.

I'm really looking forward

to painting on the mouth
and also

seeing what the Bear Ladies
have done.

Next into the barn is Hugh David
from Burnley.

He's the proud custodian
of a very unusual timepiece

that requires the expert attention
of horologist Steve Fletcher.

How are we doing? Steve is dying
to see what's in here.

Can you do us the honours
and take the lid off, please?

I will, yes.

Oh!

Right. Nice?

Yeah, very nice.

I know it's a clock, but
it's a special one, isn't it?

It is. It is.
Tell us about it, please.

It's a Congreve rolling ball
clock.

A normal clock has a pendulum
that controls...

Swings from side to side.
Exactly. Yeah, yeah.

This one has a ball that rolls

all the way down
these grooves here. Yeah.

And when it gets to this end,
trips a lever, the table tilts

and it goes
all the way to the other end,

hits the lever,
flips it and comes back.

That is really cool.
So who... Who made this?

My grandfather made it from scratch.

So your grandfather made
all the parts?

Yes.

Is he a clock maker?

He was an electrical engineer
by trade.

There'll be two, three or four
clocks in every room.

We used to go and see him and the
clocks would be ticking and chiming

and absolutely beautiful.

What's your grandfather's name?
Oswald David.

So you were obviously quite
close to your grandfather. Yes.

Me and my grandfather could talk
about mechanical things,

but it was a mutual interest
in the way that two generations

apart can have.

Is it... is it working or is it...?
Right, when he built it,

It worked... OK.
..but it wasn't perfect.

The problem is the table tilts
too quick... OK.

..and it tends to slam
rather than tick.

It's wearing on the movement.

It hits it, hits it,
and it's going to damage it.

OK. Was it keeping time?

Oh, no, no.

LAUGHTER

They're notoriously
bad timekeepers.

If it's a bad timekeeper, why
would you make something like this?

They're great fun, and you
can get them near to time.

Do you know how long it took
your grandfather to make this?

I've got invoices from 1982,
I think, for the brass.

So that's when he started it. OK.

And I have a photo which I can date

in 1988. When it was finished?
Completed?

When it looks
finished and completed.

He never perfected it.

He was just developing dementia
by this point.

Oh. It's not fun watching
somebody, you know and respect

disappearing before your eyes.

Not fun at all. No.

I mean, it's one of the memories
we've got of him.

And it would... Just to have it
in the corner of the room,

just gently ticking,
would be absolutely fabulous.

Hugh, thank you for bringing us in.

This is going to be a real joy.

Hopefully, I can get it working
smoothly.

It's going to be a bit of
a challenge.

Thank you. Thank you.
You take care now.

We've kept all the clocks
that he had.

This one is just special
because my grandfather built it.

Every part by hand
and he's in it, really.

And it would just be so lovely
to see it working properly

and as it should be.

The first thing I'm going to do
is to see if the mechanism

is working correctly.

I'm just going to wind it up first.

So you can see that the actual main
mechanism is turning and working

correctly, and as it's spinning
round, the table is working...

..albeit it's not stopping in the
tilt position as it should do.

The timing of the bed tilt is 30
seconds, and that's what actually

regulates the speed of the clock.

It's very dirty.

Everything is very, very loose.

That is the main drive mechanism.

This must have taken Oswald
so many hours to make -

hundreds and hundreds of hours.

I've made a few clocks in my time,

and one of the clocks that I made

took me about 1,000 hours to make.
But it's nice.

It's so satisfying when you've made
a clock and you stand back

and be proud of it.

And I'm sure Oswald stood
back from this and he was

very proud of this.
I just know.

This is all coming apart nicely.
As soon as I've got it all apart,

I'll pop it into my clock
cleaning fluid and get it all clean.

While Suzie assesses the wear and
tear to the vintage camera's case,

Brenton is doing the same
for the bellows,

the pleated structure that joins
lens to camera.

The bellows look in really good
condition, but I need to make sure

that they're light-tight.

If any light comes through the
side, it'll spoil the picture.

So I'm just going to check them
with a bright torch just to see

if there's any... any holes in them.

That's not so good.

I can see on the joint,

lots of tiny little white dots

so I can see light

coming through here, unfortunately.

That's a bit disappointing.

I'm hoping... I'm going to try
and repair them with some rubberised

paint as a first resort.

It's flexible, it stays flexible,
and hopefully it will make

the material lightproof.

So I need to keep adding layer
upon layer of this rubberised paint.

If that doesn't work, then I'm going
to have to get some new bellows

for them, but we'll give it a go.

I just am really impressed
with this wonderful little case

hat belongs to Eloise.

It is to me, a beautiful
piece in itself.

The handle actually has some weak
points where you would expect...

..just the constant bending
of the leather.

I also am going to have to re-sew
all of the stitching

because as it's been worn next
to the body, that rubbing action

has actually worn the thread
through.

So I'll just start by removing
all this stitching

and then I can get into cleaning.

While I'm waiting for this paint
to dry...

..I've got to make a couple of
spaces

so that a modern film will fit
inside the camera.

It's a 116 camera and you can't buy
the film any more.

So I've got a 120 film and I've
got to make two spaces so it fits.

Brass is an ideal metal for it.

And it turns really nicely
on a lathe.

That will probably do.

So I'm just going to let these cool
down and I can try them and see
if they work.

Now that I've finished glueing up
the surface of the straps,

I can now get on to the best part
for me,

which is re-stitching the case
together.

I'm very fortunate that
I have the old holes to re-use

and they're in good enough
condition.

That goes in that end.

That goes in that end,

and now we've got a film that is
seven millimetres longer

than it was before.

So that would go in there like that.

There we go, that's that one in.

There we go, that's that one in.

When this film's drawn out,
put on to here,

the light will come through the lens
and hit the film

on the back of here.

The last thing I've got to do with
this camera is

I've got to clean the lens inside
and out.

All sorts of dust and stuff can get
in there,

and the cleaner the lens, the better
the pictures will be.

Looking very much ready
for his close up - Billy Willy.

This is the final part of
Billy Willy's repair now.

Julie's done such a beautiful job on
his clothes.

His new bits are made,
he's got a new leg.

And very soon he'll be complete.

We've put new cords on

and we are attaching them the way
they would have been

when he was new.

I really hope that Emma's
going to be happy with Billy Willy.

I'm sure she's missed him.

He looks so much brighter, younger
and hopefully how she remembers him.

Oh, yes.
Put your head round straight.

Does he look better?

AS BILLY WILLY: Yes, thank you.

Billy Willy arrived at the barn,
a very sad clown.

His face disfigured by
an ugly crack.

But for Emma, he provides
a vital connection

to her much-missed father.

My dad gave him to me just before
he died,

so he means the world to me.

He's never been out of my sight
before, so important day for me

and an important day for Billy.

It feels a bit like his birthday.

Hello, Emma, welcome back.
Hello, hi. Hi.

How are you feeling?
Excited, really excited.

What's it felt like to not have him
with you all this time?

Yeah, just...just weird.

I know he's a puppet,
but I've thought about him loads.

You know, we've never been parted.

I'm so excited.

Come on!

Oh, my God.

EMOTIONALLY: That's amazing.

EMMA SNIFFLES

He looks like when he was new.

I love his leg, that is so good.

Hello, mate.

Oh, my God.

You are amazing!

And you two are amazing.

Even his holes are sewn up.

Oh, he's got a new hat!

He's still the same.

Oh, it's lush.

That is so good.

He's brilliant. Thank you.

Honestly, thank you so much.

It's been great fun, hasn't it?

Oh, gosh, yeah, we've had so much
fun with him.

He's definitely made us all smile.

And, yeah, enjoy him.

Yeah, brilliant, thanks. Take care.
Bye. OTHERS: Bye.

I'm so impressed with what
they've done to Billy Willy.

I think it would mean so much
to my dad.

Maybe when Dad brought this for me,
he knew that I needed something

that was going to make me smile.

And it definitely makes me smile
...and cry.

SHE CHUCKLES

At his workbench,

Steve is ready to get the ball
rolling on the repair

and rebuild of the home-made clock.

I've got all the parts cleaned up
now and it's looking beautiful,

including the screws.

There's about 400 parts, which is
amazing.

For an amateur like Oswald to make
this is a major feat.

I've discovered a lot of things
that are not quite right.

They're a bit quirky.

The holes in these two plates
should all be lined up

absolutely perfectly.

And there's one main hole here
that is totally out of alignment.

The problem with that is that
this will, instead of fitting

into that other wheel like that nice
and square, it's at an angle,

and that angle is actually causing
some wear

on the corner of the teeth
of this wheel.

So what I'm going to do
is I'm going to polish

those corners off, to round them,

to just make it a bit kinder
to the mechanism.

It'll work much better like that.

So I've got to the point now
of reassembling everything,

and once I've got the movement up
together again,

I can try and devise some way of
stopping that loud clunk

that's made every time and that
clunk is actually doing some damage,

so I really need to get that fixed.

Good, that's the...the front plate
on.

And the wheels all spin.

I'm just going to put the tilting
table

and the movement back in place.

Good, that seems to be quite nicely
balanced, actually.

Now I need to get on with the
anti-clunk mechanism,

which is going to be a bit
experimental

and I'm not sure whether it will
work or not.

And that is to add a sprung shaft
to the old lever

that will actually take up that
impact.

It'll just bounce slightly.

It'll act like a car shock absorber.

So I'm just going to use
this rod of metal.

I need to put a square on the end
of that because I don't want it

twisting around once I've got it in
the mechanism,

so I need to do a bit of lathe work.

That's going to work really,
really well, I think.

I need to put a spring in here and
I need to retain that spring.

Right, I'll just see if the clip
fits in.

Good, that's working really,
really well.

So I'm going to fit this.

And when the pin comes round,
it's going to hit the top of that

and just bounce like that instead of
making that horrible clunk

that it makes.

Right, let's put a wind on it and
see whether I can get it working.

That's great, that is working
so well.

So now I just need to make a whole
host of different adjustments

so that everything's balanced and
will work correctly,

so, good, very pleased.

Steve's sister, Suzie, is also on
the home straight with her repair.

The 1930s camera case has been
re-stitched.

It really looks and feels so much
more secure

and I'm really happy with how it's
come out.

Brenton's repairs are complete.

OK, so I need to wind this until
I get the number of

the first picture on here.

And it's ready to take its first
picture in over 60 years.

Hello, you two. Hiya.
How you doing, B?

All right? Fancy doing a bit of
modelling? All right, let's have it.

What have we got to do? Strike
a pose. This camera...

Oh, strike a pose. OK, here you go.
That's it.

So, let's give this a go, then.

Yay. Got it! Well done.

So I'll go and get those developed,
then.

Excellent. Yes, please. OK.
Well done.

Thank you so much for your help.

This camera documented the life
of a family in the 1930s and beyond.

Hoping to add her own snaps
to its history,

Eloise has returned to collect it.

I've always been interested in older
traditional methods of taking
photos,

so this is an even older version
than what I've been looking at,

so I'd love to be able to use it
again.

Bring it back to life in the family.

Hi, Louise. Hiya.

Hi, Eloise. You all right?

Lovely to see you again. Yeah, it's
nice to see you too.

Yeah. How are you feeling?
Very excited.

I, like, don't want to look at it!

I know it's covered, but I'm, like,
really excited.

SHE CHUCKLES

It's all I've been thinking about.
Aw, bless.

Yeah, I just...

I just want to get out there and
start using it really.

Yeah.

Shall we? I think we should.
I think we should.

ELOISE GASPS

Oh, my goodness.

That looks brand-new.

That's sick! Have a look.

Oh, my goodness.

Oh, the case looks so beautiful.

I was really worried that they were
going to snap off at some point.

Thank you.

It looks so beautiful and this, I
mean...

Well... ..it folds out.

It folds out. Yeah.

I don't even want to touch it
cos it's so pretty.

I've converted it to 120 film,
so you can use it.

Awesome. Just to show you that
it does work...

..they're for you.

Oh, my goodness!

ELOISE GASPS

Oh, the quality is amazing.

Oh, thank you!

These are awesome.

I'm excited to hear what your plans
are for it.

I'm going to start by just trying
to take photos of my family.

We're going to try and get my
grandad's brother and sister

to recreate one of the photos
that we have in the album

that was probably taken about
80 years ago now.

That's incredible. That'll be
amazing, won't it?

Yeah, I love that idea. Yeah.

Eloise, thank you for bringing
the camera in.

It's been really fun working on it.
Thank you. Thank you, guys.

Lovely, all right, take care. Thank
you. OK, bye-bye. Bye-bye.

It's such a beautiful camera.

It's a real honour to be able to put
this into use now.

Carry on my great grandmother's
legacy and, yeah, keep it...

..keep it going, keep it
in the family.

Thanks to Steve's skilled touch,

the rolling ball clock has been
cured of its clunk.

All that remains is to fine tune
the tilt mechanism,

so it keeps to time.

I've got the ball running
really nicely now.

And the timing is very dependent
on the amount

that the, the table tilts.

The steeper it is, the faster
it will go.

I just need to time the ball running
from one side to another,

which should be 30 seconds.

Right.

I just need to speed that up
slightly,

so I'm going to tilt it slightly
more, which will speed it up.

Good. That looks absolutely
beautiful.

I've made masses of adjustments
to this clock

and it's the sort of clock that does
need to be nurtured.

I'm sure Hugh is going to be very,
very pleased with this.

This cherished timepiece
was hand-built by a clock enthusiast

who was struck down with dementia
before he could complete his work.

Now, after hours of painstaking
labour by Steve,

Hugh can at last experience the
clock as his grandfather intended.

It means a lot to the family,
the clock,

because my grandad made it from
a flat sheet of glass.

He very nearly got it working
perfectly.

And if Steve's got it to work,
making this lovely ticking sound,

lovely swooshing sound as it goes
down the track,

it will be absolutely wonderful.

How are you doing? I'm all right,
Jay.

Hello. Hello, Steve.

How are you feeling?

In a state of nervous anticipation,
I think! All right.

I'm hoping to see my grandfather's
clock

as it should be, as he nearly got
it.

It never ran perfectly and it
tended to slam rather than tick,

and that was the major problem
with it.

I think the sound was quite
important to you, is it?

The sound is mesmeric.
The sound is fantastic.

The ball travels round the track
and it ticks over.

It just... They sound marvellous.

Should we? Yeah.

Are you ready?

Isn't that the best thing?

Is that not the best thing?
It looks wonderful.

It's just beautiful, isn't it?

Does it work, Steve?

Put the ball on.

You've polished the ball bearing.

It's hypnotic, isn't it?
It really is.

It is. This is the moment of truth.

Perfect, absolutely perfect.

He's got the glasses out. It's
doing an inspection.

The glasses out. I want to see.

You've put a shock absorber
on it, have you?

I did.

That's perfect.

Before, it slammed.

Yeah. That's how it should be.

That is absolutely brilliant.

I expected nothing less.

Of course! Thank you.

How does it feel, Hugh, to see it
working, then?

It's just, it's magic. Yeah?

It is just a wonderful thing.

It just takes me back
to my grandad's house.

I can still hear the front door
opening at a special sound

and you go into this atmospheric
house, all the clocks chiming and...

..different little world, really.
Yeah.

Absolutely wonderful. Thanks, guys.

Hugh, thank you for bringing this
in.

Steve's going to get this packed up
and we'll bring it out to your car.

Enjoy it. I shall, Steve.
Thank you very much.

You're welcome. Thank you, Jay.
Take care now.

It's just fantastic,

to see it working as it should

and sounding as it should will bring
my grandad back.

And I hope he's very pleased
that his clock's lived on.

It's not been put in a wardrobe
somewhere, gathering dust.

It's on show.
It's working as it should.

I just hope he'd be delighted with
it, as I am.

Join us next time as paint
and perseverance...

To rebuild that is going to be
really hard.

..pay off...

That's beautiful, thank you.

..in The Repair Shop.