The Repair Shop (2017–…): Season 8, Episode 5 - Episode #8.5 - full transcript

Welcome to The Repair Shop, where
precious, but faded, treasures...

There's an awful lot of work
to do here.

Things are going to have to get
worse before they get better.

..are returned to
their former glory.

Look at that!

Furniture restorer Jay Blades...

Bringing history back to life

is what makes The Repair Shop
so special.

..and a dream team
of expert craftspeople...

Solid as a rock.

It's actually quite miraculous,
to be honest.



..come together to work their magic.

Look at that! Tailor-made!

Just got to keep calm and carry on.

OK, here we go.
It's going to look great.

Employing heritage craft skills
passed down the generations.

This is how it was,
so this is how it will be again.

Preserving irreplaceable heirlooms.

Some objects can have so much
emotional attachment to the family.

And that's what pushes me
to want to get it right.

The team will restore the items...

Ah! ..the memories...

So, that's the link between you
and your grandad... And now my son.

..and unlock the stories
that they hold.

I'm just blown away!



I'm flying!

SHEEP BLEAT

CROWS CAW

BIRDSONG

DUCKS QUACK

How we doing? Morning. Morning.
Morning! Morning, morning.

In The Repair Shop today,

Dom gets tough on rust.

It uses the electrical current from
the 12-volt car battery charger

to sort of push the rust away.
Look at that!

Steve gets a very fab fix.

I've done some research
on this yellow submarine

and the top here,
there were some periscopes,

one for each of The Beatles.

Now, these shapes are a little bit
tricky.

And some very careful artistry.

I'm doing this,

I'm just making sure
it's one smooth line.

So here we go. There we go. Lovely!

Jay is eagerly awaiting
the first visitor,

Howard Bird from Broxbourne
in Hertfordshire.

Hi, Jay. How you doing? You all
right? Fine, thank you. Come on in.

He's hoping art conservator
Lucia Scalisi

can revive a regal portrait
that's looking less than majestic.

Hello. Hello. Hi. I'm Lucia, hi.

You've got to tell us about
this painting. It looks amazing!

It's a portrait of Queen Henrietta.
Right.

Who was the Queen of Charles I.

And she's in mourning after her
husband had his head chopped off.

Wow! So it's an important painting,
then!

This is 1600s.

That's when it was painted? Yeah.

Charles I was given the chop
in 1649,

so it's after 1649.

It's impressive, Lucia, isn't it?
It's amazing.

I've never seen a portrait of her,
specifically, as a widow.

And so you've got this, er...

That beautiful... ..brooch.
Yeah. Of Charles I.

And the band here, with the ring.

With the ring, which is a signifier
of widowhood.

It's quite unusual,
but it's really quite lovely.

I've known this painting
for over 40 years.

It belonged to a good friend
of mine.

Right. And, er...on his passing,
he wanted me to have it.

What was his name? Eric. Eric.

So, where did Eric get it from?

He purchased it from an art dealer
friend of his in the '60s.

So, did Eric collect more artwork,
or is this...?

Yeah, he had lots of artefacts,
you know.

Japanese urns and burial things
and other paintings.

But this was his favourite.

Where did you and Eric meet?

I moved next door to Eric in 1980.

Right. And I was in the garden

and his wife, Ruby, put her head
over the fence and she went,

"Oh, hello! Who are you?" Yeah.

I said, "I'm your new neighbour".

Went in and met Eric. Yeah.

He was disabled. He'd caught polio
when he was six years old,

so he had lost the use of his legs.

But he didn't lose
his sense of humour,

with his practical jokes
and everything else.

He sounds like a right character.
He was, he was. Very good.

We just became very close friends
very quickly.

It was, you know,
breakfast every day with them

and they'd always have
a meal waiting for me

when I came home in the evening.

I spent more time in their home
than I did next door, in my own!

That's quite...that's... Lovely.

That's more than neighbours
are more than friends.

We just became like a family.

I was a single guy and they just
took me under their wing.

I think they probably always
wanted to have a son.

And that's why, you know,
we just became very close.

Yeah. It sounds perfect.

And that lasted 40-odd years.

Well, 40 years with Eric
and probably 20 years with Ruby

cos she passed earlier.

So, when did Eric pass away?

2016. OK. Yeah.

The last couple of years of
his life, I was his main carer.

We used to have long chats,

and Henrietta, she always used
to come up

and Eric started to say that he'd
always liked to have it cleaned

and never really got around to it.

He died at 84.

OK. When he was 84. Right.

WHISPERS: I can't...
WHISPERS: It's OK. It's OK.

I cared for Eric right till the end,
so... Yeah.

And I just...just loved him.

Yeah. You can tell that.

You can see that you miss them both,
as well.

Yeah, yeah, very much. Yeah.

I'm just hoping
that if he's looking down

and he sees Lucia's work on it,
then, er...he'll be happy.

Yeah. Howard, thank you
for bringing this in.

Thank you. And thank you, Lucia.

My pleasure.

You take care now. Bye!
Bye-bye. Bye-bye.

When I look at the painting, I just
think of my 40 years with Eric

as a friend, and kind of like
a father figure.

I just loved him to bits,
and his wife.

You know, I just loved them.

I think Eric would be very proud
of me to take on his wishes

and finally get Henrietta back to
the beautiful woman that she is.

There's a lot of overpaint
on this painting,

so there could be a lot of
original paint under this

that has just been covered up.

There could also be a lot of damage
under this.

And until I start cleaning,
I won't really get an idea

of what's going to happen.

So I'm going to do
some cleaning tests.

I'll do them, first of all,
in the flesh areas,

because these are relatively
tough areas of paint.

I'm going to use my distilled water

that has in it a drop of ammonia.

Just make sure it's not too strong.

It'll just be taking surface dirt
off this.

Oh, yeah, and that is definitely
going to clean quite nicely.

So I'm now going to do
a varnish clean...test.

It's a hydrocarbon solvent.

I'm going to go into the area
that I just did the surface clean,

see what comes off with this.

Look at that!

This is varnish. All those
little lumps, yellow lumps,

that's just varnish shrivelling up.

But underneath,
it's actually pink flesh.

That is gorgeous!

I'm going to do a whole surface
clean to take off all
the surface dirt first

and then go back and take off
the varnish.

I don't know what we're going to
end up with.

It is a bit nerve-racking!

BIRDSONG

Dom! You've got to come
and see this. Come here.

Look at that! Wow! It's nice, innit?

That looks beautiful!

This antique sewing machine

is a cherished heirloom to
Kathleen Lewis from Cheshire.

And she's hoping metalwork expert
Dominic Chinea

can get it up and running again.

Hello! Hello. How you doing?
I'm very well, thank you.

Lovely to see you. Thank you.

Now, this is...
We've just been admiring this.

It is absolutely beautiful.
Thank you.

I want to take the box off. Can I
have a look? You certainly can.

Thank you. I've been dying
to do this! Yeah.

Wow! Oh, wow! Look at that!

That...! It's beautiful, isn't it?
Whoo!

How have you got this?

Um...it belonged to my nan. OK.

She was born in 1893

and she started to work for
a dressmaker's shop

and this was the machine she used
in the shop.

And then, when she reached 21,
they gave it to her.

Wow! She must have been good.
Was she really good?

She was absolutely fantastic, yes.

Sadly, I didn't know her -
she died before I was born -

but I know she also made my mum's
wedding dress on this.

That's brilliant. I know she passed
before you could meet her,

but do you know anything about her?

She got married in 1914, in May. OK.

And by October, she was widowed.
He was killed in France.

And she never married again.

But she always managed to keep
her and my mum going, and...

Yeah, yeah. She must
have worked really hard.

This was important.
It was me nan's life, really. Mm.

So after my nan died, my mum had it

and it always sat in our front room.

I wasn't supposed to, but I used
to go in and play with it a lot

and fiddle about with it. OK.

And then eventually, I went
into the sewing trade,

making, er...very posh suits
and overcoats.

Ah! How cool! Did you? Yeah.

Have you ever used it properly,
or...? No.

So, you've never made anything...?
Never been able to, no.

Never been able to. Wow!

When was the last time
this was used?

To be honest, I couldn't tell you.

Whether it would actually sew again,
I don't know.

And, er...and I just want to be able
to use it.

When you look at the sewing machine,
what kind of memories
does it conjure up?

Like I say, it's my childhood
in the front room. Yeah.

And me mum, she's not with me
any more...

Sorry to hear that. It's just...

Good memories? Yeah.

I think me mum would have been
pleased to see it being used again.

Yeah.

So, how would you like it to look?

Just want the woodwork so that
it's not falling to pieces any more.

OK. But, I mean, where it's worn

is obviously where me nan's
been using it.

That's...that's her,
that's part of it. Yeah.

So just to be able to use it.

Well, I can't wait to get
the team started on this one.

Kathleen, thank you
for bringing this in.

Thank you very much.
Lovely to meet you. Thank you.

Take care now. And you. Bye-bye.
See you later. Bye. Bye-bye.

Proper, isn't it? It is a proper
sewing machine. Yeah.

This sewing machine is the only
thing I've got that belonged
to my nan.

To be able to have it
looking like it used to do,

it'll bring my nan into my house,

and my mum will be back there,
as well.

It's all I've got left.

This is going to be
an interesting one. It is. Yeah.

So, what I was thinking,
get Will on the wood,

cos Kathleen doesn't want it
looking shiny.

Yeah. Once I've got it all apart,

if Will can tackle the woodwork,
that'd be fantastic.

No problem, I'll have a word.
Brilliant! Yeah? No problem.

There's me thinking, it's not
as bad as it looks, you know.

Once I've cleaned this up,
it will be OK.

And I've just peered inside there

and already, the bobbin holder
is broken.

I think I'd best off
get this thing apart,

then I really have a look at
what I'm working with.

Oh! Look at that!

I don't think there's any way I can
sandblast all this paint off.

It's so rare to get something
this age holding its original paint.

It's beautiful. With a little
polish, that's going to come up
so nice.

Having spent hours carefully
removing the dirt,

overpaint and varnish on the
painting of Queen Henrietta Maria...

Right.

..Lucia can finally assess
its condition.

I'm back down to the original
paint layers

and it's fantastic!

There's more of the original there
than I thought there might be.

All the background was overpainted
in a black paint.

And even her dress
has been painted black.

But in actual fact,
it's a dark-grey satin colour

with these red flashes
in the sleeve.

It's absolutely beautiful.

The varnish that's going on will be
its first coat

of modern synthetic varnish.

It's called high saturation,

so I can get a good colour match
when I'm retouching.

The first coat of varnish goes on
before retouching

because it provides
an isolating layer

between anything that I put on
the painting

and the original paint layer.

It will last, you know,
a few generations,

but it will always remain
reversible.

So whoever comes to this
in the future

will be able to take this off
without any effect.

That's it.
I can leave the varnish to dry now

and then I'll be able to start
my retouching.

I'm retouching the losses.

Just changing my palette
as I go along,

but I'm basically mixing
a lead white with an ivory black

and then mixing in some yellow ochre
here and there.

It's working quite well
at the moment.

Being so close, I'm actually
starting to see things

that you don't see initially.

The big thing is I'm actually
starting to see the shape

of the body and the dress.

And basically, she's pregnant.

So the positioning of her hands
in portraiture

is usually an indication of
her state of pregnancy.

So this means she was last pregnant
in 1644,

and she would have been about 36
at this time.

Charles I died in 1649,

so that suggests that this bracelet

with this rather large gold ring
hanging on it,

it's a later addition.

The portrait has been modified
to signify widowhood.

I'm so thrilled with this painting.

It's so exciting to work on.

It's a real find, you know.

Things like this don't come through
very often.

They just don't.
They don't survive the test of time.

BIRDSONG

Next, Hannah Clive from London

is bringing a piece of
rock-and-roll history to the barn.

Here she is. Hello! Hello!

It's the perfect gig for mechanical
maestro Steve Fletcher.

I've got something in my pocket
for you. Oh, wow, that's tiny!

And it's a little...yellow
submarine.

Submarine. How come you've got this?

Well, this belonged to,
and was given to, my dad,

the television and film actor,
John Clive.

Right. He, amongst other parts
that he did,

voiced John Lennon
in the Yellow Submarine film.

Oh, my goodness! What?! So, how come
he did that? How come he voiced him?

They got various different actors in
to do the parts

because The Beatles
weren't doing the speaking parts.

And he was given this on the night
of the premiere in 1968.

Oh, wow! What else did he do?
What other films was he in?

Oh, he did The Italian job
and he did the Carry On films,

a couple of the Carry On films.

My dad was an all-rounder.

He could sing and dance and write
and act, and do all of those things.

And he was always making us laugh
when we were children.

You know, constantly making us
laugh.

Do you remember playing
with this thing? I do.

I used to play with this
when I was a little girl.

In the bath
and on the carpet in the hall.

OK. And running it up and down.

And then I watched the film,

over and over and over,

and that influenced my entire
career choice,

and I went on into music
and performing, like my dad.

So, um...without this little
yellow submarine,

I wouldn't do what I do.

So, how long have you had this?

My father passed back in 2012. OK.

Um...but... Yeah, not long
before he passed,

he said to me,
"Han, I want you to have this".

And he put this in my hands.

Cos he knew what the film
meant to me.

Yeah. Yeah, that's why
it's so precious to me.

So, what would you like Steve
to do to it?

It used to have three funnels
that came out.

And as you run it along, the funnels
used to spin around, apparently,

but I never saw them.

I don't know whether my brother
managed to, um...

accidentally remove those. Right.

And these, um...patches... Yeah?

You press these buttons
and they're supposed to pop up,

only they don't.

There you are. And that...

JAY LAUGHS

That's cool.

..that's John and I think
that's Ringo.

It's missing its propeller. OK.

Um...and the paint's looking
a bit sorry.

I don't need it looking
spick and span

cos in a way, that's part of its
life and its story. Yeah.

But if there was anything
you thought you could do,

I'd be so grateful, Steve.

OK. Honestly.

Hannah, thank you for bringing this
in and trusting us with this item.

I can see that it's very precious
to you.

Thank you very much. No problem.
You take care now.

Bye-bye. Bye-bye. Bye-bye.

The yellow submarine represents
my dad to me,

and everything that my dad
managed to do in his career.

And I'm very proud of that.

It's important that the yellow sub
be preserved for our family.

And as a performer myself,

it's like the family Olympic torch,
if you like.

I love the fact that this
was presented to John

at the premiere of the film.

I was brought up with The Beatles,

so it's fantastic
that I'm working on this.

It's quite well-made.

It's a good, solid, metal body
on it.

But the paintwork has really faded.

There are lots of chips,
especially over the hatches there.

So I think I might need Lucia's help
in touching those up.

Then I need to make a propeller
because she remembers the propeller
being there.

The thing that
I'm really worried about is...

..that she said there are funnels
that come out of the top here.

So I'll have to do a bit
of research.

There's a couple of springs that are
supposed to spring the hatches,

and I think the springs
are seized up

and that's just preventing them
to move easily.

So I will just take this apart

and then I can see what's inside
and what I'm up against.

It's just going to gently grind off
the rivets.

Good.

Let's see what we've got in here,
then.

The problem is that these levers,

that are sort of actuating levers
for the hatches,

are slightly bent.

And just one millimetre of bend

makes all the difference
to the way it works.

So I'll just take this over
to the lathe and see if I can get it
straightened up.

So you can see now just how much
out of true it is.

And I need to straighten
them all up.

And I'm hoping it's going to be
as simple as that.

Less rock and roll,
more heavy metal.

Dom's been considering the best way
to revive the ironwork

of the old sewing machine.

Alongside the surface rust,

there's an awful lot of original
black paint, which is beautiful,

and I really, really, really don't
want to sandblast all this off.

I'm just trying to remove
the surface rust.

Electrolysis is a brilliant
way to do that.

It uses the electrical current
from the 12-volt car battery
charger

to sort of push the rust away.

And the water has gone a really
nice, swampy-brown colour,

which is a good sign!

I'm going to flick that off
and I'm going to have a look.

Look at that!
You can see this...this grey colour.

All of these pieces were completely
brown and rusted,

much like these bits
that haven't been in there yet.

I think that is enough
of a confirmation for me

that this is the process I'm going
to use for the rest of these pieces.

This sewing table is probably the
driest sewing table I've ever seen.

It needs a lot of love.

There's some veneer lifting
on the top here.

I think that's where water
has hit the surface,

got underneath the veneer
and raised off the wood underneath.

Hopefully, this should be quite
a straightforward fix.

Just some wood glue and a clamp
should get that nice and flat again.

BIRDSONG

All of the structural frame parts
of Kathleen's sewing machine table

are outside, bubbling away
in their electrolysis tank,

so I thought I'd bring
the sewing machine inside

so I can actually take this apart

and see if I can get
this thing working.

I've got to be so careful.
These screws are so small.

Now I've got that big side cover
off, I can really see

a lot more of what's happening
in there.

It's dry, but actually,
there's really nothing bad at all.

The bobbin holder is broken,
that's one thing I'm definitely
going to have to deal with,

but other than that, hopefully,
it's just going to be a clean
and a really good oil.

There are lots of missing patches
of veneer on all of the drawers.

I think I've found a really good
match here.

The colour is quite light,
but the grain is a perfect match.

Now, that's quite brittle,
and the problem with that is...

..it's going to be really hard
for me

to bend that around the corner
without that breaking.

So I'm going to use a small...

..pot of warm water.

And the idea here
is that you soak the veneer.

And already, I can feel
it's starting to soften up.

I'm going to now clamp that in place

around that curved edge,
leave it to dry.

Once it has, it should dry in the
exact same shape that I need it to.

This is great!
I've got this bobbin holder out.

I can get that replaced.

Whilst I've got the machine
in so many pieces,

I can get right inside now,

so I can give it all
a really good clean.

Well, I've taken off the clamps

and the wetting and the clamping of
the veneer's really worked out well.

There's a great sort of
L-shape there.

I'm going to flue that in
with some wood glue now.

With some clamps,
a few blocks of wood,

that will then keep that in position
whilst it dries

and prevents it from pinging back
out to that flat shape again.

BIRDSONG

The glue has now dried and the
veneer is ready for colour matching.

So I'm going to use some sort of
burnt umber and black pigments

mixed with some shellac polish
to mix up the colour that I need.

The new patch has blended in
beautifully

with the surrounding veneer.

I'm going to leave that to dry,
and whilst it is drying,

I can now tackle
the other three drawers.

With Lucia's skilful restoration

of the pregnant queen's portrait
almost complete,

the crowning glory is reuniting it
with its frame.

I'm quite excited about this,
actually.

I'll just fit her
with these brass mirror plates,

which will only ever be fitted
to the frame.

So there's never anything
attached to the painting.

Great! That's a really snug fit.

Good! She's very secure.

Let's have a look.

Oh! Oh!

I think Howard's going to be blown
away when he sees this.

I hope he is, cos I was! Huh!

This 17th-century portrait

is not only a symbol of love
between a king and queen,

but also of a devoted friendship.

Now Howard's returned
with husband Dennis,

in the hope that Lucia's
managed to bring

his late friend's favourite artwork
out of the darkness.

Eric said he'd always wanted
to get his portrait restored

and unfortunately, never did.

It's always been a dark picture
and you had to just catch it

in the right light
to see anything on it.

Most of the painting was just shades
of black,

so it definitely needed
a good overhaul.

I'm just hoping that it's going
to look lovely.

Hello. How you doing, Howard?
Hi. Hello. Hi.

This is my husband, Dennis.

How you doing, Dennis?
Very well, thank you.

Howard, how are you feeling?

I just cannot wait to see
what's been done.

Eric was very important in my
life... Yeah. ..and always has been.

I'm hoping now that I've fulfilled
his wishes.

Yeah. Yeah.

So, you ready? I'm ready.

OK. Lucia? Ready?

Wow! Well done!

I can't believe it.
Perfect job.

It is.

He would be so happy to see this.

Cor, just look at the...
I can't believe it!

I really can't believe it!

Never seen her like this. Yeah.

Never seen her like this.

You know, 40 years,
she's just been in a smog.

Yeah.

It's unbelievable,

the colours, the vibrancy
and that that's come back.

She's beautiful. Thank you.

It's been absolutely spectacular
to work on this painting.

When you brought it in, Howard,
you said you thought it was
her in mourning.

As I worked on it and took
all the overpaint off,

several things became obvious,

and one of them was
she was pregnant at the time.

Oh, wow! Dear!

So the later additions to indicate
that she's a widow were added...

After. ..afterwards, yeah.

I would have never, ever
realised that.

What an amazing story!

It's very special.

Very special to us. Yeah.

How do you think Eric
would think of it now?

He wouldn't be lost for words
cos he never was!

THEY CHUCKLE

He...he, er...

He would think it's amazing.

And I think he'll be looking down
and...

and, er...admiring it, I'm sure.

I knew that Lucia would do
a good job,

but not as good as
what it's come back as.

It's fabulous, absolutely fabulous.

Henrietta is going to go back
to her pride of place.

We'll pass her every day.

And it will just be so fantastic

to see her
how she was meant to be viewed.

Next to arrive at the barn
is Adam Bell from South Shields.

He's carrying a broken treasure
to challenge the dual talents

of glass conservator Matt Nickels

and, with his work at
the sewing machine complete,

woodwork whizz Will.

Hi, there. Hello. Look at that!

Hi, I'm Will. You are...? Adam.

And I'm Matt. Nice to meet you.
Nice to meet you.

Wow! Ooh! Very nice!

It belonged to my granda,
Gary Graham.

And, er...this used to sit in
a little summerhouse

in his back garden.

And it was a lovely little sort of
space for us to be together.

Like our little den,
I suppose you'd say.

We used to collect things and
we filled the little summerhouse

with all of these curios
and treasures from days gone by.

And this, of course,
was probably one of the most
beautiful things in the summerhouse.

Seeing the stained-glass window,
does that sort of take you back

to those times when you were
a young boy with your grandfather?

Very much so.
Granda and I were very close.

Um...he, er...was my hero, really.

What did your grandfather
do for work?

He worked in the shipyard
in Belfast.

He would tell me tales of, um...what
life was like for him

when he was growing up as
a little boy in Northern Ireland

in the Second World War.

And he really inspired in me
a love of history.

I went on, I was very lucky to get
into Cambridge to study history.

And then I went on to become
a museum curator.

Gosh! So I think it's
in large part down to him

and his inspirational
sort of stories.

And, er...the glass
was always there,

propped up against the window
of the summerhouse.

Do you know where your grandfather
got it from?

Sadly, I don't know, I'm afraid.

I would have liked to have
asked him.

He's no longer with us,
so I can't now.

So for me, this window
really represents

my link with my late granda.

Thank you for bringing
this down today.

If anyone is up for the job,
it's going to be Matt.

Yep. He's very good.

THEY LAUGH

Thanks, both. Cheers. Thank you.
Bye. Thank you very much.

Granda was very special in my life

and not having him around is hard,

but I am very grateful that we had
so many happy times together.

And, er...restoring the window now

really kind of helps to, um...keep
his memory alive.

This is really nice, isn't it?
It's a really nice window,

but there's a lot of glass missing,
isn't there?

So I think a fair bit might have
to be removed and replaced.

Gosh! And ideally, do you want
to have, like, a wooden frame made,

or are we going to keep it as it is?

I think it would look absolutely
fantastic in a wooden frame.

And also, that would mean it's going
to be a lot stronger, isn't it?

I can't wait to see this whole
again,

but let me know
when you need that wooden frame.

I will do. Cool. Thanks, Will.

BIRDSONG

I want to try and salvage
as much as possible.

This central section here,
I can keep.

I think there's just enough glass
intact.

And also, structurally,
it seems pretty sound.

For the glass outside there,
I'm going to cut new glass.

Because apart from one piece,

it's pretty much all broken.

And I think I'm going to try and use

any of the cracked or broken pieces,

and I'm going to repurpose those

to replace any broken pieces
in the centre.

So the centre is going to have
as much original glass as possible.

So the first thing I'm going to do
is make a rubbing of this,

and I'm going to use that
as a template for all of my working.

I really need to be exact
with this rubbing.

Not only for
the stained-glass window,

but I don't want to give
a template to Will

which the stained-glass window
isn't going to fit in.

With the bent levers on the yellow
submarine's pop-up hatch mechanism

straightened and fixed in place...

Brilliant. It works better
than I thought it would.

..Steve's turning his attention
to the other tiny fixtures
and fittings.

One of the next jobs I've got to do
is I've got to make a propeller.

This really does have to look
the part,

although it's not actually
driving the boat at all.

So I've got a piece of plastic

and I'm going to turn this
into a propeller.

I'm just going to cut around
to make the circle.

There we go.

I'm going to pop this into the lathe
and turn a perfect circle.

Quite unusual that I work
with plastic.

I'm usually working with brass
and steel.

And so I hope this is
going to work.

Good. Now I'll cut the blades out
and shape them.

I'm just going to pop on
the propeller.

Perfect!

I've done some research
on this yellow submarine

and the top here,
there were some periscopes.

Hannah remembered them as funnels,

but they are actually
four periscopes coming out,

one for each of The Beatles.

And as you pushed it along,

the periscopes turn round.

So I've done some sketches

and worked out the sizes.

I just need to set-to now
and make four of them.

I've got a two-part epoxy putty.

You have to make sure
it's really well mixed

because the two parts
react with each other

to start making it go hard.

And if there are any parts
that aren't mixed,

you'll get those little soft parts.

Right, let's have a go at making
a periscope.

I'm going to make the top first.

Then the main body of the periscope,

I need to make six millimetres
in diameter.

Hopefully, when I've reshaped it
a bit,

it's going to look all right,

but, yeah, it's a periscope,
isn't it?

I'm just going to leave that there
and get on with the other three now.

Right, that's great.

That's all ready to take over
to Lucia to do the paintwork.

There we go,
here's the yellow submarine. Oh!

Oh, Steve! Is it working now?

Yeah. Press those little things.

CLICK!

Oh!

Oh, my goodness!

That's good,
the periscopes are good. Thank you.

What did Hannah expect from the...?

She just wants
a sympathetic touching up.

Perfect! We can do that.

I knew you'd like that.

LUCIA CHUCKLES

Thanks, Steve.

The ultimate goal is to get rid of
where your eye is attracted to
the damage.

I actually want to use
acrylic paints.

They're going to be very reversible.

I don't want to use a metal paint
on this

because if it ever comes off,

it could be damaging
to the original paint.

I'm using a cadmium red hue
for the red,

and it's a really good colour match.

And also, the body of the paint
is quite opaque,

so it's covering the metal up
really, really nicely.

So I'm very pleased with that.

But I can't get that
with the yellow.

The yellow's too translucent.

To build up a level of colour
will be too many layers.

It will be just too thick.

So that's complicated.

So what I'm trying to do now
is just block that out

with a titanium white paint,

and then I'll put the yellow
on top of that.

Even though it's a tiny object,
I've got quite a way to go.

Outside, Dom's been contending with
a much larger assignment,

but he's just about ready to start
reassembling

all the elements
of the antique sewing machine.

I've got a replacement
for the damaged part

that holds the bobbin. Really good.

It's a nice original piece, as well,
so I know that it's going to work.

I just need to get it all back
together now in the right order.

The first piece on. First of many.

It's just such a fiddly job. I've
got tiny, small screws and springs

and everything's got to go back
in exactly the right place.

And if I get it a width of cotton
wrong,

it just won't sew and it won't work.

This is it, the last piece!

So nice to get the inside of
this machine all buttoned up.

I'll just get the machine
threaded up now,

double-check it's all stitching
perfectly

and then it's ready to go back
to Kathleen.

For seamstress Kathleen,
this machine is the link

between her and the dressmaker
grandmother she never met.

I'm feeling really excited.

A bit nervous, as well.

Cos the most important thing to me

was that I'd be able to actually
use the sewing machine again.

Hello! Hello!
Lovely to see you again.

Nice to see you again, too.
I'm Kathleen.

I'm Will. Nice to meet you.
Thank you.

So, Kathleen, how have you been
without your sewing machine?

I just can't wait to get it home.
I really can't wait.

Aw! I wish I'd have been able to do
this while my mum was still here.

Yeah. But there you go.
Be nice to have shown her.

Come on, Will, let's have a look.
Shall we have a look? Come on!

Please. OK, here we go.

SHE BREATHES DEEPLY

Oh, it's beautiful!

Oh, my word!

Oh!

It's absolutely gorgeous.

It's just like when I was about
five years old.

It's got that colour back. Yeah.

And the drawers.

It's amazing.

Thank you both so much.

One big question...

does it work? Does it work?

THEY LAUGH

So, you've never actually used this

to actually sew anything?

Take a seat on this.

Oh!

There's some fabric
in the top-left drawer.

It suits you, seeing you
sitting there at it!

SHE LAUGHS

That's it. Once you get going...
There we go! That's it!

H-H-H-H-Hey! That's it, you're off!

Oh, my word!

Well done. I can't believe it!
Well done.

It's absolutely wonderful!
Bang on. That's perfect.

Oh! Goodness me!

DOM CHUCKLES

KATHLEEN SNIFFLES

Oh, I do wish Mum could see me!
Oh, bless you.

Yeah. Thank you so much!
She'd be happy, I think.

Chuffed to bits.

WILL CHUCKLES

Thank you both so much.
I really, really appreciate it.

It's been brilliant. You're more
than welcome. It's been a pleasure.

Bye-bye now. Thank you.
See you later. Bye-bye.

Oh, well done, mate.

To sit at that sewing machine and
realise that my nan had sat there...

SHE SNIFFLES

..it's touching things that she had

and that my mum used.

And now neither of them
are here any more,

it brings them to me. It's lovely.

It's a lovely feeling.

BIRDSONG

In his quest to restore
the stained-glass window...

..Matt is first removing
all the broken pieces.

Now, although a lot of this glass
is damaged,

I really, really do want to keep
anything that is still intact.

Putting all of the glass
on the template

gives me the chance of seeing
exactly how much is usable.

Fortunately, the central rose

and actually, all of the green
leaves here, are still intact.

So I'm very happy I'm able
to keep all of that for Adam.

Although I'm having to use
quite a lot of force sometimes

to get this out.

I'm just making sure that
as I do it,

I'm still very gentle
with the glass pieces.

Lovely!

BIRDSONG

Matt has done a rubbing
of the stained-glass window.

It looks really pretty.

I've used this rubbing
to take the measurements

of how big I need to make
this frame.

I've got some lovely oak here.
I'm going to cut this into strips,

put it all together and we'll get
a lovely-looking frame out of it.

I've started cutting the glass
for the exterior.

This is where the template
comes in handy.

Now, these shapes
are a little bit tricky.

So I have to be very careful.

And as I'm doing this,

I'm just making sure
it's one smooth line.

I'm not stopping and starting
as I go.

And I'm actually going to lightly
tap the underside of this.

And what that does is it's just
helping the cut run along it

so that when I go to break it here,

it's hopefully going to go
straight off.

So here we go. Lovely!

Really happy with that. Bang on.

Ah! Lovely!

I'm just on the in-situ repairs now.

All of the glass on the outside,

apart from a couple of pieces,

were unfortunately
too badly broken to salvage.

However, I can repurpose these
for the inner part.

I'm going to smash these out.

The original glass, that is.

And then I'm going to cut these
to shape.

So I'm using one of
my favourite tools,

the oyster knife here.

All I'm doing is carefully

pushing back the edge of the lead.

I'm just going to see how this fits.

So it's in on all of the corners,
apart from this top bit.

Ooh! Hang on a minute.

No, I think this is going to go in.

Just needed a little bit
of jiggling. There we go.

Right, now on to the next one.

I'm just starting the leading-up
process of this window.

I just need to wrap this lead

around this leaf section.

Now, hopefully...
Is that going to go?

It's pretty good. Pretty good.
I'm going to see how that fits in.

So I have to release that part
and then, put this bit in

while still holding all of this
together with my hands.

Could definitely do with
a third hand here.

Ah! There we go!
Quite happy with that.

It's nicely butted up there.

I'm going to hold that in place
with my horseshoe nails

and then wrap around

the next piece of lead
around the glass.

There we go. Great!

So hopefully now, if I put this
over the top...

..this will just butt up nicely.

There we go!

I really, really like the way
that the lead has curved around.

Wow! That's absolutely beautiful!

And seeing all of this different
textured glass all working as one

makes me really happy.

But I'm not quite finished yet.

Need to solder up the other side

and then it's ready to give to Will
to pop in the frame.

Fully immersed in her restoration
of the yellow submarine

and its figures of the Fab Four,

Lucia is now blending in
Steve's handiwork.

I've painted the first coats
of yellow on the periscope,

and it's very difficult
to get this colour match

because the original paint has faded
on the top

and the yellow underneath
is much more orangey.

I'll try and get as good
a colour match as I can.

Fortunately, this red
is straightforward.

Yeah, I'm quite happy with the way
that's looking now.

I'm going to put a bit more yellow
in this

and then it will be ready to go back
to Hannah.

This groovy little souvenir was
a cherished childhood toy for Hannah

and a reminder of
the remarkable career

of her father, actor John Clive.

Today, she's returned to collect it
with her 16-year-old daughter.

It's really important for me
to be here

to collect my yellow sub
with Ella-Mae.

It's an heirloom
that I very much want to pass on.

Because we're very proud of Grandad,
aren't we? Yeah.

We're really looking forward
to seeing what they've done.

It means a lot to me,
as it does with my mum.

Hello! Hello. Hello.
How are you doing?

I'm very good, actually.

You must be Ella-Mae. Yeah, I am.

Do you know how important
this is to Mum? Yeah.

I'm looking forward to seeing
how it's changed.

I was explaining to Ella-Mae
on the way down,

I'm sort of excited and nervous
in equal measure.

It's really important to me
cos it's, um...

cos it's all I've got of my dad.
So it's really...

Yeah. Yeah.

OK.

You guys ready? Yeah. Yeah.

HANNAH GASPS

Oh, wow!

Oh, wow!

Oh, wow! Can we...? Can I touch it?

Yeah, 'course you can!

Oh, Steve! What did you...?

That's amazing!

Ah! Do you want to open the hatches?

Cos this is what I've not been able
to do for years.

Shall we do it together? Yeah, yeah.
One, two, three.

Yay! Oh, wow! Ah!

They both finally come out at once.

Oh, wow! They turn.

THEY LAUGH

Oh, my God! That is quality!
How cool is that!

That is proper cool.

Look, did you see, Ella?

Oh, that's amazing!
After all that time!

Yeah. How amazing is that!
It's amazing.

Lucia has done all the paintwork.
Has she?

Yeah. Oh, Lucia! You're a diamond.

Thank you so much. You're welcome.

Oh, how lucky are we? Mm.

Ah! Do you know what?

Grandad's looking down now... Yeah.

And I...

Oh! How very special!

Thank you so much
for everything you've done.

It's a real pleasure.

Bye-bye. Take care, the both of you.
Bye-bye now.

Fabulous!

To see the little yellow sub
back and gleaming,

it's an overwhelming feeling.

It's really, really special.

I just wish my dad was here
to be able to see it.

After hours of careful
restoration work,

it's time to unite the stained-glass
window with its new oak frame.

Hey, Will. Hi, Matt.
How's it going?

Ooo, I love the glass.
That's really good!

It's looking all right, isn't it?
That's beautiful!

Very happy with how this
has come out.

Shall we see if it fits? Yeah.

There we go.

Oh-ho-ho-ho-ho-ho! Look at that!

Yes! Perfect fit!

That is absolutely beautiful.
You've done a great job, buddy.

Thanks very much. And that frame
really frames it nicely.

When the stained-glass window
arrived at the barn,

much of the glass was missing
or cracked.

Matt, you ready? Yeah. Here we go.

But for Adam, it provided
the backdrop

for many hours spent with
his beloved grandfather,

and represents the special bond
they had.

When I think back to all the happy
times that I spent with Granda,

the one thing that was always there
in the background,

of course, was this beautiful
stained-glass window.

I'm just so excited to see it again
today.

Hello! Hello. How are you doing?
Very well, thank you.

So, how you feeling, Adam?

I'm feeling very excited

and I just can't wait to see
what you've managed to achieve.

Shall I go for it?
Go for it, go on. All right.

Wow!

That is unbelievable!

It's stunning!

Yeah? Thanks so much.

And you've made the most beautiful
frame, as well.

It looks just right for the period.

And all the little details, um...

it's gorgeous.

Thank you so much.

Well done, Will.
You're very welcome.

I honestly wouldn't know
which bits you've replaced

and which bits you haven't
cos it just looks so perfect.

So what I've done is, I've kept
the central part of it intact.

I've replaced a lot of broken pieces
of glass there,

but I've managed to repurpose some
of the glass from the outside

that wasn't suitable
to actually put that in the centre.

So the centre feels like that's
kind of the heart of the piece

and that's got the history in.

It's...it's still
the original object that it was,

but you've just breathed
new life into it.

It's amazing.

I love it!

So, Adam, you ready to take it home?

Yes, please. It's yours.

Thank you.
Thank you for bringing in.

I'll just get the door.
Cheers, Matt.

I'm just overjoyed.

You know, it really makes me think
back to those times that I spent
with my granda.

And in fact, like the window itself,

those memories have also
been strengthened

because it means that I can now see
it and appreciate it every day

and always think about those happy
times that I spent with Granda.

Join us next time
for restorations big...

Come on. Oh! OK.

..and small...

It just takes such a long time.

..in The Repair Shop.