04x18 - Vintage Slot Machine

[bunniefuu]

Welcome to the Repair Shop, where
much-loved but broken treasures...

This is amazing.
It is absolutely brilliant.

..are brought back to life.

Welcome to my universe.

It's pretty marvellous.

Furniture restorer Jay Blades...

It's so nice that we can be part of
that kind of history

to just keep things going.

..and a dream team of some
of the country's most

skilled craftspeople...

I'm having a lot of fun and
I'm really liking the end result.

Sounds like teamwork.

..bring their talents to bear on
beloved pieces of family history...

Look at that.

I'm liking what I see. Yes.

Is this working?

You beauty.

..utilising expertise passed down
the generations...

I'm going to teach you how to do it
the old-fashioned way. All right.

..transforming priceless pieces
of family history.

Oh, my goodness me.

The Repair Shop team will
resurrect the items...

Oh, gosh.

..the memories...

I'm going to have to hug you.

..and the stories behind them.

Look at that.

Thank you so much.

I can't see it because there's tears
in my eyes.

This is a very emotional job to do,
but incredibly worthwhile.

THEY CHEER

In the Repair Shop today...

Which shade do you think suits me?

THEY LAUGH

..a cheeky peep show captures
Tim's imagination...

The height of sauciness.

Showing her belly button, for
goodness' sake.

..and Suzie is tasked

with preserving the work
of a past master...

I'm just completely blown away
by this.

This is so beautiful.

..as she renovates a belt that
played a part in an inspiring

wartime story.

With a job like this, you really
only have one shot at it.

First through the Repair Shop doors
today,

Danny Wilson and his mum, Margaret.

They've brought along a piece
of music history that's in need

of a tune-up.

How we doing? Hiya. You all right?
Good.

I'm Jay. Hello, Jay.

Margaret. And you are? Danny. Danny.

All right. Nice to meet you.
So, what have we got here, then?

So, this is a bass guitar. OK.

A Fender bass guitar.

David, if you don't mind joining me.

David Kennett is a guitar maker and
restorer...

Hello.
..or luthier.

So, tell me a bit about this.

Whose is it? Is it yours?

No, it's not mine. OK.

This is my father's.

My father was a musician,
still is a musician... Right.

..in the '60s and '70s. You might
have heard of the band.

Hot Chocolate. Is it? Yeah. OK.

Danny's dad, Tony Wilson, was one
of the founding members

of Hot Chocolate, who ruled the
airwaves in the '70s and '80s

with hits like You Sexy Thing
and Everyone's A Winner.

Tony had originally been the lead
singer,

later replaced by Errol Brown,

leaving Tony to concentrate
on playing the bass guitar,

the very instrument gracing
the Repair Shop today.

I'm old enough to remember them.
So am I.

You're not on your own there.
So, how come you've got it, then?

My dad's moved back to Trinidad
and he couldn't take

everything with him.

So, this stayed with us and
it's been in Mum's garage

since he went.

Why do you want to get it
repaired, or restored, now?

Are you going to start playing?
That's it. That's the plan.

You are? Yeah, that is the plan.
It's something that...

I'm quite disappointed in myself, to
be honest,

that I haven't learnt an instrument,

with my dad being who he is and
what he does.

Does your dad know that you've
brought this in? He does, actually.

And he's over the moon. Right.
He's over the moon.

And when I told him that I was going
to learn how to play it as well,

double happy.

Was it his first bass guitar?

His only bass guitar, as far as I
know.

Only bass guitar? Only bass guitar?

So, this is from 1966. Right.
Yeah.

And he's never owned...
It's the only one he's ever owned.

When you come to work on a guitar
of this age,

there are two immediate
considerations.

One is making it playable because,
if it's not playable,

then it's not a
proper instrument,

but also doing that restoration
sympathetically

to the age of the guitar.

This is the life and the character
of the guitar,

and so it's all those years
where your dad has stood

on stage playing this guitar
that's worn off this paint,

and so, if we were to respray this,
which we could,

it's no longer your dad's guitar.

No, absolutely.

Everything you said there makes
perfect sense.

I mean, it just needs some TLC.

If you turn it over, up here,
it's worn away.

Yeah. This has got a very high
action, I can see here.

So, it'd be really hard to play this
guitar.

What I wanted to ask you about
is these stickers.

Your dad wasn't into these bands?

No. This was nothing to do
with my dad.

They will remain nameless.

Someone decided that the bass guitar
that Dad used in the '60s and '70s

for Hot Chocolate
should be a sticker book!

OK. David, if you could remove those
kindly.

Yeah, that's fine.
That's an easy job.

So, what would it mean to both
of you to get this restored?

Well, there's a lot of memories...
Well, mainly from my mum.

You know, those memories would be
kept alive by the guitar

being restored and obviously, to me,
I'm going to learn it.

So, it'd be a great piece
to learn on,

even if it's going to be difficult.

It would be deja vu for me because
he looks like him, sounds like him.

All I can say is thank you
for bringing it in. No problem.

And yeah, once it's fully done,
I can't wait to come

to your first concert. That's all
I can say. Neither can I.

No pressure.

Thank you. Thank you. Cheers, Jay.
No problem.

DAVID: I'm looking forward to
working on it.

Take care.
MARGARET: Bye. Bye-bye.

We're very excited about leaving
the guitar here.

It's got a lot of history.

A lot of memories for Mum
and, potentially, it's got a lot

of future enjoyment for myself.

So, it's a very exciting time
for us.

I've seen it on stage
many times.

I've seen it
on Top Of The Pops many times,

and how nice would it be if I could
get Dan to learn it too?

That's a nice story, isn't it?

Lovely. Lovely to meet him,
wasn't it? Yeah.

Hear about the history of this
guitar. Mm.

So, you're going to do a lovely
sympathetic restoration on this one.

It's about making it playable, so
he can learn to play this guitar,

so it's set up for the next
40 years,

but doesn't destroy the character
and the history attached

to the guitar. Brilliant.

Sounds like you've got your work cut
out. Stick it in there.

Well, on first view, this guitar
is not particularly playable

at the moment.

It's missing a few parts.

There's a bridge cover that goes
over here,

so, it'd be nice to replace those.

And the frets
are very, very low now.

Well, I think it's time to replace
those frets. They're 50 years old.

They look like original frets to me
and hopefully, Dan will have many

hours of enjoyment playing
this guitar which means

so much to him.

For me, it's a real joy to be part
of the story of bringing this guitar

back to life again.

David sets about breaking down the
guitar so that he can work

on the individual components,
starting with the frets.

So, what I'm using is a soldering
iron, which just helps to

heat up the fibres of the wood.

So, these frets have got a barb
that sits in the wood,

and if you don't do this carefully,
then that fret tang

can tear out chunks of the wood.

And these are actually coming out
a lot easier

than I thought they might for a
guitar that's 50 years old.

So, confident that actually

these frets will come out
relatively easily.

Outside the barn, metalworker
Dom Chinea

and antique audio-visual guru
Tim Weeks are awaiting

the arrival of a special item.

Hi, I'm David. Hey.
Nice to meet you. Hi.

I wonder if you could give me a
hand? It's a bit heavy for me.

What have you got? What have we got
here, then?

It's something quite interesting.

Ah. Hm.

I'll take this bit.
Let's get it inside.

I'll get out of your way.

You got that, Dom?
Is it OK like this?

David Powell from Hampshire needs
help to restore a piece

of British seaside nostalgia.

What is it we've got here, then?

Well, we've got... I think it's
a Mutoscope made in New York.

How old do you think this is?

I would've thought that was probably
about 1926.

I've got to ask, what is it? What
does it do? Sorry, excuse my...

It was mostly on piers in the UK...
OK.

..and you put a penny in and
you turn the handle

and you have a woman dancing with
sort of veils on. Slightly risque.

OK.

I found it in 1967

and I was installing a jukebox
in this hotel and I found

it outside, so I bought it for £2,
which was half my week's wages then.

You must have really wanted it.

Well, I did because it just...
I'd never seen one before.

I spent three years trying to find
another set of photographs.

So, this is the original one?

That's the original one and the one
in here is the one that I found.

This is this one here, which
we can pull out if you want.

It just slides out.

There we go.

So, as you say, it's a girl dancing
with veils.

It's a girl dancing with veils.

You could apparently also get
cut-down versions of Charlie Chaplin

films and also things like the
highlights of recent boxing matches.

Really? I never knew that.

I decided the handle had been welded
at some point,

so I decided to get it re-chromed,

so, I took the handle off to get it
re-chromed...

Oh, I see. Oh, I see what you mean.

..and my wife, Annie, she happened
to lose the cog

that's in there, which drives
the drive mechanism.

That was, I think, 40 years ago
and it's not worked since.

The reason I'm bringing it here
today is that, unfortunately,

I've been ill for two years with a
thing called Guillain-Barre syndrome

and my darling wife looked after me.

I was in hospital for three and a
half months and then in January,

the end of January, she suddenly
dropped down dead with an aneurysm.

Oh, God. How awful.
She was dead within ten minutes.

I mean, the only good thing is
she didn't suffer,

but it's been pretty traumatic.
as you can imagine. Yeah.

David and his wife Annie had always
intended to restore

the Mutoscope together, but ran
out of time.

I'd like you to restore it in her
name if possible... Absolutely.

That's really lovely.

..so that my grandchildren
can see it going

and, you know, it's a sort of family
heirloom. Yeah.

It'd be lovely to get it working
again, wouldn't it?

It's quite a magical thing.
Yes. It'd be great.

OK, so, I think you're maybe
confident on the insides,

but it would be nice to do the
outside, wouldn't it?

If we're going to put so much effort
into the interior to get it working.

Yeah. So, my wife... Every day she
came to see me in hospital,

she always put lipstick on,
red lipstick,

and it was her signature,
lovely lipstick.

Could we have it red?
Pillar box red?

Yeah, nice red. What do you think,
Dom?

Brilliant. Perfect. It's a really
nice reason to do it red.

Let's do it red. Yeah, yeah.

So, I assume when this was
on the pier,

it would have had some kind of base?

It had a base a bit
like the Eiffel Tower.

Good. Right. Well... We best get
started.

Yeah. The challenge is given.
Let's see what we can do.

OK, thanks very much. Thank you.

Thanks, see you again. Cheers.

Thank you.

It'd be nice for my children
and my grandchildren to see

the machine working.

It's been there all these years.

If we can do it in red,

it'll just remind me of my darling
Annie every time I see it,

which would be great.

A Mutoscope operates
in the same way as a flip book.

Hundreds of cards within
the mechanism flip

to create the illusion of a moving
picture.

The viewer put in a penny, cranked
the handle and peeped at the risque

images inside, giving the machine
its British moniker,

What The Butler Saw.

So, what do you actually think?

I mean, obviously getting the new
gear for that

is the primary challenge.

We just need legs.

We just need legs. Paint. We just
need legs, paint and a cog.

Yeah, apart from that,
it's practically done itself.

Perfect.

Is there any way you can take
the insides out, so we can split it?

You can take that and I'll take
this part. You take that, then.

I'll make some legs. Yeah. Got to
get it on your bench.

Yeah, OK.

You all right with that?
Yeah, it's fine.

I'll take the heavy bit,
don't worry.

Next into the Repair Shop, Graham
Hinson and his sister, Janet.

Hello. Hello. Hello.

They're here to see master
saddle maker Suzie Fletcher,

the Repair Shop's leather expert.

I have a belt which used to belong
to my late father.

It's an army belt.

Oh, my word.

But it's a very delicate
army belt. Right.

And there's quite a story to this.

My father served during the
Second World w*r

and was part of the D-Day landings,

which took him through Belgium,
Holland

and, eventually, into Germany in
Fallingbostel prisoner of w*r camp.

Fallingbostel was a n*zi prisoner
of w*r camp, and Graham and Janet's

father was part of the Allied forces
who liberated the camp in 1945.

My father was part of the Army
Catering Corps and one day,

out of the tree line, came a German
soldier with his hands up.

The chap was arrested and taken
into custody,

but Dad was given the responsibility
of looking after him, feeding him,

and, as it later transpired,
when the chap was moved on,

he gave this to my dad.

So, we assume this was the chap's
army issued belt,

which he's carved for my father.

Whilst he was a prisoner of w*r?

Whilst he was a prisoner of w*r
in Fallingbostel camp

with whatever rudimentary tools
he had.

That's my next question is,
how did he make this?

I've no idea.

This is a beautiful work of art.

It's really lovely.

I'm just completely blown away.

Yes. It's so beautiful.

The prisoner of w*r, do you know
his name? Franz.

Franz. Franz? That's all we know.

OK. And the belt actually
has an inscription,

"Souvenir from Franz." OK.

I think they formed
quite a friendship, didn't they?

I think so.

I can imagine him feeling sorry
for this chap...

Yeah. ..and showing him kindness.

He was that type of person.
Absolute 100% gentleman.

Kindness oozed from him. Such
an emotional story.

It IS an emotional story.

Dad loved this belt so much that it
was the one thing

he kept from the w*r.

And he constantly wore it,
day after day.

It didn't matter what the function
was, this was the belt.

To the point where it almost
disintegrated and he tried

himself to do some repairs on it
so he could continue wearing it.

So, did your father and Franz
continue their friendship

after the w*r?

He never mentioned that.
He never spoke about that.

When Dad came home,

he just went about his normal
life, or tried to get back

to some normality, but this was a
happier moment for him, obviously.

And to think, you know,

that opposite sides can form
friendship...

I know. ..it's a lovely thing.
It's great, isn't it?

Yeah. It gives you hope in the human
race. That's right.

It really does.

And just the amount of work that's
in this, it's just phenomenal.

It is so intricate.

We've got these tiny, tiny
little flowers. Yes.

And to get that shape of the petals
with rudimentary tools...

It'd be difficult, wouldn't it?
Incredibly difficult.

Even the inscription in the scroll.

What would you ultimately
like me to do?

Well, we talked about that,
didn't we?

And we think, between us, we'd like

to take it back to the Military
Museum at Fallingbostel,

where I think Dad would like it
to be. Mm.

Well, I will get on with it.
I look forward to that.

Thank you very much. Thank you
so much for bringing it in.

Thank you. Nice to have met you.

OK. Bye-bye.

It brought a lot of memories back of
Dad. And us as children with him.

Yeah.

And I think if we can carry that
story through and hopefully get

the belt to some sort of point
where it can continue its travel

and memory and we can leave it
to rest where it originated from.

We have a tear at this point here,

which I've got to stabilise.

It's about to break.
It's so incredibly fragile.

I'm amazed it didn't break
whilst we were examining it

when Graham and Jan brought it in.

As a master saddle maker,
this is very intricate work.

Very skilled work.

So, I have a little bit of pressure
on here to get this job as stable

as possible for posterity
and to do Franz justice.

Outside, Suzie begins
by taking apart the old repair.

There we go.

She can then turn her attention
to the leather itself,

which has become brittle
and flaky with age.

I'm now going to...

..put on a consolidating gel.

And this is a cellulose gel
that will penetrate

through the leather and help
rebind all the fibres,

which I'm just simply going to
brush on and let it sit on

and get absorbed into the leather.

When I get to work on an item
like this, which has such

a strong significance to the family,

I actually feel very privileged
to be given this responsibility

and to do it justice.

Back inside, luthier David Kennett
is hitting all the right notes

in his quest to restore a bass
guitar that, in its heyday,

played the hits of Hot Chocolate.

This guitar has got this rather
nasty sort of gouge

in the neck here.

So, what I'm actually doing is just
starting to thin down the neck

using a spokeshave until I start to
come down below the surface

and get into fresh wood, and I want
to keep the shape of the neck.

After the sanding down,
David applies the stain,

colour-matching it back to
the original.

That looks really nice to me.
I'm happy with that.

David can now turn his attention to
the main body of the guitar -

its lacquered surface
dull and grimy with age.

This body looks like it hasn't

been cleaned for - who knows? -
decades.

And what I want to do now is just
give the whole of the body

a really good clean, not trying

to make it look new,
but just give it a proper clean.

It's goodbye to the unwelcome
stickers.

I'm just using a bit
of lighter fluid, actually, to

soften the glue, just making it
a bit easier to get this off now.

Then a thorough going-over
with a cleaning solution.

I'm pleased with how it's coming up.

I can see some of the shine
is coming back

onto this...this body.

David's next task is to re-fret
the guitar.

And he's got some very specialist
equipment to achieve it.

The fretboard on this guitar has got
a curve, a radius on it.

And so what I need to do now is
to curve these frets

so they'll sit properly
into this fretboard.

And to do that I'm using this tool.

Just pass the frets through and I'm
looking for the radius for this

fret wire to be just slightly more
curved than the fretboard.

The frets determine which note is
played when the string

is pressed between them.

So it's vital that they are
the correct height

for both comfort and sound.

These frets have to be
perfectly level.

You could have the nicest-looking
wood, best pick-ups, the whole

guitar could look nice, but unless
the frets are bang-on perfect,

the guitar will not play as well
as it can.

So this is one of the most important
parts of restoring a guitar.

And the way you do it today
is just to use this tool,

which is the same radius
as this guitar,

and just inserts even pressure
on the fret

as I'm pushing it in.

Once pressed level into place,

the frets are sanded flat
then polished up.

The very last thing to do now is
just to oil the fretboard.

Just makes the playing surface
so much nicer as well.

Outside, Dom is starting work
on the metal case that holds

the 1920s Mutoscope, commonly
known as What The Butler Saw.

The next step is to sand off
all of this paint,

back to the bare metal,
to give us a good base

that we can start reapplying
new primers and paints.

Using the sander's handy
for the larger places like this,

where I can actually get it around.

But it's quite a tricky little
shape, there's lots of corners

and bits and rivets and bolt heads
and things like that, so I'm going

to have to do a lot of it around the
edges and the finer bits by hand.

Back inside the barn,

Tim is beginning work
on the Mutoscope mechanism.

His main stumbling block was

sourcing a replacement
1920s gear wheel.

Last time we were here,
we identified what was missing,

which was the gear from here.

But luckily enough, I found they've
got an identical Mutoscope to this

in a museum in Brighton.

And crucially, they let me take
a mould of their one.

So armed with that bit
of information, I then went

for a tour around the second-hand
tool shops of southern England

until I found this.

An early 20th-century hand drill

seems to have the right-sized gear
in it.

That is a result, that is better

than I could possibly have hoped
for. Those teeth, they mesh there.

It could have been made for it.

Amazing to think,
an old-fashioned hand drill

and a 1920s fairground amusement
had exactly the same gearing ratio.

I'm sure that will be fascinating
to all the gear enthusiasts.

Back outside,

Dom's next project is to get
the Mutoscope standing proud again.

Unfortunately, David's Mutoscope
doesn't have any legs.

We obviously established it
should have them,

now it's just my job to replicate
those as best I can for David's.

Dom's using just one piece of steel
to make each side of the frame.

OK. That's all lining up
really well.

He cuts out a V-shaped nick.

And bends it in a vice to
form a neat corner.

Really, really pleased with how
that's coming out.

I just need to repeat the process
now on this other side

and then trim the legs to length.

So it almost now,
with all my pieces here,

ends up being like a giant Meccano
set that just needs assembling.

It's really good to finally
see this standing up on its own.

Got a couple more brace bars to put
through on these two sides,

then it's almost time to start
thinking about paint.

Leather expert Suzie is
also hard at work,

restoring the hand-carved
World w*r II belt.

She's going to strengthen it

by glueing on a pigskin backing
leather.

So let's put these
two pieces together.

Get it the right way.

And...

With a job like this,
you really only have one shot at it.

You don't want it to get to
the point where it's absolutely

glued on solidly, and then notice
perhaps you needed

to position the backing
a little differently.

It's one of those jobs that
you don't want to dilly-dally over,

you need to get on and get it done.

That's looking great,
really happy with that.

Suzie now faces
the challenge of getting the longer,

more delicate piece
onto the sticky backing.

Now just hope that everything
holds together.

I'm happy with that.

With the belt now strong enough
to work on,

Suzie trims the excess pigskin

before rejoining the
two pieces back together.

At one point,

I could see that
this repair was actually

sewn together
with tiny, tiny stitches.

But this leather is so fragile,
I can't sew it back together.

Instead, Suzie must glue
the two pieces before riveting

through the two halves
to keep them fixed in place.

Now I've got the rivets in, it's
reattached and feels really secure.

Which makes it a lot easier
to handle.

However, where the crack is,

this is clearly still
a very weak area of the belt.

Suzie mixes up a filler
from fabric glue and leather fibres

which, when smoothed onto
the cracks, will give strength.

Really happy with how the glue
has set up

and the filler is looking great.

So I just need to take it
into the shop

and finish up cleaning it up
and getting it ready.

So, better get going.

Back inside the barn,

luthier David is nearing
the end of the bass guitar repair.

He needs to replace two metal covers
on the front of the guitar.

But the shiny new ones look very
out of place

on this 50-year-old instrument,
so David's going to age them.

What I have here is
a specially selected stone.

And I'm just going to put
some marks and dents in this.

This is very unscientific.

A bigger one.

Next, a quick rough-up with
some sandpaper,

followed by a coat of
etching solution to dull the shine.

So I'm just going to leave this
for a few minutes now,

to let the ferric chloride
do its job.

Then just keep coming back,
make sure I don't overdo it.

Because if I leave it too long,
it'll start to go black.

The guitar can then be rebuilt,
ready to be played.

I hope that Dan will get
much enjoyment

playing on his dad's guitar.

And as he learns to play
this guitar, that he'll get

many years of pleasure out of
this instrument.

It's been a pleasure
to work on this.

I've enjoyed this very much.

Danny Wilson, son of a
Hot Chocolate founding member,

is back to collect the guitar that
his dad made musical history on,

along with his mum, Margaret.

This is something that we've been
looking forward to for a while.

It's just exciting to see
what David's done with it.

I'm looking forward to playing it.

Hello. Nice to see you both again.

Hello, I'm Steve.
Hello, Steve. Margaret.

Hi, David. Hello.

So, what are you hoping to see?

We're hoping it's a bass guitar,
for a start!

And we were very excited
when we went away

to see how it would turn out.

So as you remember, we talked
about a restoration that keeps

the integrity of the guitar but
also it's still your dad's guitar.

Oh! There it is.

Ooh. Fantastic.

Oh, that's amazing.

It's brilliant, isn't it?
That's fantastic.

It's great, David.
Really, really great. Thank you.

It's a miracle.

I believe in miracles!

Had to get that one in there,
had to.

So what do you think your father,
Tony Wilson, would think of it now?

He'd be thrilled. He'd be absolutely
thrilled with that. Yeah? Really.

To look at it and for him to see it
like this.

I'll obviously take pictures.

He might ask for it back.

No chance, he's not getting it back!

No, no, I'm going
to start to learn it now.

I'm sure he'll be thrilled.

Do you want to hear
what it sounds like? Love to.

I don't play bass,
but I can make some noises.

Sounds lovely. It does sound good.

HE PLAYS: You Sexy Thing

Ah, he's been learning as well!

That's all I can play!

That's one for you to learn. Yep.

Incredible. Brilliant.
Thank you very much.

Dad would be amazed,
wouldn't he? Certainly would.

Well, it's been a pleasure to work
on and bring it back to life.

Fantastic. We hope you'll have
many years of enjoyment playing it.

We can't thank you enough, David,
really. It's fantastic.

It's brilliant.

Let's go learn.

Well done. Thank you.
Bye-bye. See you. Bye-bye.

Over the moon.
And Dad would be really chuffed.

Really chuffed.

It'll be like deja vu
if Danny learns to play the bass.

It's great.

I feel quite emotional, actually.

The first time I've seen
Mum lost for words, I think.

With the A-list instrument
safely in the hands

of the next generation,
work can continue on the Mutoscope.

How we doing, you all right?
Hey, you are right? All primed up?

We're getting there, yeah.
The legs are pretty much ready now.

See, this is what I love about you.

You've just knocked these legs up
as if it's nothing. From nowhere.

From nowhere! I didn't have a lot
to go from with these, yeah.

And this is going to sit
on top of that. Yes.

And then this colour, which I've
got... Yeah, what you want to do?

It's pretty much ready to paint now,
so... Well, I need your opinion.

I've got these colours here.

Basically, remember David said
he wanted it to be lipstick red

to remind him
of his wife's lipstick? OK, OK.

So, which shade do you think
suits me?

This, got to be that.
It's got to be that one, innit?

That's a proper bright one.
I totally agree with you.

Yellow, if we can, here, and then
red there. That will look great.

I think the yellow detail's
a really nice touch,

that'll look really smart.
Let's get this paint on.

I think we've made the right choice
with this colour.

It's definitely lipstick red. Yeah!

It's quite therapeutic, painting
this. When it goes well, yeah.

Don't say that!

In your pristine white shirt. Yeah.

The outside's going to look
fabulous, because we're painting it,

and then you've done the legs
to match.

Now it's standing on its legs, yeah.

And then all Tim's got to do
is get it working.

The last piece of the puzzle. Get
the thing working! Get it working.

But that's not Tim's only task.

He's also got to recreate
a final, missing feature -

decorative rosettes
that adorn the machine.

Luckily, we've got one of them left
on the back of the Mutoscope,

so I've taken a mould from
that one, remaining one,

and now I'm going to melt down
some lead-free tin alloy in here,

and, all being well,
we can pour some of it

into these moulds and make some
matching ones to go on the legs.

Hmm, worse than anything
we've ever done.

I think we may have done that
slightly too hot,

so let's have another go
and make it slightly colder.

Right, let's see what we've got.

Well, there we go, I think

that's definitely a much better
finish than what we had before.

This,
with a little bit of paint on it,

will properly complement the work
that Dom's done making

the new legs and sorting out
the cabinet of this Mutoscope.

That is the sort of finish that
we can hand back to David

with a good conscience.

Over on her workbench, Suzie's
pushing to complete her restoration,

as the owners of the World w*r II
belt are due in to collect it.

All that remains is to apply
a finishing leather restorer.

This will just feed
the leather a little bit

and also...help keep it supple.

This being the last thing
that I need to do before

Jan and Graham come in.

I'm looking forward to seeing
their faces

when they see the leather belt

and get their reactions to it.

Graham and Janet's father Peter
was presented with the belt

by a German prisoner of w*r, Franz,

as a token of appreciation
for his kindness.

Now they have returned
to collect the belt

they remember their father wearing
throughout his life.

I'm excited and quite emotional
to imagine seeing it

as I remember perhaps seeing it
as a child, hopefully.

It'd be nice if we could see
the belt now in a much more

stable condition, so that it could
last for future generations,

for my grandchildren,
for my sister's grandchildren.

Hopefully, it will show to them
that, look, your great-grandfather

was a very good man,
and this belt is proof of that.

Hello again. Hello again. Hello.

How are we? Excited!

Are you? Yes.

So, what are you hoping to see?

Whatever we see is going to be
fantastic, I'm sure.

Well, my little heart's going like
this. Oh, bless you. So, you ready?

Ready. Indeed. OK.

Ta-da. Oh!

Oh, my gosh. OK.

Oh, my goodness. Look at that.

It's like it's brought back to life.

It looks totally different again.

Look at this. Oh, it's just
wonderful. Oh, my goodness me.

And you can see everything.

I can feel the strength in it now.

That mean so much to us.

That's just wonderful, thank you.

Let me give you a hug.

Thank you so much.

Thank you so much,
that means such a lot to us.

It's absolutely my pleasure.
Thank you.

You are so welcome.

Thank you.

That's just wonderful. It's just...

..wonderful,
I don't know what else to say.

Thank you so very much.

You are so welcome.

I've so enjoyed working on this.

The very fact that two men,
coming from completely different

sides formed this friendship.

This is the result of that.
Absolutely.

The whole thing has just brought
back so many memories for us.

So, have you changed your plans
as to what you want to do with it?

No, we're pretty firm that...

It would go back
to where it came from.

It'll go back to Fallingbostel.

If they'll allow us send it to them.

Or take it, we'd like
to take it there ourselves. Mmm.

That would be lovely, wouldn't it?

Thank you. Beyond thank you.

Here is your belt. Thank you
so much. All right, take care.

Thank you. Bye-bye.
Thank you. Bye-bye.

It was more...

Above and beyond anything...

Anything, I think,
would have been wonderful. Yeah.

It's really emotional to see it
how I remembered it. Yes.

It's a part of military history.

It's part of our family's
social history.

But it now can live on
a little bit longer.

I can't tell you how grateful...

It means so much to me.

And I know my dad would be
eternally grateful.

It's also a big moment in the repair
of the 1920s Mutoscope.

The two halves that Tim and Dom
have been working on

are about to be reunited.

Here you go, Tim. Oh, right!

Finished at last.

Oh, doesn't that look the part,
though?

That is absolutely gorgeous.

It's the colour he wanted,
but it's also much more

the sort of colour scheme
this would have had when it was new.

At the end of the pier.
And this stand...

Is very close to what it would have
sat on nearly 100 years ago.

I'm astonished with that, absolutely
stunned. Thank you, Tim, thank you.

Thank you, Dom. I'll leave this
on your bench for you.

Ah, what can go wrong?

All that remains now

is to put the mechanism
back into the case

that Dom has
so beautifully repainted.

And hopefully get the whole
caboodle to work.

Tim fits the replacement gear,
sourced from the vintage hand drill.

The crank handle is
then wiggled into place.

Now it's time for the picture reel.

Pretty innocuous, these days,
a girl dancing in a bikini.

In 1926, of course, that would have
been the height of sauciness.

Putting a penny in the slot
and seeing someone jigging around,

showing her bellybutton,
for goodness' sake!

Make sure that the flick mechanism
is in the right place.

And I think we're ready to roll.

Let's see if we've got her now...

Ah, yes.

We have light, we have action.

I first saw one of these
on the pier,

on the old West Pier in Brighton,
when I was a kid.

And I always wanted to take
the back off

and have a look inside
and see how it worked.

So I hope David's as happy as I am.

Tim's about to find out.

David is back to collect
the machine

he and his wife Annie had once
dreamed of renovating together.

I'm really, really excited.

It's been 40 years
since this machine has worked.

It's going to mean the world to me,
because every time I see it,

I shall think of my dear Annie.

David. Hi, how are you, Tim?

Welcome back to the Repair Shop.

Thank you. Dom, how are you?
Great to see you again.

Well, do you remember
what your Mutoscope looked like

when you brought it here?
It wasn't that high.

That's not the only difference
I think you might find.

Oh, wow!

Fantastic!

That is just amazing.

Look at the stand!

Ah, well, you've got to thank Dom
for that. Dom, brilliant!

It'll be a bit more useful
now it's on its stand.

No, it's a perfect height.

Can I see it working? Yeah.

Thank you.

I'd forgotten this.

40 years ago was the last time
I saw this working.

Oh, wow.

Brings back a few memories?
Doesn't it just.

It's quite cheeky, wasn't it?
I'd forgotten all of this.

Thank you so much.
That is just brilliant.

Did we get the colour right?

You did, yeah. Every time I see
this, I shall think of Annie.

Oh, good. Thank you so much.

Do you want to have
a look inside? I'd love to, please.

See what we did. Oh, wow!

That's fantastic. And you see
the new, famous missing gear.

Yeah. Was it difficult to do?

The tricky bit was finding it. Yeah!

It's just fantastic.
It's a pleasure.

I can't wait to get it home.

I'm going to get my grandchildren
round to play on it first,

because they've been pestering me
for years to say,

"Grandad, why doesn't it work?"

The thing that was going
through my mind was my wife, Annie.

Just thinking of her.

It's just such a lovely thing to be
able to have this machine

to remind me of her every time
I walk in the room and see it.

Join us next time,

as more treasured possessions are
brought back to life...

..in the Repair Shop.