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00:00Here at The Repair Shop, countless treasures have been brought back to life.
00:07Deep breath.
00:08Oh, gosh.
00:10That reveal so much about who we are.
00:12Happy tears.
00:13And where we're from.
00:15It's perfect.
00:16But there's so much more out there.
00:18Let's do it.
00:19That's not yet made it to the barn.
00:22Beautiful, isn't it?
00:23Absolutely beautiful.
00:24So the team are hitting the road.
00:26This is the perfect opportunity to meet some new people, learn some new skills, and maybe fix a few things on the way.
00:32Yeah, I'm up for that.
00:35On a unique adventure.
00:37Whoa!
00:39We're going to get some looks on the way back to the barn.
00:41To join forces with expert craftspeople.
00:44We're doing 130 hours just hanging on the hazels.
00:48On their most ambitious restorations yet.
00:50They all need replacing.
00:51Yes, hundreds of pieces of stone.
00:53Wow.
00:54Keeping heritage crafts alive.
00:56Good job with friends.
00:57I know, isn't it?
00:58And passing precious skills to future generations.
01:01Is he a good student?
01:02He is, yes.
01:03Does he listen to you?
01:04He does, for the most part.
01:06Sparking restorations across the country.
01:08You're part of the history of this now as well.
01:10Today, we're in the south of Scotland, where Will finds a trove of important pictures.
01:24Now, this must be quite hard to look at, but do you feel like it's a story that should still be told?
01:29Of course.
01:30This is it.
01:30This is history.
01:31The team tackle a toy that's gone off the rails.
01:34Train set happened to be on the carpet in the middle of it.
01:36We ran over the top of it.
01:38Oh, Sheila.
01:40And ceramicist Kirsten is getting her hands dirty, learning to make medieval-style pottery.
01:46Oh, go weird shape.
01:48Today, Will and Kirsten are passing through the Scottish borders, on their way to Dumfries and Galloway.
02:00The area has a proud tradition of textile making.
02:05The world-famous pattern cloth tweed has been spun in mills here for centuries,
02:10with wool from the more than a million sheep who call these hills and valleys home.
02:14It's also a place that's close to Kirsten's heart.
02:18I know this area so well.
02:20That river down there is the River Tweed.
02:23The only reason I know that is because it runs through Peebles, and that's where my husband's from.
02:28Just so lovely to be here, and, yeah, it just fills my heart with joy.
02:35Here we are.
02:36We're in the most beautiful part of the country, heading to Lockerby.
02:41The market town of Lockerby made international headlines in 1988,
02:48when a terrorist bombing brought down a Pan Am flight,
02:51killing all 259 people on board, as well as 11 Lockerby residents.
02:57The team have been invited to help with an ambitious restoration project,
03:01commemorating that tragic night.
03:04The work of the emergency services, and the incredible spirit of the town in the years since.
03:09It's a great responsibility, but what a privilege to be asked to help to restore something
03:16for them and for their community.
03:18Absolutely.
03:19Now plans are in place to build a legacy museum in the grounds of nearby Tundergarth Kirk.
03:26It will commemorate the event, and the community's response to it, for generations to come.
03:32Lockerby resident Laurie Carnaghan is one of the team behind the project.
03:37So the church was used as a staging post, not just on the night of the bombing, but in the aftermath.
03:42So we had the police here, British Army, RAF.
03:46It was a place where people could come in and shelter from the elements.
03:49That's quite a lot to take in, and the thought that that was happening just over the road there.
03:55Nearly 60,000 people have signed our visitor's book in the Remembrance Room.
03:59And we know this is a place of pilgrimage.
04:02A lot of people, whether they're directly related to the attack, or they just want to come and pay their respects, come into the church.
04:09The repair shop team have been invited to work on something they hope will become a key exhibit in the new museum.
04:16Retired firefighter Roger Claymore has an incredible archive of photographs he'd like help to preserve.
04:25Roger.
04:25Hi, Will.
04:26Nice to see you.
04:27Nice to see you.
04:28This is nice.
04:29Welcome to Scotland.
04:31Thank you very much.
04:32Roger and his colleagues were among the first on the scene on the night of the bombing.
04:37So what happened that night?
04:3831,000 feet, this plane was flying up, and it exploded.
04:43And from there, it was spread well over the area.
04:46A lot of buildings on fire.
04:48One of the engines that had landed in a field, it had landed on the water main, so we couldn't get any water.
04:54Telephone lines were down.
04:56There were chunks of, and I mean, blocks of sandstone lying on the roadways, covering the paths.
05:02In the days that followed, Roger was asked to gather photographs to form part of a record of the attack for the fire service.
05:14Some of them are on the night in question.
05:16Some of them are aftermath.
05:19Kept in Roger's attic for over 36 years and rarely seen, these images serve as a powerful record of that night.
05:28Is that part of the plane there?
05:29This is part of the plane there, and that's the cockpit, which landed just over the back of here.
05:34These look really quite shocking, and it gives you a really good idea of exactly what had happened on that night.
05:39Yep.
05:40This must be quite hard to look at.
05:42This is the unfortunate thing about it.
05:44I knew two of these people very well.
05:46I attended their wedding.
05:48Morris and Dora Henry.
05:51And when I looked where their house was, what was there was nothing, just a big crater in the ground.
05:57And that's something you don't expect, is to...
06:00No.
06:01But do you feel like it's a story that should still be told?
06:04Of course.
06:05This is it.
06:05This is history.
06:06And I would like it to be members of the public to come in and see the history of what happened that particular night.
06:13What would you like us to do with these?
06:15Well, the book's not the best book.
06:17I would like either to remodel the book, make a new book.
06:23Something to do justice.
06:24Yes.
06:25Well, at the moment, you've got the two books here, so I presume it would be quite nice to put them into one book.
06:31Around the outside, it's beginning to peel away.
06:33I mean...
06:33The edges are getting...
06:35Yeah.
06:36I mean, would you be happy to change the folders?
06:38Would you be...
06:39Yeah, you're happy to change the folders?
06:40I'll leave it to your registry.
06:41It'd be great to see it.
06:43Once restored, Roger's photos will go on display in the Remembrance Room in the churchyard,
06:49before moving to the Memorial Museum, when that is completed.
06:55Kirsten, this is the Remembrance Room, and these are our We Remember banners that show the faces of nearly all of the 270 victims,
07:02and, of course, our 11 Lockerbie residents as well.
07:05It's very sobering, isn't it?
07:07You hear the numbers, but then when you actually see the faces, and you see the young and the old,
07:16and all of the different nationalities as well, it has quite an impact, really.
07:22And what we're doing here, hopefully, will one day be in the museum.
07:26That's why we want to build the museum, to put this tragic event into context, because it did happen here.
07:32We can't change that, but we can make sure it doesn't define Lockerbie.
07:36The town, and we as townspeople, are a lot more than just what happened here.
07:45Roger's albums are beginning their journey to bookbinder Chris Shaw in the barn.
07:50But there's another Borders resident with something else in need of repair, and to help with this next fix,
07:58Will is calling on the skills of Scotland-based automata expert Michael Stunt.
08:04So, Michael, what exactly do you do?
08:06Well, Will, I'm a clockmaker by trade.
08:09OK.
08:09I'm a clockmaker through and through.
08:12About 30 years ago, my wife said to me, she thought it was ageingly, and a little bit boring.
08:21So I changed to automata restoration, clockwork automata.
08:25And now I specialise in anything that's got a clockwork mechanism.
08:28Do you know what, that's why Steve looks so old.
08:32He's going to love that.
08:34Yeah.
08:34So what exactly kind of stuff do you fix?
08:41Well, mechanical life.
08:43Anything that you see in life, nature, animals, people, ships on the sea, dancing dolls, singing birds in cages, I repair it.
08:54The mechanical versions of those.
08:56Right.
08:57Clocks tell the time, they might chime or ring a bell, but an automaton will sing, dance, drink.
09:05It will do something different every time.
09:07Or singing or dancing.
09:08Yeah.
09:08Well, there's something a bit different for you today.
09:12Bringing them something different is Sheila from Peebles.
09:18Hello.
09:18Hello there.
09:19Nice to meet you.
09:19Hi, Sheila.
09:20I'm Michael.
09:21I'm Michael.
09:22Right.
09:22What have we got inside the box?
09:24This is my father's clockwork train set from about 1930.
09:29That's very nice.
09:31Right.
09:31Let's get everything out on the table.
09:32OK.
09:33Then we can take a closer look.
09:37Wow.
09:39This is amazing.
09:41How did you come by this train set then?
09:44My father was given it when he was very small.
09:47The ladies who worked in the office where my grandfather worked won the Irish sweepstake,
09:53which was the only way you could legally bet in Scotland at the time,
09:56and decided that they were going to buy this for my father, who would be about two.
10:02What an amazing gift.
10:04What an amazing gift to have.
10:05I mean, I quite like that as a child.
10:07So this is a clockwork train set.
10:09Yes.
10:09How does that work then?
10:11You have a key.
10:12Oh.
10:12And you wind it up carefully so it doesn't overwind, presumably.
10:16And that starts the train going around the track.
10:20Is the train actually working then?
10:21I don't know.
10:22I think when you turn that upside down, you're going to see a really strong steel spring.
10:28And it's probably very long to give it a good few circuits.
10:32So it came into your dad's possession when he was two.
10:34Yeah.
10:35Yeah.
10:35And he looked after this, I'm sure.
10:38Treated with lots of care.
10:39My father looked after all his dogs.
10:41For many years.
10:41So this was in good condition.
10:43Until when?
10:44About 1970, 1972.
10:47And what happened on that day?
10:49Brother, sister and I fell out.
10:51We did our usual rampage after each other, as children do.
10:55And the train set happened to be on the carpet in the middle of it.
10:58And we ran over the top of it.
11:00Oh, Sheila.
11:01Hence the broken rails.
11:02It wasn't just me.
11:03I have a brother and a sister.
11:05How long has it been since you last played with this?
11:0755 years.
11:0855 years.
11:09I would have been about seven or eight when we broke it.
11:12It's been in a case ever since.
11:14Is there still a light sense of guilt there?
11:18Oh, terminal guilt.
11:19Yeah.
11:20I love my dad dearly.
11:22And the last thing I wanted to do was hurt him.
11:25And it did hurt him.
11:26It definitely hurt him.
11:27He was very hurt that we hadn't taken as much care as he felt we should have done.
11:33What was your dad's name?
11:34My dad was Angus Murray Cameron.
11:36He was an original.
11:38My grandfather was a travelling salesman, but my father wanted to work with horses on the farms.
11:42So I was brought up in the middle of nowhere, up hills like that, with my dad.
11:46And had a wonderful childhood.
11:48I mean, he loved working with his hands.
11:51He was just an extraordinary man.
11:52He was a very kind person.
11:54He was 86 when he died, 10 years ago now.
11:58And it came round to my 60th birthday, and the family were asking me what I would like.
12:03And the only thing I could think of was, I'd like the train set.
12:06This was something from my childhood.
12:09And it's a tangible link with that.
12:12My problem is, it's a lovely ornament, but I can't do anything with it.
12:15It seems such a shame.
12:17It does.
12:17It would be lovely to be on display.
12:18There are some real jewels here, Sheila.
12:21I mean, you probably know it's an O gauge.
12:25It's, you know, so beautiful.
12:28What would you like us to do?
12:29I'd like it to be back functioning.
12:32I'd like it to look more loved.
12:34I'd like it cleaned up.
12:35But ideally, I'd like to keep some reference to my dad having handled it.
12:40It'll mean I have something special of my dad's that I can just enjoy as a memento of dad.
12:48You see how important it is to you that we get this straightened in.
12:52Please.
12:52Can I try my best to get it?
12:54That'd be wonderful.
12:55Thank you very much.
12:56It's in safe hands.
12:58We'll see you very soon.
12:59Thank you very much.
13:00All right.
13:01Nice to meet you both.
13:02Bye-bye.
13:04This is fantastic.
13:06It's lovely.
13:06It's a really nice set.
13:08It's a nice story.
13:09It's been suitably crushed.
13:11So we've a bit of bending and shaping to do.
13:14Yeah.
13:15Let's get this back in the box and off to your workshop.
13:17Brilliant.
13:18Okay.
13:23There's a lot of tract there, isn't there?
13:24Plenty of tract.
13:26I'm hopeful.
13:32As Michael is taking the train to his workshop in the north of Scotland, Will stops off for
13:40a quick catch-up with Kirsten.
13:42Will, you have really nailed it this time.
13:45This is absolutely beautiful.
13:48Yeah.
13:48Nice spot.
13:49Look at the ducks up there.
13:50Look at the babies.
13:51And you got the tea ready.
13:53Yes, I got the tea ready.
13:53I didn't bring any buns or any cake or sandwiches, unfortunately.
13:56You're reading my mind, aren't you?
13:58What is in the bag?
13:59What is in the bag?
14:01Is that fudge?
14:01It's kind of Scottish fudge, I would say.
14:04It's called tabla.
14:05Is that all for you?
14:06Yeah.
14:06Is that all for you?
14:07Right, let's give it a go.
14:09I can feel my teeth loosening in the gums.
14:14You see, to me, that's heaven.
14:18How do you get on with Laurie?
14:20So the work that she's doing and advocating for that community, really, it feels very positive.
14:28And I think that if she can actually push things forward with that museum, I think it's going to be incredibly valuable.
14:36I'm going to put my hands and say I didn't really know too much about Lockerbie and what had happened.
14:41But speaking to Roger, he's a fascinating man.
14:44I think Chris is the right person for the job because, you know, he's won this in the past.
14:48And I'm sure that he can make something really nice here.
14:51And he'll be very excited.
14:52He loves the challenge.
14:54But whatever he does, I'm sure he'll be very respectful.
14:59With Roger's photographs now back at the barn, bookbinder Chris Shaw can start creating a new album to ensure their future safety.
15:08It's so important to preserve these photos.
15:11It's such an important part of our history and the community's history.
15:18The albums are not really fit the purpose.
15:23The pages are all tarnished.
15:25The plastic's all crinkled.
15:28I mean, luckily it is coming up.
15:31But my heart's in the mouth of lifting these.
15:33The photos are just in remarkable condition.
15:36It's the album that could basically destroy the photos.
15:40After carefully removing the photographs one by one, Chris is ready to start building their new home.
15:46So all the pages now have been cut and joined together and this is what the new album's going to be made of.
15:53The original albums were blue, so I'm going to do a new blue album.
15:58It's really important when you're making something which I really want to be special for the community, that the materials I use are going to be fit the purpose, not just in a year's time.
16:11And it's not going to affect or do any damage to the photos.
16:17So the boards all archival, this interleaving tissue is going to protect the photos either side.
16:25And what I like about using the tissues is beforehand, the plastic was covering the photos.
16:32As soon as you lifted the plastic, the photos sort of came alive.
16:36It's quite a difficult operation because it's a big album to manipulate.
16:41But I'm using a linen thread and I'm using a blue colour.
16:46Normally linen thread's white.
16:48I just wanted it to blend in to the fabric so it doesn't shout out, this is an off-white.
16:54It'll make the photos sort of ping.
16:57I'm sewing around these linen tapes.
17:01And these are the tapes that are going to join the back and the front cover.
17:05And it also connects the spine.
17:07So it's structurally really important.
17:10And using all this linen, really strong, really flexible.
17:17But that's the first two on.
17:19I've got over 20 to sew.
17:24But it does look very, very smart.
17:28I'm very pleased with the way it's coming together.
17:35Sheila's trainset has now reached its next destination,
17:38Foray's in Moray.
17:43This small town is home to Michael's world-renowned workshop and museum,
17:48which boasts over 600 moving, singing and dancing exhibits.
17:53My first impressions are, and the more I look at this,
18:03it's like it's devastation in a train set.
18:12Yes, everything seems to be bent.
18:14If my eye goes to any particular part,
18:17then I can see the marks of twisting, bending.
18:24Someone's trodden on it.
18:26A bit's dropped out.
18:28And it's literally everywhere.
18:30But we can put it back together.
18:33I hope.
18:33What I've got to do now is take the covers off
18:37and look at the mechanism.
18:46OK, so...
18:48Hopefully this comes off now.
18:51Look at that.
18:56That's marvellous.
18:59Really good engineering, good quality engineering.
19:04Let's wind it up and see if there's any life in it.
19:10That's plenty.
19:13And it's not going.
19:14A little bit.
19:23Things are very much jammed solid here.
19:27We've got so much gump between the gears here.
19:31Technical term, that, gump.
19:33Oil, dust and debris.
19:36There's no way this is going to pull a train round a track.
19:39We're going to have to properly clean it.
19:42I have quite a lot of work to get through
19:44to get this running on the track smoothly.
19:53So, now I've prepared a container of paraffin for this clean.
19:59It should dissolve this gunge really well.
20:05The paraffin's a nice solvent for some of the grease and grime.
20:10It's a very good and relatively safe cleaning fluid
20:14for this kind of mechanism,
20:17especially one where you've got the possibility
20:21that you could leave some residue
20:23within the different crevices and cracks.
20:26Now, still not got much power on it.
20:38I could use the clock cleaning fluid,
20:41but you often find they take off the paint as well.
20:44And I really want to save the paint on the wheels.
20:48We could repaint them,
20:49but we couldn't really age them
20:51as well as age has done it itself.
20:54So, I want to keep it looking as Sheila left it with us.
21:05I think it's going to really motor now.
21:08Give it half a chance.
21:11There we go.
21:11Round the invisible track,
21:28cleaning itself like a washing machine.
21:30Everything's easing up now
21:32as the liquid turns a murky mush of greyness
21:39and the engine becomes cleaner and cleaner, happier and happier.
21:47That's all going really well,
21:49so I'm going to leave the engine to soak for a few hours now
21:52to let the liquid really work into any remaining grease
21:55and we'll get this engine purring like a sewing machine on its track.
22:02No disrespect, engine.
22:09From Murray to Dumfriesen-Galloway,
22:13where Kirsten, the repair shop's resident expert
22:16when it comes to fixing broken ceramics,
22:19is grabbing the opportunity to make something new for the change.
22:23Very excited, Will, where we're going now.
22:27You're a real hands-on person, actually.
22:29I am.
22:30It would be really nice to have a go at actually making some pottery.
22:35Kirsten won't just be making a pot.
22:37She's visiting a couple of experts
22:40preserving the heritage craft of finishing pottery with slip.
22:45It's like a liquid clay that you decorate the surface of the pot with
22:50and so you get a slightly raised pattern in different colours.
22:55So you make a pot and this is what you decorate the outside with.
22:59Yeah, it's a decoration. It's a style of decoration.
23:01Husband and wife, Hannah and Doug,
23:09are both passionate about preserving the historic technique
23:12of traditional slipware pottery.
23:17Their work is so significant as part of the collection
23:21at London's Victoria and Albert Museum.
23:24Hello, hi.
23:26Hello.
23:26What a wonderful workshop.
23:28I'm seeing two quite distinct styles,
23:33particularly looking at those shelves there.
23:36Slipware pottery is decorated with liquid clay,
23:39known as slip, to add colour and texture.
23:43Its simple shapes and muted tones date back to the 17th century.
23:47I do a lot more kind of applied decoration,
23:50so I roll out little coils of clay and stick them on
23:54and I use little clay pellets and sprigs
23:58using little clay moulds like this.
24:00Very much inspired and influenced by medieval pottery.
24:03Oh, yeah, I can see that.
24:05And, Hannah, what inspires you with your work?
24:08I do look at a lot of 17th century Staffordshire slipwares.
24:12Yeah.
24:12Of course, you're surrounded by this beautiful Scottish landscape as well.
24:16Yeah, we are, and, you know, that feeds into everything we do.
24:19I'm about to throw a pot, so would you like to have a go helping me?
24:23I'm absolutely not a potter.
24:25I mean, I'd love to have a go, but I don't know how it's going to be.
24:28Grand.
24:29I'll find you an apron,
24:30cos that white jacket's not going to fare well in here.
24:33Silly choice, I know.
24:41Right, Doug, I think I'm strapped in and ready to go.
24:44OK.
24:44OK, let's do this.
24:47Right, I'm going to try and make a jug, actually.
24:50You're going to make this look so easy, Doug, aren't you?
24:52I know you are.
24:53So what drew you to this?
24:55Where did you get the bug?
24:57Originally, I wanted to study painting.
24:59Yeah.
24:59And then became a bit disillusioned with painting,
25:03so I'd skive off into the ceramic studio,
25:05and that's where I spent as much of my time as I could,
25:09and then became obsessed.
25:10Clay does really draw you, doesn't it?
25:12Even as a child, you see a ball of clay,
25:14and you immediately just want it.
25:16Well, I do anyway, so...
25:18I think that might be a good opportunity to see if you would like to take over.
25:21I hope that this isn't something very precious here.
25:24So what you need to do is wet your hands.
25:26Yep.
25:27This is so exciting.
25:28I can't tell you, I've been itching to do this for so long.
25:31OK, spin the wheel,
25:32and you need this hand on the inside
25:34and the other hand on the outside.
25:37Just flat?
25:38Using the side of your knuckle, so hook your finger.
25:40Yeah, yeah.
25:40And go all the way to the...
25:41Put this hand all the way to the bottom of the pot.
25:43Oh, my word.
25:44And you're going to squeeze gentle pressure
25:47from the bottom of the pot
25:48and lift the hand on the inside and the knuckle on the outside.
25:52And you should feel it starting to...
25:54Go weird shape, yeah.
25:56Oh, my goodness, that's quite difficult, isn't it?
25:59It's tricky.
26:00You did want an oval shape, didn't you?
26:02Absolutely.
26:02The oval ones are much trickier to make.
26:05Wow.
26:06I love it.
26:06It's one of those things that you just have to practise.
26:08It's that thing, isn't it?
26:10When you watch someone doing something like this
26:12and they know what they're doing,
26:14they make it look so easy,
26:15and then I get on here and it's...
26:17Yeah, it's clearly incredibly skilled.
26:20Right, well...
26:22Well, it's a chubby jug.
26:23Let's go and get her hands washed
26:24and you can see what Hannah's doing.
26:28Once the pottery is partially dried,
26:31it's ready for the decoration
26:32that gives slipware its name.
26:36Hannah, what are you up to?
26:37So I've just stirred up this bucket of slip.
26:40So slip is just liquid clay.
26:42So it's ready to go.
26:43I'm going to pour some slip into here
26:45and I'll fill the whole pot with it
26:48and get rid of the excess
26:50and then we'll decorate on top of that.
26:53OK, so slip, is that like painting a page white
26:57so that you've got something to decorate onto?
26:59Yeah, it's giving you a ground.
27:00And can you have that too thick or too thin?
27:03You can definitely have it too thick.
27:04If it's too thick, it can crack the pot.
27:07Oh, really?
27:08And if it's too thin, you'll not get much colour from it.
27:12My preferred decorative technique is slip trailing.
27:15So now we're going to trail more white slip on top of it
27:19to create the patterns on top.
27:21And does it not just fuse together?
27:24If you've got everything at just the right state, it shouldn't.
27:26Right.
27:27It is a strange...
27:28It looks like a bicycle in a tube.
27:31It is.
27:31High-tech stuff.
27:35So what I tend to do is start with an outline,
27:37the border of something.
27:40Oh, great.
27:41Look at that.
27:42Such a steady hand.
27:44Oh, my goodness me.
27:46Is there any margin for error?
27:49If it goes wrong, can you take it off
27:51or are you stuck with what you've done?
27:53No, if it goes wrong,
27:55you've just got to make it part of the desire.
27:57Oh, I love that as well.
27:59Look at that.
28:00It's so neat.
28:02Oh, my goodness.
28:03Would you like to put a design in the middle?
28:05I'd love to, my goodness, yeah.
28:07Is that OK?
28:08Yeah, absolutely.
28:08All right, thank you.
28:10There you go.
28:11OK.
28:13I'm going to start here.
28:15Oh, no.
28:17Right, incorporate it into the design, I guess.
28:20I think I clearly should have thought through
28:23what I was going to commit to
28:25this rather beautiful dish
28:27before I...
28:29Oh, no.
28:30For a first attempt, it's not bad.
28:33You're very kind.
28:34Anyway, I'm having a lovely time.
28:36I don't know about you, but this is...
28:39Look, I'm just going to make
28:40a sort of firework-y insect.
28:43It's one of those things, again,
28:44it's practice and practice
28:45and eventually you get the feel of the material.
28:48Do you know what, Hannah?
28:50I think I'm going to relinquish the tool.
28:54You're very kind for letting me have a go at this
28:59and I hope you can do something to save this.
29:03Well, like I said, for the first time, it's not bad.
29:05But when it's dry, we can make sure it gets fired
29:07and sent down to the barn for you.
29:08I'm not sure it's worth the wood for the firing,
29:10but thank you.
29:12Back at the barn,
29:17Chris is now working on a cover that does justice
29:20to the powerful images of Lockerbie
29:23within the new album.
29:25And I'm using a beautiful navy blue buckram.
29:31A buckram is a loaded cloth,
29:34a woven cloth that is then,
29:36they put a coat in on it
29:38to make it waterproof or,
29:41in this case, bug-resistant.
29:45And it's got this beautiful sort of matte finish
29:49and it is very, very tactile as well.
29:53So on every level,
29:55I think it looks...
29:58It looks the part.
29:59It looks lovely.
30:02And I think that this is really refined.
30:07This is the front.
30:08I love an indented label on a book.
30:10I just think it's so posh.
30:12And it also stops any rubbing
30:14because the leather label
30:16goes below the thickness of the label.
30:18You just have to plan ahead for that.
30:20So it's two thicknesses of millboard
30:21and when I come to join the text,
30:24all the sewing tapes and everything
30:26get tucked in here
30:27and then that's sandwiched together.
30:29So it's like super strong,
30:30you know, like it's got jaws around the tape.
30:33So the book becomes just this one
30:35massively strong book.
30:38So once I've stuck this front board on,
30:40just knead it to dry,
30:42then I can put the album in it
30:43and then I can tool the label.
30:51It's full steam ahead on the train repair too
30:55as Michael and his son Hector
30:58are reshaping the delicate
30:59and very bent tracks.
31:02Will is enjoying some fresh country air
31:04and making sure the play-worn engines
31:06and carriages look their best again.
31:10I know Sheila wants them to look like
31:11they've been played with by her and her dad,
31:15but I thought it'd be a really nice touch
31:17to blend in some of the scuff marks.
31:20There are parts like here
31:22where the paint has worn through completely
31:24and here as well,
31:27that's started to wear away.
31:30I don't want these to look brand new,
31:31nor does Sheila,
31:32but I think just sort of
31:35taking your eye away from the scratches
31:36allows you to focus more about the trains
31:38and about the love and the story behind them.
31:41I'm mixing up some paints there.
31:43I'm hoping to match the right colours
31:45and touching some of those scratches.
31:48I've managed to source the same paints
31:50that would be used for trains like these.
31:53I have a variety of different reds and browns here
31:56and I'm just mixing them up,
31:57trying to get the right colour
31:59for this train right here.
32:02I think this should be right.
32:06And I'm slowly getting there.
32:07I'm getting a nice,
32:09sort of gentle wash of browny red.
32:12Now, I don't really want to paint
32:15a solid colour here.
32:17The plan is to give it a nice,
32:19sort of even spread.
32:22I don't want it to look brand new
32:23because it's going to stick out like a sore thumb.
32:25So if I can kind of just gently blend it in,
32:28then it takes the eye away from any,
32:30sort of bad damage,
32:32but also retain that authenticity.
32:35Once I've finished this train,
32:37I'll then move on to the others.
32:39I've got green and cream
32:42and some other blues
32:43to do the roof of that one there.
32:45But it's all slowly coming together.
32:47I cannot wait to see Sheila's face
32:49when she comes to pick this up.
32:50Hopefully, it'll bring back
32:51some of those childhood memories for her too.
32:53At the barn, as promised,
33:06Kirsten's finished slipware pottery has arrived.
33:10And Chris is focusing on the cover
33:12of his new album for Roger's archive
33:15of the Lockerbie bombing.
33:18I'm now at the stage where I'm, with the album,
33:21I'm making a label, a leather label.
33:24And I have various stages.
33:25I plan it out first using an ink pad.
33:30There's lots to consider,
33:32especially with this one.
33:34It has to be respectful.
33:35It can't be too glitzy.
33:37And I just wanted to make it look class.
33:39And once I'm happy with it,
33:40I then transfer it onto another piece of paper.
33:43And this is the master copy,
33:45which then I put on the leather,
33:47tool through,
33:48and that gives me this pattern.
33:50But I'm starting with the border.
33:53I'm making around it just to frame the letters.
33:57And I've built the border up.
33:59I'm doing a line.
34:00And then a repeat pattern of a thistle.
34:04From a distance,
34:05it just looks like a pattern.
34:07But on closer inspection,
34:10it's a Scottish thistle.
34:12I'm using 22-carat gold,
34:16double-thickness gold leaf.
34:18And I use cotton wool to transfer it
34:21because, obviously,
34:23it's a very, very thin
34:24and you can't actually handle it.
34:27Otherwise, it would just stick to your skin.
34:30Tooling is the historic technique
34:32of engraving a design into leather
34:34using a stamp or tool.
34:37So I've warmed it up
34:39and I'm just going to cool it down to a sizzle.
34:42And once the sizzle comes off,
34:44then it's the correct temperature.
34:46You're putting the gold on.
34:48It won't be until I clean it off at the end
34:50that I'll see whether
34:51I'm going to be pleased with it.
34:54So it's that anticipation.
34:55It's like you're running up to the end.
34:58You can't wait to get to it.
34:59But at the same time,
35:00you're really enjoying what you're doing.
35:02So it's a lot going on.
35:12These are from, like, early 1900s.
35:17So what I like about it,
35:19it's got that history as well.
35:20And I know this is a very modern event,
35:24but there was a style back then
35:27with the tools.
35:28So I like that.
35:35I can cut this out and put this on the album
35:37and I hope Roger will feel
35:39it's a fitting tribute
35:41to all those who perished,
35:43ensuring that the photos
35:45that Roger has collected
35:46will carry forward.
35:52With both precious items
35:54ready to be returned to their owners,
35:56Will heads off to reunite Sheila
35:58with her father's train set.
36:02Hello.
36:02Hello.
36:03Nice to see you.
36:04Thank you very much.
36:05This is looking exciting.
36:07It's lovely to see you.
36:08How are you feeling?
36:09I'm excited now, thank you.
36:10I wasn't anticipating missing it
36:12nearly as much as I did.
36:14And, yeah, I'm really looking forward
36:16to seeing it now.
36:17Yes.
36:17When did you last see it working?
36:18I last saw it working
36:20in about 1971,
36:24two somewhere.
36:26Is that a while ago then?
36:27Yeah.
36:27See, my memory just about holds.
36:30Yeah.
36:30One of the last times that you saw this,
36:33someone had caused some damage.
36:34The rails were very, very buckled.
36:38There was a couple of the work carriages
36:41the lids were off,
36:42the roofs were off of.
36:45One of the engines
36:46had a slight dent on the roof.
36:48I didn't realise just
36:49the amount of damage there was.
36:51It looked a little bit sadder
36:53than I would like to have.
36:53Yes, yes.
36:55Now, to some,
36:56this might just be a train set,
36:57but to you it's a lot more, isn't it?
37:00Yeah, it's been a hair short
37:03for a long number of years
37:04because we broke it.
37:05But it's something tangible
37:06that my dad had
37:07from very young childhood
37:08right through.
37:09And I just am so glad
37:12and grateful to own and have.
37:15Are you ready to have a look?
37:16Oh, yeah.
37:16Yeah?
37:17Yes, please.
37:18Okay.
37:23Wonderful.
37:25It's lovely.
37:29Look at those rails.
37:32It's not a rattle in them.
37:38It looks together again.
37:40That's lovely.
37:42Please.
37:42Yes.
37:45Michael has worked really hard
37:46on getting the track nice and flat.
37:48Yeah.
37:49He's also straightened out
37:50a few of the dinks
37:51and the knocks to the metalwork.
37:53Yep.
37:53And I've touched in
37:54a bit of the paintwork as well,
37:55just the areas that are really
37:57rustling and worn through.
37:58Oh, so you've done
37:59some work on it as well?
38:00Oh, yeah, yeah, yeah.
38:01Oh, thank you.
38:01Just a bit with paint
38:02and a paintbrush.
38:03But apart from that,
38:04we've retained a lot
38:04of the original character.
38:05You have.
38:06You've retained
38:07so much of the character.
38:09No, it's beautiful.
38:10It's just wonderful.
38:12Yeah, Dad would be
38:13very pleased, I think.
38:14Yeah, he would.
38:15It's lovely to see it.
38:16It really is.
38:17Now, I believe that Michael
38:18has got this working again.
38:19Would you like to do the honours?
38:20Yes, please.
38:21There we go.
38:29Isn't that amazing?
38:30It was so nice to see it
38:32in working order again
38:34and to see the rails flat.
38:39What a fantastic reaction.
38:40Sheila seems so pleased with it.
38:43Looking into her eyes,
38:44almost transported her back
38:45to being a little girl again
38:46and playing with the train set.
38:48This time, it's not broken
38:50and it's good to go
38:51for many more years.
38:54Michael and Will
38:55have done an amazing job.
38:57They've brought it back to life.
39:00It's very special.
39:01This is really good fun.
39:02Do not, I might buy
39:03one of these myself.
39:04I'm not selling you this one.
39:12Will's next stop
39:13is Tundergarth Kirk
39:15outside Lockerbie.
39:16The last time I was here,
39:18it was quite emotional
39:18listening to Roger's story.
39:20He was just one of the many people
39:21that had to deal with the tragedy.
39:23So getting these photos
39:24turned into a memorial
39:25is important not just to him,
39:27but the whole community.
39:33Now, you've been a guardian
39:34of this book
39:35for quite a number of years now.
39:37What were you hoping
39:38that we were able to achieve
39:39with the photos?
39:41Honestly,
39:41I don't know what I'm getting
39:43to see below this cover here.
39:45Well, I'm hoping
39:46that you'll be pleased
39:47with what Chris has done
39:48because he knows
39:51how much it means to you
39:52and we all at the bar
39:53know how much it means to you
39:54and the community here.
39:55Shall we take a look?
39:56Yes, please.
39:57Is this what you were hoping for?
40:14I'm really touched.
40:17Yeah,
40:17just seeing that front page.
40:21Could you open the book for me, please?
40:23Brings it back.
40:43Yeah, it's excellent.
40:44It's excellent.
40:45It does it proud.
40:47It does it proud.
40:48How they've been set out
40:49and seeing them like that,
40:51it does it justice.
40:53I can see how much
40:54this means to you.
40:56But also, you know,
40:58I presume it's going to mean
40:59quite a lot to the community as well.
41:00I hope so.
41:01I really hope so.
41:02Can we now go outside
41:04and take it to the memorial room, please?
41:06Definitely.
41:07Because I think
41:07that's where it's going to go.
41:08Waiting to welcome the photos
41:11to their new home,
41:13lorry and other members
41:14of the community.
41:16For them,
41:17these are more than just images.
41:20Thank you all so much
41:21for coming down.
41:22It's been a great honour
41:23to be part of getting this
41:25together for you all.
41:26Now that the book is finished,
41:27where's it going to go?
41:28Well, we hope to create
41:30a legacy museum here
41:31so that people can come along
41:32and be educated
41:33about what happened.
41:34And the hope is that
41:36we can keep the book
41:37and put it on display
41:38in the legacy museum
41:39for future generations to see.
41:41Roger, would you do the honour?
41:45No.
41:46Yeah.
41:47It's beautiful.
41:48Absolutely beautiful.
41:50Can I have a look?
41:51Yeah.
41:52Wow.
41:55Lovely to have this
41:56a little bit, isn't it, Roger?
41:57Really.
41:58Didn't expect to be
41:59quite emotional about it.
42:04You know, you see these images.
42:08We work with them every day,
42:10capturing all the stories
42:11that we're doing
42:12with the work for the museum
42:13and yet they're still so,
42:15so impactful.
42:18Thank you so much.
42:20Yeah, thanks, Ron.
42:27They've done so well,
42:28such a great job.
42:29It really is.
42:30There's just something about
42:33to still photograph,
42:34I think.
42:36And it just takes you back
42:37to that moment in time.
42:40I think it is a really
42:41fitting memorial
42:42to what happened
42:43in the area
42:44and to those that were affected
42:45and involved
42:46in the events at that time.
42:51Roger, thank you so much
42:53for entrusting us
42:54with these photos.
42:54And I really hope
42:55that this will show visitors
42:57the bravery
42:59and the community spirit
43:01of the people of Lockerbie.
43:03Absolutely.
43:04Well, we're so privileged
43:05to have it.
Recommended
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