The Little Vintage Carousel by the Sea: A gorgeously uplifting festive romance!. Jaimie AdmansЧитать онлайн книгу.
were magical back then. Every movie meant something; they weren’t the action-packed blockbusters that are just like every other one of the hundred action-packed blockbusters that come out each week. They were a real experience to go and see. I love watching old films because they’re such a snapshot of times gone by.’
I grin at him again and wave towards the giant structure behind me. ‘I couldn’t believe it when I saw all those photos of wooden horses on your phone. I mean, what are the chances?’
When he smiles this time, I can see the tension drain from his shoulders. ‘Do you want to have a look? It’s mostly in pieces and a total mess, but if you wanted …’
‘I’d love to,’ I say, loving the way the lip he was biting as he asked spreads instantly into a wide smile.
He jumps to his feet and holds a hand out to pull me up and I’m just about to slip mine into it when I look up and realise what I’m doing. ‘Better not, thanks.’
He groans and rips his hand away, swiftly hiding them both behind his back. ‘I don’t know what’s got into me today. I keep wanting to explain that I’m not usually this much of an idiot, but I’ve needed to say it about ten times so far and every time just proves the point.’
‘You’re great,’ I say and then blush furiously. There’s forthright and there’s forthright. ‘I mean, this whole place is great, the beach, the carousel, the ice cream. I’m glad I came.’ I pretend to focus on getting to my feet and pulling the legs of my capri trousers down where they’ve ridden up my thick calves so I don’t have to look at his gorgeous face.
My sandals tap on the wooden walkway as I follow him around the side of the tent and through a gap where the material is pulled aside.
‘Welcome to my humble abode,’ he says, and I smile at the way he drops the ‘h’. I love a Yorkshire accent.
‘Wow.’ I can’t help the intake of breath as I look around, even though it’s no more than the skeleton of a carousel at the moment. There’s a tall, thick pole in the centre, supported by diagonal posts, with rods extending out from the top of it like the arms of an umbrella. A rusty-looking engine is next to it, and an old pipe organ, but all the horses are stacked on the floor, and there are metal bars lying all over the place, and various piles of metal bits like the one Nathan showed me. ‘You did all this by yourself?’
‘What, took it apart?’ He continues when I nod. ‘That’s my job. I mean, the owner got the platform built and the tent’s been up for protection since he bought it, but my job is to strip carousels, fix them, and rebuild them. You can get them apart in half a day if you know what you’re doing.’
‘Where did it come from?’
‘That’s the most interesting part. No one knows. The guy who owns the fish and chip shop on the promenade is some millionaire fish and chip mogul. He won it in a blind auction and got planning permission to install it on the beach. Apparently he’s going to do free rides for everyone who buys food there or something.’
‘A millionaire fish and chip shop mogul … It’s not Ian Beale, is it?’
‘An EastEnders fan,’ he says with a laugh.
‘Not really, but my mum insists on telling me every plot point in minute detail. The more I protest, the more I hear about it.’ I’m sure he didn’t want to know that. ‘Can you find out anything else about it?’
‘When I collected the fence keys from the chip shop, the girl serving said it was found in an abandoned house or something. I’m hoping that stripping it down will give me more clues about its origin.’
‘What do you think?’ I ask because I get the impression he wants to say more.
His face lights up again. ‘It’s definitely not been outside because it doesn’t have the wear, so an abandoned house would make sense. Must’ve been a massive house though – can you imagine getting something this big into one of our crappy one-bedroom flats?’
I shake my head, looking up at the spire on top. It really is humungous.
‘There’s a dent in the top and damage to the rounding boards, and the top bars are bent, so that suggests something fell on it. From the scratches and debris, I’d guess a roof or ceiling came down on it, but at the same time, I’d guess that whatever it was also gave it some kind of protection. This is in incredible condition for the age of it, it must’ve been well cared for back in the day, and although it’s obviously been let go since then, it doesn’t have anywhere near the damage you’d expect.’
The tent smells of aged wood and the grease that Nathan’s hands are covered in, and I wander around the circular area, stepping over the metal posts that he’s carefully laid out. I run my fingers down one of the support poles suspended from the bars above, carved into a twist and covered in tarnished gold paint, which comes off in flakes when I touch it. ‘Did you say that this was all carved by one person?’
‘I reckon so, yeah. I think this was a personal project, something never intended for public use. It doesn’t have the glitz of a fairground ride, but it has a personal touch in every bit of carving. There are the same quirks in every part. I can’t see how it could’ve been the work of a workshop where you’ve got different carvers working on each bit. It doesn’t feel like that.’
‘It must’ve taken forever.’ I look around in awe as I crouch down and run my fingers over what I assume is one of the rounding boards he mentioned, a lavishly carved but battered frame surrounding cracked mirror glass, one of many stacked against each other on the floor. They look like they belong on a castle wall with an evil queen peering in and asking who’s the fairest of them all. The intricacy of one simple panel is incredible, and it’s unimaginable that one person could’ve done all of this by hand, but Nathan really seems to know what he’s talking about.
‘This is such a massive find. Original steam-powered gallopers from that era are so rare. There are only about seventy in the world and this isn’t one that’s registered. It’s also the most complete one I’ve ever come across and in as near to original condition as possible. It’s incredible. Look at this.’ His long legs step over a tangle of metal poles as he walks towards one of the wooden horses lined up at the edge of the tent. ‘These have only ever been painted once. That’s unheard of for something of this age. Usually when I go to restore carousel animals, the biggest job is stripping back layers and layers of paint where someone’s thought they were preserving it by slapping on another coat every few years. This is the original lead-based enamel that’s been out of existence for decades now … Why are you smiling?’
I blush and try to rearrange my face because I hadn’t realised I was. It doesn’t work. I can’t stop myself smiling at his enthusiasm. ‘Because you know so much.’
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