[MUSIC PLAYS] NARRATOR: It's the nation's favorite antiques experts.

With 200 pounds each-- I want something shiny.

NARRATOR: A classic car, and a goal to scour Britain for antiques.

Really good rummage.

I can't resist.

NARRATOR: The aim?

To make the biggest profit at auction.

[BELL RINGS] But it's no mean feat.

Why do I always do this to myself?

NARRATOR: There will be worthy winners-- Give us a kiss.

NARRATOR: And valiant losers.

Now stick 'em up.

NARRATOR: So, will it be the high road to glory?

Onwards and upwards.

NARRATOR: Or the slow road to disaster?

Take me home.

NARRATOR: This is Antiques Road Trip.

[THEME PLAYS] [MUSIC - THE BEACH BOYS, "I GET AROUND"] (SINGING) Round round get around, I get around.

Yeah, get around round round I get around.

I get around-- NARRATOR: On this road trip, we're getting around the English countryside with auctioneers Charles Hanson and Catherine Southon.

CATHERINE SOUTHON: Welcome to my garden, and welcome to the Garden of England.

Welcome to Kent.

NARRATOR: Why, thank you ma'am.

Catherine is indeed a Kentish lass with over two decades of experience in the antiques business.

Whilst Derbyshire lad, Charles-- also known as the young pretender-- brings his experience to the game, and a rather unique fashion turn, too.

Do you like my jacket today, by the way?

I do like your jacket.

My wife calls me the candy man.

- Yeah, it is-- - Because if the candy man can-- [MUSIC - SAMMY DAVIS JR., "CANDY MAN"] (SINGING) Oh, the candy man can.

NARRATOR: (LAUGHING) How sweet.

Both our experts started this week of road tripping with 200 pounds.

On the first day, Catherine built that total to 213 pounds and 76p.

Well done that, girl.

But old Carlos zoomed ahead, already having accumulated 478 pounds and 88 pence, and it's only just starting.

What can Catherine do to catch up?

Just imagine you're buying me presents through the week, and you want to see my eyes light up at your buys.

NARRATOR: What are you talking about, Charles?

Heh.

Today these two are driving a beautiful, bottle green, MGBGT from 1981, which they've called Meg, for obvious reasons.

You've really, really, learned how to drive this, haven't you?

Come on, car.

Just push forward.

Come on, Meg.

Come on.

Do it for us.

Oh my goodness.

[ENGINE REVS] [CATHERINE SCREAMS] Sorry.

Sorry, won't happen again.

Sorry about that, Catherine.

NARRATOR: Blimey.

Careful, Charles, you'll have a gearbox out of it.

Oh my goodness, my heart just went.

And I thought we were going to go sliding back down the hill.

I put the car in reverse by mistake, don't worry.

[JAZZ MUSIC PLAYS] NARRATOR: (LAUGHING) Honestly.

On this epic road trip, Catherine and Charles begin in Southern England, before making their way North, meandering around the West Midlands and then darting through the Peak District.

They'll finally finish up in Congleton, in Cheshire.

God's County.

On this leg, they'll start in the Kent village of Chart Sutton, and aim for auction in Bourne End in Buckinghamshire.

Right now, they're just South of Maidstone.

And Maidstone is the capital of Kent.

Why?

I don't know.

NARRATOR: Ask a silly question, heh.

They're sharing their first shop.

Fortunately, it's a biggie.

Dealers Jamie and Trevor are on hand to help.

- Hello, gents.

- Hello.

Hello.

Catherine, I'm Trevor.

How nice to meet you.

- Hello.

Hello, Charles.

Trevor.

- Good to see you.

- Nice to meet you.

Catherine, Jamie.

Jamie.

Hello, Jamie.

NARRATOR: Time to split up and browse.

Antiques don't buy themselves, you know.

[UPBEAT MUSIC PLAYS] Can you hear something?

Can you hear something?

No, I didn't hear anything.

I think I heard a squeak.

I can hear you.

You are really hot on my heels, aren't you?

Jamie, there could be trouble ahead.

[MUSIC - FRANK SINATRA, "LET'S FACE THE MUSIC AND DANCE"] (SINGING) There may be trouble ahead.

NARRATOR: I'll say.

[CRASHING NOISE] God he's so noisy, isn't he?

Charles, keep the noise down, please.

I'm trying to-- CHARLES HANSON: I think there's thunder outside.

(LAUGHING) It sounds like thunder.

NARRATOR: The storm clouds have parted on this side of the shop.

Looks like Catherine spotted something.

Goody.

CATHERINE SOUTHON: I quite like this.

- OK. - What's this over here?

This clock.

Oh, the clock and the manicure set?

That's an unusual combination.

[MUSIC PLAYS] NARRATOR: This charming Edwardian mantel clock contains some tools for keeping your nails neat and tidy.

How sweet.

Would you like to have a look?

CATHERINE SOUTHON: And then you open it up, and you've got-- A set of manicure tools NARRATOR: It's priced at 35 pounds.

CATHERINE SOUTHON: To make something on this, I need it to be more like 15.

Can you do that, because it's a bit-- Could we split the difference and come in at 20?

OK. Let's put that as a possibility.

OK.

Put that to one side, because I feel you have a lot more to offer here.

NARRATOR: One item put aside.

Now what's this?

That's quite a nice old, um, railway sign.

It's very heavy, be careful.

It's heavy, isn't it?

Cast iron.

- Yes.

Cast iron.

Railway, is it?

Yeah.

"Any persons who omits to shut and fasten this gate is liable to a penalty."

That's a big lump, isn't it?

Yes.

It's quite nice.

Anyone for cricket?

Anyone-- (LAUGHS) NARRATOR: Hey, careful Catherine, or you'll be on a sticky wicket, love.

That hefty railway sign had 48 pounds on the ticket, but can Trev help with the heavy lifting?

I'm happy to let you have that for 15, if it helps.

Are you?

Right.

NARRATOR: Another item to set aside, and there really is no stopping Catherine this morning.

Go, girl.

This is nice.

Yeah, that's unusual, isn't it?

Mm.

NARRATOR: Certainly is.

Mid 20th century parasol embellished with a carved figure.

Lovely.

Sticks are all good.

There we are.

NARRATOR: Mm.

Priced at 35 pounds.

And once again, Catherine's not going to commit until she's finished browsing.

Isn't this terribly bad luck to put that over your head in here?

- Oh, yeah.

Thanks.

God, I didn't need any more bad luck.

(LAUGHS) I don't need anymore.

(LAUGHING) You don't need any more bad luck.

Charles, do you want an umbrella?

NARRATOR: I don't think he does, you know.

He's found a promising pile of something.

They're good signs, aren't they?

Wow.

NARRATOR: It's a collection of six enamel advertising signs from the early to the mid-20th century.

Ticket price on the lot is a whopping 600 pounds.

Dealer Jamie will try to contact the vendor to see if a deal can be struck, while Charles browses on.

But elsewhere, Catherine has also nabbed Jamie's attention.

CATHERINE SOUTHON: Tell me about the bubble gum machine.

It's very good it takes 20 pence pieces.

You can use it as a money box if you want to.

Oh, you can use it?

Yeah, you can use it.

NARRATOR: Oh, yes.

Would be nicer if it was full of sweeties though, hey.

What do you think?

What do you think, boys?

Talk to me.

I think-- I think at the right price, you could make a profit on that.

NARRATOR: He would say that.

It dates from the 1980s.

Ticket price is 75 pounds.

Can we say 25, and I won't go down anymore?

- OK. - Can we?

Yeah.

I quite like this.

I'm going to shake your hand on that.

OK.

I'm going to say yes.

Yes to 25 pounds.

NARRATOR: Crikey!

Catherine bags the sweetest of discounts.

And elsewhere, Charles has spied something at piques his fancy.

CHARLES HANSON: Carved African wooden mask, and that might-- actually, Catherine, how are you?

How are you, Catherine?

Are you OK?

I'm over here.

NARRATOR: When you've quite finished, Charles-- stop mucking about.

The mask probably dates from 1900, and as ever, Jamie's the man to assist.

CHARLES HANSON: Could that be a fairly good price, Jamie?

I'm sure it could be.

A very good price.

I can have a look for you and let you know.

I know it's priced at 95, but if it has been here a while, would you be prepared to just get rid of it?

I think so.

Yes.

NARRATOR: Jamie will check his books to see what the mask could be.

I've had a look at what we paid for it.

Go ahead, Jamie, I'm going to read your mind.

Go for it.

Don't tell me.

Now you've read my mind.

What did I say?

I think you might say about 30 pounds.

I had 30 pounds in mind.

- - No.

- There we go.

Really?

It was 30 pounds.

And that still gives you a profit?

Yes.

NARRATOR: Lovely.

That little face off (LAUGHS) means Charles finally has his first item.

And now, the owner of all those signs is on the blower.

What might he do if Charles takes all six?

30 quid, the lot?

400 pounds.

And that's-- and that's the bottom.

NARRATOR: Better than the top.

And after a final chat with Jamie-- Take care, bye.

Bye bye.

So if we both say it together, the best price was-- 380.

(LAUGHS) It wasn't.

NARRATOR: A terrific offer, but Charles still wants to keep his options open.

I feel duty bound just to get myself around the great landscape of Kent, just to make sure I don't unearth anything else.

Would you have an agreement to hold them?

Yeah.

I will either way call you.

Yeah.

NARRATOR: Jamie, you are a gent.

Charles has those on hold, and the mask in the bag, and he's heading off.

[CAR MOTOR ROARS] Meanwhile, Catherine herself still has a heap of items set aside.

The Mantel clock-cum-manicure set, the railway signage, and the mid 20th century parasol, which Trevor has had some word on.

He's prepared to let you have that for 18 pounds.

18?

OK. TREVOR: I can do the clock for 15 for you, if that helps.

CATHERINE SOUTHON: Right, we've got 15 on the clock.

TREVOR: Yes.

And the railway sign-- We can do that for 15.

I'll do it for 15.

So that's 48.

48 for the three items.

Yeah, I think that seems-- I think that seems pretty good.

NARRATOR: Deal done.

And at 48 pounds for the parasol, sign, and clock, and Catherine also has the bubble gum machine she bought earlier, as well.

So she's got a whopping four items in the bag, for a total of 73 pounds, and she's finished here, also.

(WHISTLES) Nice flowers.

[MUSIC PLAYS] Meanwhile, Charles is navigating the MGB through the B-Roads of Kent, en route to his next stop of the day.

His destination is the town of Maidstone, and Kent Life Museum, where he's meeting volunteer Frances Madison Roberts, as you do.

Hello.

Hello.

I'm hoping you're Frances.

I am.

Hello.

- Charles Hanson.

- Hello, Charles.

- Good to see you.

- And-- - Gorgeous.

- It's absolutely lovely.

You've got a nice day, too.

NARRATOR: Indeed they have.

Charles is here to learn about a local industry, which really put Kent on the map, hop growing.

From the 1500s right up to the mid-20th century, Kent was famous for its hop gardens, where this valuable plant was grown.

Goodness me, there's a man on-- Hi, Tim.

A huge pair of stilts.

Hello, sir, how are you?

Hi, Charles.

Hi.

I'm very well, thank you.

How are you?

You're almost up in the sky there.

So what are you doing up there?

We're stringing the hop garden.

We're training the hops up these old strings, hop string, coconut string.

CHARLES HANSON: Yes.

And we're doing it the old traditional way with the stilts.

[MUSIC PLAYS] NARRATOR: Our friend Tim-- great name-- is hopping back in time on his stilts, continuing a Kent tradition of hundreds of years.

Frances is keen to show Charles more.

TREVOR: Well, we're going into the hop garden.

Here are our hops.

Yes-- CHARLES HANSON: Wow.

- Here are our hops.

We'll walk down an alley of the hop garden.

Wow.

NARRATOR: The hop plant is cultivated for use in the brewing of beer, a staple of the British diet for many centuries.

The hops add a lot of ale's most toothsome qualities.

FRANCES: The hop gives it clarity.

It also gives it flavor.

It gives it color.

It gives it aroma.

And it helps in the keeping life of the beer.

So it's very good.

CHARLES HANSON: Why has it grown so well in Kent, and how did it all begin?

FRANCES: Yes, well, they've always grown wild in the hedgerows, but it was the Flemish people coming over in the 16th century that introduced them to us, and showed us how we could cultivate them to improve the beer.

Because prior to that, we just had ale, which wasn't a very good quality.

And so they grew very well here.

The soil is suitable.

The climate is suitable.

And there's a lot of possible labor force, because that's extremely important, because hops are very labor intensive.

So all that labor force required, where do they come from?

FRANCES: Well of course there were local people who were very glad to come along.

But also, there were Londoners, and people from the-- came down in droves, a whole streaks of Londoners came down in the 20th century.

NARRATOR: Every September, these families would travel down from London to Kent for the annual hop harvest, and they'd need somewhere to stay.

Frances is taking Charles to see an example of a hopper's accommodation, dating from around 1900.

FRANCES: So hopper's huts were allocated to each family, and if you were a good picker, then you would get the same hut year after year.

CHARLES HANSON: So a whole family could stay in a hut?

FRANCES: We understand that 10 people could sleep in one hut.

NARRATOR: Gosh.

Facilities were basic, but for many of the families who worked here at the hop harvest, was a welcome break from city life.

FRANCES: The air was much healthier.

They were away from the smog and pollution of London.

And also, people lived in very cramped conditions in London, so it wasn't that much of a culture shock.

NARRATOR: Once the hoppers had picked the harvest, the hops had to be dried to preserve them, a process that took place here in the oast house.

The fresh hops were spread on the floor, which was heated by a kiln below.

FRANCES: As they dried, they would need to be turned to make sure that they dried evenly.

So you can very gently turn-- turn the hops.

- So, may I?

Yes.

Please have a go.

So they carefully-- Very carefully.

Because-- why?

That's right.

Why so carefully?

Well you don't want to damage the hops.

You don't want them to break up.

NARRATOR: As the 20th century progressed, new technologies replaced these traditional methods.

But the modern fashion for small batch beer brewing has revived interest.

FRANCES: What we have done is have a microbrewery make beer from our hops.

CHARLES HANSON: And that's wonderful.

I almost feel like saying it's been thirsty work, Frances.

I've really enjoyed learning about this handicraft of Kentish people.

And thank you so much for your time today.

It's been great.

It's been a pleasure.

[MUSIC PLAYS] NARRATOR: Meanwhile, Catherine's traveled on to the Kent town of Tenterden, where she's strolling into her next shop and meeting dealers Pam and Terry.

Hi there.

NARRATOR: Hello.

Hi, I'm Catherine.

Very nice to meet you.

Hi, there.

Hello.

I'm Terry.

NARRATOR: Hi, Terry.

CATHERINE SOUTHON: It's very calming over this part of the shop, with all the clocks ticking.

It's all very, very peaceful.

NARRATOR: Doesn't take her long to spot something, though.

Quite nice.

So we've got a leather Georgian fire bucket.

Copper around the top.

And I like this sort of studded-- that's quite nice, isn't it?

1820s, '30s?

It's in quite nice condition.

People like these.

NARRATOR: As well they might.

It's a real antique, but at what price?

How much is on it?

138.

138 on your bucket?

We could do 110 for you.

It's an old Georgian one.

It's at least 200 years old.

CATHERINE SOUTHON: Yeah.

I do like it.

The ones that tend to do very well are the ones with I think really more the coat of arms on them, and ones that have-- aren't so wonks.

This is quite wore, and it feels like it's almost-- TERRY: It still holds water.

CATHERINE SOUTHON: Have you tested it?

We have.

NARRATOR: But will this deal hold water?

CATHERINE SOUTHON: Would that be your best on that?

TERRY: We could do you 100 pounds.

Right.

NARRATOR: Catherine's tempted.

I was so decisive this morning and I just went bang, bang, bang, bang.

Four items.

But then, they weren't very much money.

Now I'm spending most of my budget on one item.

Just 100 pounds.

It's a lot of money, isn't it?

Do 90, then, but that would be the very best.

You think I should?

What do you think?

I think rustic sort of shabby chic-- I think it would do well.

CATHERINE SOUTHON: Do you think?

Yeah.

Why not?

I'm going to go for it.

And 90 is your best price?

PAM: Yeah.

Yeah.

OK, we'll shake on it.

Thank you.

NARRATOR: A gamble it is.

Catherine parts with the lion's share of her kitty for a venerable bucket, leaving her with just over 50 pounds left to spend.

Bye bye.

NARRATOR: And that daring buy brings us to the end of a jam packed first day, so night night, you two.

[MUSIC PLAYS] The morning sun finds them back in the MG, and raring to go.

You know the Sun has got his hat on today.

There's going to be a hip, hip, hip hooray.

- Do you think?

- And I can't wait.

Yeah.

NARRATOR: Gosh, Charles, you do have a way with words.

So far, Catherine has amassed five lots-- the parasol, the bubble gum machine, the clock [INAUDIBLE] manicure set, the fire bucket, and the railway sign.

She still has 50 pounds and 76 pence to spend.

While Charles has been parsimonious by comparison, buying only the African mask.

He still has 448 pounds and 88 p, so he'd better get a wiggle on, if he can stop backseat driving for five minutes.

Just-- just always watch your brake, when we go downhill.

Just test your brakes.

I would.

- I am.

Does your horn work, as well?

On these tight bends, just-- [HORN HONKS] That's it.

Just always test your horn.

My mom taught me that.

Are you trying to teach me how to drive?

NARRATOR: Don't aggravate Catherine, Charles, for heaven's sake.

They're nearly in the village of Headcorn.

I'm going to a place called-- is it Breakneck?

Where?

Breakneck.

NARRATOR: Headcorn.

God, you are a handful this morning, Charles.

Catherine's dropping him off at his first shop.

She'll be pleased to have some peace and quiet.

Put your nose right in and then come out.

Charles-- Come out.

Charles, you and I are-- Come out, come out.

You're on the curb.

Keep going, don't stall.

Charles.

You stalled the car.

Charles!

OK, I'm going to go.

I'm going to go now.

See you later.

You are really getting on my nerves today.

Sorry.

Well, it's a bit heady in Headcorn, isn't it?

Drive carefully.

See you later.

Good luck.

[MOTOR ROARS] Be careful.

Bye.

CATHERINE SOUTHON: I'm glad to be getting rid of you.

Blow me a kiss.

I'm so glad to be getting rid of you.

Bye.

NARRATOR: You do have a way with the girls, Charles.

Let's hope he can strike up an easier rapport with dealer Shirley.

CHARLES HANSON: Shirley, good to see you.

SHIRLEY: And you.

CHARLES HANSON: It's nice to be here.

SHIRLEY: Good.

CHARLES HANSON: I like your antique shop.

I'll go for a wander.

SHIRLEY: OK.

Thank you, Mrs.-- just Shirley?

Just Shirley.

- Just Shirley, here in Kent.

- Not Mrs. Just Shirley.

I like your style.

We're friends in Kent.

That's great.

[MUSIC PLAYS] NARRATOR: What's this?

CHARLES HANSON: I'm always after a waistcoat, because I enjoy wearing waistcoats.

That's quite nice.

I mean, I quite like color, and it's got almost a bit of a Picasso cubism look.

NARRATOR: But is a cubist waistcoat really the thing for the sale room, Charles?

I've got to just-- I'm quite a broad guy, for the right reasons.

NARRATOR: Modest, too.

It fits OK.

I quite like this.

Fits perfectly.

Goodness me.

Can't really buy it for auction, but I can't buy it myself.

NARRATOR: So true, sir.

When you've finished with a gents outfitter's routine, an item, perhaps, that might sell at auction?

That's quite nice.

Isn't that pretty?

Isn't that a beautiful shape?

It's so-- so art deco.

NARRATOR: So you.

This part dinner service was made by Gray's, a Staffordshire pottery maker founded in 1987.

But this set dates from the early 20th century.

Look at that of a design.

That's got the lid.

Open it up, and this sort of set just makes you feel happy.

That ladle.

Because the colors are so vibrant, the sun is shining in Kent.

And importantly, I like this.

NARRATOR: Ticket price is 45 pounds.

Oh, Shirley.

CHARLES HANSON: Shirley, you're a lady who is full of joy.

SHIRLEY: Oh, thank you.

On this sunny Kentish morning and to hopefully a man who's smiling today, Shirley, and to keep my smile, what could be the best price on that?

I have to phone the dealer for you.

- Yes.

- Just to make sure.

But I'm sure we can do something.

What are you thinking?

- Uh-- - What are you thinking?

What am I thinking?

He's got 45, I don't know if he'd go as low as 30.

That sounds good to me.

That sound all right?

Yeah.

NARRATOR: And within a flash, Shirl the Pearl has the answer.

SHIRLEY: Spoken the dealer.

CHARLES HANSON: Full of art deco promise.

Hit me.

Yes, and you can have it for 30.

- I'll take it, thank you.

- Great.

I'll take it.

That's one down.

Fantastic.

I'm delighted, Shirley.

NARRATOR: And that's another tidy little buy for Charles.

Thank you, Shirl.

CHARLES HANSON: Thanks a lot.

I'm very grateful.

SHIRLEY: You're very welcome.

- See you Shirley.

Take care, bye.

Bye.

[DISHES CLINKING] NARRATOR: Now Catherine already has five items in her old bag, so she's galloped straight back to the town of Maidstone-- cantered, actually-- where she seems to be horsing around.

Where did you get that wonderful conveyance, ma'am?

CATHERINE SOUTHON: So from classic car to my carriage.

This is even more classic.

Eat your heart out, Charles Hanson.

NARRATOR: Crikey.

In quite the correct style, she is heading for the Tyrwhitt-Drake Museum of Carriages.

CATHERINE SOUTHON: Thank you very much.

That was an amazing experience.

Thank you.

You're welcome.

Thank you, Wilbur and Buster.

Well done, boys.

NARRATOR: Here, she's meeting Maidstone Museum's Director, Victoria Barlow.

Hi there.

Hi.

Victoria, very nice to meet you.

NARRATOR: This place holds a collection of over 60 carriages.

It's a time capsule of the world when horsepower was really the thing.

We owe its existence today to its founder and namesake.

CATHERINE SOUTHON: Who's our friend here, then?

OK, so this is the reason that we're here.

This is Garrard Tyrwhitt-Drake.

He was born in 1890s, so very much a late Victorian, but he came from a local brewing family.

So very wealthy.

The reason that he's important for this museum was that after the end of the Second World War, he began to see that carriages had had their day.

Motorized vehicles were coming in, and he was quite aware of the fact that a lot of the carriages that had been so popular, and that he remembered so fondly from his youth, were sitting in barns rotting away and were never going to be used again.

And he wanted-- he wanted to save examples so that we would know what it was like.

NARRATOR: The horse drawn carriages he saved form the basis for the museum's collection.

They tell the story of coach and carriage evolution down the ages, from the days when carriage travel was only for the wealthy, to the 19th century when it opened up to ordinary people.

VICTORIA BARLOW: Well, this is quite an important carriage in the development of them.

This is a Clarence, or also known as a growler, because of the noise its wheels made on the floor.

CATHERINE SOUTHON: Oh.

VICTORIA BARLOW: This was one of the first carriages in the Victorian era when a normal, middle-class family could buy a carriage and take their family out in it.

NARRATOR: This made carriage travel an option for the middle-class masses.

And they soon learnt that they made perfect cabs for hire, because you could get four people and some, um, luggage into the carriage.

So people started then renting them by the hour, and these became the first Hackney carriages.

CATHERINE SOUTHON: Oh, really?

So where we get the name Hackney carriages from today, for the London cabs?

NARRATOR: The streets of Britain's cities teamed with carriages in their Victorian heyday, but it didn't take long until carriage design evolved along some more daring lines.

Victoria, this particular coach looks structurally very different from what we've seen downstairs.

What's happened here is we've had a shift from having your driver up front driving you while you sit in comfort at the back.

This is actually an owner driver vehicle, so you drive yourself, and it meant that it became very popular with young men who liked speed.

So this was, you know, the sort of sports car of its day.

And you would get up, set off, possibly with a friend, but essentially, it was for the young, the daring, the need for speed.

[MUSIC PLAYS] NARRATOR: Boy racers might have been a hazard even in the 19th century, but Victoria also wants to show Catherine another carriage that really typified the age.

Giddy up.

This is lovely and open, this one, isn't it?

This is.

This is a Victoria.

So this was named after the queen-- Queen Victoria-- who very much popularized carriages as a way of being seen by a crowd.

So a lot of the carriages we looked downstairs had doors and window blinds that you could pull, so you could ride in privacy.

This carriage is all designed to show off.

CATHERINE SOUTHON: Look at me.

VICTORIA BARLOW: Indeed.

So when you are going out to an event, perhaps to the races or to a picnic, and you've paid a fortune for your beautiful dress, you want people to see it.

So you could fold the roof back down, and the sides are cut away very low.

And obviously, for the queen, that was important so that her subjects could see her.

[MUSIC PLAYS] NARRATOR: As the 20th century dawned, motorized transports started to usurp the carriage, but these still have an elegance and romance all of their own.

CATHERINE SOUTHON: Well, I have to say, it's been wonderful.

Now my carriage awaits.

Please.

And I have to head off.

Thank you so much, Victoria.

Thank you.

Take care.

Bye bye.

NARRATOR: You could get too used to this, Catherine.

CATHERINE SOUTHON: Right.

We're off again.

Walk on, as they say.

[MUSIC PLAYS] NARRATOR: Meanwhile, Charles has motored on to the town of Faversham, where he's sauntering off into his next shop.

Andy is in charge here today.

- Hello there.

- Hello.

How are you?

I'm fine.

NARRATOR: True to form, Charles doesn't take long to spot possible.

I just came past, and in the window I've seen something already.

May I show you?

ANDY: Yes, please do.

CHARLES HANSON: Follow me, just in the window.

It's this revolving cabinet here.

Here they are.

Aren't they wonderful?

ANDY: They're lovely.

CHARLES HANSON: Are they yours?

ANDY: They are, sir.

They could be yours.

Aren't they gorgeous?

Yes.

NARRATOR: They are a pair of decorative cut steel shoe buckles, which Charles thinks may date from as early as the 18th century, and I think he's right.

So you'd put them on like that, wouldn't you, in the day?

ANDY: That's it.

Yep.

CHARLES HANSON: So if you are, you know, maybe a Georgian gent-- and don't my shoes look better now?

ANDY: They do.

They look beautiful.

CHARLES HANSON: They are just stunning.

NARRATOR: Oh, stand lively.

I quite like them.

They're decorative and-- and quite refined.

NARRATOR: Ticket price on these handsome accouterments is 150 pounds, but what might be Andy's bottom line?

Well, I would like-- to be honest, I'd like about 80.

CHARLES HANSON: That's almost half price.

So you're hopefully telling me that they didn't cost you too much.

They didn't, no.

Very good.

OK. NARRATOR: Andy is good to you, Charles.

Could you get a bit less, do you think?

A little bit less.

Yeah.

Which would be?

70.

CHARLES HANSON: You know, I almost feel like saying you're an odd and I'm an even.

Right.

Odd and even, and I wonder if it could be an even Steven, and meet me at 60 pounds.

- Go on then.

- Are you sure?

Yeah.

Does that leave you-- Still gets me a profit.

Yeah, absolutely.

Selling them to me?

It leaves me a bit of a profit.

And that's-- and that's a deal.

Done, sold.

Excellent.

Thank you.

Appreciate it.

NARRATOR: That's one more item bagged, but Charles is still on the hunt.

Mm, do be careful, watch it, Charles.

You can be accident prone.

Uh-oh, there he goes again.

Quite like this vase down here.

Hello, vase.

NARRATOR: Hello, Charles.

And that landscape is quite unusual.

And the gilding is good.

NARRATOR: Charles is gently tapping the vase on his teeth to check for the sound of any repairs.

Sounds OK. And you do have to have your own teeth.

It's a piece of Carlton Ware, probably dating from the 1920s.

No good with falsies.

My only concern is on the actual label, it says 15 pounds RIP.

Andy?

Yes.

Excuse me, come-- come hither.

I'm here, I'm waiting.

I'm admiring your vase.

Thank you.

It says 15 pounds RIP.

Now, I'm-- all I can think of RIP is Rest in Peace, Charles.

Absolutely, Charles.

What does RIP mean?

It's actually the dealer's initial.

Oh, is it?

It's actually RIP.

Yeah.

Oh, RIP.

[INAUDIBLE] [LAUGHTER] NARRATOR: Oh, so that's that mystery solved.

CHARLES HANSON: I like it.

Best price?

ANDY: 13.

I was hoping you might say, it could be Hansen's den, number 10.

12.

(LAUGHS) I would happily take this vase for a tenner, because I think for 10 pounds, it's decorative.

Put it there.

- Yeah.

OK. 10 pounds, Yeah, ten pounds.

Sold, I'll take the ten pounds.

- Good man.

- Are you happy with that?

- Yep, fine.

- Fine.

NARRATOR: That's yet another deal sealed.

Good man.

[MUSIC PLAYS] Now Catherine's strolled to her next shop, which is-- oh.

Very unusual.

Hello.

- Hi, dear.

- Catherine.

Hi, very nice to meet you.

I'm David.

Hi, David.

Now this is a bit of an odd one.

NARRATOR: Certainly is.

With the bubble gum machine she bought earlier in mind, Catherine wants to buy some sweeties to fill it up in order to set it off best at the auction.

Sweetie sells from David here is just the man to help.

Just hope she doesn't try and get some money knocked off.

Yeah, they're nice, aren't they?

NARRATOR: But what will this monster bag of sweeties set Catherine back?

As it's you, how about we call it a fiver?

Oh, you are wonderful.

We are-- As long as you don't eat them all yourself, though.

No, I'm really tempted though, I have to say.

NARRATOR: And with that irregular last purchase, she's all bought up.

Thank you, bye bye.

NARRATOR: But Charles is back in Faversham and in a quandary.

Remember the set of six metal signs he reserved yesterday?

The last quote on the signs was 380 pounds.

The problem is, Charles no longer has that much cash.

Oh, god, we've seen this before.

CHARLES HANSON: But I've still got 348 pounds left.

So it's now that quandary, do I call up the shop I went to yesterday and see if I can buy for 348?

What do you think, sir?

What do you think?

OK.

He says, phone a friend.

NARRATOR: Time to give the dealer, Jamie, a tinkle, I think.

Let's go for it.

[JAMIE RESPONDS ON PHONE] Thanks so much.

I'll buy them.

Thanks a lot.

Cheers.

All the best.

Bye bye.

Cheers.

Bye bye.

Bye.

Well, from having a full kitty, I'm now down to nothing.

I've bought the signs for 348 pounds.

I'm banking on a whole load of rusty old tin plate signs, which could be dangerous.

But he who dares, wins, as they say.

NARRATOR: Who says?

The SAS and Del boy?

(LAUGHS) And so that concludes the shopping.

Charles has bagged the African tribal mask, the Carlton Ware vase, the part dinner service, and the metal shoe buckles, as well as the set of six signs, which he plans to sell in three separate lots.

He spent 478 pounds exactly.

That's spunk, isn't it?

While Catherine has the Georgian fire bucket, the manicure set [INAUDIBLE] clock, the vintage railway sign, the bubble gum machine freshly filled with sweeties, and the parasol.

She spent 168 pounds exactly.

That shows some more spunk.

But what on Earth do they make of each other's lots?

Not much, I fancy.

CATHERINE SOUTHON: I love her bubble gum dispenser.

For 25 pounds, it's cheap.

It might go pop at auction, and it might blow up the room and make a fortune.

I hope not.

Charles loves those little Georgian shoe buckles, and they are lovely, especially being in their fitted case.

But do people really want those?

Do people really buy those?

Who knows.

Time will tell.

NARRATOR: On this leg, they began their buying in Chart Sutton, Kent, and are now heading for some selling in Bourne End in Buckinghamshire.

Bourne End.

Bourne End beckons.

I think it's this way.

NARRATOR: It had better be.

Could it be the end for you in Bourne End?

I might be born again in the end.

NARRATOR: No, this is not the end.

It is not even the beginning of the end.

Now that's a quote.

Time to get inside.

Our auctioneer today is Simon Brown.

Before the off, what does he make of our lots?

The late 1970s, early 80s bubble gum machine, it's quirky.

The pair of Georgian shoe buckles, very collectible.

Quite sought after, and quite rare.

So I'm looking forward to selling those.

NARRATOR: The sale is about to begin.

Starting positions, please.

[GAVEL SOUNDS] First up, it's Catherine's parasol.

[AUCTIONEER CHANT] Well done.

CATHERINE SOUTHON: [INAUDIBLE] There's moving, hold tight.

Online he's got-- AUCTIONEER: 25 now.

CATHERINE SOUTHON: Really disappointing.

NARRATOR: It's a profit, if not a huge one.

Don't smile.

I'm not.

Don't smile.

Be sad for me.

You made 700 pence.

NARRATOR: Nothing to be sniffed at.

Now it's Charles's African mask.

AUCTIONEER: 40 I'm bid, got you.

40, yours at 40, 42, 45, 47, 50, 55, 60, 65.

60 for the lady-- That's good.

- Selling at 60-- - 20 pound profit.

I thought you'd make more than that.

Selling at 60, are we all done on my right?

Thank you.

NARRATOR: That's a nice winner to start him off.

Had a nice color, had a nice glow, like you.

Color?

Nice color and glow.

Didn't have color.

It was wooden.

NARRATOR: The bubble gum machine filled with sweets is next to take a pop at some profit.

Nice stylish little piece there.

With sweets.

AUCTIONEER: Who will start me at 30 pounds, please, for this lot?

30 I'm bid.

Yours at 30.

Are we all done 30?

32, 35, 37, 40, 42-- Good.

[AUCTIONEER CHANTS] Well done.

Shh.

AUCTIONEER: 60, 65, 70.

65 in the room, selling at 65.

You all done at 65?

We all done?

[GAVEL SOUNDS] Oh.

That blew a big bubble.

NARRATOR: Ooh.

And it's another winner for her.

It had a style.

Nah nah nah nah.

And it had an-- I can be childish NARRATOR: You certainly can.

Next up is Charles's little Carlton ware vase.

Rouge royale.

AUCTIONEER: 10 to start.

10 pounds, anybody interested?

NARRATOR: Could be in trouble.

AUCTIONEER: Ten for the Carlton Ware vase-- Go on, sell it for a fiver.

Go on, it would be hilarious.

Fiver?

AUCTIONEER: Five pounds, anybody interested at five?

That's not me bidding.

AUCTIONEER: Five, I'm bid.

- I'm not bidding.

- Thank you very much.

AUCTIONEER: Five-- five pounds.

We are struggling.

Five pounds, now.

Got you at five.

You also at five.

Oh, sorry.

Hello.

AUCTIONEER: Selling at five, just behind now.

[GAVEL SOUNDS] I told you that was horrible.

(LAUGHS) NARRATOR: So the rivalry is really ramping up.

Somebody has bought a wonderful bargain, and I commend them for very good taste.

[AUCTIONEER CHANT] NARRATOR: One more chance for Catherine now, as her mantle clock concealing a manicure set meets the room.

20 I'm bid.

Yours at 20.

Are we all done at 20?

- Good.

Profit.

Oh, shush.

[AUCTIONEER CHANT] AUCTIONEER: 27 pounds now-- CATHERINE SOUTHON: Ahh.

CHARLES HANSON: That's good.

It's doubling up.

It doubled.

Charles, would you be quiet?

It doubled up.

AUCTIONEER: Yours at 30, are we all done at 30?

Haven't finished yet.

Get out.

[GAVEL SOUNDS] - Did you buy it?

- Hm?

- Did you buy it?

- Me?

No, I didn't buy it.

Guy-- guy behind you.

NARRATOR: Thanks to the chap behind, she's nailed a winner there.

Next, Charles's six metal advertising signs, which he split into three separate lots, each costing him 116 pounds.

Here's the first.

AUCTIONEER: We all done at 75 in the room now?

[GAVEL SOUNDS] NARRATOR: And now the next lot of signs.

Selling at 130 now.

[GAVEL SOUNDS] NARRATOR: And the final sign is?

95, now in the net.

Selling at 95-- One more.

You don't need any more money.

I do.

We all done?

[GAVEL SOUNDS] NARRATOR: All together, those three lots lost 48 pounds.

Bad luck, Charles.

I wish you'd have put them all together in one lot and then you would have had even more losses, and that would have been good for me.

NARRATOR: It's the battle of the signage now, as Catherine's railway specimen is up.

10 pounds I'm bid, got you 10, 12, 14, 16, 18, 16 seated.

Selling at 16.

It's good.

It's not.

AUCTIONEER: 16, 18, 20.

20, 22, 25, 27, 30, 32, 35-- That's amazing.

Oh.

AUCTIONEER: 32 pounds now.

Oh, I thought we were on a roll then.

You flow.

All done at 32 on my right.

[GAVEL SOUNDS] That's puffed and huffed like a train.

That was my steam train.

Like a loco, and you're really moved, baby.

NARRATOR: That did indeed puff its way to a nice little profit.

I'm building up slowly, as they say.

I'm getting there.

NARRATOR: Now Charles's art deco style dinner service.

89 to start.

Go on.

AUCTIONEER: Anybody interested?

60 then to start.

60?

Nobody interested.

60, coming down.

50.

CHARLES HANSON: Oh, no.

AUCTIONEER: Anybody interested at 40?

30?

[LAUGHTER] 30?

20, and it's a full room.

20, and someone feels sorry for you.

20, I've got you.

20, yours at 20-- Don't worry, Charles.

Don't worry.

Don't worry.

It's a disaster.

AUCTIONEER: I'm selling at 20.

Hammer down, gavel down.

Shove it down.

- It's a disaster.

AUCTIONEER: 20 pounds-- - Help.

AUCTIONEER: On the back wall-- - Shut up.

Help.

He doesn't need any help.

Selling at 20, are we all done?

[GAVEL SOUNDS] Yay.

(LAUGHS) Did that hurt, Charles?

Yes, it did.

Did that hurt?

Did that really hurt?

- Yes.

Good.

NARRATOR: No need to gloat, Catherine.

Though that was an unlucky loss.

[LAUGHTER] The final loss lot for Catherine, her leather bucket might just ignite some interest.

AUCTIONEER: Pretty one.

To start we have-- Pretty.

AUCTIONEER: 50 pounds please, for this lot.

50, 40 then to start.

Good bucket there, at 40.

40 I'm bid.

- Come on.

AUCTIONEER: Got you.

40, yours at 40.

Please.

42 now, yours at 42.

45 with me at 45?

Oh, I really need-- AUCTIONEER: All done at 45?

With me at 45, we all done now?

[GAVEL SOUNDS] NARRATOR: Oh, oh.

That went up in smoke.

But importantly, Catherine, you had a passion for it.

Well, I don't know if I did, actually.

NARRATOR: Well, you don't anymore.

Our very last lot now, Charles's Georgian cut steel shoe buckles.

These are rather pretty, they're down on the cabinet-- Pretty.

AUCTIONEER: On the left hand side.

Pretty.

Dainty.

Start me at 100 pounds, please, for this lot.

100 I'm bid.

Got you, 100.

110, 120-- They're wonderful.

They're worth all of-- How do you do that?

150, 160, 170, 180, 190, 200.

200.

220, 220-- Charles.

220, 240, 260 280, 300, 320, 340, 360, 380, 400-- They dance away like a man in a fine pair of shoes.

I'm absolutely-- They are wonderful.

They are just stunning.

420, yours at 420.

CHARLES HANSON: They were-- [GAVEL SOUNDS] Did they have diamonds?

They were stunning.

They were completely-- Did they have diamonds on there?

Diamonds are a girl's best friend, baby.

Give us a kiss.

NARRATOR: (LAUGHS) And buckles are a boy's, it seems.

That's a stunning profit for Charles.

And with it, he absolutely steals the day.

Catherine began this leg with 213 pounds and 76p.

After auction costs, she made an unfortunate loss of six pounds and 46 pence, leaving her now with 207 pounds and 30 pence.

While Charles started with 478 pounds and 88 p. After costs, he made a monster profit of 182 pounds and 10 pence.

So he now has 660 pounds and 98 pence.

Well done, Charles.

Next sale is mine.

Well, you never know.

You're on my away patch now.

Well, my home patch.

Let's go.

CATHERINE SOUTHON: Let's go.

Seat belts on.

NARRATOR: And on to the next leg.

[MOTOR SPUTTERS] CATHERINE SOUTHON: Woo-hoo!

NARRATOR: Careful.

[LAUGHTER] CHARLES HANSON: Now we're off.

CATHERINE SOUTHON: Are we in the right gear?

Beep beep.

You can't-- (LAUGHS) Oh!

[INAUDIBLE] [MUSIC PLAYS]