NARRATOR: The nation's favorite celebrities-- Got some proper bling here.

NARRATOR: --paired up with an expert-- Wait.

Wait.

NARRATOR: --and the classic car.

- Put your hands now.

Oh.

Hi, ladies.

NARRATOR: Their mission to scour Britain for antiques.

[BREAKING GLASSES] All breakages must be paid for.

This is a good find is, it not?

NARRATOR: The aim to make the biggest profit at auction.

But it's no easy ride.

Who will find a hidden gem?

Who will take the biggest risks?

Kind of, my antiques head on.

NARRATOR: Will anybody follow expert advice?

Oh, yeah.

This is horrible.

NARRATOR: That will be worthy winners.

This is spending Christmas.

NARRATOR: And valiant losers.

Time to put your pedal to the metal.

This is "Celebrity Antiques Road Trip."

Yeah.

[MUSIC PLAYING] NARRATOR: For today's road trip, we're in Sunny Scotland with the nation's favorite wine experts, Jilly Goolden and designated driver, Oz Clarke.

I'm going to my-- get the instructions just in case-- I am not going to read the instructions of how to drive a car.

Your bottom is getting in the way of this, you know.

The audience-- this-- this is-- Northern Scotland.

I just-- They're not expecting to see your bottom.

NARRATOR: Steady on Jilly.

But least you're not on a public road.

There's a cutout.

Left look-- left look, right?

OK. Tell me helpful rather than just sort of telling me what I don't need to know.

A cutout switch under the dashboard.

I think I need that.

NARRATOR: Long before Jamie or Nigella, these two vintage presenters were a TV institution, thanks to their way with words.

They're thrilling descriptions of our favorite tipples enhance the flavor of 'BBC'S" hit "Food and Drink" for almost two decades.

Today they're cruising the country in this beautifully preserved 1966 Singer Gazelle, that's a car.

I'm not very good at shopping.

I don't know why?

- Because you-- Hang on.

There's a corner coming.

Don't interrupt.

Oh my gosh.

OK. What were you saying about shopping?

I like shopping.

And I think antique shopping is among the best.

NARRATOR: With 400 pounds each, today's game is serious business.

When did you last buy in 19.

About 1980, I think.

I have maybe a little bit more antique experience than you.

Which doesn't mean I'm going to be any better.

But I did do a program called the "Great Antiques Hunt" for five years.

I remember.

NARRATOR: And I remember it too.

But the difference today, Jilly is you'll be doing the shopping with a little help.

Yup.

Driving a cheeky little 1968 Triumph Vitesse, my dad had one of those, are our experts, smooth, full bodied, and with a sophisticated palate is auctioneer, James Braxton I had a kit for this morning in Carnoustie.

[LAUGHTER] That's the lovely thing about a [INAUDIBLE],, it stays with you all day.

NARRATOR: Bubbly, ripe, mature, and with a great nose is jewelry expert, Margie Cooper.

Is it true that you can smell silver?

Yeah.

I think-- [SNEEZING] --I can smell clay.

I can smell horrible play.

NARRATOR: Well, you can both hone your olfactory skills with today's guests.

So we got two wine experts.

Not wine nose, wine experts.

Oz and Jilly go under the skin of wine.

Right.

They know about crystallization, they know perfect temperatures.

[BREATHING IN AND OUT HEAVILY] Anyway you're guessing-- [INTERPOSING VOICES] You're guessing out.

I tell you what, Margie.

- No.

I'm not [INAUDIBLE].

You stick to smelling silver, OK?

[LAUGHTER] NARRATOR: And you'll be sticking to only smelling wine James.

Because on this road trip there'll be no drinking and driving.

All paths are setting off from Carnoustie on the coast before driving through the beautiful countryside to Dundee across into Perthshire and then back to Dundee.

Then it's another drive south before finishing at auction, 60 miles away in Leith in Scotland's capital Edinburgh.

But first we need to decide the pairs.

Don't send your bottom, Margie.

Why is it so hot?

It's the engine love.

NARRATOR: So patronizing.

Never mind.

Here come our celebrities.

[LAUGHTER] Here they are madly waving.

Ugh.

[LAUGHTER] Hello.

Morning, morning.

- You have arrived.

- You lovely people.

Hi.

[INAUDIBLE] Hello.

Lovely to see you.

Grant.

Nice to see you.

you look sweet.

- Great to see you.

- Nice to see you.

Nice to see you.

[INTERPOSING VOICES] Good morning.

Good morning.

Great day for us.

- It's a pretty good.

- Yeah.

Now then-- JILLY GOOLDEN: Now who's with whom?

Girls together.

I think we should take them on.

[LAUGHTER] Girls together or boys together?

what you want?

I think I'll go with that boy-girl.

- I think I'll go with that.

- Boy-girl.

You should [INAUDIBLE].

JAMES BRAXTON: Lovely, Margie.

Who could-- who could pass-- and who could pass off the lovely Jilly.

[LAUGHTER] The last time you're scared off.

I'm not coming to Margie.

[LAUGHTER] NARRATOR: So it sorted.

The two J's together in the singer.

And in the Triumph, Oz and Margie.

[LAUGHTER] [INAUDIBLE] NARRATOR: Their first stop today is 19 miles north in Brechin.

And it's a chance to get to know more about our wine champion.

At University, we had that University wine team, which I was in.

Then there's an English wine team.

I got into that too.

And every time we won.

We beat the French, we beat the Germans, and beat the Italians.

[INTERPOSING VOICES] I thought I was the coolest dude in the world.

MARGIE COOPER: I take it you're interested in antiques.

OZ CLARKE: Well, I am.

But I gave up buying them a long time ago.

I used to buy old stamps but I couldn't believe that nobody want these old stamps.

Because I didn't realize that there's an awful lot of old stamps in the world.

- Yes.

But they're not quite as valuable, you know.

Lots of little boys collections.

Yeah.

NARRATOR: Oh, Yes.

There may even be some stamps in Brechin.

Thanks to its 11th century cathedral, this is one of Britain's smallest cities.

Oz and Margie have come to the aptly named Treasures.

Like there, there's a bicycle.

Whoa.

Offering the five of them?

Yeah.

NARRATOR: And there to help them is the very cherry Ewan.

Right.

You and I, we're going to have a one here.

Sure OZ CLARKE: Well, I feel straight out of my depth here.

MARGIE COOPER: Don't.

What's that?

Straight out of my depth.

What's that?

But that is-- that is a shields of Dublin.

Oh, that's bits of a bagpipe.

NARRATOR: Not so antique of your depth after all, Oz.

Ewan Is that bike for sale outside?

EWAN: Yes, it's for sale-like.

[LAUGHTER] Well, I-- I said I'd give you a five for it.

[LAUGHTER] Honestly-- EWAN: I tell the jokes here.

It's all right.

[LAUGTER] NARRATOR: So no deal on that bike.

Got any the others?

Go on.

Get-- sit on it.

See what it's like.

The thing is will I get up?

OZ CLARKE: Yes, you will be able.

Careful now.

I think it might be broken.

Well, this is got-- OZ CLARKE: It's got oil.

This is-- it's got-- it's got brakes.

MARGIE COOPER: Oh, yeah.

No, no pieces here.

Huh.

[LAUGHTER] It does work.

What did you press?

NARRATOR: They're having a good time already.

Oh, look what it is.

OZ CLARKE: Those stamps things.

Not the type.

It's tappan blues.

Now I don't know whether they're real or not.

And I don't know what the actual price is at the moment on those one.

Ah.

NARRATOR: Oz has found something he does know a bit about.

Those tappan blues, Sir.

Yes.

Are they real?

Are they real?

Yeah.

You've loads of them.

That's a long time since I was a stamp collector.

NARRATOR: Well, let me remind you, Oz.

The Tappan's blue was the world's second official postage stamp issued in 1840.

The ticket price for this group is 55 pounds.

MARGIE COOPER: Have you still got your stamp collector?

Yeah.

Yeah?

It's now worth five pounds.

So I thought I might bring it up and offer it to you.

So-- - You've got five pounds.

[INAUDIBLE] We've got 5 pounds on the brain.

That's it.

NARRATOR: Good trials.

Perhaps Ewan has something else that could be part of a deal.

Can you parcel this up and let us have something whereby it would be impossible for us to fail.

[LAUGHTER] Well, I'm sure we could come to some sort of deal.

But I've actually found these as well.

These might be more interesting because they're going to end but I sell.

MARGIE COOPER: Mm.

The medals are actually there.

MARGIE COOPER: Yeah.

EWAN: And there's all the paperwork with the medals, so as you can see.

MARGIE COOPER: Yeah.

Is there a name of a person?

- It's actually on the box.

- Yeah So you'll get from this card.

Yeah.

NARRATOR: These two World War two medals were awarded to an airman from Leith, which is where our auction is taking place.

They have a ticket price of 20 pounds.

OK. Well, coming up put the two together and that would be really cheap.

NARRATOR: Combined with the stamps that 75 pounds.

How much can they get off Ewan.

Yeah.

I could give you the stamps and the medals, the two lots for 60 quid.

- Yeah.

It's too deep.

- It's too much.

Yeah.

EWAN: Rock bottom price, OK?

Yeah?

That's like?

50 quid and I can't do any less than that, honestly.

I don't think we're risking it.

- It's too much.

- Mm.

I think so.

'Cause I'm-- I'm out of my comfort zone completely.

All right.

Here we go.

45 quid that it.

I can't take less than that, honestly.

I'm not too happy at 45, if you're happy at 45.

I just like seeing you in smile.

The amount of times I've made you smile and laugh this morning, it's worth a fiver.

It's the fiver, yeah?

- 40 quid.

- 40 quid?

Then come on.

Go on Ewan, we've done it.

[LAUGHTER] NARRATOR: I like his style.

Oz disarm them with your charm and then get 35 pounds off the ticket price.

[CHUCKLE] That's first class and the first deal of the day done.

Best of luck.

Thanks.

NARRATOR: Jilly and James, meanwhile are making the trip 15 miles north to Pitscandly, just outside Forfar.

Do you like being driven Jilly?

[LAUGHTER] It depends how well you drive, James.

I must admit I have been known to be a bit of a backseat driver or front seat driver.

Really?

And in this car I have to tell you I've got the instructions.

So if you do anything wrong-- Yeah.

--I'll be on it.

One of the things here that I would really like to try out, and it's the cutout switch under the dashboard on the right of the steering wheel.

What is this if you're running away out of control, do you use the cutout switch?

When do you use it?

I would like to remain in control of the car.

NARRATOR: Will Jilly let you remain in charge of the shopping, James?

So I'm quite as I say, an acquisitive person.

And I've got a hell of a lot of animals which I acquire at a great rate.

What?

Horses, dogs, cats?

All of the above.

Really?

Hedgehogs-- Sanctuary.

You're a sanctuary.

I'm Sanctuary.

You've got a hedgehog who's gone a bit mad.

[LAUGHTER] No.

But anything to do with hedgehogs, I would go for it, I can tell you.

NARRATOR: Their first chance at some antique acquisition is going to be in Gow Antiques Looks lovely, doesn't it?

Really does it.

I'll restore it.

Now remember what I said Jilly?

Always buy-- always buy ceramics in a furniture place.

Oh, Yes.

OK. What's the wise?

OK. What's the wise?

NARRATOR: And to show Jilly and James around is Jeremy.

Triple J's.

- Hi.

Hello there.

I'm Jilly.

Jilly, nice to meet you.

James.

Hello, James.

JAMES BRAXTON: Jilly, in your words, I'm getting polish here.

What are you smelling?

Shed loads of polish.

Shed loads of polish.

NARRATOR: What about Oak and walnut undertones with a touch of brass, Jilly?

I am absolutely mad about birds.

Yeah, you love birds.

And look at that.

These are little-- well, actually they're sort of stylized.

It looks like a bullfinch and a chaffinch.

But that's rather lovely.

It's painted, isn't it?

Let me have a look there.

Yeah, no, you're right.

It's all painted.

NARRATOR: Jilly know her stuff all right.

Terribly smart, isn't it?

Oh, lovely papers inside.

And so what date would you put on it?

Well, it's a very regency look to it, isn't it?

I'm 1800-1820.

NARRATOR: It's a beautiful satin wood box and an antique.

But what condition is it in?

Is the box smiling?

Is there a better-- does it full flush that or was it bent to this?

Oh, I see what you mean of it.

'Cause it's got some cracks here, which would suggest it was on the move.

It's very slightly-- very slightly not.

You know, not married.

So?

Because it stretches that.

A little bit of movement there.

Where sometimes-- there it is.

You can see it there.

Yeah there is movement.

Sometimes a little bit of damage is reassuring both for age and also may be helpful on the old price.

JILLY GOOLDEN: Yes you can see-- on the old price.

JAMES BRAXTON: The old price.

I think we have to tell Jeremy it's very cracked.

Very cracked.

NARRATOR: The ticket price for the box is 365 pounds.

That's nearly their entire budget for the trip.

What magic can be done here by team Jilly?

JILLY GOOLDEN: I like the box very much but I can't spend a great deal of money on it.

Yeah.

But to be honest we want to try and save ourselves a bit.

150.

365.

That-- [LAUGHTER] I don't do fives.

I don't think I could go above 150 for it.

Because I'm terrified about our budget, and about commission, and things.

185, gone.

I think you go slightly above it but-- I can't get 185.

I can't.

I can't.

[INAUDIBLE] That's a tough lady.

I can't, you know.

This-- this is why she's top of her business.

GOOLDEN: It's got, you know, it's sort of-- Smiling.

JILLY GOOLDEN: It's got a little bit of a, little bit of a-- JAMES BRAXTON: Don't tell the restorer that.

He knows that.

He probably restored it.

I think if we were 200 years old we'd have a couple of cracks, too.

NARRATOR: Maybe so, but the condition could have a big effect on what it'll sell for at auction.

I will go to 160.

I'll go to 170.

We'll split it.

165?

OK. Away!

JILLY GOOLDEN: Thank you, Jeremy.

JEREMY: There we go.

JILLY GOOLDEN: Thank you.

NARRATOR: Hey, that Jilly's one to watch.

200 pounds knocked off the satinwood box, eh?

Oz and Margie, meanwhile, have driven nine miles east, to the Montrose Air Station Heritage Centre.

They come here to find out how a small airfield in Scotland helped change the face of warfare forever.

And here to tell them more is Dan, one of the Centre's volunteers.

DAN: Good to see you.

OZ CLARKE: How are you?

DAN: Yeah, very well.

So, Dan, what do you got here?

DAN: Well, this is the most important early-aviation site in Britain, we believe.

It goes back to the very early days of flying.

And the buildings round about you here date back to 1913.

NARRATOR: This former farmer's field in Montrose made aviation and military history in February, 1913, when The-- then-- Royal Flying Corps moved its No.

2 Squadron here.

They were already using civilian airfields in England, but once they had relocated the first five planes, the makeshift base here became the first purpose-built military airfield in the world.

OZ CLARKE: Why did they create the first airfield here?

What they were concerned about was the Germans developing Zeppelins, which were airships that were capable of long-distance flights.

And they thought that Zeppelins might be spying on the Grand Fleet, which was the main British weapon.

NARRATOR: Montrose was situated halfway between the two bases for the British Grand Naval Fleet, with the river Forth to the south and Scapa Flow to the north.

DAN: Montrose was nicely situated to keep an eye on any intruders from Germany looking at our battleships.

NARRATOR: Most of the military were dubious about the benefits of these new flying machines, but the head of No.

2 Squadron, Major Charles Burke, had the innovative idea that the planes could be used to take aerial photographs of German positions in France.

The No.

2 Squadron from Montrose then became the first airplanes ever to be sent to war.

DAN: The No.

2 Squadron was mobilized and left Montrose on the third of August, 1914, the day before war was officially declared.

Yeah.

Flew down to Dover, and 10 days later they flew across the channel to France.

Yeah.

And of course, one of the men who left here on the third, Major Harvey-Kelly, was the first British pilot to land in France in the First World War.

NARRATOR: Hubert Harvey-Kelly had become the first man to successfully land a plane in a war zone.

Although Major Burke was supposed to have the honor of going first, Kelly had taken an accidental shortcut and beaten him.

This is a partial replica of Kelly's plane.

OZ CLARKE: It looks like a glider.

Well, it is a glider.

The engines were very low power.

Aviation engines were a whole new thing.

So, effectively, it was just a powered glider.

The engine got it up to height and kept it going along at about 60 miles an hour.

NARRATOR: But once in France, the role of the planes quickly began to change.

The original idea is you got over for reconnaissance purposes.

Well, they very quickly encountered the Germans coming the other way, doing their reconnaissance.

MARGIE COOPER: Ah.

OZ CLARKE: Ah.

DAN: They began to look for ways of stopping the enemy.

So how did it develop?

I always feel as though it's people getting a pistol out and trying to shoot across at the other bloke.

That's exactly how it started, yes.

That's exactly how it started.

So you had to fly your plane and fire at the enemy at the same time.

Yeah.

NARRATOR: New technology soon allowed the pilots to fire machine guns through the propellers without hitting them, as on this Sopwith Camel.

Bomb-dropping technology also quickly evolved.

In 1914, airplanes took 13 days to travel 500 miles.

The hothouse of war had quickly changed the plane from a piece of rickety surveillance technology into an efficient killing machine.

So the whole range of modern aircraft had already developed by the end of the First World War.

And Harvey Kelly, in 1917, was a fighter pilot, in effect.

It was at the-- well, the fighting above the Battle of Arras-- that he met his death in April, 1917.

MARGIE COOPER: How old was he?

DAN: 24.

Was there a respect between the different air forces?

Yes, there certainly was.

I think they sort of regarded the war in the air as a more chivalrous kind of thing.

When Harvey-Kelly was shot down behind the German lines, they buried him as they would one of their own, with full military honors.

And they returned of some of his personal artifacts to his family.

NARRATOR: By 1918, the war was over for these Knights of the Sky.

But at what was now called RAF Montrose, the important work of training pilots carried on.

By the end, at the Battle of Britain in World War II, over 800 pilots had got their wings here.

It closed as a base in 1952, but was reopened as a museum in 1983 to credit its unique role in military aviation history.

Jilly and James are back on the road.

And they're making the 13-mile journey south from Forfar to Dundee-- or Bonnie Dundee, as the stirring pipe tune calls it.

Dundee is the city of the three Js-- jute, jam, and journalism.

The jute and the jam industries are long-since gone, but journalism still remains, thanks to DC Thomson, publishers of the Beano.

JILLY GOOLDEN: Next stop.

JAMES BRAXTON: Next stop, more antiques.

NARRATOR: Jilly and James have come to Clepington Antiques and Collectibles.

On hand to help is Derek.

Hi, very nice to see you.

What a choice, here!

I've never been confronted with so much stuff!

You could do with selling a few things, so we'll help you out.

Well, I hope you will help me out, there.

NARRATOR: Ah, a bit of psychology, Jilly.

I like it.

Time to get on the case.

JILLY GOOLDEN: I think this is nice.

I love these suitcases.

NARRATOR: I didn't mean it literally, Jilly.

It's in great order, and it's got no initials.

Oh, beautifully made.

Look at that!

Still-- - Stop breaking it!

- I'm not.

It'll go on forever.

Like you in the car!

But does it-- does the other one do that?

Oh, listen to it.

Now that is the sound of quality.

NARRATOR: But quality costs, James.

The ticket price of this turn of the century suitcase is 60 pounds.

First thing to go is the handle.

Is it all right?

Sound?

Has it been replaced?

It seems good as gold.

Oh, it's wearing a bit.

But it's as good as gold.

You're right.

Jilly, I like that.

Girl, you're a pro at this, aren't you?

NARRATOR: That's a definite maybe.

What else can our pro uncover?

La, la, la.

Now here's an old bit, Jilly.

JILLY GOOLDEN: Oh, coming.

An old bit of, ah, blue and white pottery, here.

JILLY GOOLDEN: Here comes Derek with the key.

JAMES BRAXTON: So it's all integral, the stand.

Yes.

JAMES BRAXTON: Nice piece.

That's-- That doesn't float my gravy boat.

NARRATOR: It's whether it'll sink at auction that really counts, Jilly.

JAMES BRAXTON: It's probably 1790, something like that.

- Really?

- Right.

Yeah.

Really?

Yeah.

You're handling history.

NARRATOR: Well, we know how old it is.

But what is it?

I don't think this is big enough for gravy.

I think this would have been a sauce, like a bread sauce.

I'll tell you exactly what it is!

What?

It's the most disgusting thing ever.

What?

That wet-nurses used to premasticate babies' food and spit it out into bowls like this and feed it to babies.

And it has a special name.

The posset.

That's what this is.

- No.

- No?

No.

NARRATOR: Well, James, enlighten us.

This is not for the nursery.

I think this would have been bread sauce, horseradish sauce, something like that.

You don't think it would have been that.

- No.

- OK. No.

Thank you for that.

I'm feeling a little queasy.

NARRATOR: The ticket price on the sauce boat is 40 pounds.

Now, what else?

You know, you have to get your eye in somewhere like this, because there's just so much bewildering stuff.

The only good news is that if I feel slightly bewildered, Oz will be demented.

Yeah.

He will not cope.

NARRATOR: Oh, I do hope not.

Oh, this is rather lovely, isn't it?

Beautiful vase.

DEREK: Very nice.

I think it's Scandinavian, because it's got that kind of-- - Has, hasn't it?

- Has kind of good luck.

- Scandinavian?

- Yeah.

Yeah NARRATOR: Derek isn't far off, geographically.

That's a late-1940s, early-'50s, German glass vase.

The ticket price is 28 pounds.

What could that be?

What has he got on there?

28?

Do that for 20.

20.

Go on.

You're a tough man, Derek.

Oh, you're going to say, "What's your best price?"

now, aren't you?

NARRATOR: Have you met James before, Derek?

JAMES BRAXTON: That's where I like.

Let's leave it with Derek on one side for a minute, and see if it's worth it.

Because we've got a clutch of items.

We're going to have a clutch.

NARRATOR: Jilly is using that famous nose of hers to sniff out another bargain.

JILLY GOOLDEN: I found something.

Now this is rather intriguing.

JAMES BRAXTON: What's that, a club?

It could be a club, but it is actually a telescope.

It's rather a beautiful object, but I can't get it to work.

Oh, it's got a makers name there.

I know.

It's all quite glamorous.

So it's a single-drawer telescope.

So the draws are this.

And then you look down it.

I can't see through it.

Well, that doesn't help.

Blimey.

JILLY GOOLDEN: Can you see?

I can see Derek's left ear.

Can you really?

No.

Oh.

NARRATOR: There's some dirt inside obscuring the lens, but this Dolland of London Victorian telescope is in working condition.

JAMES BRAXTON: This is quite military-like, isn't it?

Um, but Scotland, you know, with all its deer-stalking and everything-- NARRATOR: James and Jilly are adding the telescope to their haul, along with the suitcase, the sauce boat, and the glass vase.

But they only want to buy three of the four items.

JAMES BRAXTON: I think, at this point, Derek should give us the prices.

JILLY GOOLDEN: Give us prices.

JAMES BRAXTON: Come on, Derek.

Give us the price.

You have to give us your best, best, best, best, best.

JAMES BRAXTON: So what could that be?

That could be 20 pounds.

20 pounds.

How about 18, Derek?

I don't think-- oh, I [INAUDIBLE] - Could we just go under?

- All right.

18, then.

18?

What do you think?

Gosh, she's a hard one.

Anyway, 18 at the moment.

18.

What else?

40 on that one.

How much?

40.

Do that for 30.

JAMES BRAXTON: We talked it up too much, didn't we?

So, 30.

Let's put it down-- Well, I know, but I'm not accepting that yet.

JAMES BRAXTON: OK. OK. 48.

JILLY GOOLDEN: Because we don't have to buy them.

JAMES BRAXTON: We don't.

It's 55.

I'll do it for 40.

JAMES BRAXTON: Telescope.

JILLY GOOLDEN: OK, now this is, for me, the deal-breaker.

This, uh, case with the key that doesn't work.

JAMES BRAXTON: You got to be tough on this.

DAN: Right.

60.

60 is a big, big price.

JAMES BRAXTON: Price, isn't it?

What about 30 on that, Derek?

I think 30.

I couldn't do 30, no.

Well, let's talk about it as a whole, because we're going to cut one.

I couldn't, because-- JAMES BRAXTON: So we're happy with the telescope at 30.

DAN: 30.

JAMES BRAXTON: Happy with that.

And we've got the vase at 15.

NARRATOR: So, just in case you've got as lost as me there, that's the sauce boat ditched, and the telescope and the vase agreed for 45 pounds for the two.

It's just the suitcase left.

At the moment, Derek wants 40 pounds, making a grand total of 85 pounds.

JAMES BRAXTON: Just like to bring it below the 40, wouldn't you?

- What did we say, 85?

- What could you say?

80.

80 pounds.

- 80 pounds.

- 80 pounds.

80 pounds.

OK, thank you.

80 pounds for the three.

That's really good.

OK. JAMES BRAXTON: Thank you.

DAN: Good luck.

Thank you, Derek.

You've been very kind, very kind.

NARRATOR: Thank goodness.

That's the deal finally done.

80 pounds for the telescope, vase, and suitcase.

Good work, you two.

Thank you.

Have a good trip.

NARRATOR: Time for a rest and a nice glass of wine-- once you're back at your hotel, that is.

It's the start of a new day on the road trip, here in stunning Perthshire.

So, what did our oenophiles think of yesterday?

That means "wine-lovers," by the way.

Your first shopping in the last 50 years, tell me how that went.

Well, it was about the same as my last shopping in the last 50 years.

In the-- not very successful!

The last time I ever bought anything was about-- I was in some auction house South of Leicester.

It was the same thing that I bought yesterday!

I think actually maybe the precise same item.

No one has wanted it for 40 years!

And I thought it was in a box under the stairs.

It's not!

It was in, it was in an antique shop in Brecon.

Now how did you do?

Well.

Well, well, well, have I got all my items?

Or have I got very nearly all my items?

NARRATOR: She's certainly pleased with herself.

Sorry, I haven't got this out this morning.

Oh.

The Gazelle instruction manual.

I'd rather hope you'd eating it for dinner last night.

Now, I've got-- I didn't need it with James.

To keep your sylph-like figure, I thought you ate notes for dinner.

NARRATOR: They're quite a pair, these two.

There is, in the car, this thing that I haven't yet used, which is a cut-out switch.

OZ CLARKE: Go on, use it.

Use it.

Because it will actually mean-- JILLY GOOLDEN: It's on the right hand.

I'd have to do this.

Get your hand off my knee, Jilly Goolden.

The cut-out switch is over here.

- Dear, oh, dear.

- It's here.

I can't reach it.

That is my other knee.

NARRATOR: Ha, ha!

Let's hope you're right, Oz.

Yesterday, Margie and Oz spent 40 pounds on two items, the tuppenny blue stamps, and the World War II medals, leaving them with a healthy 360 to spend on the day ahead.

Thank you, Ewan.

Good, thanks.

Bye, bye.

NARRATOR: Jilly and James spent a whacking 245 pounds on four items-- the satinwood box, the suitcase, the German vase, and the Victorian telescope.

That leaves them with 155 pounds to spend today.

Having traversed Angus yesterday, both our teams are starting today in Abernyte, in Perthshire.

It's the home of the Scottish Antiques Look at them, waiting patiently for their celebrity guests.

So sweet.

Ah, here they are!

And I've pinned my legs to the-- pinned my legs to the bonnet.

Hello.

Good morning.

How are you both?

Hi, again.

Lovely to see you.

Ready for the fray?

We're very well about.

I hope you and Oz are.

Because we have got so many items.

You're rocking, low.

We're, ah, we're ahead of the game.

You are ahead of the game.

We are ahead of the game.

It's embarrassing, when she gets like this.

She gets very competitive.

NARRATOR: Can our teams find that bit of treasure that might just fly at auction in this place?

Martin and Margaret are ready and poised to help them when they do.

James thinks he might have found something, ceramics from the firm Masons.

Robert is the dealer.

What, what, what could be the best on that fella?

Cor, I remember Masons.

I remember going to a flat in Eastbourne and the lady had a vast collection of Masons.

Could do it for 50 pounds.

50 pounds.

And that, you know, years ago, that would have been-- what would it been?

250, 300?

DEREK: Probably.

Really extraordinary how it's plummeted.

So just an open terrine, and two-handled.

It's that lovely shape.

That's a lot, lot of ceramic.

What you were saying about, you know, the smart houses in Newton, Edinburgh-- I think that would be quite attractive.

I think that's a definite-- Do you think that's a definite?

--possibility.

NARRATOR: OK, that's one possibility for them.

But what are Margie and Oz up to?

It says "please do not touch the piano."

Right, so that's what it means.

NARRATOR: I think the sign said not to play it, Oz.

[PIANO MUSIC] Very nice.

But you don't want to buy it.

I don't want to buy it.

That was-- that was four chords.

Was it?

Yeah, I don't want to buy it.

I can't fit it in my house!

NARRATOR: You're not supposed to be buying it for your house.

Jilly and James know that.

What's this?

I've never come across it before.

It's a squeezer-glass.

So you squeeze your lemon in the bottom.

Yeah, but it's the wrong way 'round for that.

Isn't it?

So it should be out the other way.

Isn't it?

It's like-- I think sometimes they were known-- you can get a lemon-squeezer base.

It was a decorative device.

But it's deceptive.

Oh, I see.

It's a deceptive-- OK, I see!

JAMES BRAXTON: So you're, you're giving a large glass to your friend, but you have your normal glass for yourself.

And you pour a glass.

So it is that naughty.

Tenner.

Lemon-squeezer base.

It is, is quite a nice glass, isn't it?

Mm.

Something you're-- you know, this is one of the tools of your business, isn't it?

JILLY GOOLDEN: Very pretty glass, the fact when you look in you see it's like a kaleidoscope.

Oh, it's lovely, isn't it?

Isn't that pretty?

JILLY GOOLDEN: You get all the-- It's good, that.

NARRATOR: This Victorian glass has a ticket price of 10 pounds.

Can they do a deal with Martin?

Do your best, Jilly.

Come and have a hug.

[INTERPOSING VOICES] You do like my hugs.

Now, we like this glass a lot.

Well, we don't like it at all, actually.

That's a bad way to start on my negotiations.

We like it at the right price.

I see.

Yeah There's a little bit of flexibility, but not a great deal.

I would say probably-- What were you thinking?

3 quid, was it?

Oh I couldn't do three.

Couldn't you?

I couldn't, no.

What could you do?

3 pounds 50, then?

I couldn't.

The best price I could do on that would be seven.

Really?

Not five?

I couldn't do five.

Really?

Split it, six?

That's not going to work.

NARRATOR: Jilly!

No, I'm kind of-- my hands are tied, really.

- Well, untie them.

- Untie them.

Free yourself, Martin!

So but, you're a grown man!

- Yeah.

- Come on!

So my wife tells me.

Give me a minute and I'll come back, OK?

All right.

OK. You can have a minute.

- Oh, yeah.

You got a minute.

OK. NARRATOR: Whilst the jury's out, let's see if Margie and Oz have seen anything they like.

Yeah?

This is a couple.

Oh, is it?

What are they doing?

Uh-- Our director thought it was a woodpecker.

[LAUGHS] He's had a sheltered life.

It's not a woodpecker.

NARRATOR: With nothing really catching Margie and Oz's eye in here, and with another shop still to go, Margie's decided to move on to pastures new.

- Aha!

- Aha!

- Aha.

- Aha.

The opposition.

The opposition.

Have you conquered?

MARGIE COOPER: We're off.

JAMES BRAXTON: You're off, why?

Having conquered?

We're under pressure, now.

Have you-- how much have you bought?

Uh, we've not bought anything in here.

So we're on.

JILLY GOOLDEN: So you've got half an hour to-- We've got panic station.

JAMES BRAXTON: You're at panic stations.

I'd love to chat.

I found a lovely thing for you in this cupboard.

See you later.

JAMES BRAXTON: Diamond hearts.

JILLY GOOLDEN: OK, bye.

Bye.

We've got to go.

We can't stay.

JILLY GOOLDEN: Diamond hearts!

JAMES BRAXTON: Only 3,000 pounds.

Good luck!

MARGIE COOPER: Bye!

JAMES BRAXTON: Doubter.

NARRATOR: Now, back to the two Js and that Victorian glass.

Here's Martin.

Is it good news?

Here's Martin.

Good news?

Well, the news is I'm afraid it's-- it's got to stick at 7 pounds, I'm afraid.

- Really?

- Yeah.

Yeah.

30% discount.

I'd go for it, Jilly.

Would you?

OK. - Yeah.

- Come on.

All right, then.

I was tough to begin with, but I'll be the softest party now.

Put it there.

Put it there.

We can't complain about that.

- No, that's great.

Thank you.

- Great.

NARRATOR: They tried, but just couldn't get Martin to six.

Still, 7 pounds for the glass is nearly a third off.

And with their shopping now complete, Jilly and James are moving on.

Heading back east to Dundee.

This was the thriving "Du-toplis" of the 19th century.

The Victorian railways helped make the town amongst the richest in Britain, but also caused the darkest day in the city's history.

Ian Fletcher of the Dundee City Archives is here to tell them more.

What a glorious position we're in.

NARRATOR: In 1879, at the peak of the Industrial Revolution, Dundee was one of the wealthiest towns in Britain, thanks to one textile-- jute.

Grown in India, but refined in Dundee with whale oil, jute was the polythene of its day.

We're on the Law Hill-- or The Law, as it's known-- and we still see the remains of Dundee jute factories all around us.

Around the other side of the hill we have Cox's Stack, a wonderful, million-brick stack.

Just to say how important they were-- the biggest jute factory in Western Europe.

NARRATOR: The railway brought raw materials and coal into the mills, and then got the finished jute back out to the world either by ferry or a slow train inland.

A direct route across the Tay south to Edinburgh and beyond would make the journey faster, and Dundee even richer.

I think Dundee industrialists want to be up there with sort of Manchester and Birmingham.

They're very well aware.

They were pushing for city status.

They didn't have it yet, and they thought a rail bridge would be that signing-off, a wonderful piece of Victorian engineering joining it up.

NARRATOR: The man that got the job of building the new bridge was Thomas Bouch, who had already successfully built two bigger bridges in Wales.

But, under pressure to get the bridge up quickly, lest Dundee lose any esteem or money, Bouch decided he would use the cheaper but weaker cast iron over steel.

Worse still, his men took shortcuts with the cast-iron girders.

Quality control was not a strong thing.

So we do know that at the foundry, which is-- a temporary foundry was set up on Fife.

If there was any obvious holes in the cast iron, they would fill it with Pollyfilla and then paint it to look remarkably like cast iron.

NARRATOR: The Tay also turned out to be muddier and deeper than expected.

So Bouch had to redesign the supports for the bridge.

But despite these problems, and after a Board of Trade safety inspection, this monument to Victorian engineering opened as the biggest bridge in the world on the 1st of June, 1878.

A year later, Bouch was knighted by Queen Victoria.

Mr. Bouch was the bloke who actually, possibly-- poor man-- has been attributed with having done a botch-job in too quick a time.

That's right.

So a classic tale of something under pressure, economic pressure, directors of the railway pushing you to get it finished as quickly as possible.

Yeah.

Because, like the Channel Tunnel, they were besieged by "you didn't build it on time."

So the same pressures were being put on the builders of the Tay Bridge.

NARRATOR: Those pressures were tragically revealed on the 28th of December, 1879, when typhoon-strength gales buffeted the bridge.

At 7.15 PM, a six-carriage train full of passengers was about 200 meters across, when a section of the bridge collapsed.

The entire train plunged into the icy Tay, killing everyone on board.

46 bodies were recovered, but the number of deaths may have been as high as 75.

Nowadays, if you have very high wind, high bridges are closed.

They wouldn't allow traffic to go across.

But maybe they either didn't know the danger, or they were so gung ho about getting on with their coal that they didn't care.

Yes.

I think it was beyond anybody's ken.

I mean, I think a force 11 gale in this part of the world is a 250-year occurrence.

I don't think they'd ever thought.

Really?

JAMES BRAXTON: Oh, I see.

- Yes.

- It's a freak combination.

IAN FLETCHER: A freak combination.

I see.

So just really unlucky.

IAN FLETCHER: Yes.

Yes.

NARRATOR: In the days before the welfare state, the disaster left families of the bereaved facing destitution.

But the Dundonians rallied.

That very night, church collections were held across the city to raise funds for the families.

An inquiry was held into the disaster, and it concluded that the bridge was badly designed, badly built, and badly maintained.

They recommended all future bridges should be able to withstand the highest of winds.

Thomas Bouch lost the contract to build the new Forth Bridge near Edinburgh, and several of his existing bridges were condemned.

He died a ruined man just 10 months after the disaster.

JILLY GOOLDEN: Do you think that Bouch was a bad man?

Was he-- No, he was a very successful engineer.

Like, I suppose, the disaster in the oil field, Piper Alpha, they just hadn't realized what could go wrong.

But this really hit the Victorian sensibility, because they thought this bridge was impregnable.

NARRATOR: But with lessons learned from the disaster and the inquiry's safety recommendations, another Tay Bridge was built just seven years later, right next to what was left of the old one.

And it still stands to this day.

Margie and Oz are still on the hunt and are hitting the road four miles south, to Rait.

They're coming to Rait Antiques Centre, home to a whole host of different antique businesses all on the same site.

Their first stop is Carse Antiques, run by Andrew.

Hi.

Hi.

I'm Margie, and this is Oz.

Hi, I'm Andrew.

You're Andrew.

And this is yours.

- This is my shop.

MARGIE COOPER: Yeah.

So we're, uh, we're going to have a quick look round, if that's all right.

- Please do.

Yeah.

If you've got any suggestions, we're always happy to listen to them.

I'll have a think about it.

Would you?

NARRATOR: Clock's ticking, you two.

This, um, Hardy salmon gaff might be worth looking at.

Right.

Because, obviously, Hardy were the best makers of fishing tackle.

This is a wading gaff, which was obviously used to wade out into the river.

Yeah, so you don't fall over.

OZ CLARKE: So this is a protection thing, yeah?

ANDREW: That's for protection, so you don't stab your feet.

MARGIE COOPER: Bamboo, so-- Margie, don't move.

I want to see how smart this is, how sharp this is.

Yep.

That's very sharp.

Is it?

That's very sharp.

I'm putting this straight back on the end.

It's a beautiful sharp-- - Late 19th century?

Late 19th century.

Probably early 20th.

Probably about 1910, 1920.

Yeah.

NARRATOR: Oz seems taken with it.

There's no ticket price.

So where does Andrew start the negotiations?

That is 65 pounds.

[LAUGHS] That's slightly more than I expected.

What were you expecting?

Where's the silver, then?

No silver, I'm afraid.

Can we just pop it on one side?

- Certainly.

- Yeah?

NARRATOR: Well, it's a maybe.

But they need to start finding definites.

MARGIE COOPER: Is that a sextant?

OZ CLARKE: This is a-- oh, it's-- is it?

Is something missing, or-- it's the loads, loads of rulers.

MARGIE COOPER: Yeah, in a box.

OZ CLARKE: In a box.

They are rather beautiful things.

NARRATOR: These Victorian boxwood rulers are from Stanley of London, makers of fine engineering instruments that helped design, draw, and map out an empire.

Ticket price is 100 pounds.

But this is, again, me finding something which attracts me, but may not attract anybody else in the British Isles.

MARGIE COOPER: For the time being, shall we move on a bit?

We've three other places to look at.

But we're getting a few ideas, aren't we?

NARRATOR: Yeah.

They're not ruling them in or ruling them out.

Time to find another vendor.

How about Nicky?

MARGIE COOPER: Hello!

- Hi.

Hiya.

- How are you?

- I'm very well, thank you.

- Right.

This is Oz.

- Hello.

Hi, Oz.

- And you are?

- Nicky.

Hi, Nicky.

Right.

Welcome to Rait.

Thank you very much.

A hot Rait.

Yeah, it's roasting, isn't it?

It's supposed to rain today.

It's on its way.

MARGIE COOPER: So we're going to have a look 'round in desperation.

NARRATOR: They are feeling the pressure.

MARGIE COOPER: Well these look quite nice.

OZ CLARKE: What are those?

Are those rolling pins?

Yeah.

Well, they're like-- they were like gifts from certain-- actually, sailors gifts, really.

"A friend's gift."

Yeah.

He can't even spell "friend."

Oh!

That's five quid off!

MARGIE COOPER: Bristol blue.

OZ CLARKE: Bristol blue is?

Yeah, is the powder that was used to make the glass.

NARRATOR: These glass rolling pins-- or "salts," as they were known, because they stored precious salt-- were used as gifts to loved ones from sailors, and sold in ports like Bristol in the 18th and 19th centuries.

The ticket price is 66, but can Nicky do a deal?

- Right-- - They're interesting.

--I've spoken to Donald, the dealer.

Yes?

And he is happy to give them for 15 pounds each.

So basically buy one get one free.

Oh well that's-- we've got to have these.

I think we do.

15 pounds each!

Get your hand in there, Oz.

I think these are-- I think these are-- there's something about them.

And I think it's the history.

Yeah.

And I think I like the idea that you could actually quietly get down and make yourself some scones with these if you wanted.

NARRATOR: Oz, shake Nicky's hand, quick.

Let's shake the hands.

Goody.

Thank you very much.

NARRATOR: Fantastic.

A deal on the salts at 30 pounds for the pair.

Now, how about those items back at Andrew's place?

Ah, yes, the rulers that helped rule an empire.

Right.

So you really like these, don't you?

I just-- across the room, I just was drawn to them.

And it was something sort of serious and respectful about them that I rather liked.

You seem keen, so let's just get the final countdown.

NARRATOR: Remember, the ticket price was 100.

How low will Andrew go?

Um, the best I could do on those would be 60 pounds.

Earlier, we saw the fishing-- Yeah.

The Hardy.

What was the price on that?

65 was the price on the salmon gaff.

Yeah.

Yeah.

And that would be?

What could you give us on that?

I don't think that's the-- I could only come down to 60 on that.

Yeah.

That would be really it on that.

MARGIE COOPER: If we had the two?

OZ CLARKE: I was just thinking, if we have the two, can you give us a price on the two?

I'll go to 110 if you take them both.

MARGIE COOPER: This is our last place.

We're just about to call it a day.

105.

What about 105?

- Right.

I'm not going to argue about five pounds.

You've got a deal at 105.

105.

ANDREW: Thank you.

MARGIE COOPER: Thanks, Andrew, very much.

Sorry to be such turning the screws.

The bells go.

They're chiming.

Hallelujah, that was.

NARRATOR: Hallelujah, indeed!

That's the last deal of the trip done.

The rulers and the angler's gaff picked up for a bargain 105 pounds.

So that's both our teams all bought up.

But what will they make of the competition?

So I presume there's some under there?

Stop touching our stuff!

Sorry.

Sorry.

Is it very delicate?

- I think-- I can't-- - Go on.

Go on.

Reveal all.

- Come on.

Come on.

One, two, three.

MARGIE COOPER: Oh!

JAMES BRAXTON: Look at that!

MARGIE COOPER: Oh, that's lovely.

I love your box.

Oh, we love our box!

Oh, that's lovely.

That's a nice box.

Have you checked that in?

JAMES BRAXTON: No, not yet.

Though, funny enough, it might just pass.

It might just pass as hand-luggage, that one.

Has it got a name or maker?

JAMES BRAXTON: It has got a maker, funny enough.

Yes?

JAMES BRAXTON: Regrettably, a Glasgow maker.

Oh, right.

Oh!

What a shame!

I think that-- That won't do well in Edinburgh.

It's about having a Liverpool maker in Manchester.

MARGIE COOPER: The quality.

Yes?

How much is the box?

It's a very pretty box.

I love it.

JILLY GOOLDEN: What would you give me for it, Margie?

MARGIE COOPER: I love it.

I'd give you 40 for that.

JAMES BRAXTON: Would you?

Yeah.

JAMES BRAXTON: It's Regency.

So it's got a Regency paper interior.

Satinwood, painted.

That is gorgeous.

JILLY GOOLDEN: Isn't it gorgeous?

JAMES BRAXTON: We gave big money for this.

- 100 quid?

- No, larger.

More than?

Lots for that.

JILLY GOOLDEN: I love it.

160.

JILLY GOOLDEN: 165.

JAMES BRAXTON: Well done.

It's gorgeous.

I absolutely love it.

I absolutely love it, too.

I fell for it.

MARGIE COOPER: But it's a lot of money.

We saw nothing like that all the way throughout.

Much better to go down with a good piece than to go down with a bad piece.

Oh!

Cor!

How true is that in love?

How could you say that?

NARRATOR: OK, that was the big table.

But what about the wee table?

MARGIE COOPER: Ta da!

JILLY GOOLDEN: Ta da!

What have you got?

Oh!

JAMES BRAXTON: Hey, look at that!

Oh, what have you got?

Oh, I like that Do you?

Gone back to school, isn't it?

MARGIE COOPER: - Yeah.

OZ CLARKE: It was all back to school.

Unusual.

First thing we bought was this.

The thing that you might have bought-- There should be 14.

JAMES BRAXTON: Yeah?

MARGIE COOPER: [INAUDIBLE].

They're Tuppenny Blues.

Now, when I was at Stamford, age 12, none of us ever had any Tuppenny Blues.

Certainly Penny Black has always been rare.

Penny Reds are quite common.

But Tuppenny Blues, we just thought 14 Tuppenny Blues-- they're watermarked.

They've all got different marks around there, so some of them are in a different condition.

You can see they've got a different printer.

And we just thought-- well, I just thought.

Poor old Margie, I don't know whether she was convinced.

I just thought-- - Let's have a crack.

- Let's have a crack.

Let's have a go.

So what's in the box?

MARGIE COOPER: Couple of medals.

Oh, I thought it would be a girly thing.

They're all so boyish.

MARGIE COOPER: I know.

Well, you know, that's why I look so pale and drawn and wan.

They're from Leith.

This poor chap, Johnston from Leith, where we are, actually.

Yes.

So we quite like the idea that-- Yeah, I think that's very tactical.

MARGIE COOPER: Yeah.

JAMES BRAXTON: Keep an eye on the end.

MARGIE COOPER: So here's to the auction.

We wish you well.

No, we don't.

Yes, we do!

I'm going to say-- with my lovely little cheating glass-- cheers!

- Cheers.

The auction.

NARRATOR: What's the verdict on the opposition's items, then?

All I can say is that I know I love every one of our items more than I like any of theirs.

Well, I think that lovely painted box is just gorgeous.

Yeah.

It's the most lovely thing we've seen, almost.

Yeah.

It sounds a bit expensive to me.

Yeah.

They've entered the danger zone.

I love the blue salt rollers.

Those, I think, they're gorgeous.

And they have got a real buy there, because they're very-- I'm sure people will put their hand up for those.

The two items, the rulers and the gaff, are made by the best people in their business.

Somebody might really think they are exactly what they want, and bid a proper price.

Well, I hope so for your sake.

Oh, for my sake.

I can take the hit.

I'm an old antique dealer.

I can't take the public humiliation.

It would be just too terrible.

I can take the hit.

Come on, let's go.

Let's go.

NARRATOR: And so, to auction.

After a couple of days spent driving around in the beautiful scenery of Angus and Perthshire, it's time to travel south, through the kingdom of Fife, over the river Forth, and finish in Leith, Edinburgh.

How are you celebrities feeling about the auction that awaits?

OZ CLARKE: Are we allowed to bid for our stuff, if we think "That's embarrassing, let me have a go?"

Or are we not?

JILLY GOOLDEN: You are not, Oz.

Do they still do that auction ring thing?

I don't know, Oz.

Maybe you and I could become a ring, Jilly.

A ring?

We could keep the prices artificially low.

We don't want to!

The whole object is to make the prices as high as we can.

Oh, well then, we'll have a different sort of ring.

We will be the kind of ring which inflates the prices.

NARRATOR: I think Oz has seen too many films.

Talking of films, our duo are now in Leith, the setting for the film "Sunshine on Leith."

It's also home to hip bars and restaurants.

Today's auctioneers are Ramsay Cornish.

They're housed in an 18th-century former bonded-wine warehouse.

How fitting.

Here they come.

Here they come!

Here they come.

Anticipation.

Leap to the floor.

Morning!

We shouldn't look so relaxed, should we?

No, we shouldn't.

We should be leaping up.

Look.

Hiya!

Hello.

Greetings.

Good to see you.

I know!

NARRATOR: Today's auctioneer is Richard Edwards.

What does he think of our team's bunch?

The German vase has attracted interest.

It's a very good example of, I think, early-20th century art glass.

So I think it should do quite well.

The mahogany box and rulers are a nice, nice example because they're very complete and in super condition.

Technical drawing instruments, particularly 19th-century ones, are a big collecting area still.

So I think that was probably a good buy and could do well.

NARRATOR: Margie and Oz have spent 175 pounds on five items.

Jilly and James spent 252 pounds, also on five items.

It's a packed house today.

And don't forget, we've got people on phones and online who are also going to be bidding.

We're all good to go.

So over to you, Richard.

First up, for Oz and Margie, are the Tuppenny Blue stamps.

We'll take 20.

20, I've got.

20 pounds.

So I'll take 5.

The lady's bid at 20.

The Tuppenny Blues.

5.

30?

5?

40?

5?

No.

40 pounds.

Lady's bid.

Seated at 40 in the room.

40 pounds.

NARRATOR: Well done.

That's a nice little profit to start on.

Profit!

Very good profit.

Well done.

NARRATOR: Next.

It's Jilly and James's Victorian tumbler.

I'll take 10.

10, I've got.

I'll take 15.

15.

20 5.

30.

5.

40.

Yeah.

40.

5.

You're sure?

40 pounds on my right.

40 pounds.

I'm selling at 40.

NARRATOR: Goodness, that did well!

That's a whiskey glass for 40 pounds!

It was a beautiful glass.

Well done.

NARRATOR: It's another item for Jilly and James next.

The German vase that Richard, our auctioneer, thought might do well.

Several commission-bids, so I'll go straight in at 80 pounds.

I'll take 85.

85.

I have 90.

Would you like 5?

I have 100.

And 10.

Do you want 20?

120 with you.

I'm out.

It's 120 in the room on my right at 120.

I'll take 130.

Any advance on 120 pounds?

NARRATOR: That's even better than the tumbler.

And puts Jilly into a commanding lead.

Sorry?

You've gone pink.

Have I?

He's matching my dress.

NARRATOR: Now it's the turn of Oz and Margie's sailors' salts.

10 pounds.

15.

20.

Would you like 5?

25 with you.

I'm out.

25.

30.

35.

40.

You're sure?

Cheap.

35 still on my left.

35 ends on my far left at 35.

Any advance on 35?

It's the far corner.

Bit more.

Bit more.

RICHARD EDWARDS: Bit more.

We'd like a bit more, please.

35 pounds.

35.

NARRATOR: It's a profit, but not enough to keep them in the game, I fear.

Jilly and James's telescope is next.

20 and 25.

I'll take 30.

30 with you.

I'm out.

You're in at 30.

I'll take 35.

30 pounds seated.

35 behind.

40?

45?

50?

You're sure?

45.

Gentleman at 45.

I'll take 50.

45 parked.

50, new bidder.

5?

60?

60.

You can't see through it.

RICHARD EDWARDS: 60.

5.

70.

No.

65 seated in front of me at 65.

Any advance on 65 pounds?

NARRATOR: Cor, that's not bad at all!

And keeping them in the lead.

We're just smelling of roses, Jilly, aren't we?

NARRATOR: How's their satinwood box going to get on?

50 pounds, I have.

The satinwood box.

I'll take 5.

50 pounds, where?

5.

5.

60 Do you want 5?

65 with you.

I'm out.

You're in at 65.

I'll take 70 pounds.

Seems very cheap, still.

65 in the room.

I'll take 70 pounds.

65, the lady's bid.

70.

5?

You sure?

70 pounds, Ewan's bidder at 70.

I'll take 5.

70 pounds on commission.

Any advance on 70?

It's on the right at 70 pounds.

I'm going to sell at 70.

NARRATOR: Oh, dear.

And it was all going so well.

That's Jilly and James's first loss of the day, and it's a big one.

[INAUDIBLE].

Oh.

[INAUDIBLE] [INAUDIBLE].

Oh.

NARRATOR: Here's the ruler box that the auctioneer liked.

Oz and Margie, this is your chance to make up some ground.

I've got 20.

25.

30 pounds.

I'll take 35.

At 40.

Do you want 45?

45?

JAMES BRAXTON: Well done.

Well done.

OZ CLARKE: Not there yet.

Not there yet.

Not there yet.

JAMES BRAXTON: Go on.

Go on.

He's trying to talk me up.

RICHARD EDWARDS: 45 on the phone.

I'm out.

You're in at 45.

I'll take 50.

Books out.

Phones in at 45.

Any advance on 45?

Still seems cheap but I'll sell at 45.

NARRATOR: Ah.

Another loss.

And the chance to catch up, gone.

Loss.

A loss?

Oh.

It was a loss.

- Take a look at that.

- Oh.

[INAUDIBLE].

And he had the nerve to be on the phone!

NARRATOR: Can they catch Jilly and James with the wading gaff?

Give me 40 pounds for the Hardy gaff.

40 pounds.

20 pounds.

20 pounds for the gaff.

Where?

20, I've got.

I'll take 5.

5.

30.

5.

Sure?

It's cheap.

30 pounds.

Still seated at 30.

I'll take 5 anywhere else.

Oh, a new bidder.

35.

40.

5.

50.

Sure?

45.

New bidder at 45.

I'll take 50.

Any advance on 40-- 50.

New bidder again.

5?

You sure?

50 pounds in the far corner at 50.

Any advice on 50?

NARRATOR: They've let Jilly and James off the hook with that loss.

Now it's Jilly and James's final item.

A big win here and it could all be over.

20 pounds.

5 with you, sir.

I'm out.

You're in at 25.

Seated at 25.

I'll take 30.

35.

40.

45.

50.

55.

60.

No.

55 pounds, seated.

Back at 55.

Any advance on 55 pounds?

NARRATOR: A small profit, indeed.

But will it be enough to win?

This is Oz and Margie's last item and their last chance.

It's down to the medals.

40 pounds.

40 pounds for the two.

40 pounds to the net.

40 pounds to the internet.

I'll take 45.

40 pounds to the net, whereas 45 in the room.

I'll take 50.

It's in the room at 45.

I'll take 50 pounds.

Seated at 45.

Do I see 50?

Nope.

Still in the room at 45 pounds.

NARRATOR: Oh, it's a profit, all right.

But is it enough to beat Jilly and James?

We did-- we went shh, and then we went pop.

And then you came back up again.

We've been in Wellington boots, going through sludge.

NARRATOR: Let's see who's going to be quaffing fine champagne, and who'll be left sipping supermarket shandy.

Oz and Margie started today with 400 pounds.

And after paying auction costs, they made a very small profit of 1 pound, 30p.

Meaning they finished the road trip with 401 pounds and 30 pence.

Jilly and James also started today with 400 pounds.

And after paying auction costs, made a profit of 35 pounds.

This means they finish with 435 pounds and are crowned today's winners.

All profits go to children in need.

Now, where's the bottle of champers?

Thank you.

JAMES BRAXTON: Oh.

Well we didn't make a loss.

So-- I think we did pretty well, Margie.

NARRATOR: That's all right for you to say, Margie.

Oz has to sit next to Jilly all the way home.

Ha-ha.

Oh, that was good.

That was very good, very good.

JILLY GOOLDEN: I enjoyed that hugely, driving with you, although there were dodgy moments.

And I still want this cutoff switch.

Get your hand off my steering wheel!

NARRATOR: That's all for this time.

Tara!

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