[MUSIC PLAYING] NARRATOR: The nation's favorite celebrities-- Mm, I like that.

NARRATOR: --paired up with an expert Oh we've had some fun, haven't we?

NARRATOR: --and a classic car.

It feels as if it could go quite fast.

NARRATOR: Their mission, to scour Britain for antiques.

Fantastic.

I do that in slow mo.

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

[GAVEL SLAMS] Come on, boys!

NARRATOR: But it's no easy ride.

Who will find a hidden gem?

Don't tell me!

NARRATOR: Who will take the biggest risks?

Go away, Darling!

Will anybody follow expert advice?

I'm trying to spend money here!

There will be worthy winners-- Yes!

--and valiant losers.

Put your pedal to the metal.

This is the "Celebrity Antiques Road Trip!"

[MUSIC PLAYING] NARRATOR: Yeah!

[MUSIC PLAYING] NARRATOR: Today we're gliding through the countryside with a graceful pair of strictly pals.

You know, there is something about it.

You know, that nostalgic feeling of driving through the countryside in a lovely old vintage car.

I know, with a beautiful woman at your side.

Sadly she couldn't make it today, so you're stuck with me.

Sorry.

NARRATOR: Yes it's top dancer-in-wait and broadcaster, Zoe Ball.

After starting a TV career fronting children's television in the '90s, popular presenter and radio DJ, Zoe made a lifelong friend in Ian, after being paired as celeb and professional on Strictly Come Dancing.

Do you think you and I will still be friends at the end of today?

Um, I doubt it.

Unless you let me win.

[CHUCKLES] NARRATOR: Professional competitor, Ian started dancing aged 10.

He's had an illustrious career as a professional dancer, representing England in European and world championships, before joining the Strictly Come Dancing team.

He now shares the screen with his pal, Zoe on the spin-off show, It Takes Two.

But today's talk is strictly about antiques.

What do you know about antiques, Ian Waite?

Well I know absolutely nothing.

NARRATOR: That's OK, then.

Because today's experts, auctioneer Paul Laidlaw and dealer Margie Cooper, seem keen for a bit of a turn.

Do you ballroom dance?

Actually, Scottish National champion, 1980.

- You?

- No.

No.

Doing what, the Gay Gordons?

I know where you're going with that.

I very dare you.

Fancy being thrown around a few antique shops while here?

And smash a few pots!

[LAUGHING] I think it's only natural that Zoe and I paired up, given that we've got the same dad.

Yeah.

[INAUDIBLE] [INAUDIBLE] in the 1980s.

Johnny Ball.

Think of a number.

It was amazing!

NARRATOR: Well there may be some family rivalry there, Paul.

I'm not saying the Balls are competitive, but whatever happens today I have to beat my dad.

He came on this.

He was up against John Craven, and he managed to lose 105 pounds.

And he's the one who's good with maths.

Hello, John.

Are you there?

NARRATOR: Yep things didn't go too well for TV legend Johnny Ball on his road trip.

It was great fun.

Smashing, Charlie.

I never enjoyed wasting money so, so, so much.

So if I can beat my dad today, that would be a turner.

NARRATOR: [SCOFFS] There's a lot riding on this one, then.

Our celebrities and experts will have 400 pounds per pair, and will be sashaying around the country in a pre-seatbelt era 1965 Lotus Elan and a 1965 E-Type Jag.

Very nice.

Can I just say, Ian Waite, this is one of my dreams come true.

It's one of my worst nightmares.

How can that be a nightmare for you, though?

[INTERPOSING VOICES] NARRATOR: Time to get things moving, then.

I want the car.

Who [INAUDIBLE] I want the car.

That's to be decided.

[CHUCKLES] Good morning!

I'm never going in the car with him again.

MARGIE COOPER: Why?

He frightened you?

No.

I'm joking.

He was amazing!

I don't know how to get out!

[LAUGHING] We can't get him out because his knees are around his neck.

There he goes!

Gosh!

Oh!

MARGIE COOPER: Good morning!

It wasn't so bad getting in.

Good morning!

[INTERPOSING VOICES] Yeah, how are you?

Really good.

Good to see you.

ZOE BALL: You and me together?

PAUL LAIDLAW: Yes!

MARGIE COOPER: Come on.

It's us.

PAUL LAIDLAW: That's amazing.

Promise you'll teach me how to dance.

You're quite a good height for me to dance.

Yeah.

No.

I'll wear my heels.

ZOE BALL: I'm going to get jealous now.

I don't like this.

- Oh, I started it already.

Oh, we can do that.

We do that.

Yeah, come on.

So which car are we having?

Well you've got to drive it.

Who decides who drives?

Can I do it?

Come on.

It's going to be you.

--trust me with your life?

Getting in.

Good luck, Darling!

PAUL LAIDLAW: Yes, I do!

Enjoy!

IAN WAITE: Have fun, folks.

NARRATOR: With everyone squeezed into their vehicles, let's set off into the countryside.

My hopefuls start their journey in Dulverton, in Somerset.

They'll wind and twist through the countryside of the southwest, clocking up over 250 miles as they head through Devon and Dorset en route to an auction at Selborne in Hampshire.

Now, time to get acquainted.

I did dance before.

I think I did a bit of ballet when I was five.

But I was a giant child.

And there's one photograph of me doing ballet where there's a little line of pretty little ballerinas, and then this huge lump on the end.

It didn't suit me, so I gave it up pretty quickly.

Have you thought about doing strictly self [INAUDIBLE] So what are your tastes, then?

Well, you know what, I love Art Deco and paintings.

As well.

I mean, I sort of, you know, grew up painting a lot.

Did you?

Yeah.

So I'll definitely be looking at the paintings.

NARRATOR: Well let's see what we can do them in.

Amongst Exmoor's woods, valleys, and wild moorland lies the village of Dulverton and the first shopping stop of this trip, Acorn Antiques.

Hi, you're-- Peter.

Peter, this is Ian.

And I'm Margie.

NARRATOR: And I'm Tim.

This antique shop has been around for nearly 30 years, and the offerings look a little on the classy side to me.

IAN WAITE: What's that?

An old pawnbrokers sign, isn't it?

Oh, is that?

That would be hanging outside pawnbroker shops.

3,200.

Yeah.

I think we're a bit short for that.

Yeah, I think we are.

These dummy boards are really lovely though, aren't they?

815.

They're expensive, aren't they?

Yeah.

Brass bowl.

290 pounds OK, it's out of our budget for now.

MARGIE COOPER: Well what we need is a bit more money in here.

Yeah Then we'd be fine, wouldn't we?

NARRATOR: Never mind, Margie.

I'm sure you'll find something.

[MUSIC PLAYING] You know this is a lazy Susan.

It's a whiz round.

NARRATOR: Ian does not look convinced.

I'm assuming that's-- IAN WAITE: 45 pounds.

Yeah I think it's quite, what's the word?

- Yeah.

- You can use it a lot.

What's that word?

- Yeah.

Useful.

[LAUGHING] NARRATOR: Blimey.

Well at least it's in your price range.

Oblivious to their opponents' woes, Zoe and Paul are 30 minutes further North in Watchet, home to Smugglers Cave.

Watch it.

- Hello, sir.

- Hello.

I'm Zoe.

I'm Simon.

Simon, nice to meet you.

I'm Paul.

Who Is this lovely chap?

This is Barney.

Hello, Barney.

Barney, I'm just wondering if you could give me a few tips.

If, when I stand next to an object, if it's good, if it's worth the money, if you could give two yaps, that would help.

NARRATOR: Hmm.

He doesn't look keen.

You'll have to settle for a yap from Paul.

Shall we divide and conquer?

OK, yes.

OK, we're stronger.

You do what you're doing.

I'm going directly over here.

Come back to me.

Good luck.

[MUSIC PLAYING] Oh, do you know what?

Backgammon.

My favorite game.

[WHIMSICAL MUSIC PLAYING] [BELL TINKLES] Dinner!

[WHIMSICAL MUSIC PLAYING] What the Dickens is that, now?

I wonder if that might be some kind of like shaving mug, where you put your soap in, and your brush, and go-- It's probably a gravy boat.

NARRATOR: Nope, you're right the first time.

You're looking at me like I'm an absolute lunatic.

NARRATOR: Really?

Oh, you know what?

I love an old tap.

NARRATOR: Yeah, so do I.

See, normally when I go shopping I'm very quick.

I know what I want.

Go to a shop.

I'm sort of known for my speed.

So this is quite interesting, because I'm really having to take my time and really have a good old thing.

NARRATOR: OK, we'll leave you to ponder and see how your competitors are getting on back in Dulverton.

You like that?

Yeah.

It's quite nice, isn't it?

It's just like a painted artist's-- Board.

Yeah.

If you had an attribution, it would be fine.

75 pounds.

It's like a painting, isn't it, on the wall?

Yeah.

I mean, I do wonder-- Are you a bit of an artist?

I am a bit of an artist.

What do you paint?

I like modern art or abstract art.

So big pieces of just colorful-- Right.

That's what I like in paintings, actually, is when you can see the texture of the paint.

I love that.

Yeah.

Yeah, it's nice.

It is nice.

But will it sell?

That's the thing.

Yeah.

Oh.

That's the billion-dollar question.

NARRATOR: Hey it's 75 pounds rather than a billion dollars, but still.

Time to speak with Peter, perhaps.

What sort of price would the palette be?

PETER: It could be 65.

Could you do it for 60?

Possibly.

I'll come down to 60.

MARGIE COOPER: [CHUCKLES] Well it's up to you now.

I'm happy to go for that as our first item.

MARGIE COOPER: I think it's a nice item.

And it's an unusual item.

Yes.

Shake the man's hand.

60 pounds.

Thank you.

Thank you.

NARRATOR: Well done, chaps.

First item of the road trip bought.

[JAUNTY MUSIC PLAYING] I quite like it for my house, actually.

Really?

[CHUCKLING] NARRATOR: Now, what have Zoe and Paul got their eye on?

PAUL LAIDLAW: What do you make of that?

ZOE BALL: What is that?

PAUL LAIDLAW: And what does it say to you?

[WHIMSICAL MUSIC PLAYING] That says to me, huh?

PAUL LAIDLAW: You know I think it is?

Yeah.

I think it's a lightning conductor.

Wow!

I don't think I've ever seen anything like it in my life.

The second I've seen.

Really?

The point attracts the lightning strike and channels it down a big copper rod to Earth.

OK.

The cage is counter-intuitive to me.

I don't understand the cage, because that carries what's called a Faraday cage which, if anything, would protect the spike from the electricity.

But hey, look.

We're getting way too serious.

I know.

There's someone out there for that.

There is someone out there for that.

- Not just me.

- I know.

What do you think?

Just the fact that you've gotten so excited about lightning, and given me a miniature science lesson as well.

So I feel that, like you say, it's a great talking point.

NARRATOR: Something to think about.

Anything else?

The last thing you want to take to auction is someone else's munky old hairbrush.

Hmm.

OK.

I needn't explain they're gentleman's hairbrushes.

Never seen or had these.

But here's the biggie.

Yeah.

That's not nickel or chrome.

That's sterling silver.

Aah.

20 neat.

I had rather a smart gentleman's grooming set that's very much good to go.

NARRATOR: Sounds like Paul's keen.

Simon's got dealer Allen on the phone.

I'll put her on.

NARRATOR: Good luck Zoe.

Hello, gorgeous Allen.

Tell me about gentlemen's hairbrushes.

[ALLEN, MUFFLED ON PHONE] 20-ish pounds.

Yeah, that sounds better than 28-ish pounds.

I thought you were going to say, as it's you I'll do it for 15.

But no, we're sticking with 20?

[CHUCKLES] 18 pounds?

Alan, you're amazing!

Thank you so much.

Oh, and the beautiful brushes.

I'll hand you back to the boss.

Thank you, Darling.

[JAUNTY PIANO MUSIC PLAYING] Results!

I didn't know you're good at negotiating.

What?

[SNICKERS] [JAUNTY PIANO MUSIC PLAYING] NARRATOR: Well done, Zoe.

A 10-pound discount on the brushes.

The problem is, Alan has set a very high benchmark in niceness [LAUGHING] Back to the lightning conductor.

NARRATOR: Oh, yeah.

Right, Paul.

It had an original price of 55 pounds.

Come on, then.

Show me how this is done.

30.

This is like Federer-Murray.

SIMON: That is a giveaway price for such an unusual item.

25.

Oh, just clip the net.

Just clip the net.

It's in.

Its in.

It's good.

28.

Still 25.

Oh.

Have another look.

Let's have another look at that.

You see, that says, you know, 20 at least.

You know.

I'd say possibly 26 pounds?

Oh you've moved.

[INTERPOSING VOICES] - 26.

Sold.

[INTERPOSING VOICES] That's more than you were going to pay for it.

NARRATOR: Not sure you meant that, but that's a deal done.

- [INAUDIBLE] - I know.

Two things.

I'm really excited about both of them.

This is good.

Yes, this is good.

Beg your indulgence.

Oh, hang on a minute.

I thought we were done in here.

NARRATOR: Well, either Paul's hidden something he found earlier or he's about to do some magic.

A pair of 19-- I would say '60s cuff links.

Do you recognize the device?

The badge?

No.

North Atlantic Treaty Organization.

NATO.

Oh, NATO!

Tell me more, then.

I'm just going to tell you that if I ever-- OK. Let me buy them.

OK. Are you-- Are we buying them?

Are you going to surprise me?

I am putting my trust in you.

NARRATOR: Come on, Paul.

What do you know?

Muahahaha!

[LAUGHING] That evil laugh.

These are Ole Bent.

Good.

That there says Ole Bent Petersen.

NARRATOR: Good find, Paul.

Ole Bent Peterson, a well-regarded silversmith, worked alongside the greatest names in Danish jewelry.

And, if you didn't know, this kind of thing floats Paul's boat.

Seriously!

Look how excited you are!

I can see steam coming off the top of your head.

These are awesome!

NARRATOR: Laidlaw strikes again.

I'm not haggling, OK?

Fiver.

They're yours.

Fantastic.

Thank you very much.

Thank you.

NARRATOR: That's 49 pounds spent, three items bought, and one very happy expert.

That was magic.

What a start.

- I know.

What a great start.

And it's only the first shop.

[JAUNTY MUSIC PLAYING] Several miles away from all the cuff link-induced excitement-- When you were a little boy, did you say I want to learn to dance or did-- You know what, I was 10 years old and my parents got divorced.

It's a great story.

And my father was told there were lots of single women at the dancing school.

So he went along and loved it so much he thought, oh, well why don't you go Ian, and your brother.

MARGIE COOPER: What a story.

Dad married my dance teacher, yeah.

Oh, so she encouraged you.

The whole thing worked, really.

Yeah there was cheap lessons after that.

[LAUGHING] NARRATOR: Margie and Ian have traveled 14 miles down the road to Tiverton.

They're here to discover just how these gentle waterways and horses combined to play a crucial role in developing Britain as an industrial powerhouse.

Barge owner Phil Bryant is here to tell them all about it.

What a beautiful day!

- It is!

- Great.

Lovely to see you.

And here's the barge?

Indeed.

This is the last horse-drawn barge in the southwest of England.

Right.

They're very, very rare, now.

And there is your horse.

Oh, he looks stunning.

His name is Ross.

Would you like to meet him?

Love to!

NARRATOR: Horse-drawn barges but Britain's answer to a problem caused by the first flourishes of the Industrial Revolution.

The latter part of the 18th century was bristling with commercial endeavor, as cottage industry moved towards large scale manufacture.

To help meet this demand for these new industries, a familiar source of power needed to be harnessed in a new way.

The horses actually played a massive part in the beginning of our Industrial Revolution.

Because long before steam or diesel was ever even invented, horses had the job of pulling our loads around Great Britain.

And whilst they pulled small loads along on wheels on land, canals were built.

And with canals, you could actually pull 30 to 40 tons of weight along, and you only need one horse to do it.

Good gracious.

I suppose once they've got it moving, it's actually not as difficult.

That is absolutely correct.

There is actually about a 40-to-1 ratio approximately, land to water, which means to say that one ton on land is equal to pulling 40 tons on water.

NARRATOR: Horsepower was certainly more efficient at pulling cargo on water, but few waterways went where the commerce needed them to go.

Mines near Worsley used pack horses to carry coal the eight miles overland to industrial Manchester, a slow and inefficient process.

That was until 1761, when England's first canal opened.

Horse-drawn barges working the new Bridgewater canal meant the price of coal halved overnight.

This success sparked the fever of canal building that resulted in over 4 and 1/2 thousand miles of inland waterways being constructed.

In a time before engine's, horse-pulled barges became a familiar sight across the country.

The horses that actually pull barges along are pulling at an angle because, of course, they're on the tow path.

And that rope goes on a slight angle out to the middle of the canal and is pulling the barge along.

So the horse has got to be used to this angle.

The term tow path, does it actually come from towing a barge?

I'm glad you brought that up, because most people actually believe that the tow path is T- O- E. But of course, on canals in Great Britain, it's T- O- W. Because, of course, the phrase comes from towing path.

And that's what we have on all our canals.

IAN WAITE: It does come from that.

It does indeed.

NARRATOR: In the 19th century, it was generally donkeys or small breed horses that pulled their way along the tow paths, with larger breeds being left to work on farms.

Here, on this branch of the great Western canal, each horse pulled up to 30 tons of lime and coal in each trip to the lime kilns near Tiverton.

What do you think?

I think it's absolutely unbelievable.

It's so peaceful [INTERPOSING VOICES] We're controlling now.

We're in charge.

Yeah.

You're controlling it.

It's a bit scary.

NARRATOR: Canals had become the arteries of the Industrial Revolution, allowing quick and economic transport of goods.

But, as new technology developed, their days were numbered.

Phil, what brought on the demise of the horse-drawn barge in the end?

Well first of all, it was steam.

So they started building railways, and they started to take the loads that the canals took.

And that really was the start of the end of the canals.

But really, it wasn't until the diesel engine came along that the canals really took a dive.

We started taking a lot more by road and, of course, by diesel boats as well.

We had diesel boats like this.

And instead of actually only having one horse and one boat with a load, one diesel boat took twice the amount of payload.

NARRATOR: The ceaseless drive of progress that ushered in the golden age of canals was the same force that made horse-drawn barges outdated.

The Tiverton canal is now a country park, and the last horse-drawn barge on its waters takes visitors along a canal as a reminder of its once crucial role in Britain's industrial history.

It's been an absolute privilege, hasn't it, Ian?

It has.

It's a step back in time, and we are on one of the last horse drawn barges.

Thank you very much for coming today.

Thank you.

[MUSIC PLAYING] NARRATOR: While their counterparts have been messing about on the river, Zoe and Paul have been quick-stepping their way to Carhampton, to squeeze in some shopping at Chris's Crackers.

Here we go.

So a wee bit of interest in this one.

I know.

I'm quite excited by this.

Right.

[CHUCKLES] [MUSIC PLAYING] Oh, hello!

Hi.

Nice to be here.

Who is this?

Little Frankie.

Hello, Frankie!

Frankie is being carried by Peter, who also happens to be in charge.

Time for the guided tour.

This is our main junkyard.

Yeah.

NARRATOR: Did he say junkyard?

The antique barn over there with the garden stuff, mostly furniture inside.

There's more out the back.

Off we go.

Everywhere you want to look!

NARRATOR: This place specializes in reclamation and salvage.

And there's plenty of it.

Time for a good rummage, eh?

What do you think is going to be in there?

There's going to be nothing but silver-plated cutlery, if anything.

Yep!

- There you go.

Fish knives.

Is that fish knives and forks?

It's work ethic.

That's the problem.

Work ethic.

I'm just going to read this.

[CHUCKLES] Oh, hello.

I do love me a casserole, I have to say.

Anyway, where did they go?

Sorry.

NARRATOR: Do keep up, Zoe.

Oh, hello.

Peter has something he wants to show.

Oh!

Look at that!

Oh, look!

Balls.

Look at those!

Lignum woods by FH Ayres, one of the bigger names in toys.

Oh, great.

So when would they date back to, then, a set like that?

They're going to be early 20th century, aren't they?

Right?

They are decoration for your garden, your sun room-- I mean, come on!

Evocative!

Or you could put your empties up after a few shanties and play skittles.

[LAUGHS] You know?

Very good.

No, you're right.

Very good.

Yeah.

Yeah.

What's the price on those, then?

25 quid.

Something like that.

25 quid.

I wouldn't even haggle at that price.

I think when you get given a fair price-- The box is worth that.

it would be silly.

And you know what, if it doesn't sell at auction, maybe I'll buy it.

[LAUGHING] NARRATOR: That's not really how it works, but it's still a good deal.

25 pounds for a set of vintage balls wraps up shopping for the day, with plenty of time for our experts and celebs to be reunited.

ZOE BALL: I've never won anything.

So I've not got high expectations.

Well I was a European champion, but that will-- Of course.

Just forget that.

Have you ever won "Strictly Come Dancing?"

All right, don't rub it in.

I feel partly responsible.

NARRATOR: Nighty, night.

Another day dawns in the glorious Southwest scenery.

These high hedgerows are something to do with this part of the world, aren't they?

Don't know.

I'd rather be able to see the fields, personally.

Wouldn't you?

Should we write a letter?

[LAUGHTER] NARRATOR: On the other side of another hedgerow.

ZOE BALL: I have no clue what I'm doing here.

Because the stuff I would buy is basically bric a brac, which is worthless.

It did make me laugh actually, because I kept realizing all those things I bought in the past.

Complete junk.

That-- Now you know what we feel like when you buy us presents.

[LAUGHTER] NARRATOR: I'm sure it's not as bad as all that.

Yesterday, Zoe and Paul's thrifty spending bagged them a pair of silver cuff links, a set of gentleman's hairbrushes, a lightning conductor, and a set of vintage lawn balls.

Results!

NARRATOR: Leaving them with 326 pounds in their pocket.

Margie and Ian, meanwhile-- IAN WAITE: You like that?

NARRATOR: --only picked up the painter's palette, and still have a sizeable 340 pounds to spend today.

IAN WAITE: Quite like it for my house, actually.

MARGIE COOPER: Really?

IAN WAITE: Yeah.

NARRATOR: Time for round two.

ZOE BALL: Morning, campers!

Never easy getting out of these things.

IAN WAITE: I'm very well.

How are you?

PAUL LAIDLAW: How are you doing?

Good to see you.

[INTERPOSING VOICES] IAN WAITE: You all right?

MARGIE COOPER: Yeah, fine.

Good.

MARGIE COOPER: Another day.

You'd do this again?

MARGIE COOPER: Yep.

- Yeah?

- We're off again.

He has promised he's going to teach you some moves today.

Right.

Yes.

MARGIE COOPER: I'm ready.

ZOE BALL: Yeah, we have a little competition at the end of the day-- IAN WAITE: I'm going to let you drive.

Is that all right?

MARGIE COOPER: Yeah.

Oh, Paul, do you want to drive today?

PAUL LAIDLAW: Shall I?

- Yeah.

PAUL LAIDLAW: Or can I?

ZOE BALL: It will probably be safer.

[LAUGHTER] - Off we go then.

Good luck.

MARGIE COOPER: To you, too.

ZOE BALL: Have a lovely day.

MARGIE COOPER: Bye, gorgeous.

ZOE BALL: Bye, love.

NARRATOR: But how's everyone feeling about the day ahead?

PAUL LAIDLAW: So are we chilled this morning?

ZOE BALL: I feel very chilled.

It's interesting, talking to Ian and feeling quietly, sort of, not smug, because I love and adore him and I want him to do well, but sort of thinking, yeah we can actually have quite a nice day today.

[LAUGHTER] Although, I have to say all thanks to you Paul and you are incredible eagle eyes.

IAN WAITE: Did Paul tell you what they found yesterday, what they bought?

Well he didn't have a lot to say, but he did-- he knows how to wind me up.

So did Zoe say anything to you?

No.

She just said that she was rubbish.

She does want to do well.

MARGIE COOPER: Yeah.

IAN WAITE: So she will want to win.

But she'll be gracious when she gets beaten.

MARGIE COOPER: Yeah.

NARRATOR: Blimey.

Things have got competitive all of a sudden.

Time to get a move on.

And Ian and Margie are meandering South to the Dorset coast and Lyme Regis where they'll kickstart another day shopping.

MARGIE COOPER: Are you Colin?

I am.

Margie and-- Hello, Colin.

Ian.

Ian.

Right.

So lovely day in Lyme Regis.

It always is.

Even when it's raining.

NARRATOR: But will the sun be shining in their hearts after a rummage around the shelves of the Lyme Regis Antique Center?

Let's just have a look here.

[MUSIC PLAYING] IAN WAITE: Look at that old chicken up there.

Look.

It is actually so awful it might be worth something.

MARGIE COOPER: We're in Paul Laidlaw land now.

IAN WAITE: Are we?

Yeah.

I am not going to blow it because I don't-- A quite a few people have had their lips around that, I wouldn't if I was you.

Right.

BOTH: Rings.

MARGIE COOPER: - Maybe we got a chance here, because some of these have got a bit of age to them.

IAN WAITE: That's quite nice.

Very similar to your ring.

MARGIE COOPER: Yes, it is.

IAN WAITE: Amethyst.

MARGIE COOPER: Yeah.

Got that-- IAN WAITE: My birth stone.

Is it?

Yeah.

January?

January the 29th.

NARRATOR: Hey, don't give away all your secrets, Ian.

We'll get letters.

Gosh, that's for a small finger, isn't it?

Yes.

MARGIE COOPER: But they're better a bit bigger.

IAN WAITE: You can always them altered, can't we?

MARGIE COOPER: Yeah, then you've got to have a pretty bit of thickness in them.

NARRATOR: Ticket price is 140 pounds.

It's quite expensive, though.

It is, yeah.

Well, we can have a word with him.

NARRATOR: One to think about.

I like this vase up here.

MARGIE COOPER: Is that you?

IAN WAITE: Well it looks sort of retro.

Is it retro?

MARGIE COOPER: Yeah.

Is that the sort of thing that you-- IAN WAITE: --1940s, '50s.

MARGIE COOPER: --would buy?

Well it's not the sort of thing I'd buy for my house.

But if I was looking for a piece to sell-- MARGIE COOPER: Yeah.

It's pretty IAN WAITE: 90 pounds.

MARGIE COOPER: Yeah.

1940s to '50s.

Yeah well I reckon it's worth about 45, 50.

And is that all we'd get in an auction?

I think so.

NARRATOR: It's time to turn on the charm, Ian.

Does he remind you of anybody?

Yeah, he does.

He looks like Frankie Howard, doesn't he?

[INAUDIBLE] NARRATOR: Not what I had in mind.

Colin gets the vendor on the phone to get a best price.

Yes, see unfortunately, he said he overpaid a little for that, as we all do.

But it's-- MARGIE COOPER: It's over?

Oh, gosh.

COLIN: Sorry.

MARGIE COOPER: Yeah COLIN: I can't do any more.

Out of the corner of my eye, I spotted that colorful little tea set down there.

COLIN: Oh, there.

Yes, yes.

Very nice.

MARGIE COOPER: Is that yours-- COLIN: Derby-esque, isn't it?

That's very sweet, isn't it?

Well.

MARGIE COOPER: Yeah.

It's like Amari-ish.

COLIN: Yes.

MARGIE COOPER: Amari is a pattern.

IAN WAITE: Oh, is it?

MARGIE COOPER: Yeah.

The blue and the rust.

COLIN: About 55 for the lot.

Oh, but I haven't said I want it yet.

Oh, well, how about not 55 for the lot?

What about 35?

Oh.

You know we've got to make a profit on this, Colin.

I tell you what, I go in the middle with you.

45.

How many pieces, Colin?

Have a count.

IAN WAITE: 1, 2, 3, 4, 5, 6.

Six cups.

Or maybe more than that.

Eight cups.

Oh yeah, there's eight cups there.

MARGIE COOPER: I think we got go for that, Colin.

Well, do you like it?

NARRATOR: Like it?

Has he even seen it?

Well it's not my taste, but you like it.

So let's go for it.

Oh gosh, he's not keen.

No, no, no, it's all right.

It's good.

It's good.

If you think we can make a profit from it, let's do it.

MARGIE COOPER: I do.

IAN WAITE: Yeah, but we've only got one item so far.

40, Colin.

Come on.

- All right.

40 because I'm nice.

Thank you very much.

40!

Yes.

I love you, Colin I hope you do.

NARRATOR: That's one deal done.

And since they're on a roll, Margie wants to know what that 140-pound ring could be.

You know, they worry about that, Colin.

There's always some worry.

It's very small.

It's for a very small finger.

COLIN: I sell lots of them.

MARGIE COOPER: Mm.

COLIN: Big, small.

Yeah, yeah, yeah.

So, not everybody's got big fingers.

Not everybody's got small.

So that's it.

So you're going to ask me now.

Colin, that's got to be really, really cheap because I'm worried about it.

COLIN: 75.

Well, why don't we say 50?

COLIN: 60, and I'm done.

I like it because it's my birthstone, isn't it?

If we buy the two items-- MARGIE COOPER: We a little chip for two.

COLIN: No, 100.

IAN WAITE: 100?

COLIN: That's it.

IAN WAITE: 95?

Only if you'll dance with me.

Come on.

- Not now.

- Come on.

COLIN: Not now.

No, no my feet are hurting.

Is it?

COLIN: 95.

Oh luck money, there.

Thank you.

Yes.

We'll do a deal, and we'll do that dance.

NARRATOR: That's two items for 95 pounds.

Well done folks.

Elsewhere, Zoe and Paul are enjoying their jaunt in the countryside.

Oh, look at this!

Wow!

PAUL LAIDLAW: Have we just entered [INAUDIBLE]??

ZOE BALL: It's an incredible gorge that we've just gone through.

Now I'd love to be able to tell you about what was going on there.

And how that was formed and, yeah.

I'd love to tell you what county it was in.

Yeah.

NARRATOR: You're on your way into Devon, as it happens, heading for the village of Honiton.

This beautiful village is home to one of the most intricately patterned materials.

Since Zoe's time on strictly means, she's no stranger to a glamorous costume.

She's here to discover how this area of the Southwest became one of the most important lace producers in the world.

They're at the town's museum to meet lace maker, Pat Perryman.

I was always a bit of a tomboy, I have to say, Pat.

But doing "Strictly Come Dancing" really opened my eyes to costumes and fabrics.

This piece here, what can you tell us about this piece?

This piece is very early, about 1630, 1640.

And it's made of linen.

And it was most likely worn by a man rather than a lady.

So maybe Paul would-- might have worn something like this in those days.

ZOE BALL: Can you imagine yourself in lace, Paul?

NARRATOR: In the 16th century, a new type of material was taking Europe by storm.

Lace was the new process of looping and twisting cotton or silk threads to make intricate open fabric patterns.

It wasn't until the late 19th century that ladies wore lace.

And this is a rather large, actual triangular shawl.

Would you maybe like to wear it?

ZOE BALL: Yeah.

PAT: Would you?

Perhaps Paul would like to help.

Where Zoe's hand is should go at the back of her neck.

That's the way.

Excellent.

No Miss Havisham comments.

NARRATOR: Lace making was a painstaking process.

One square centimeter could take five hours to weave.

Lace instantly assumed an almost priceless value, ensuring it was the perfect status symbol.

PAUL LAIDLAW: But it's only the upper echelons of society that can wear it.

Absolutely, absolutely.

You showed your wealth by the quality of your wife's lace in those days.

So the posture you were in, the more expensive your lace was.

NARRATOR: Honiton lace was particularly intricate and was unique in manufacture.

Complex patterns were sewn together with each specialist weaver concentrating on a single motif.

Honiton's elaborate patterns became unrivaled across Europe.

Honiton lace is a motif lace.

In other words, we make it in all separate motifs, and join them together.

So these are patchwork, in a sense.

PAT: Yeah.

So the more experienced ladies made the edge pieces.

So the boss would have said, I want 40 of those.

And they'd have repeated, repeat, repeat.

And of course, the more often they did it, the quicker they did it.

So the few more points they earn.

And the less experienced made the plainer pieces.

And the children did the small bits that filled in.

How old would the children have been?

PAT: They started at five years old, and 12 hours a day.

Goodness, me.

When you tell that to children these days, they don't get it.

I know.

I must have a word with my children actually.

NARRATOR: The intricate designs from Honiton gained a great reputation.

And by the end of the 17th century, a quarter of East Devon's population was employed in lace making.

Children were crucial to the industry.

And when an Education Act was passed requiring them to attend school, the town defied the government.

Local boys and girls continued to work.

The lace industry around Honiton was the heart of the community for generations.

When a factory was opened, bringing new lace machines down from Nottingham, it struck a heavy blow.

PAUL LAIDLAW: Does mechanization harm this industry in any way?

Absolutely it did, and a great deal.

In about 1810, when the machines were invented, the handmade lace industry almost died.

And then in 1839, when Queen Victoria wanted her wedding dress made of lace, she wanted Honiton lace, a veil, and a dress.

And that brought back the industry.

NARRATOR: At the time of Victoria's reign, wedding dresses were often brightly colored.

But Queen Victoria's desire to have a white Honiton lace dress cemented wedding tradition in this country, and saved the handmade lace industry.

Victoria's wedding to Prince Albert was the first marriage of a reigning monarch in Britain for 300 years and attracted huge attention.

The lace dress she wore, including a train that required 12 bridesmaids to carry it, became an iconic fashion statement.

Victoria had reinstated handmade lace as a must have garment.

And her support of the British industry continued throughout her life.

And then of course much later, when Prince Albert died, in 1861, she wanted black lace.

She wore black for the rest of her life.

And if she wore black, all the smart ladies wanted black, of course.

NARRATOR: The success of Honiton lace survived long after Queen Victoria, but the austerity of wartime Britain and new fashions saw lace making in the town decline once again.

But Honiton lace is still taught and handmade by dedicated individuals, like Pat, and soon, Zoe Ball.

ZOE BALL: Thank you, Pat, for lending me your readers because I wouldn't be able to see this otherwise.

You've got to have such incredible eyesight to do lace making.

So Pat, where do we start?

PAT: Think about weaving.

Think of what the threads do when-- OK, when they're sort of passing-- Absolutely.

NARRATOR: The yarn for Honiton lace is wound on bobbins which are then twisted and crossed over each other to form the pattern.

Simple.

PAT: There you go.

Right, good.

Quite heavy handed.

Now you're going to twist each pair three times.

Right bobbin over left or towards your-- ZOE BALL: Right bobbin over left.

So, one, two, three.

And also the other pair.

I hope you're taking note here, Paul.

Three, you're next.

How am I doing, Pat?

- Fine!

Absolutely.

- Yeah.

For a beginner I'm all right.

PAT: Perfectly correct.

We haven't looked too closely at the lace yet.

NARRATOR: There is little Honiton lace made commercially nowadays, but the town fiercely guards its history of a humble cottage industry that gained worldwide popularity and the support of a royal family.

ZOE BALL: How long will I be here, do you think, to finish this piece?

PAT: If you were-- got a little bit faster, I think you would probably be here for about four days.

OK, that's all right.

PAT: For about 10 hours a day, for about four days.

That's fine.

My husband could feed the children.

NARRATOR: Let's leave them to it then.

Well Zoe and Paul finish up their handiwork, Ian and Margie are in Axminster, where they're going for a gander in the Old Chapel Antique Center.

RICHARD: Hello.

MARGIE COOPER: Hello, how are you?

RICHARD: Good afternoon.

MARGIE COOPER: To you, too.

- I'm Richard.

- I'm Margie Hi, Richard.

Ian.

Hi.

NARRATOR: Richard is overseeing three floors crammed with antiques.

Right, here we go.

NARRATOR: Plenty to keep everyone happy, which is just as well, really.

PAUL LAIDLAW: Oh.

ZOE BALL: Look, they're here already.

NARRATOR: Play nice, everyone.

Drat!

PAUL LAIDLAW: We found them.

ZOE BALL: I know.

No time to waste.

Thankfully, neither of them would know a bargain if they stole one.

NARRATOR: That's harsh, Paul.

Ian and Margie are taking this very seriously.

IAN WAITE: Rock, back, side, close, side.

Rock, forward, side, close, side.

Rock, forward, side, close, side.

Rock, rock, side, close, side.

ZOE BALL: I wonder if we can get Ken Bruce on this.

Come in Ken.

NARRATOR: Anyone planning to do any shopping today?

Back, forward, cha, cha, cha.

Forward, back, cha, cha, cha.

NARRATOR: Oh, do concentrate, Margie.

ZOE BALL: [INAUDIBLE] Scared me.

[WHISTLES] MARGIE COOPER: That's not good news.

IAN WAITE: It's not.

No, the back.

Oh, that red tape thing.

MARGIE COOPER: The red tape here.

What's it say?

IAN WAITE: So do I have to put it back down again?

NARRATOR: Cheeky.

IAN WAITE: Am I picking it up?

[LAUGHTER] Oh, there's some people over there.

MARGIE COOPER: [LAUGHS] Then we're going to put it back, aren't we?

IAN WAITE: Yeah, we are.

Paul?

Hello.

What can you tell me about this?

PAUL LAIDLAW: Studioware, surely.

1960s.

Lava glaze refers to this very fluid-looking, intense, acid color.

Funky.

NARRATOR: Groovy.

Ticket price is 68 pounds for the bowl and 48 for the dish.

Could you take that home if I bought you that for Christmas?

Is it going in the charity shop in the new year?

Do you know what, I probably would use that.

I mean, I love the bright colors.

That really appealed to me.

But yeah, I am.

Yeah, it's got kind of quite a narrow market for stuff like that.

- It's niche.

Yeah.

That's the word, "niche."

OK I'll walk on.

I shall follow.

NARRATOR: Quite the pair now, aren't they?

How are things going upstairs?

MARGIE COOPER: Yeah, this.

Oh, look at these.

Railway [INAUDIBLE] they call it.

IAN WAITE: And would they be on the actual trains?

No they'd be on-- that would be on the track, here.

And these, I'm not sure what these are, not being an ex-railway worker.

Right, what's it say there?

IAN WAITE: Bridge number-- MARGIE COOPER: Bridge number 15.

Feel that.

Whoa.

Wow, I haven't been to the gym today.

Let just do it now.

That's lovely.

They're quite good fun.

IAN WAITE: Oh, I've worked me triceps out.

I've worked me quads out, getting out of the car.

And I've worked the triceps out with that.

MARGIE COOPER: Golly, look who's here.

Hi oh.

ZOE BALL: Oh, hello!

How are you?

MARGIE COOPER: Very well, how are you?

ZOE BALL: How's it going?

MARGIE COOPER: Very, very well, isn't it?

She hesitated.

ZOE BALL: She did hesitate there.

Is she bluffing?

Is she blu-- you know her better than I. NARRATOR: Come on.

There's plenty of space for everyone.

MARGIE COOPER: Well they're about 30 odd pounds each, aren't they?

IAN WAITE: Oh, God, it's heavy.

MARGIE COOPER: They're cast iron, aren't they?

IAN WAITE: I like this one because it's nice and big.

And with the three collating numbers, 122 123, and 124.

MARGIE COOPER: Right.

Yeah.

That's what you want?

IAN WAITE: --try and get them for 80 quid.

MARGIE COOPER: Yeah, I think you'll be fine.

IAN WAITE: Should we start at 60?

You're getting it.

I'm getting it.

Yeah.

Do we take them with us?

Start at 65, that just sounds a bit easier.

65.

MARGIE COOPER: So then you might say 70.

NARRATOR: Those four signs have a combined ticket price of 134 pounds.

But it's worth a try.

Richard, we found something.

Oh, well done.

Let's have a look.

Yes.

We've got these wonderful bridge plates.

They're heavy.

MARGIE COOPER: We're thinking of a one-off price.

RICHARD: A one-off for the lot.

MARGIE AND IAN: Yes.

For the whole lot.

For the whole lot.

And I'm thinking, sort of, 65 pounds.

For the whole lot.

Yeah.

NARRATOR: Ian has asked for around a 50% discount.

So Richard is off to speak to the dealer.

You did well.

Let's see if you pulled it off.

RICHARD: Wow, it's good news.

MARGIE COOPER: Oh, it's good news.

So, 65 pound, the lot.

Yes.

There you go.

Good on you.

Thanks to the dealer.

IAN WAITE: I was going to high-five you.

But don't worry that's all right.

Old fashioned, you'd say.

Yeah, I struggle with that sometimes.

I'm scared I'm going to miss them.

NARRATOR: I'm with you, Richard.

Either way, that's a cracking 69 pound discount.

How's it going, Zoe?

I hope I remember all these things that I'm learning from Paul.

It's quite interesting because coming into a shop now, having heard a few things-- I'm, I'm sort of scanning, looking for, you know-- I'm never going to find the treasures that he finds.

But I hope I remember all that information because it's, you know, it is priceless.

NARRATOR: Yeah, he's quite the chap.

Now, anyone found anything else?

Margie, come and have a look at these.

NARRATOR: Oh, they look familiar.

Don't you think the poppies are lovely on there?

They are.

IAN WAITE: Right?

MARGIE COOPER: They are.

They're colorful dishes.

I mean, I mean what would you put in there?

MARGIE COOPER: Salad.

IAN WAITE: You've got a fruit bowl.

MARGIE COOPER: Yeah.

- I would have that.

- Would you bid for that?

- Yes.

I would bid for that.

Well do you want to speak to the man then?

Well yeah.

I mean-- yeah.

For both pieces?

I think so.

I think both would be nice if we sell them as a job lot.

NARRATOR: Ticket price is still 116 pounds.

What's the best price Richard could do on behalf of the dealer?

So for those two pieces, the very best would be 80 pounds.

Yeah I quite like those.

80 pounds.

I mean-- OK, well you do it.

Let's do it.

--they might not make anything, but they look nice.

NARRATOR: Well done, folks.

145 pounds gets you the two 1960s dishes and the railway signs.

And like that, your shopping is done.

Which leaves Zoe and Paul the run of the shop.

PAUL LAIDLAW: I'll tell you though, I am interested in-- if it's what I think it is, and it is.

Ms. Former presenter on radio one and still a big thing.

ZOE BALL: So is this an early radio system?

PAUL LAIDLAW: Yes, it is, ZOE BALL: It's wonderful, PAUL LAIDLAW: Well this is a crystal receiver.

It uses a little galena, which is lead oxide crystal, which is in here and this little wire here termed "the cat's whisker" makes contact with our galena crystal.

It makes the circuit-- don't ask me to explain the science behind it-- not till you tune the thing in.

Fiddling about like that.

And it dates to-- this is the early years of radio broadcasting is in the 1920s.

Yeah.

So power is in the front parlor with this on your ear.

They're quite heavy.

This is the world service calling with a very strange accent.

I know, because nobody ever spoke like that did they, really?

PAUL LAIDLAW: Oh, they did.

Hello, Westminster 321.

Do hurry, Harry.

I'm not receiving you.

Wow, that's where it all began.

PAUL LAIDLAW: Isn't it?

ZOE BALL: I know.

Price tag says, 60 pounds.

I think the collector-- that's a good buy.

From our point of view, it's the high end of where I think it could end up.

And that's before it auctioneers costs.

NARRATOR: So some work to do on the price.

We haven't seen Richard for a while.

RICHARD: So he's got 60 pounds on it at the moment.

Again, I can speak for him.

So I know he'd do it for 45.

45.

Confer, confer.

PAUL LAIDLAW: Do you know that is the bottom line, or do you just know that's where you can go at the moment with it-- I know that's where I can go at the moment, but what sort of price were you thinking?

I'd be happy at 35 and 45.

That's OK.

I'll take the risk.

It must be a dear friend.

Well, and also, I want you to win anyway.

Don't-- Oh, Richard!

I knew I liked you.

NARRATOR: Taking sides, Richard.

The 1920s radio hails the end of shopping for this road trip.

So time to own up to what you bought.

ZOE BALL: Ta-da!

PAUL LAIDLAW: Oh!

MARGIE COOPER: Oh, this looks very Laidlaw, this.

ZOE BALL: Oh, does it?

Has he been influencing you?

This is like a Laidlaw-- It doesn't look like you've picked any of these, Zoe.

Well what do you want to know about first?

- That.

- This?

The cutlery.

Open the box-- Is it a shoe box?

ZOE BALL: --and see.

MARGIE COOPER: Bowls!

Oh, that's nice, isn't it?

They make good doorstops.

[LAUGHTER] They're great doorstops.

So how much did you pay?

PAUL LAIDLAW: How much do you think we paid?

25 quid.

That was spot-on.

PAUL LAIDLAW: Yes.

ZOE BALL: Spot-on.

All right, next.

Cuff links there?

MARGIE COOPER: Well, carefully.

Oh, here we go.

He's building everything up.

PAUL LAIDLAW: Who made them?

Ole Bent Petersen, major art design, with [INAUDIBLE].. MARGIE COOPER: Well done.

Oh, those are nice.

Very nice, very special.

PAUL LAIDLAW: A favor.

IAN WAITE: Wow.

My dad lost so much money when he did this that we thought that maybe it's better just not-- with the balls, you know, maybe we should spend a little less.

You're not really playing the game, are you?

I mean, the whole game is to spend as much money as possible.

Like-- - Well, come on then.

Show us what you've got.

IAN WAITE: We were looking at 80 pounds per item.

Shall we?

One, two, three.

MARGIE COOPER: Chuck it.

Right.

ZOE BALL: Oh, wow.

Where-- [INTERPOSING VOICES] MARGIE COOPER: Fire away.

IAN WAITE: We've got an array of things that look very colorful, don't you think?

And interesting.

ZOE BALL: That's actually caught our eye-- MARGIE COOPER: Yeah.

- --earlier today.

IAN WAITE: We got it-- [INTERPOSING VOICES] ZOE BALL: And he wanted-- what was it?

What did he want originally?

PAUL LAIDLAW: Just over 100.

Yeah, yeah, OK. Not a bad price.

MARGIE COOPER: Yeah, that's attractive.

This is my first purchase that we made.

It's a 19th century palette.

Oil-- ZOE BALL: Artist palette.

IAN WAITE: Yeah.

Did it belong to Turner?

What do you think about that?

MARGIE COOPER: So decorators-- PAUL LAIDLAW: It's quite generic.

It's, you know, everywhere.

IAN WAITE: How much did we pay?

Oh, we'll enjoy this.

Six quid?

That's too much.

No, no, no, no.

ZOE BALL: 60 quid?

PAUL LAIDLAW: 60 quid?

What-- 60 quid!

Did it come with his ear?

But seriously, I like what you've bought.

[INAUDIBLE] ZOE BALL: You sound surprised.

This will be an interesting auction.

Yes.

And we had fun.

Yeah, we've had great fun.

And you've learned to dance.

What more could you want?

It wasn't long enough.

No.

I could do it another hour.

Come on, then.

We'll give you another hour's lesson.

NARRATOR: Time to stop dancing around the subject.

What did they really think?

IAN WAITE: They had a lot of masculine items, didn't they?

They didn't spend very much really.

Well, that's the way, you know, you can't spend money for the sake of it, can you?

Well-- I think the cuff links, I've definitely made profit.

They bought the lava ceramics.

You weren't keen.

You're not worried about those at all, are you?

What did they pay?

80 pounds at the end of the day.

I am not in the remotest bit worried about the lava wares.

There's one or two things of ours that I'm worrying about already.

Like the palette.

The palette.

The palette!

What the-- the palette!

- I know.

I'd be quite happy.

We've had a great time.

I'm very happy.

I think we had a fantastic time.

It's anyone's to win this.

It's going to be interesting.

But we're winning.

NARRATOR: Well it won't be long till we find out.

After a delightful leap and bound across the Southwest, our pairs are heading East for an auction in the Hampshire village of Selborne.

But are they still feeling confident about the lots they've bought?

Do we have to accept now that our items may not fetch very much money at all?

IAN WAITE: Well, I'm fully prepared for that.

Without Paul, it might have been quite interesting to see what I would have bought.

A Miss Marple cape and a bag, as a matching bag, is what I was looking at.

But I don't think-- Oh, I would have actually bought that.

NARRATOR: Today's sale is taking place at Hannam's Auctioneers.

Fingers crossed the people of Hampshire are ready for our celebrities and their lots.

Finally, here they are.

Good morning.

[INTERPOSING VOICES] MARGIE COOPER: Isn't it?

ZOE BALL: It is.

And your partner.

[INTERPOSING VOICES] IAN WAITE: Look, we've got the sun for this.

It's gorgeous.

I think it's awesome.

Come on then.

IAN WAITE: Yeah, let's go.

NARRATOR: Let's remind ourselves of what they bought.

Zoe and Paul picked up five auction lots, parting with a meager 109 pounds from their budget.

Ian and Margie threw caution to the wind, spending 300 pounds on their five auction lots.

But what does Auctioneer Harry Hanna make of it all?

The teacup set might be a struggle.

It's made in the Darby style, but made on the continent in the late part of the 19th century, and really a little unfashionable.

20 to 40 pounds maybe.

My favorite lot are the cuff links.

I think they're very stylish and commercial.

He's a good maker, and they should do well.

NARRATOR: With an expectant online audience and a full sale room, it's time to get things underway.

It feels like we're just about to go on to the dance floor.

It really does.

Doesn't it?

Abso-- actually, I think we should all hold hands.

IAN WAITE: Yeah, lets hold hands.

NARRATOR: Right, our opening lot was Ian's first purchase, the painter's palette.

35 pounds is bid on commission.

45.

55.

60 your bid, and I'm out at 60 pounds.

[INTERPOSING VOICES] HARRY HANNA: 60 pounds in the room, standing.

On my right.

60 pounds.

Five anywhere?

You're out online.

Commissions out.

Fair warning.

60 pounds and selling at 60.

Isn't that what we paid for it?

Yeah.

You didn't lose any money.

NARRATOR: Not a flying start, but better than they might have expected.

[INTERPOSING VOICES] I'm shocked.

I'm shocked.

It looked gorgeous.

NARRATOR: Concentrate on your own quirky purchases.

Zoe and Paul's lightning conductor is up next.

Nice little novelty piece here.

And I have bids of 5, 10, 15, 25 pounds is bid.

Up 25 pounds.

[INAUDIBLE] HARRY HANNA: 30 pounds, 35, 38 pounds your bid.

Commissions out.

PAUL LAIDLAW: Small profit?

Small profit.

That's fine.

Selling on the right at 38 pounds.

Hey!

PAUL LAIDLAW: We started well then.

We started well.

MARGIE COOPER: They started well.

Oh, it's such a thrill.

NARRATOR: Zoe and Paul are off to a great start as they strike a cracking little profit.

You're furious, aren't you?

The fury.

I'm fine.

We've got-- we've got lots more stuff in our back pocket.

NARRATOR: Time for Ian and Margie's dress ring.

55 pounds is bid.

55 pounds [INTERPOSING VOICES] For the dress ring, up 55 pounds then.

65, 70 your bid.

Commissions out at 70 pounds then.

It's your bid at 70 pounds third row.

Selling.

Commissions out.

Selling.

70 pounds.

NARRATOR: That's a rather good profit for the ring.

Well done.

Small profit.

Well done.

NARRATOR: Looks like Margie's mastered the high-five.

Time to see if Zoe's haggling will pay off.

It's the gentleman's hairbrushes.

And 5, 10, 15, 20 pounds.

20.

25 on the phone.

IAN WAITE: It's not one of your deals.

ZOE BALL: 25, that's great.

35, 40.

MARGIE COOPER: I can't sell these-- 40 pounds in the room, your bid.

Selling again-- MARGIE COOPER: Good profit.

40 pounds and selling at 40.

Had a very lucky escape.

Double your money and some.

It's amazing.

It feels good.

That feels good.

NARRATOR: I'm glad you feel good, because that's a very nice return.

Could be your biggest profit.

It could be.

But at least it's a profit.

Well done.

NARRATOR: The auctioneer wasn't convinced by Ian and Margie's next lot, but will it come good?

15 pounds and 20 now.

Oh no.

15 pounds, 18 at the back, 20 pounds, 22, are you sure?

25.

They're saying sure.

Oh crikey, get there.

--the net.

I'll take two.

35 on the nets.

ZOE BALL: Oh, whoa.

Damn.

[INTERPOSING VOICES] PAUL LAIDLAW: Oh, no.

No, yeah.

42, 45, thank you anyway.

45 pounds, and net bidder at 45.

NARRATOR: Well, it got there in the end.

A small profit keeps them in the race.

I'm not sure if I'm livid, if I'm relieved for him.

I'm so confused.

I don't know if I can handle this.

NARRATOR: Pull yourself together, Ball.

Paul's cuff links next.

Look how excited you are.

Come on.

I'm thinking they're going to do well.

- Do you know something?

- Yeah?

I'm not even going to wish you good luck, because you don't need it.

You don't need it.

[INAUDIBLE] and a bit of interest in these.

And I have three commissions.

Oh, three commissions.

HARRY HANNA: And 30-- That's good.

40, 50 pounds is bid on commission, up 50 pounds.

60 on the net, 65 with me.

People are on the net bidding on everything.

75.

(WHISPERING) Ah!

85.

Wow.

It's going to hit a ton.

Oh, make [INAUDIBLE] 90, I'm out.

90 pounds and selling, fair warning.

90 pounds at 90.

Even you made 85 quid.

85 quid.

That's good Yes!

Very good.

[INTERPOSING VOICES] Should we applause?

NARRATOR: A round of applause, a great find, and a stunning profit.

I'm not worried.

I've always been the bridesmaid, never the bride.

NARRATOR: Don't give up hope just yet, Ian.

Everyone saw them.

The colorful dishes are Ian and Margie's next lot.

30 pounds bid for the two lots.

35, 40, 45 you're bid.

Up 45 pounds, 50 anywhere?

Commissions out.

Oh, still a bit more.

At the back selling.

Fair warning.

Up 45 pounds, last chance at 45.

NARRATOR: That is a tough one to take.

Someone got a real deal for those dishes.

I'd have bought it.

Look at that mean girls, with the mean girls.

NARRATOR: Can the vintage radio broadcast a victory for Zoe and Paul?

10, 15, 20 pounds is bid.

Five I'll take.

At 20 pounds.

Five anywhere?

Oh no.

35, 38, 40 is your bid.

Oh gosh.

Profit.

Profit, that's profit.

Not expensive, but profit.

Commissions out at 40 pounds.

NARRATOR: A small profit for the radio gives Ian and Margie a chance for the comeback.

That's a disappointing profit for you, isn't it?

NARRATOR: Don't rub it in, Margie.

Now, Ian secured a great discount.

But will it be a sign of a profit?

We've had interest in these.

And 40, 50, 60, 70 pounds is bid.

Five I'll take.

Mock you not.

I'm just going to laugh [INAUDIBLE] to my face.

HARRY HANNA: 5, 90.

One more.

95 is your bid.

At 95 pounds, 100 now.

Yeah, go on.

HARRY HANNA: 95, and selling your bid there at 95.

NARRATOR: The hammer comes down at 95 pounds.

Well done.

MARGIE COOPER: Hey, that was a win.

Very much.

Goodbye then.

Let's get out of here.

NARRATOR: Not just yet, Ian.

There's one final lot to go.

And it's Zoe and Paul's lawn balls.

And we have two bids.

And you can come in at 110.

120.

130 pounds is bid.

At 130 pounds, 40 now.

At 130 pounds That's it.

Fair warning.

Best of two and selling.

Oh, that's ridiculous.

HARRY HANNA: We've got 130 pounds.

That was a good deal.

This is so exciting.

NARRATOR: An incredible profit leaves Zoe jumping for joy.

Is there such thing as a Stewards Enquiry?

Because I think-- A recount.

NARRATOR: I'm the Steward around here, Ian.

And it's time to find out just how it all went.

Margie and Ian began the road trip with 400 pounds.

After auction costs they made a small loss of 41 pounds and 70p.

Giving them a final total of 358 pounds and 30 pence.

Zoe and Paul also started with 400 pounds.

After costs, they clocked up an impressive profit of 168 pounds and 16 pence.

Giving them a final total of 568 pounds and 60p, making them the winners.

Well done.

All profits go to children in need.

ZOE BALL: Oh, brilliant.

Oh, well done.

Will I still get a Christmas card?

Maybe.

MARGIE COOPER: So, farewell.

It's been lovely.

I've loved it.

Thank you.

End of your antiquing experience.

I know, but not necessarily the end of your dancing experience.

Cha, cha, cha, let's go.

ZOE BALL: You're going to drive me home then?

Let's go.

Cha, cha, cha.

Cha, cha, cha.

[INTERPOSING VOICES] MARGIE COOPER: I loved dancing with you.

NARRATOR: Time to hotfoot it off into the sunset.

IAN WAITE: OK. Bye!

MARGIE COOPER: Bye!

NARRATOR: But first, a quick phone call home.

Johnny, you there?

Dad?

It's Zo.

I've beaten Ian Waite.

And we got-- wait for it-- 168 quid profit.

Am I still allowed to come home for Christmas?

I love you, Dad.

Bye.

He took it.

He took it really well.

NARRATOR: Thank goodness for that.

Cheerio.

[MUSIC PLAYING]