NARRATOR: The nation's favorite celebrities-- Oh I just want to touch base.

NARRATOR: --paired up with an expert-- Boo!

NARRATOR: --and a classic car.

No hands!

NARRATOR: Their mission-- to scour Britain for antiques.

My office, now!

NARRATOR: The aim-- to make the biggest profit at auction, but it's no easy ride.

Oh!

NARRATOR: Who will find a hidden gem?

[HORN HONKS] I like that.

NARRATOR: Who will take the biggest risk?

This could end in disaster.

NARRATOR: Will anybody follow expert advice?

But I love this.

Why would you buy something you're not going to use?

NARRATOR: There will be worthy winners and valiant losers.

No, I don't want to shake hands.

NARRATOR: Put your pedal to the metal.

Let me get out of first gear.

NARRATOR: This is the "Celebrity Antiques Road Trip."

[THEME MUSIC] Yeah.

The leading roles in this "Antiques Road Trip" drama go to two shining stars of the acting firmament.

In the lovely 1988 Jaguar XJS coupe are Anna Chancellor and Holly Aird, who have been great friends since meeting on the set of "Kavanagh QC" more than 20 years ago, when they'd have been about two.

So how is the car, Anna?

I love the car!

I think it's amazing.

But the funny thing is-- She actually reminds me of you, the car.

The long nose.

Long and elegant.

I wasn't talking about your nose, but long and elegant.

But it's quite frightening as well to think that this is now actually a classic car, which kind of makes us classic women.

Yeah, we are.

Old.

We're old timers.

Yeah, babes.

NARRATOR: Well, low mileage anyway.

Forever remember this duck face in "Four Weddings and a Funeral," and as TV roles include "Pride and Prejudice" and "Mapp and Lucia."

Well, I think that if I had an antique shop, I-- I'd be completely bankrupt, because I would just buy things I really liked.

And I'd never be able to sell them.

No, they'd all be in your house.

ANNA CHANCELLOR: I just don't think I've got any idea how much anything is worth.

All I know is-- HOLLY AIRD: It looks nice.

ANNA CHANCELLOR: If it looks nice and I like it, I'll probably pay almost anything.

Yeah.

I don't feel competitive apart from the day I rang you and I said, would you be willing to do this with me?

And at the end of the phone call, just before you put the phone down, you went, I'm going to win.

And immediately, I was like, oh, my God.

I am going to win.

No, I am.

Prepare yourself.

NARRATOR: Holly's been on our screens since she was only 10 years old, best known now for crime solving and "Waking the Dead."

HOLLY AIRD: My mom actually sold antiques.

I mean, as you know, I live in Lewes, which is full of antique shops.

Every other shop, yeah.

I mean, I know beautiful things, but I wouldn't know whether they're worth it.

How good are you at taking advice?

I don't know.

You'd have to answer that for me.

[LAUGHS] Not very.

No, I don't know.

I think that will be-- that's a whole new experience.

NARRATOR: And the experts who will be offering that advice are in the 1969 Morris Minor.

Teaming up with Anna and Holly are auctioneer and expert driver Natasha Raskin Sharp-- [GEARS CRUNCH] - Oh!

NARRATOR: Oh, dear.

And valuer Margie Cooper.

[GEARS CRUNCH] Getting worse!

[MUSIC - EURYTHMICS, "SISTERS ARE DOING IT FOR THEMSELVES] Sisters are doing it for themselves.

I wonder what they're going to be attracted to, these ladies, because I wonder if, as actresses, they're going to be drawn to the more prop-y antiques, if that makes any sense.

The things that make a big splash, that they can imagine on the stage or on a film set.

Or they might go for a girly bit of jewelry.

Oh, they might.

We can't get too girly, though, because there are four of us.

We can't get too girly.

Oh, why not?

We might have to do a Phil Serrell.

I'll come back with 14 iron girders and a pig's trough.

NARRATOR: A pig's trough?

Oink, oink.

With 400 pounds each in their pockets, our teams are hitting the road in the Home Counties south of the River Thames at Molesey, setting course for auction in Wellingborough.

Good morning.

Hello.

Well, you got a posher car than we have.

I think it says it all.

It says it all.

Good morning.

Natasha.

Nice to meet you.

You too.

I'm Margie.

Yes, pleased to meet you.

Hello, hi.

Good morning to you.

OK.

Thank you for bringing the sunshine.

I know.

Any time, feel free.

What a day for us.

I know, it's so beautiful, isn't it?

We got lucky.

And I'd like to pick your brains about period drama.

So may I come with you?

- Yes.

- Thank you.

Get in, And I'll tell you all the inside info.

Would you like to drive, Holly?

I would love to drive.

There you go.

[MUSIC PLAYING] Hey.

NARRATOR: Partnered up, they're ready for the off.

And the first stop of this road trip takes both teams to shops on the south bank of the Thames in Molesey.

The prosperous calm of today belies a more violent past when, during the regency, this Surrey town was famous for bare-knuckle prize fights.

Hopefully, there'll be no fisticuffs today amongst our antiques rivals.

So, do you think the Holy will take instructions from Margie?

I wonder.

I don't know if I'm going to take instruction from you either.

[BOTH LAUGHS] I like the sound of that.

Yes.

We're going to be very troublesome, Holly and I. NARRATOR: Oh, dear.

Anna and Natasha are beginning their quest for auction gold at Hampton Court Emporium.

Hi.

NARRATOR: There's oodles of stuff here, so what tickles your fancy, girls?

I like these, a lot.

Why?

I like the color.

And I just think that's so sweet.

Is that a thermos?

It is a thermos, yeah.

Do you screw that in?

I guess so.

Oh, no, it's more for on your table.

I'd love that on my breakfast table.

Green Thermos-- With milk in one and orange juice in the other.

It's not a screw.

It's more of a plug.

OK, um.

Look, it says "rare colors."

Rare color.

I'll bet it does, yeah.

They're trying to sell this.

Trying to get this out of the shop.

I mean, aren't those gorgeous?

Were you a family that used to go around in a caravan?

No, but I wish we had.

Do you know what else they could go with?

What could they go with?

Oh, my days.

I like that very much too.

Are you looking for a nostalgia for a caravan holiday that you never had?

- Yes.

Is that what it is?

Yes.

But it's interesting.

It's 300 pounds.

It's the same seller, Louise.

300 pounds?

No, thank goodness.

Is it 30?

It's 30.

But seriously?

I don't know.

I don't know.

It's up to you.

If you want to make a selection of, I guess, mid-century traveling items.

Yes.

Mid-century travelling items.

Yeah, I'm certainly thinking about it.

- OK. - Who is the boss?

You or me?

Definitely you.

Definitely you.

Phew.

Let's get that right.

100% you.

- Good.

OK, that's how it should be.

OK, should we split up?

Yes.

NARRATOR: Meanwhile, just down the road, Holly and Margie are beginning their shopping at Bridge Road Antiques.

Here we go.

Is this it?

- This is it.

Ho-ho!

NARRATOR: Stand by.

Hello.

Hello.

Hi.

How are you?

Nice to meet you.

- Hello.

How are you?

Nice to meet you.

So.

Yeah.

A lot of fur.

Yeah.

It's too hot today.

It's way too hot today.

Got lots of stuff, though, haven't they?

MARGIE COOPER: Yeah, yeah, yeah, yeah.

NARRATOR: What will attract our magpies here?

They're very nice.

Right.

Yeah.

I quite like that.

Do you?

It's quite pretty.

It is quite nice, isn't it?

Yeah.

The metalwork has gone terribly rusty.

48, that's not a bad price.

No, it's not.

We'll have words about it.

I think we should have words about that.

Yeah.

Right, let's put it down.

NARRATOR: Let's leave them to browse on.

How are Anna and Natasha doing?

[MUSIC PLAYING] What's Natasha found?

What do you think of this woodcut?

I know you've got a good guy-- a good guy?

A good eye for a picture.

Yeah.

This lady is wearing the same dress that you're wearing.

NARRATOR: It's a woodcut print depicting the Catalan Circle Dance, the Sardana, an expression of regional identity which fell foul of the Franco regime.

And it's now become this fierce thing of national pride, people will gather in Barcelona nightly with a live band to do La Sardana, which looks really simple, but it's quite a fancy-footed little dance.

And look how gorgeous it is.

So we know it's Spanish.

I presume it's a Spanish artist.

Love this color, the green on the skin.

What do you think?

That's a wood cut that's been colored in?

Exactly, a wood cut in colors.

And I just think it's got a certain style to it.

I love the palette.

I love her dress, and I love the movement.

So 49 pounds, if we could, really, come on.

Give us a good deal.

20 pounds, I think we should make a profit on that.

NARRATOR: Time to summon the dealer, Lynne.

Anna, you're in the spotlight.

So would you accept 20?

Oh, no.

And why shouldn't you?

I'm so sorry, I wouldn't.

What deal would you do us for that?

I would do 35 for it.

ANNA CHANCELLOR: 35.

OK, great.

Fair enough.

LYNNE: OK.

It's normally 10%.

It's a good chunk.

35 is quite a good chunk.

OK. OK, so I definitely think we should make a purchase.

LYNNE: OK. NARRATOR: Excellent first performance.

Well done.

Yeah, yeah, yeah.

I like it.

One down, four to go.

Yeah, well done.

NARRATOR: Meanwhile, are Holly and Margie reaching their final act?

I quite like those two paintings.

Not mad about the frames, but I think the paintings are nice.

They're fairly local scenes.

And they're oils, aren't they?

Yes, they are, yeah.

MARGIE COOPER: You like those?

I think they're pretty.

MARGIE COOPER: So roughly, what are we talking about?

For us?

They can be 40 pounds for the two.

Right.

Look at her little face.

I know.

Not bad.

You don't show that.

You go, oh, right.

That's really bad.

No, that's really good.

That's not enough.

That's really good.

I'm really bad at haggling.

I'll give you 100.

You don't need to haggle.

Yes!

Fine, done.

NARRATOR: Steady on.

That's cute, isn't it?

Would that fit in somebody's house?

Yeah.

NARRATOR: Show us how the professionals do it, Margie.

There's a string but no ticket.

It looks Georgian, but it's not.

I don't think it's Georgian, but it has got some age.

You know have bad furniture is.

I do know how bad the furniture is.

It's bad.

It's bad.

Well, how bad would 20 quid be?

I'd be happy with that one.

But, Holly, no, I don't think that's enough.

Is that better?

HOLLY AIRD: Am I improving?

Sue, another question.

We saw a really nice light that was sort of a bubble lamp.

What's your price on that?

That's me haggling, by the way.

SUE: 30.

Oh.

Oh, see, I was really pleased with that.

SUE: Yeah, she was really pleased with that.

I'm just following.

I'm following.

SUE: Can we lose you?

Can we lose you?

30 quid.

Yeah.

Just imagine them holding it up in a sale, a general sale.

Listen, did you hear that?

Is that the best you can do?

Oh, it is.

[LAUGHS] Right.

Well, look, you're the boss.

Now-- OK, so hang on a minute.

Look behind you here.

Oh, that looks interesting.

MARGIE COOPER: So shall we have a look at that?

HOLLY AIRD: OK, let's have a look at that.

MARGIE COOPER: And then we've got a few choices.

So what is this?

This is-- MARGIE COOPER: This is rather splendid, isn't it?

ANNA CHANCELLOR: Oh, my god.

It does something.

MARGIE COOPER: It goes over the bed, doesn't it?

SUE: I don't think it is over the bed.

You're carrying your tea and then you get to where you're going, and then you press the spring and the legs come out.

That's clever, isn't it?

I really like that.

NARRATOR: The ticket says 150 pounds.

But what is the really light price?

The really light price on that-- The really, really light price.

--would be-- I'm scared.

4 pounds 50.

No, you could add another-- it would have to be 50 on that.

NARRATOR: 50?

Well, that's generous.

- 50 quit, yeah.

- Well, that's fine.

- Yeah.

- Yeah.

It's galleried.

I really like that.

I really like that.

But, you know, it's not down to me.

No.

And I don't want to-- No, I like that.

I can imagine other people liking it.

NARRATOR: And the shopping spree doesn't appear to be over yet.

This is a lamp made from a bronze propeller that Sue is struggling to lift.

Really heavy, you OK?

Thank you, yeah, got it.

Oh, my god, it is heavy.

NARRATOR: And it doesn't appear to have a price tag.

OK?

Yeah, thank you.

MARGIE COOPER: So what are we talking about?

The very best on it would be 30.

Well, that's-- that's-- I mean, I don't like it.

I don't like it, no.

But I think that's got a chance.

- OK. - Do you think?

I think it has.

I think that's got to be a defo.

OK. Oh, wow, OK.

I do.

And then I sit there and look an idiot-- When it gets 4 pounds.

No, OK.

I just think that that's a good buy.

OK.

But I hope I'm right.

So now we've got to make another.

We've got to make a decision.

NARRATOR: Decisions, decisions.

Here's your plan.

I suppose it could be 25.

25.

Oh, you want that, don't you?

She really wants that.

Yeah, she does.

ANNA CHANCELLOR: Thank you.

And then the propeller, I think, we think is going to get-- MARGIE COOPER: Hopefully.

Hopefully.

Yeah, the mock-Georgian stool there which, is a great price and it's in really good condition.

Yeah.

I think that's going to be a-- This is a thing, this table, this tea table with the legs that come out, it's quirky.

Yeah.

But I just think-- It could be yesterday's antiques, unfortunately.

It could well be.

OK.

So I think we'll just go for these three, then?

Yeah.

Yeah.

Perfect.

Thank you.

And the painting's no, thank you.

But that's the deal done.

MARGIE COOPER: Phew!

So we need to give you some money.

And I make that 25, 30.

Hang on.

Hang on.

I can't leave it.

You can't leave the table with the legs?

No, I can't.

No, I'm glad you said that, actually.

Can't leave it.

So what's going to go, then?

I think we should-- That's got a fiver in it or a tenner.

So the stool is gonna go.

We're gambling, but I can't leave it.

I think you're right because I think that's a fun antique.

Yeah.

So how much do we owe you?

OK. 50, 25, 30.

105.

OK, here we go.

10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 110.

So you need-- 5, please.

Wonderful.

Thank you.

Thank you.

NARRATOR: Nice start, girls.

Well done.

Meanwhile, Anna and Natasha are already making tracks to their next shop.

ANNA CHANCELLOR: I do have one antique or two.

Do tell.

That my great-great grandmother, maybe even one up, she worked as a sort of PA for Burne-Jones.

Do you know he was?

- No.

A Pre-Raphaelite.

Oh, gosh!

Yeah, yeah, yeah.

I thought that was a film named Burn Jones.

No, Edward Burne-Jones.

He was a Pre-Raphaelite painter.

And she was not a muse?

No, I think she might have been a bit of a muse too.

Oh, wow!

Although he made all the women look the same.

- Flaming red hair.

- Yes.

Yes.

Oh, fantastic.

Oh, wow, they must be conversation starters.

NARRATOR: Indeed they must.

10 miles further south into Surrey now to Ashtead, where Anna and Natasha are expected at The Attic.

They're unlikely to find any Burne-Jones tapestries Not that they could afford them with the 365 pounds they have left, but this place looks promising - Gary?

- Yes.

Pleased to meet you.

Anna, yeah.

And this is-- Tasha.

Natasha.

Lovely to meet you.

So I'll leave you to have a look around and give me a shout if you need me.

No, before you go, Gary-- Yes?

At a cursory glance, I can see there are no prices on anything.

So what's the deal there?

Oh.

Is everything free.

Not free, unfortunately, no.

But I know what at all costs, so if you just ask me, I'm very sensibly priced.

NARRATOR: But will our ladies be sensible buyers?

[SPLUTTERS HORN] Anna, don't blow your own trumpet.

I mean, seriously.

How are we going to do it?

Well, what are your first impressions?

There must be something that catches your eye straight off the bat.

I quite like those lusters, did you call them?

Are they called lusters?

They are.

Good work.

Those are lusters.

ANNA CHANCELLOR: And what are they for?

Are they candle holders?

NATASHA RASKIN SHARP: Exactly.

Very Victorian.

They're lit from the inside and therefore, they catch the light.

Because look at these drops of glass coming down and all that effect is refractions of light and going across your large dining room, of course.

I think that'd be nice, don't you?

NATASHA RASKIN SHARP: Beautiful.

But Anna, honestly, these are always so expensive.

I like expensive.

Oh, good.

Well, not today.

Are they really always so expensive?

Yeah.

So there you are.

They're lustrous.

So what would you suggest Gary would want?

I think he'd be asking, like, 300 pounds.

Really?

But it depends.

I don't know.

There's no price on anything.

Like he said, he knows what he paid for them.

NARRATOR: The lusters are a possibility, then.

What else?

Should we start outside?

Yeah.

Because so often it's raining outside.

It's boiling out here.

Yeah, yeah.

Don't start.

Let's get back in.

[LAUGHS] NARRATOR: And the play wot we writ today is the importance of being decisive.

Tash?

Mm-hmm?

What was that thing?

NATASHA RASKIN SHARP: It's a revolving tabletop bookcase.

It's so sweet.

So you go to the library.

You get the text that you're looking to work with, and then you keep them all tidy on the table.

Really?

It's for a library?

Putting them in the bookcase.

And then you just spin them around as and when necessary.

And I think it's really sweet.

It's on a quadripartite base.

It's got four legs.

Quadripartite?

One of my favorite words.

And then we've got-- Beautifully delivered.

But this here is poker work, so this is done with a hot poker to brandish in that design.

It's not the most finely produced piece of wood.

Someone has made this low-budget, low-key, handmade design, and I think it's part of that arts and crafts, getting away from the mass-produced element of things and bringing it back to basics.

Is that part of it, that one, that thing?

Well, it's also poker work, but I don't think it's part of it, no.

It says something around the-- what does it say?

- I don't know.

What does it say?

- You have a look.

Right, OK. And to write something-- oh, my days.

ANNA CHANCELLOR: What does it say?

"The perfume stays, although the rose be dead."

[DRAMATIC ORCHESTRAL STING] What's that from?

Couldn't tell you.

Life itself.

You could fill it up with rose petals.

NATASHA RASKIN SHARP: You could, you could.

Potpourri.

I mean, the thing is, do you quite like that?

Yeah.

So I think this is quite fun.

I think that at an auction, you know, it's going to attract a bit of attention because it's not just a poker work bowl.

It's a poker work ball with the sort of macabre motto.

Great.

We'll ask Gary to take that down, shall we?

NARRATOR: This is looking promising, but there's more.

What about this?

I love this.

Do you know what's inside?

ANNA CHANCELLOR: Well, I'm going to guess.

Is it a camera?

A treasure, almost.

Oh-ho!

A Viewmaster, a stereoscope.

Made out of Bakelite, which is early plastic.

Oh, it's lovely.

Which doesn't melt.

Once it's been molded, you can't unmold it, which is why people loved it so much.

And that's what makes it a good sturdy thing because this, of course, would have been played with.

This is a 1950s American-- You would have been so mad about this if you're a kid.

Yeah.

I want to see the Grand Canyon.

Hold on.

I think I can offer you the Grand Canyon.

Denver, Arizona, Grand Canyon.

Sort yourself out.

Don't do it upside down.

How can I know?

Right.

I'm going to put Arizona back.

[GASPS] Oh, that is what the Grand Canyon is like.

Have you ever been there?

No.

It's incredible.

Oh!

What do you think?

Oh, it's beautiful.

I feel like I've been there.

Do you want to beckon Gary?

Gary?

You heard your name.

We didn't even say it very loudly.

NATASHA RASKIN SHARP: Gary, you're twitching.

NARRATOR: There are no ticket prices, but Gary is asking 70 pounds for the lusters, 70 for the bookcase and bowl, and 40 for the Viewmaster, a total of 180.

So how about if we took it all for 140?

150 and you've got a deal.

Oh, steady.

What do you think?

What do you think?

It's up to you, really.

I don't want to push you into it.

150.

145?

145, Gary.

OK Shake his hand.

Gary!

Gary, thank you so much.

NARRATOR: A fine haul from a bijou emporium.

Good show.

Thank you very much.

Bye-bye, love.

Thanks very much.

NARRATOR: The town of Chertsey in the borough of Runnymede is the next stop for Holly and Margie, our dedicated followers of fashion.

Margie stepped out on the catwalk in the '60s as a model.

Yeah.

And for actress Holly, dressing up is just part of the job.

I love clothes, anything to do with fashion.

Really?

Yeah.

I mean, I think in another world, I would have loved to have been a fashion designer or even better, I would have loved to have been a stylist.

NARRATOR: So today they're off to a special dress fitting at Chertsey House Museum with curator Grace Evans.

Hello.

Hi.

Welcome to Chertsey Museum.

- I'm Holly.

- Margie.

I'm Grace.

Hi, Margie.

Nice to meet you.

NARRATOR: The museum houses a magnificent collection of over 4,000 historical costumes.

The exhibitions reveal how changing fashions mirrored social and cultural changes in the lives of women in the past.

Today, we're turning the clock back to the 1770s.

What was a la mode for the Georgian?

Quite complex, very important to have a particular silhouette with stays or corsets.

Lots of padding and complicated-- Skirts.

Underskirts, petticoats, all sorts of things like that.

NARRATOR: Stockings and shoes had to be put on first before a lady was laced into her corsets because she couldn't bend properly once strapped in.

And after completing her outfit with a three-foot wig, theatrically adorned with fabrics, feathers, and flowers, she must have found it difficult to move at all.

Can I ask a really odd question?

How did they relieve themselves?

Well, exactly.

Very difficult, but they didn't wear underpants in those days.

No, women didn't wear pants at all.

That's a bit rude.

So it was a bit easier than you might think, and on long journeys or in sort of long sermons in church, they might use something called bordaloo, which is almost like a little gravy boat that you would tuck underneath.

Nice!

Like a Shewee?

GRACE EVANS: Yes, exactly.

NARRATOR: Drawers didn't appear until the early 19th century and took a few decades to catch on.

MARGIE COOPER: What if you are rich and poor, was there a big difference in how you would dress?

Yes, there would be, because, obviously, poorer people couldn't afford the types of clothes that the wealthy had.

But there was a very strong second-hand clothes market in the 18th century.

So poorer people were often being picked up for trying to emulate the wealthy in wearing clothing that was a little bit above their station, perhaps, so you would find that people might be dressing up, dressing to emulate their betters, as it were.

But you also have people in the theatrical world as well.

The 18th century is the time when celebrity starts in earnest.

We think of celebrities as something that is a modern phenomenon, but the people of the theater actually set fashions as well, and they were often quite elaborate and foppish.

And people followed that.

So, were you a trendsetter, then, Holly?

What?

In the 18th century?

[LAUGHS] I'm not that old.

The late 20th century.

NARRATOR: Time for Holly to slip into something a little less comfortable now.

A replica Georgian costume.

You start with the stays or corsets.

I'll be your dresser.

I remember, when I was younger, I used to do quite a lot of period dramas.

And I remember when I was 13, I wore my first corset.

And when I took it off at the end of the first day of filming, two of my ribs were broken.

- No.

- Yeah.

- That's horrible.

- You're joking.

- No.

- You cracked them.

They pulled it so tight.

Anyway.

So they must have damaged the health.

I wouldn't mind one now, though.

This is like a sort of old-fashioned Spanx.

GRACE EVANS: It's sort of, yeah, yeah.

You'd have your stays.

And then you would wear-- Can you hold it down the bottom?

That's the bit I want held in.

--a pair of hoops under-- This is bizarre to me.

This is sort of Kim Kardashian, isn't it?

It is.

It's making your hips wider.

Make yourself any bigger?

Because it makes your waist look smaller.

Yes, that's exactly why.

So it's all about waistlines.

It's about making you look narrow in the waist and emphasizing other bits of you to do that.

Have a petticoat and then you'd have a dress.

ANNA CHANCELLOR: So tiny.

I'm so glad you're doing this and not me.

It's very uncomfortable.

How does it look?

Is it a good look?

NARRATOR: Maybe not quite the right size, Holly.

MARGIE COOPER: It's so tiny.

I'm going out tonight.

[BOTH LAUGHS] NARRATOR: Hurrah for the 21st century, eh, girls?

And it's time to drive off to some 21st century rest and recuperation.

Tomorrow's another day, so nighty-night.

[MUSIC PLAYING] Rise and shine!

Time for our A-list ladies to rev up those elderly engines and hit the B-roads.

ANNA CHANCELLOR: Holly, oh, I think we've talked about this.

Do you remember when you had driving gloves?

HOLLY AIRD: I don't remember having driving gloves.

Were they black?

No, they were tan.

They were not tan.

I've never bought anything tan in my life.

I hate tan.

They had that slight netting thing up the top.

No, you're wrong.

You're thinking of someone else, babe.

No.

They had a hole at the top and then a clip around your wrist.

They sound rather sexy, I might get a pair, but I'm not.

I'm telling you, they would never have been tan.

NARRATOR: Oh, all right.

Have it your own way.

HOLLY AIRD: I'm really hoping for a good diva strop at the auction.

NATASHA RASKIN SHARP: I think I'm going to-- I think I'm going to throw it just so I can orchestrate a diva strop.

I'd love to see that.

I didn't see any sign of a diva in Holly.

Neither of them.

How cool are these ladies?

NARRATOR: Time to team up.

NATASHA RASKIN SHARP: Morning, ladies!

Good morning.

Good morning.

MARGIE COOPER: How does it feel behind the wheel?

Very nice.

Oh, good morning.

All right, well, we can board.

OK, let's go.

We're going to the same shop, are we?

Are we?

Yes.

Did you know that?

I hate that.

Why is it the same shop?

- Get in the car.

Go, go, go.

I'm going to get there first.

There in a Jag, it's not fair!

Quick!

We're away!

NARRATOR: So far, Anna and Natasha have splashed out 180 pounds on four lots-- a Spanish wood cut print of the Sardana, a revolving bookcase and poker work bowl, a 1950s Bakelite Viewmaster and a pair of table lusters, leaving them 220 pounds to spend.

While Holly and Margie saw the light and spent 105 pounds on a lamp in a bronze propeller, a bubble lamp, and an Edwardian mahogany tray table, giving them three lots and leaving them with 295 pounds in their piggy bank.

The small village of Badshot Lea near Farnham is the first destination for both teams, Anna and Team Holly this morning.

Who will be first to the beautiful barn of the Antiques Warehouse?

Oh, good morning.

[HORSE SNORTS] Oh!

That was so sweet.

I love horses.

I think he was wishing you a good morning.

Oh!

I love that.

Pffft!

NATASHA RASKIN SHARP: For the adrenaline.

That's a warm-up, you know, going on stage.

[SNORTS] That's to get your lips all like-- bl-l-l-l-l-l-lub.

NARRATOR: Looks like Holly and Margie have kept Anna and Natasha at the post.

Hi, I'm Holly.

Nice to meet you.

Nice to meet you too.

Margie.

And you are?

- I'm Hilary.

Hi, Hilary.

Quite a lot to look at.

HOLLY AIRD: Yes, there is a lot.

HOLLY: Please, will you?

HOLLY AIRD: Thank you, let's go.

NARRATOR: There's plenty here, from fine art to collectibles to memorabilia.

Where to start?

[MUSIC PLAYING] Oh, look.

Do you like these, Holly?

Rather-- What, this?

Rather wonderful, yeah, samplers, where the little girl learns her stitches.

Look at that.

"Maria Munns, her work, December, 1820."

MARGIE COOPER: Aged 12.

Yeah.

Very important-- HOLLY AIRD: Same age as my daughter.

To be commercially viable, they need to be a bit more color.

But she's done-- we've got a house.

Quite pricey.

MARGIE COOPER: It's 295, which is too much for us, really.

HOLLY AIRD: Yeah.

MARGIE COOPER: I always find those very touching, very moving.

Yeah.

NARRATOR: But, hark!

Is that the purr of a Jaguar?

Oh let's see what they've got their hands on.

Do you have a good feeling about this one?

Yes, it's lovely.

But quick!

They're here.

[MUSIC PLAYING] Look, perfect size.

I always find tea towels too small, especially when you wash them.

NATASHA RASKIN SHARP: But who's going to do all that ironing?

I don't know about that, but lovely soft linen.

Mmm!

And then I'm so bad at folding.

NARRATOR: Well, there are no Bafta's for laundry.

[MUSIC PLAYING] - Hey, Tash.

- Anna?

Yeah, look, look, look, look.

Look what I found.

The caravan.

One for traveling around Britain.

And green.

Yeah, yeah.

Very rare color?

No, not as rare as red, but still, green.

serene.

Look, it's cute.

1940s, they think.

55 pounds.

Do you who we can give it to?

Holly, when she's driving in her Morris 1000.

Because she's she's got the more-- shall I give it to her?

Should we pressure her into buying it?

Holly, you know, I want you to win as well.

Oh!

You can do-- you can stop off for a little picnic.

That's actually really sweet.

But look at the paper.

Vacuum flask.

And these were never used.

Are you going to buy it, Margie?

We're not, are we?

No.

We don't like the color green.

We don't like the color green.

We're not going to buy, it but thank you so much.

Not even for your Morris?

No.

[ALL LAUGHS] NATASHA RASKIN SHARP: We were just trying to help.

No, thanks.

We don't actually need your help.

We really appreciate it.

Cheeky!

NARRATOR: Moving on, time for some serious buying now.

What have you spotted?

I think you're going to think this is all part of very theatrical of me.

I love those buckles, those shoe buckles.

I think they're shoe buckles.

They could well be that.

Certainly, something gets threaded through the back, don't they?

- Yeah.

They're fab.

- Do you like them?

- I love them.

Do you?

Absolutely love them.

Who have you played who would have worn those buckles?

Well, when I did "Mapp and Lucia" for the BBC, we had this incredible costume designer called Yves Barre.

And you'd go shopping with Yves, and it's just like a dream come true.

It's not that he's interested in "clothes" clothes.

He's interested in costumes.

So Yves Barre, costume designer extraordinaire, would take those buckles, and he would finish a costume with them?

You might not even use it as a buckle.

Yeah.

You know, he could use it as a cravat stopper.

Oh.

Oh, my days.

Because Steve Pemberton had the most incredible cravats on that show, yes.

He was your foil on the show.

He was my gay boyfriend.

NATASHA RASKIN SHARP: They're quite baroque.

There's something baroque about them.

And I think they're fab.

They're paste, obviously.

But the style is excellent.

NARRATOR: Let's call Hilary over.

Hi, Hilary.

We're just admiring these Saks Fifth Ave Buckles.

They look older than they probably are.

Are they shoe buckles, would you say?

- Definitely, Yes.

- You think '70s?

Yes I would say.

Great.

You say '70s, do you?

Probably.

Really?

But as you're into buckles, I have got some very old-- Oh, show me.

I've got some very old cut steel ones, which are really old.

I'd love to see them.

Daniel's just going to get them for you.

Let's have a look.

And these are-- Oh, look at those.

That's really old.

That's cut steel.

Cut steel?

Really, to last?

Well, it's a cheap way of making things look sparkly and blingy.

Right, that's what I like, a bit of bling.

NARRATOR: Meanwhile-- What are these things?

They're rather lovely.

MARGIE COOPER: Yeah.

Ah, well, these have been in sets.

That's a nail buffer.

It's not.

Yeah.

For gentlemen's nails.

I thought it might be, um-- What?

You know how everyone's obsessed with their eyebrows now?

- Yeah.

So there's a tool that's like this and you just literally stamp on fake eyebrows.

Never!

Mind you, that would be a mono, wouldn't it?

NARRATOR: Lordy!

Perhaps Anna and Natasha are making more sense.

I mean, headway.

Could we do a buckle collection?

I'd love to.

HILARY: Comes to 185, the two.

NATASHA RASKIN SHARP: OK, 185.

So what what do you think would be your very best price on the whole lot?

The very, very, very best price?

As those are Saks, and they aren't antique, but they are sort of vintage, aren't they?

I could probably do 100 for the lot.

100 for the lot.

I think that's great.

Is that all right?

Well, I have had these a long time, and I don't have many one-legged customers, so.

I think 100 is great.

Thank you very much, Hilary.

That's very kind of you.

Thank you, love.

You are in my bad books.

100 pounds?

Anna!

100 pounds?

Oh, hello, Hilary, yes.

And will you toss those in for free?

Oh!

Oh, please, Hilary.

She's going to get so annoyed with me.

Come on, there is a limit.

Oh, 100 pounds for the lot.

Well, they're 65 pounds.

Oh, my days, my days.

Can we have the whole lot for 100 pounds?

Gosh.

I could do it for 120 for the lot.

She'll kill me for that.

105.

110.

My bosoms are coming out.

That's part of her haggling technique.

Yeah, yeah.

I've been telling her all week.

105.

Oh, all right.

Oh, thank you, Hilary.

Oh, wow, thank you so much!

This is my credibility.

NARRATOR: Oh, she's really catching on, isn't she?

Hilary, thank you.

So that's 100 quid.

Well, thank you very much.

And then there's another tenner.

Thank you so much.

And is it a 5 pounds change?

Gosh, yes.

Well spotted.

Hilary, you're up to my old tricks now.

[LAUGHS] Thank you so much.

- Thank you very much.

- All right.

Bye-bye, love.

Thank you very much.

Right.

Oh, they're going to glitter in the sun, Anna.

Well done.

NARRATOR: Meanwhile-- What is that?

NARRATOR: --something caught Margie's eye.

What is it?

Oh.

All right, looks military.

What's it say?

Lovely old field vacuum flask, 1940s.

Ah!

Oh, and it's in good nick.

It's in really good nick.

MARGIE COOPER: It is, look at that.

Gosh, they had probably had their soup in there.

I think that's quite good.

It's quite a safe bet, this one.

Well-- Who knows?

What is a safe bet?

Who knows?

What is a safe bet?

But if we could buy that for 30 quid.

NARRATOR: There's a 58 pound price ticket on this World War II issue food flask.

I wonder where it traveled, keeping the rations hot for our boys?

So, Hilary, we would like to purchase this.

We've got a figure in mind.

What was your figure in mind?

My figure in mind is-- a bit rough and ready, isn't it?

We'd like to pay about 30.

It does actually belong to my own cousin Derek, but I'm sure he won't mind.

NARRATOR: Almost half price.

Most kind.

Thanks very much indeed.

That's lovely.

Thank you very much.

Thank you.

Nice doing business with you.

Bye-bye.

NARRATOR: I'm glad someone finally bought a flask.

Now, how's our other pair getting on in that Jag?

NATASHA RASKIN SHARP: Have you driven a classic car before?

I've been in lots, because I'm often in period dramas.

Oh, of course.

But no, I don't, because actually, in "Mapp and Lucia," we had an amazing old Rolls-Royce, like a 1930s Rolls-Royce.

NATASHA RASKIN SHARP: It's a great story, isn't it, "Mapp and Lucia?"

She's hilarious.

Did you think it was fun playing someone sort of vile?

Yes!

The the worst behaved, the better to play.

Hard to play good.

Really?

Oh, yeah.

You have to be genuinely lovely to play good.

I'm to wicked!

NARRATOR: Well, they've detoured 14 miles north and to the Berkshire village of Crowthorne, and the imposing exterior of Wellington College, built in the 1850s in memory of the eponymous duke.

The college is of particular interest to Anna because it was here that EF Benson, author of the "Mapp and Lucia" novels, was born.

Benson's father was the first headmaster of Wellington College, and Anna and Natasha having a history lesson today on the subject of the Benson family with archivist Caroline Jones.

- Welcome to Wellington College.

- Thank you.

Good afternoon.

Is it as glorious in the inside as it is on the outside?

Bits of it are.

These doors are amazing, for a start.

They are.

Anna, don't shut everyone out.

Caroline, just grab her.

NARRATOR: Benson Senior was a clergyman, a favorite of Queen Victoria, who went on to become Archbishop of Canterbury.

He's responsible for the building of the college's beautiful chapel.

CAROLINE JONES: Benson was a big fan of the Gothic.

He thought that you couldn't worship God properly in any other style than Gothic.

And he was very involved in the design of the chapel and the detail, but he was very much honored and revered here, as you can see by the memorial to him up there-- NATASHA RASKIN SHARP: There he is.

CAROLINE JONES: --in the Benson aisle of the chapel.

The Latin inscription translates as, "To other people he was the Archbishop, to us, he was our master."

It's almost as if he was a father figure to the college, although a stern one.

NARRATOR: While Benson Senior cut a more authoritarian figure, his interesting and talented offspring flouted Victorian conventions in spectacular fashion.

They were an interesting family, the Bensons, weren't they?

They were very interesting family.

ANNA CHANCELLOR: They were famously eccentric, the children.

Yes, they all made a mark in different ways.

Two or three of them grew up to be writers and one converted to Catholicism.

ANNA CHANCELLOR: How many children was that-- six?

CAROLINE JONES: Yes.

NARRATOR: The Benson family seemed to have moved easily in society.

Older brother Arthur wrote the words to "Land of Hope and Glory," and EF Benson represented the country at figure skating, as well as having over 100 books published, ranging from short stories to biographies.

Well, EF Benson, what was his first name, then?

Edward Frederick.

Yes.

And he wrote "Mapp and Lucia."

NARRATOR: Penned in the '20s and '30s, the comic novels have retained following ever since, a more remarkable for their sympathetic gay characters at a time when homosexuality was illegal.

He just managed to hit upon "Mapp and Lucia."

It's probably quite a light concept for him.

And then it became this big hit.

Yes.

I wonder if the father was still alive when "Mapp and Lucia" became-- - No.

- He was long gone?

Yes.

How do you think he would have felt about "Mapp and Lucia?"

I know.

Gosh.

Yeah, I mean that is light-hearted to an extreme, isn't it?

But EF Benson did write a memoir of his early life when he was older, and he does write generally with respect-- And admiration.

--and admiration to both his parents, more so than his brother Arthur.

Records some quite interesting stories of how his father would tell him off and make him feel terribly guilty for minor misdemeanors when he was a little boy.

Well, he sounds like a terrifying headmaster, doesn't he?

He was.

The boys were frightened of him, definitely.

He was known to go white with anger when he had to beat the boy.

Oh, god.

You know Mr. Chips?

He looks down.

Oh.

It's really been fantastic to talk to you.

Thank you.

That's so interesting.

Thank you.

- Yes.

Thank you very much.

And thanks for being less stern than Benson would have been.

I try.

Thank you very much.

NARRATOR: Well, school's out for Anna and Natasha, but not for Holly and Margie.

They're off West to hook in Hampshire now for their final shop-- Eversley Barn Antiques.

This is their last chance to scoop up something special for the auction.

Go scoop.

[MUSIC PLAYING] I like that table.

I know you do.

But I think I'm getting desperate.

NARRATOR: Oh, surely not?

Time flies, but something will catch your beady eye.

What's this?

Oh, it's a pigeon clock.

A racing pigeon clock.

Oh, brilliant.

Never even heard of one.

MARGIE COOPER: Yeah, does that interest you?

Yeah, that's quite cool.

You think it's cool?

Just because I think, I don't now, I can see the boys liking that.

Yeah.

And it's not a bad price, is it?

HOLLY AIRD: 35 pounds.

Yeah.

Do they do it by computers now?

I have no idea.

Yeah, they do.

It's all computerized.

Don't ask me how they do it, but I think it's a fascinating hobby, don't you?

Racing pigeons, don't you?

No.

I really don't.

I wouldn't mind a racing pigeon.

Oh, those winter evenings must fly by in your house.

When yours gets theirs quicker than anybody else-- it's not brilliant case.

I literally Want to take you home.

[LAUGHS] NARRATOR: Time to talk to the shop owner, Hilary.

So I think we're quite interested in this pigeon clock.

HILARY: Yeah?

Original box.

ANNA CHANCELLOR: Yeah.

HILARY: And instructions.

MARGIE COOPER: Oh, right.

That's in case you've got a pigeon.

And have you had that for long or-- Not really, not very long.

So that's going to be what, nice and cheap and cheerful?

25?

HILARY: It could be, that one.

HOLLY AIRD: So I think we might go for that.

I think that's a bit quirky and fun.

Yeah.

It's cool.

Yeah, and I don't think there'll be another one in auction.

- OK.

So let's do it.

I'm going to take that.

HILARY: Thank you so much for your patience.

HOLLY AIRD: Thank you, Hilary.

NARRATOR: Holly has spent a total of 165 pounds, and that's the shopping basket full for this trip.

Now it's time for a little "Antique Road Trip" style theater, as we stand by for cutting up on the purchases our leading ladies and their supporting cast are taking to auction.

A gentle peel to reveal.

[ALL HUM IN ANTICIPATION] Oh!

Whoa!

Oh!

Oh!

NATASHA RASKIN SHARP: Don't forget these glossy beasts at the front.

HOLLY AIRD: Very nice.

Is that all we bought?

What do you mean, is that all we bought?

Are you not chuffed?

Very nice.

What's in that box?

Well, let me reveal to you-- an American Viewmaster.

Oh, nice.

Would you like to see the Grand Canyon?

It's actually not the Grand Canyon, I just realized.

Yeah, what do you think of our lusters, Margie?

MARGIE COOPER: Yeah.

These can do quite well, you know.

Do you like the bowl?

Yes, I do.

With inscription.

With inscription.

"The perfume stays, although the rose be dead."

Oh.

ANNA CHANCELLOR: That is for a library.

Oh.

ANNA CHANCELLOR: It's sweet.

What do you think?

Yeah, I'm impressed.

So should we-- do you want to do the reveal?

Shall we do it together?

OK. One, two, three.

Wow!

Oh, superior.

Oh, my days.

This is not what I expect.

You told me Holly was into modern.

She was.

Maybe you've got to buy what you see.

We like that, don't we?

Well, this, we like because it's quirky.

So it's a tray.

HOLLY AIRD: It Collapses.

MARGIE COOPER: When you flick those two bits their, legs come out.

You would use that, wouldn't you?

You would use that for cocktails or whatever?

We liked it.

It's a flask.

Yeah.

It's a thermos.

We were in that shop.

I love that.

We've discovered on this trip, Anna has a thermos obsession.

You've been the ones to buy the flask.

HOLLY AIRD: But it's in really good nick.

I love that.

MARGIE COOPER: 30 quid.

NATASHA RASKIN SHARP: This is quite cool.

MARGIE COOPER: When you're timing your pigeon in and out, before computers.

You're timing your what?

Pigeon.

You're flying pigeons?

I'm not flying pigeons, but somebody was.

ANNA CHANCELLOR: You're timing your own flying pigeon?

Yeah.

Yeah, they clock them in and they clock them back.

And it looks so cool.

I love all the things you got.

I love the light.

- I'm glad you like that.

- I love it.

Because I know that's probably not going to fetch any money, but I kind of loved it.

I like the bubble.

- So do I.

- Yeah.

25 pounds.

Was that 25?

25.

I really like that.

I like everything you've got.

Well, that's it.

So, we'll see you at the auction.

Well done, I think.

Thank you.

See you later.

Hopefully not too well done.

NARRATOR: But what do they really think?

I actually thought that what they bought was great.

Anything you're really jealous of?

- Yeah, all of it.

- All of it?

Oh, come on.

Oh, I just think it's like-- ours looked a bit dusty, didn't it?

Well, the grass always looks greener, doesn't it?

Does it?

But we have those green lusters.

And you love those.

MARGIE COOPER: I didn't like the lusters.

No, didn't like the lusters.

The Viewmaster, I think's OK. HOLLY AIRD: Yeah.

Oh, I like their thermos.

NATASHA RASKIN SHARP: How can they have bought a thermos?

Under our nose?

You know what, we gave them the idea when we showed them the picnic set.

Yeah, we're going to win.

With the wind behind us-- We're going to win.

Yeah.

NARRATOR: Well, we'll find out soon enough.

Having started out in Moseley, our thespian rivals and their expert entourage of have toured southwest of London before setting their compass north for Wellingborough.

The oldest building in this market town is All Hallows Church, which dates back to Norman Times.

Our antiques are of an altogether more modest age and will be sold today at Wilford's Auctioneers, who've been gavel-bashing here since 1934.

NATASHA RASKIN SHARP: I'm so looking forward to this.

Where are they?

NARRATOR: Well, the Jaguar stopped purring-- uh-huh-- and is currently asleep on a hard shoulder.

So our ladies have hailed a classic taxi.

So, we're off to the auction.

Have you ever been to one?

I've only ever been auctioned myself.

[LAUGHS] And then no one wanted me.

And then, Poppy, my daughter accidentally-- she accidentally bid for me, by mistake, and it was 600 pounds.

NARRATOR: 600 pounds?

Cheap at half the price.

Oh, come on.

Here they are.

Is that you?

I've missed you.

How are you, darling?

Right, here we go.

All right.

Let's get a seat.

NARRATOR: With that 400 pounds, Holly and Margie spent 160 on five lots.

Cheeky.

NARRATOR: While and Anna and Natasha spent 285 pounds of the 400 they started with on their five lots.

But first, what does auctioneer Tim Conrad think of our lady's purchases?

TIM CONRAD: Military field flask.

An interesting lot.

There are collectors of that sort of thing.

Certainly military items are more popular than they used to be.

So it could surprise us.

The little revolving bookcase and the bowl with a motto, my favorite lot, I have to say.

A bit of potential there.

Possibly 60 to 80 pounds, something like that.

But certainly, nice work and an interesting lot.

NARRATOR: Thanks Tim.

Great name.

Nearly showtime, ladies.

Front row.

This is cool, isn't it?

NARRATOR: First under the hammer is Holly's bubble lamp.

30 pounds.

Start me at tenner, then?

10, 12, whatever you like.

12.

We got 15.

18.

20.

And 2?

25.

28.

28 pounds over the back.

28.

One more, maybe?

30.

Back in at 30 and 2.

At 32 pounds.

Still there at 32.

Over the back, gentlemen's bid at 32.

32.

NARRATOR: 7 pounds profit, great start.

Hey, are you chuffed?

No, babe, that's amazing.

7 pounds.

I think I'm going to cry now when I lose.

NARRATOR: Next up, Anna's Spanish woodcut of La Sardana.

30 pound.

20, then?

Have we got 5?

25 pound, I have.

You're all out.

- Ooh, 25.

- 25 pound.

There 30.

In the middle, at 30 pounds.

It's over the back at 30 pounds.

At 30 pound, the woodcut, the lady's bid at 30.

It's yours at 30 pounds.

All done at 30.

We're going to make a loss.

NARRATOR: Oh, dear.

No dancing here with that 5 pound loss.

That's not a loss, is it?

35.

Holly, you're so excited.

I'm so sorry.

NARRATOR: It's Holly's Edwardian tray table now.

20, then?

20 buy that.

2 if you like, at 20 pounds.

It's over the back at 20.

I maiden bid of 20.

On the right there at 2.

25.

28.

NATASHA RASKIN SHARP: Oh, it's a battle.

All right, 28 pounds in the middle here at 25.

28 pounds, here at 28.

Down at 28?

NARRATOR: Well, it had legs, but not at auction.

A 22-pound loss for Holly and Margie.

Yes!

You're horrible.

NARRATOR: Next, Anna and Natasha's revolving bookcase and poker work bowl, the auctioneer's favorite.

Super little set, this.

Where do you want to be on two?

200 pound for them?

Go on.

Start it right now at 40, then?

40, do I hear 5?

40 pound and 5.

45 pound, it's on the book at 45 pounds.

Go on.

At 50?

And 5?

60?

And 5.

At 65.

It's in the front here at 65 pounds.

Well done.

You're right, Holly.

It does feel good.

TIM CONRAD: 75.

75 pound.

There's two of them, don't forget.

75 pound.

80, if you like.

80 pounds.

- Oh, my god.

- Stop it.

TIM CONRAD: 80 over on the right.

80 pounds there.

5, if you like.

80 pound on the right there at 80 pound for the two together at 80 pounds.

NARRATOR: A class act, and a 30 pounds profit.

Well done.

Yeah.

No, well done, actually.

How good is that?

NARRATOR: Attention!

Eye's right.

It's Holly and Margie's military field flask now.

TIM CONRAD: The military field flask.

Second World War I, there.

Tenner to start it?

At 10 pound, 12.

Lady's bid at 12 pounds.

15.

18.

20.

On the right at 20.

22.

25.

Come on.

28.

30 pounds.

30 pounds on the right.

30 pounds over the right.

One more might do it.

30 pound on the right there.

30.

It's about time you paid for something.

30 pounds, and done at 30.

NARRATOR: You win some, you lose some.

And some just break even.

That's all right.

We're going to lose.

No.

I loved that thing.

NARRATOR: Let's focus on the next lot now-- Anna's 1950s Bakelite Viewmaster and slides.

Where do you want to be with this lot?

20 pounds.

Start me at 12.

And 12.

What about that?

15.

15.

18.

20 everywhere.

And 2, 5.

30.

5.

In the middle of 35.

40 behind.

And 5.

45 in front.

At 45.

It's in front here at 45.

We're finished at 45.

NARRATOR: I see a five-pound profit there.

Well, Blow me down.

Well done.

NARRATOR: Holly's pigeon clock is next.

Will it fly?

TIM CONRAD: 1950s pigeon clock in the case.

It's got an instruction book, so you'll be all right, although I don't know how pigeons are supposed to read it.

Ohh!

TIM CONRAD: 40 pound there for the pigeon clock.

20, then?

20, then.

20, 2, do we like?

20.

20 down there for a pigeon clock.

2.

Add 22 pounds.

22 pounds over the back at 22.

22 pounds for the pigeon clock at 22.

And selling?

Oh, no.

NARRATOR: Oh, dear.

It's back to earth with a 3-pound loss.

No.

Well, somebody's bought it.

I've been way too cocky.

NARRATOR: Belt up now.

It's Anna's buckle collection.

We start at 40 pounds.

40 there, and 5.

5, 50.

5, 60.

5, 70.

5, commission's out.

At 75 pound.

It's way over the back at 75.

Someone left a bid at 70.

That's 75.

If you're all done with those, at 75 pound with the buckles and finished with those at 75.

NARRATOR: Oh, dear.

A 30-pound loss.

Whatever happened to vintage shoe appreciation?

That's not as bad as it could have been.

[LAUGHS] It could have been terrible.

NARRATOR: Maybe they'll switch on for Holly's propeller lamp?

Its next.

TIM CONRAD: Nice propeller.

Come on, boys.

What did he say?

Nice propeller, shame about the fitting.

I think that's very optimistic, sir, but we'll take that.

5 for the propeller.

5 pounds.

10.

How rude!

TIM CONRAD: 15, 20.

20 pounds there for the bronze propeller?

25.

30.

At 30 pound and 5.

40.

40 pound.

Down about 40 pounds.

Let's get a bit more.

Out there at 40 pounds there for the propeller lounge.

40 pounds.

You're done at 40 pounds?

NARRATOR: 10 pounds profit for Holly.

Well done.

Well done, you too.

Give me some skin.

NARRATOR: Last under the hammer, will Anna's Victorian table lusters light up the room?

Where do you want to be with these?

100 pounds for them?

Go on.

TIM CONRAD: Start me right down at 50.

50 pounds there for a pair of lusters.

There at 50 pound, I have.

I have 50 pound there.

5 to go.

I have 50 pound there.

5.

60.

5.

70.

5.

80.

One more.

TIM CONRAD: 5.

90.

Oh, my god!

At 90 pound in front here.

At 90 pound now for the pair of lusters there at 95.

95 pounds.

We knew that was going to happen, right?

TIM CONRAD: At 90 pounds.

All done at 90?

Well done.

92.

95.

98.

95 pounds out of the back.

95.

NATASHA RASKIN SHARP: Good auctioneering.

Well done.

NARRATOR: A dazzling 40-pound profit to end with.

Well done, girls.

I think it's close.

But you've won.

- Do you think so?

Definitely.

Oh, don't forget about commission.

Let's go outside and sort out the maths.

Yes, yes, yes.

Have you got your calculator?

Do it in my head.

NARRATOR: Well, the maths says Holly started with 400 pounds and after auction costs, she made a loss of 35 pounds and 36 pennies, which means that she finishes with 364 pounds and 64p in her piggy.

And Anna also began with 400 pounds.

And after saleroom costs, she also made a loss, but as her loss was 18 pounds and 50 pence, leaving her with 381 pounds and 50p, we declare that the award for the best performance on this road trip goes to Anna!

Well.

Well, we can't be too smug, because we all lost money.

We just loss less.

Can we just say, how much fun is that?

I have had so much fun.

I really have to thank you for having us.

It's a pleasure.

Bye-bye.

See you.

Adios.

Bye!

NARRATOR: And so the curtain comes down on our antiques drama, a tale of female friendship, fashion-- You've gone straight for clues.

Quite nice.

NARRATOR: --rivalry-- - Well, thanks very much.

We don't actually need your help.

We really appreciate it.

NARRATOR: --and fun.

That one would be a monobrow, wouldn't it?

NARRATOR: Ha-ha.

Bravo, girls!

Encore!

HOLLY AIRD: That was fun.

ANNA CHANCELLOR: It was great.

HOLLY AIRD: Have you learned anything?

ANNA CHANCELLOR: No.

[THEME MUSIC]