Celebrity Antiques Road Trip

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.

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.

Who will find a hidden gem?

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.

Yeah.

Today in the beautiful County of Surrey, we have two superstars of show business, long time friends, pop star, Chesney Hawkes, and television personality, Debbie McGee.

Chesney, the moment we met we always got on, but I've never been in competition with you.

- Are you competitive?

- I am.

Yeah.

Are you?

Really?

Well I am now that you've said you are.

NARRATOR: Chesney's behind the wheel of a Triumph TR6.

I used to have a car like this when I was-- it was my first big kind of crazy purchase when I made it as a pop star back in the early '90s.

I had a a Triumph TR3, same color as this.

- Yeah?

- Yeah.

So this brings back memories.

Although this one feels a lot more sporty.

NARRATOR: Chesney Hawkes shot to fame in 1991 with the hit single, "The One and Only" which spent five weeks at number one in the UK singles chart.

Nowadays, Chesney spends his time as a singer-songwriter in LA.

No hands!

I won't do the same thing.

No.

Please don't.

NARRATOR: Debbie McGee is a ballet dancer turned magician's assistant who spent 28 years performing alongside her husband, Paul Daniels.

To me, I think I'm going to go with the heart as far as my purchases.

Right.

Because we're going to have an antiques expert with us.

Yes.

So do we follow what they're guiding us or do we go with our gut instinct?

NARRATOR: Guiding them today, in this impressive Jensen Interceptor, are two inimitable auctioneers, Charles Hanson and Christina Trevanion.

Chesney Hawkes!

Chesney Hawkes.

I can't believe, honestly.

NARRATOR: Right.

Calm down, you two.

This could be my big break, Christina.

This could be my big-- you could laugh.

This could be my late, late, boy band break.

OK. No I mean it.

But if you're happy, Christina, would you mind if we almost pitch the men against the ladies?

Oh.

I quite like the sound of that, girl power versus boy power.

NARRATOR: These two need to hurry up.

They've left our celebrities waiting.

I'm so excited.

Look.

Hello!

Hi guys.

Sorry we're late.

Hello.

There we go.

Oops.

Hello.

Hello.

Hello.

Hi.

Lovely.

How are you?

Sorry we're late.

It was worth the wait.

- I'm very nervous.

- Can we hug it out?

Oh.

Yeah.

- Come on.

- Oh, Chesney.

[INTERPOSING VOICES] Oh, it's Chesney Hawkes.

So is it girl power versus boy power?

I'm all right with that.

We're all set, Chesney.

Are you up for the antics?

I am ready to rumble.

And then suddenly, Debbie disappears.

Here we go.

OK. You've got some Debbie lipstick on you.

Let me just get that, Charlie.

All right.

Thanks a lot, Chesney.

Touched by the Hawkes.

Let's go.

NARRATOR: Let's see where our intrepid antiquers are off to, shall we?

Starting off in Reigate, Surrey, they'll negotiate their way around the Southeast, before heading to auction in Ruislip.

So this is a competition.

And we want to win, don't we?

Yes.

The girls have to win.

Exactly.

C'mon, we've got to put those boys in their place.

So I know that Chesney kind of acted as if he wasn't competitive.

Yeah.

But I don't think anybody in show business isn't competitive.

Exactly.

You have to be, don't you.

So I don't think he's a brutal competitor.

Yeah.

I think he'll be subtle.

NARRATOR: Speaking of subtle.

If ever you want a wing man, or if ever you're looking to create a band-- Do you play an instrument?

No, no, but-- But you dance.

But I can get it out on a stage.

I can dance.

I'm available.

Because I've never been to LA, and I have to go out there.

OK. NARRATOR: Well it's not LA, but it is one of Surrey's oldest market towns, Reigate, and Old Post Office Antiques is Chesney and Charles's first destination.

Thank you for having us.

I'm Chesney.

It's nice to meet you.

Very nice to meet you.

And Charles.

- What's your name?

- Jill.

- Jill.

- Jill.

OK. All right, Jill Wow, Jill, you've got a wonderful booty of antiques.

Do wander through.

Do wander.

We will, indeed.

And I think, Chief, what you and I will do is get digging for victory.

Yeah, absolutely.

You know, digging for that all important-- I already saw a little thing, like the little chair in the window.

You got sharp eyes.

Yeah.

You're like a Hawkeye.

Oh.

Come on.

NARRATOR: This chair would have once been used by Victorian children to do their business.

- Why does it appeal to you?

- I don't know.

I don't think I've ever seen anything like that to be honest with you.

- No.

Why I quite like it is obviously, almost it's a very grand little child's, I suppose, a little potty chair, Jill, isn't it?

A potty chair.

Yes.

So you put the potty underneath it.

That's right.

Yeah.

I like it because it's got some age.

This on the ring-turned bannister legs and the stretcher would date to maybe 1890.

But of course it is a toilet really, isn't it.

Yeah.

So that doesn't appeal to you so much.

No.

I like it because it's interesting.

NARRATOR: Wipe your hands.

35 pounds.

Have you got the best price, Jill, on the chair?

My rock bottom, because it's so lovely and I like it 30.

30.

What do you think, Charles?

And that's a small plop down from 35.

NARRATOR: Oh, Charles, please.

Fine.

I like it.

I mean, we have got 400 pounds.

I'm happy to go along.

Yeah.

Go along with the price.

So I think for 30 pounds it's a fairly safe bet.

OK. Good.

You have yourself a deal.

Shake hands.

Sold.

Sold.

NARRATOR: Good deal.

Let's check in with Debbie and Christina who've motored their way to Betchworth, a village in the Mole Valley District of Surrey.

Goodness me.

This doesn't look like your archetypal antique shop, does it?

It wasn't what I was expecting.

No.

But, hey, sometimes-- ooh-- that looks exciting.

NARRATOR: This barn is rammed with ecclesiastical furnishings, furniture, fixtures, and fittings.

I wonder why they've sent us here.

Do you think they think we're angels?

Maybe.

Well maybe they think we need to redeem a few sins.

NARRATOR: Oh lordy.

I'm not sure this is quite the place to do that.

My concern is that we're going to a general auction.

So I think we meet we need to be probably slightly broader than buying something that is very very specialist.

Let's go for general appeal, I think, rather than something completely niche.

NARRATOR: Let's leave Debbie and Christina to browse and see what the boys are up to in Reigate.

Oh, look.

What we've got here.

Dueling banjos.

If I said to you these old warming pans of 1880, but if you were now rolling back to 1991, what might you just be playing?

I don't know what quite you're getting at to be honest.

NARRATOR: I think he wants you to sing the one and only.

Oh, dear.

It could be quite rare.

It could be the one.

I know.

- Oh, man.

- Sorry.

- Oh.

OK. Yep.

Yep.

OK. That's good.

I'm the one and only.

It is, isn't it?

I thought you were going to play it then.

Can we go back to silent browsing?

NARRATOR: Good luck with that, Chesney.

That's quite interesting.

Oh, right, so a weather vane.

Yeah, I really quite like that that.

It is a weather vane, and it is cast iron.

But what really sets it off for me is, look at that subject, can you see what it is?

It's obviously from a school, isn't it?

A-B-C. Yeah.

It's like a very stern schoolmarm up here.

How old would this be?

I'm hoping it's about 1920, and it's something, Chesney, with the wind blowing in the right direction-- that way.

Exactly.

You know.

It could do quite well.

Well she has it for 250.

It's a real gamble.

I like a gamble.

I like a gamble as well.

I like a gamble.

I like a gamble.

Maybe we could get her down a little bit more.

NARRATOR: Standby, Jill.

- Hi, Jill.

- Hi, Jill.

Yes.

Now so we've had a good look around.

Yes.

We've seen all sorts of treasures.

Yeah, we have our eye on one particular thing.

My weathervane.

Yes.

Lovely, isn't it?

I love it.

- Yeah Well that's a shame you love it so much, Jill.

Yeah.

I was hoping you'd say, it's got to go.

It's been taken up room in the shop for so long.

What will be the very, very best price for a humble man and my wingman here?

Yes.

Yes.

200?

What kind of price would a weathervane-- what would you be looking at?

Well it's the only-- it's the one only I've ever seen.

Oh.

Sorry.

Sorry.

NARRATOR: You just don't give up.

Do you, Charles?

Get back to it.

150?

Yeah.

Yeah.

Yes.

That's it.

Jill, would you come anywhere near-- Anywhere near 150?

150?

180.

Oh.

It's up to you, chief.

It's down to me.

It's a gamble.

Come on then.

We'll do it.

Thank you.

Give us a kiss.

Thank you.

So long.

NARRATOR: A gamble it is.

That's the weather vane and the potty chair for 210 pounds.

You all right there, mate?

Yeah, just about.

See to that, will you?

My new roadie.

It's a bit heavy.

NARRATOR: I think he was hoping to be in the band, Chesney.

Let's see how the girls are getting on over in Betchworth.

There's a lot of benches around here, aren't there.

Yeah, but I'm quite liking this.

I can see that in somebody's kitchen.

I do like that.

Quite a trendy color this, isn't it, the distressed kind of gray blue.

That's a bit random that that's in here though, isn't it.

I mean, it doesn't look church-like.

It hasn't got a drawer.

I love that color.

This is years and years and years of wear.

So many people try to replicate this wonderful sort of distressed look.

And it just always looks a bit forced somehow.

It looks a bit fabricated, doesn't it.

But this is actually genuine wear.

This is a table that has been used.

Is it quite-- OK, it's not that heavy.

But I think the thing that sells it to me is the price.

It's 55 pounds it's gone on it, which is a great start.

But this color.

I was actually thinking that we might get him down a bit on that.

Oh, Debbie, I'm loving your work.

Loving your work.

I think we can.

NARRATOR: In the right hands, this table could be brought back to life and be rather stylish.

Time to talk to shop owner Lawrence.

Debbie and I saw this table.

Table project.

CHRISTINA: Yeah.

Yes, project I think is the word, isn't it really.

Yeah, we were just a bit surprised at the price, weren't we, because there's a drawer missing and this panel's all cracked.

Not very good.

LAWRENCE: Indeed.

What could you do that one for, darling?

30 quid.

There you go.

CHRISTINA: What's your thoughts about 30 pounds, Debs?

DEBBIE: I'd buy that for 30.

CHRISTINA: Yeah?

- I would, yeah.

Shall we do it?

God bless you.

Do you think we'd sell it for more than that at auction though?

- I would hope so.

I mean, like you very rightly say, it's a project piece, but it's a trendy piece, it's in vogue right now.

I think 30 pounds is fair.

Yeah.

OK. 30 pounds, Lawrence.

You have a deal.

- Marvelous.

Deal done.

Thank you, Lawrence.

You're welcome.

Yes, Christina has got the money.

Yeah.

I'm just, I'm just the money.

NARRATOR: With the oak table purchased, it's time to hit the road.

[MUSIC PLAYING] Let's check in with Chesney and Charles, who are traveling to Dorking.

CHARLES: I know, Chesney, I know you're enjoying shopping.

CHESNEY: I'm loving it.

And you're getting stuck in, you know, the antique flavor of the treasures.

But it's now time to just-- I'm going to take a little treat.

OK, a little treat.

Take you back.

And to learn about a man called Chesney Allen.

Oh, yes.

CHARLES: Ring a bell?

It certainly does.

Obviously Chesney Allen, I was named after.

He was my grandfather's favorite singer.

But I don't really know much about him.

So I would love to find out more about my namesake.

This is your life.

CHESNEY: OK, I love it.

NARRATOR: A Hawkes family favorite, Chesney Allen was one half of the music hall double act Flanagan and Allen.

Our Chesney and Charles are approaching Dorking Halls to learn more about the duo who helped revolutionize music hall comedy.

Where did that guitar come from?

I like your style.

NARRATOR: Brian O'Gorman of the British Music Hall Society is here to greet our duo.

Nice to meet you.

Brian, I am fascinated to hear about my namesake, Chesney Allen.

Well, the act of Flanagan and Allen is archetypal really.

Chesney Allen was the straight man.

And they stood side by side on the stage and told jokes, and one liners, and sang songs.

And they were quite successful for a while.

And then the business had a slump.

NARRATOR: During the interwar years, musical hall comedy, with its predictable performances, was waning in popularity.

Unable to compete with talkies on the silver screen and the newly purchased radios and gramophones in British homes, Flanagan and Allen were ready to hang up their hats.

What turned them around?

Well, they had come by the famous song "Underneath The Arches" which was-- (SINGING) Underneath the arches.

Correct.

Which has a wonderful lilt to it and the words are easy to remember.

And they had a week's work at the Empire Sheffield.

And then they're singing the song.

And in the middle of the week, of course, the manager has to ring up the head office of Moss Empires in London and say the business is sensational.

Amazing.

BRIAN O'GORMAN: It's all down to Flanagan and Allen singing "Underneath The Arches."

- And that song.

It was my grandfather's favorite song.

And the next thing, they're booked in to the play.

NARRATOR: Under the management of legendary theater director George Black, the London Palladium set about enticing British audiences back into the playhouse.

Influenced by the fast paced comedians from the American cabaret scene and with falling ticket sales at the forefront of his mind, Black got to work.

Well, he brought in double acts.

Right.

Several of them together.

The idea being that they would make the comedy very fast moving and not dwell on the stage.

They would come on in other people's acts.

They would go around to the audience and take people's coats and hats and shoes off.

Total mayhem.

BRIAN O'GORMAN: Total mayhem.

NARRATOR: Billed as the crazy gang, Flanagan and Allen and their fellow double act performers were a huge hit, with shows that ran for months on end.

So I guess these shows ran right up to the war.

But what happened to Flanagan and Allen during the war?

What happened then?

Well, the first thing was a bomb fell on the palladium.

So that brought-- That will do it.

And then they had to go and just do their own acts.

But Flanagan and Allen of course had a store of extremely popular songs which captured the popular mood of the war.

NARRATOR: The gentle uplifting nature of the songs of Flanagan and Allen helped maintain the performer's popularity throughout the war years.

Ditties like the touching "Miss You" and the humorous "Run Rabbit Run" became ubiquitous.

(SINGING) Run rabbit, run rabbit, run, run, run.

Run rabbit, run rabbit, run, run, run.

Bang, bang, bang, bang goes the farmer's gun.

So run rabbit, run rabbit, run, run, run.

Oy.

Oy.

What a great song.

And that legacy, Brian, tell me, of Flanagan and Allen, just tell me what it's done.

Well, the legacy informed the comedy and the performance of so many modern comedians of the 1950s, going back.

People like Benny Hill, for instance, heavily influenced by them.

"Carry On" films?

Also the "Carry On" films, very much.

Jimmy Perry's comedy writings.

And of course latterly, Morecambe and Wise.

Morecambe and Wise, of course.

These are inescapable influences.

I was actually named after Chesney Allen.

So his name came up a lot as I was a child.

And I always wanted to know where the name came from.

So I wrote this letter saying, dear Mr. Allen, you know, I was named after you and everything, and I'd love to know where the origin of your name, our name came from.

You know, and I sent it off.

And he literally died the week later.

But you don't know where it came from, do you?

I certainly don't.

What I do know is that it's a wonderful stage name.

Well, it's worked for me.

And our performance must go on, mustn't it now.

Yeah, we have to go on.

Thank you so much, Brian.

Pleasure to meet you.

- Very good.

My pleasure.

- Thanks so much.

Could you play us out?

What do you want me to play?

"The One And Only?"

I'll play the chords if you sing.

OK. Go on, Brian.

(SINGING) I am the one and only.

How did I end up singing?

Nobody I'd rather be.

I am-- you're supposed to be singing-- the one and only.

You can't take that away from me.

We did it.

Thank you very much, partner.

They call us Hanson Hawkes.

Oh, OK. Hawkes Hanson.

Best of luck.

Thank you, Brian.

It's a pleasure.

I didn't know that song.

NARRATOR: I'm not surprised.

Meanwhile, Debbie and Christina are motoring the Jensen eight miles north towards the village of Ashtead.

Tell me about Debbie McGee at Ballet School because I am fascinated by your early career in ballet.

Well, my mom watched all the Hollywood musicals, and I used to dance around the house copying them.

I'm sure every girl does.

So I was sent to a little dancing school.

Was that the initial impetus?

I want to be in show business.

Yes.

I didn't actually mind if I was an actress, a ballet dancer, a commercial dancer.

I just loved glamour.

Yeah.

It was all about the glamour.

I wanted to be like the Hollywood movie stars.

NARRATOR: Well, here's hoping that The Attic is glamorous enough for Debbie.

DEBBIE: It's so small.

How do you know that?

It might go back for miles.

Well, I'm going by this.

It's not very wide, I'll give you that.

Wow, you were right.

Yeah.

NARRATOR: It may be small, but it is packed to the rafters.

What's the strategy, do you think, girls?

So what should we do, split up and have a look?

Yeah, OK. OK, that's done.

I mean, when you would normally walk into an antique shop, what would you do?

I would just start looking from one end and go round to see if there was anything that took my eye.

That took my eye as we walked through the door.

It's just got such a great sense of movement, doesn't it.

It's a dancer.

It's you.

Yeah.

So there's a thought.

NARRATOR: What's next?

What do you think of this, Debbie?

It was on the stairs.

Good make, is it?

Well, if I saw that pattern, saw especially this lobed rim here, I would think instantly Scottish, Wemyss.

- Right.

- OK. And Wemyss is very collectible.

But is it impressed at all?

It doesn't look like it.

Are you impressed at all?

Well, I mean, I think it's pretty.

But I wouldn't know whether that would sell.

And it's very cracked.

It is very cracked.

I give you that.

It is very cracked.

And it hasn't got Wemyss on the bottom.

But made in Scotland makes me think-- I just, I just wonder whether that might be worth taking.

Well, let's find the price.

Yeah.

NARRATOR: Well, I suggest you summon the dealer.

We should ask the price on your dancer as well.

DEBBIE: Oh, yes.

Yeah, definitely.

Oh, hello.

Hello.

Hello.

Hello.

We've just arrived.

Have you?

Nice to meet you.

- Hello.

Very nice to meet you.

- Gary.

Gary Watson.

Gary, lovely to meet you.

Gary, I've brought Debbie with me today.

DEBBIE: Hello, Gary.

CHRISTINA: Where's that come from, Gary?

It's the Scottish, probably Wemyss.

A bit of damage.

CHRISTINA: The technical term is a bit jiggered, isn't it.

A bit jiggered.

You're right.

I'll remember that.

I'll use that again.

What have you got on that, Gary?

Because of the damage, it can be very reasonable.

10 pounds.

10 pounds?

Yes.

For this?

Yes.

OK. Well, I don't think we'll haggle with that.

- No.

- I think we'll have that.

That's marvelous.

That's one in the bag.

- One item bought.

- Lovely.

Thank you, Gary.

I'll line them up by the door.

CHRISTINA: OK. NARRATOR: What else have you got in mind, Debbie?

Right.

Now I've spotted a clock over here.

CHRISTINA: Right.

DEBBIE: I don't think it's antique, but I just like the look of it.

Can't find a silver hallmark on it.

It just looks lovely.

It's got this wonderful-- see how it looks like this sort of lightly hammered finish, what we call planished.

It just looks like a really good looking thing.

Turn of the century.

Looks arts and crafts.

It looks like a hand wrought beautiful piece.

I really like that, Debbie.

NARRATOR: The ticket price on the arts and crafts silver plated mantel clock is 45 pounds.

CHRISTINA: I like that.

Good spot.

Very good spot.

DEBBIE: Do we think that's a good price?

CHRISTINA: I don't think that's bad.

DEBBIE: Shall we line it up?

Let's line it up.

Absolutely.

NARRATOR: So that's the Wemyss style jardiniere and the mantel clock waiting by the door.

What's next?

CHRISTINA: Debbie, you liked the art deco sort of style bronze figure over there.

What's the price on it, Gary?

160 pounds.

DEBBIE: It's a bit much.

- Yeah.

I think she's decorative in a sort of an 80 or maybe 100 pounds.

Somebody taking a punt on it.

But I think-- Was there anything you spotted that might be better, do we think?

Maybe that, this amber necklace here.

What's the story behind this, Gary?

I've been told it's not amber.

Very similar but not.

NARRATOR: Real amber is very sought after in the current market, particularly with the Chinese and in this butterscotch color.

To test it, rub it against your thigh.

If it smells of resin, it might be amber.

This is going to be a risky purchase.

OK. What's on that?

80 pounds.

How do you feel about a gamble?

We might fall out if it loses money.

Will we?

Yeah.

What?

Look, it may be small, but it nips.

Debbie McGee.

NARRATOR: For your sake, Christina, you better get a good deal from Gary.

30 pounds.

We've got, if we did 30 pounds on that.

Yeah.

We've got 10 pounds on the Wemyss pot.

And how much did you say on the clock?

45.

45.

So 40, 50, 60, 70, 80 pounds for the lot.

OK. NARRATOR: Nice haggling there, Christina.

That breaks down to 10 pounds on the Wemyss style jardiniere, cracked, 40 pounds on the arts and crafts mantel clock, a cracker, and 30 pounds on the necklace, potentially amber possibly.

And 80 pounds.

Gary, thank you very, very much.

Loved your shop.

GARY: Thank you very much.

CHRISTINA: Fantastic.

- I think we're done well.

- I think we've done very well.

Thanks, Gary.

- Take care.

Bye.

Cheerio.

NARRATOR: That's the first day done on this road trip.

So nighty night.

[MUSIC - THE LOVIN' SPOONFUL, "DO YOU BELIEVE IN MAGIC"] (SINGING) Do you believe in magic?

NARRATOR: A new day, and our two stars are back in the TR6.

So yesterday, was it a good fun day?

I had an absolute blast.

My jaw aches from laughing.

Charles is hilarious.

You know when you talk about chemistry, and you feel there's a chemistry amongst boys.

There's chemistry.

- There's chemistry.

- There is chemistry.

- Really?

Obviously.

We just clicked.

I think you call it a bromance.

He keeps telling me that he wants to form a boy band with me.

Hawkes and Hanson?

Hanson Hawkes, I think.

Hanson hawkes.

Oh my goodness.

Hey.

He wants his name first, of course.

Oh, we have to have a word with that boy.

I've relegated him to roadie.

DEBBIE: Yeah.

That was a good idea.

CHRISTINA: Roadie?

CHARLES: Roadie.

CHRISTINA: What do you mean?

Roadie.

I don't know.

Well, roadie is I think a step below being in the band.

NARRATOR: Yeah, quite a big step.

Debbie and Christina were shopping sensations yesterday, bagging themselves four items, the distressed oak table, a Wemyss style pottery jardiniere, the arts and crafts mantel clock, and the possibly amber necklace, leaving them with 290 pounds to spend today.

[GONG BANGING] Chesney and Charles bought two items, the child's potty chair and the Edwardian weather vane.

That leaves them with 180 pounds to play with today.

[HUMMING] [LAUGHING] What are you giggling at?

What are you wearing?

My hat.

It's a lovely-- I thought I'm going to impress Chesney with a 1920s-- and a bit of that and I can sort of-- (SINGING) doo doo doo.

Yeah.

What are they up to?

Please don't.

There it is.

Hello.

Good morning.

Sorry.

Morning.

Morning.

Morning.

CHRISTINA: Morning.

We didn't know we were meeting Ginger Rogers and Fred Astaire.

So how are we both?

CHRISTINA: Very, very well.

Thank you.

How are you?

Oh, I love it.

Hold on.

Round you come.

There we go.

Darling, yes.

Oh no, it's broken.

Was that me?

Did I do that?

No, it doesn't matter.

We'll just swap later.

I think you should swap.

Swap out.

Yeah, we'll swap.

Oh, I say.

- There we go.

- There we go.

CHARLES: I've got a nice little piece coming down the side here.

There we go.

I mean, look.

What do we think?

Actually, you wear it well.

You still look ridiculous.

Come on, we're busy.

It's a big day shopping for us.

Exactly.

Ladies, good luck.

Give me a kiss.

So sorry about the hat.

Have fun.

Yeah.

Have fun.

See you later on.

- Have fun.

See you later.

Bye.

Are you ready to drive, Ms. McGee?

I am.

[MUSIC PLAYING] Goodbye.

Goodbye.

Ready?

NARRATOR: Hey.

That's fantastic.

CHARLES: There we go.

Right, seat belts on.

NARRATOR: Both teams this morning are headed for Farnham.

In the TR6, Hanson Hawkes are in rehearsal.

(SINGING) I woke up this morning.

Climbed in the car with a crazy man.

(SINGING) And I took him on a journey of antique treasure, where we get the measure of the treasure we're going to buy today.

CHESNEY: (SINGING) I got the Hanson Hawkes blues.

DEBBIE: Not being disrespectful to Charles at all.

CHRISTINA: No.

But we could say to Chesney, had he ever thought of having two girl backing singers?

We could be the band.

[SCATTING] What would Charles do?

Hand out the popcorn.

I think we could have Charles as the conductor.

I see him as a conductor.

Oh, that's-- yeah, all the arms.

No, you're right.

He'll bring us in when it's for the backing singers.

But he wouldn't get it right.

We wouldn't be following him.

No.

TIM WONNACOTT: At the shop, Chesney and Charles are arriving first.

CHESNEY: Already see stuff I'm interested in.

Fantastic.

Let's get in there before the girls get here.

Yeah, the girls aren't here yet.

TIM WONNACOTT: Better get inside quick.

CHARLES: Take it all in.

There's an aura in here.

You can really just smell the antique, can't you?

CHESNEY: Oh, look.

Gramophone here.

CHARLES: Is it-- is it a gramophone?

Yes.

I think so.

Yes.

CHARLES: That's nice.

Hello.

CHESNEY: Dulcetto, made in England.

Should we see if it works?

--all records up-- up here as well.

I like it.

CHESNEY: Just grab a record.

CHARLES: So this, it says, is a 1930s Garrod wind up gramophone.

[MUSIC PLAYING] Like us.

Always needs a recharge.

And it's slowly dying.

How much is it?

CHESNEY: 125.

CHARLES: I mean, the market has rocketed for this type of box gramophone, pre-World War II.

I like it.

There's a handle here.

It makes it portable if you want to take it to the club as you-- you know, if you're a DJ.

CHRISTINA: They're here before us, Debbie.

What are we going to do?

DEBBIE: I hope they haven't got all the goodies.

CHRISTINA: This is our last chance to find something that's going to make us squillions.

TIM WONNACOTT: You'd better get hunting then.

See, these are fab, aren't they?

Yeah, gosh.

These are great display pieces and beautifully painted on here.

Look at those little cherubs frolicking there.

Can you see you've got the white of the original porcelain?

Can you see how that almost looks like a nice cream color?

That's restoration.

But if you knock your teeth against the original porcelain, it feels very hard and really clinky.

Whereas, if you knock your teeth against the restoration, it almost feels soft.

Oh, wow.

Have a go.

We haven't had breakfast this morning.

OK. Can you feel that?

So then the restoration, which is that cream bit.

Oh, yeah.

There's quite a difference.

Yeah, there really is, isn't there?

And that's a good way if you're not entirely sure whether there's restoration, just have a-- We should sign those now where we put our-- Left my dentures in there, know what I mean?

TIM WONNACOTT: Song, anyone?

It's a bit of radio.

Oh, yeah.

Hey.

Hi, guys.

Hi.

DEBBIE: We thought it might be you.

CHARLES: Here we go.

Come on, guys.

CHARLES: Here it is.

Good.

[SCATTING] Can we sing?

Did we pass the audition?

- Oh, certainly.

- Oh, I like it.

Very nice.

It's like The Supremes all over again.

Yeah, exactly.

You have got some antiques to buy, though, guys.

Yeah, but sometimes you need space to think about things like this, don't you?

CHRISTINA: OK. All right.

We'll leave-- we'll leave you in your space.

And we'll go and do what we're here to do, which is buy antiques.

See you later, girls.

TIM WONNACOTT: So while Chesney tickles the ivories, let's see if anything tickles Debbie and Christina's fancy.

CHARLES: Gosh, you're good.

- Come on.

Let's go.

I'm warmed up.

I lost my hat.

TIM WONNACOTT: Oh, Carlos.

Goodness.

Oh, sparkly things.

All I can think of is there's a lot to clean.

CHRISTINA: Yeah.

How about that?

DEBBIE: I don't even know what that is, Christina.

CHRISTINA: What do you think it is?

DEBBIE: It looks like a sample bottle.

Yeah.

A push one.

OK, you can hold it now.

This is a conical flask.

And it would have originally been in a sort of leather holder or a leather pouch that you would have worn when you were sort of going on a day out or a day out in the country or a sporting activity or something.

So you would have had it as a-- as a flask.

And what's really nice is that usually-- some of the time, you see these in silver plate.

But this has got a lovely full hallmark just there.

So it's a silver top.

So let's have a look at the price.

I don't-- 34 pounds.

Well, it seems like a good price if it's silver.

CHRISTINA: Yeah, that doesn't seem bad at all, does it?

So I think that's really nice.

I think that's quite a good buy.

And if we could get it for essentially sort of 25, 20 pounds-ish, that might be quite-- DEBBIE: It's worth going for.

- Yeah.

So should we do this?

- Yeah, let's.

Are you ready to haggle?

I am.

Go, go, go.

TIM WONNACOTT: Time to see what shop owner Hilary has to say.

Well, we found this item that we are very, very interested in.

It's great, isn't it?

But it's just a little above what we wanted to pay.

HILARY: Oh.

It belongs to one of the dealers.

30 is the lowest I can go.

You couldn't do 25?

Well, no.

No, I'd get beaten up if I did.

Oh, gosh.

Well, we don't want that.

No, definitely, definitely don't want that.

What's your thoughts, darling?

I think we should go for it at 30, because I don't think we're going to get better than that.

No, I think it's a good thing.

It's a nice thing.

We're buying it with our hearts and with our heads.

And we know it's going to potentially make us a little bit of a profit.

Obviously, 25 would be better, but we do not want to get you beaten up, Hilary.

No, we don't.

Do we?

CHRISTINA: Thank you.

HILARY: Thanks very much.

CHRISTINA: An absolute pleasure.

HILARY: Thank you.

Bye bye.

Hey that's it.

Last one.

DEBBIE: Yeah.

TIM WONNACOTT: A good thing and a good deal.

Best of all, no one got beaten up.

Let's see what Handsome Hawks are up to-- the two titfers.

CHESNEY: How about that?

CHARLES: The first thing that says to me is look at me, hold me.

Yeah, it's so tactile.

It's very heavy.

CHARLES: It looks really early.

But I suspect it's that gorgeous sort of, you know, French indigenous timber.

And this will be 19th century, maybe 1880.

Oh, really?

So that old?

Maybe half 19th.

Yeah, I do.

TIM WONNACOTT: Interesting piece, this large wooden mallet.

Not only does it look well-used and pretty old, it may also appeal to treen collectors at auction.

CHARLES: How much is it?

CHESNEY: It is 45 pounds.

Yeah.

And it feels like a gavel in the hand, you know.

- Yes, exactly.

- Sold!

Like that.

And I think it's very nearly a sold at that price.

What's it worth?

Do you think we could get it down to 30 maybe?

Yeah, I think-- if you could buy that for 30 pounds, I'd be very happy.

Yeah.

TIM WONNACOTT: So that's the plan.

Let's go and hit Hilary with it.

CHESNEY: Hello there.

CHARLES: Hi, Hilary.

How are you doing?

Very well, thank you.

Here's a name now.

We've loved the shop, haven't we?

Yes.

Right.

CHARLES: Wow.

HILARY: Say, what a whopper.

Quite a beast, isn't it?

Yeah.

Yes.

We like the whopper.

And the other is the gramophone that-- HILARY: Oh, right.

Yes.

So do you think you have a best price for us for the two items together as a deal?

Well-- Would you hammer it down?

They do actually-- oh-- CHARLES: I love your top, by the way.

You're looking-- yeah, yeah.

You're looking gorgeous too, by the way.

HILARY: Oh, I bet you say that to all the ladies.

Right.

TIM WONNACOTT: You are such a charmer, Charles.

HILARY: Well, fortunately, this belongs to me.

So I could make that 35.

CHARLES: Right.

We love music.

And, of course, with that gorgeous gramophone, we just want to really go out with a high note.

I do.

And I'm-- very nice.

It was quite pricey.

It was 125.

CHARLES: Yeah, 125.

I'll give you a discount.

Whisper how much.

- Tell me how much.

- (WHISPERING) Shh.

Lean in.

Lean in.

95.

So 95 plus 35 equals-- 130, isn't it?

CHESNEY: That's 120.

Is that the best you can do for us?

I'll be honest with you.

I-- I think this is great.

And I think at 35 pounds, it's worthy of a hard punt.

But if there was any scope for a bit of discount on that gramophone-- - OK.

I could give you another 10 on the gramophone.

Oh, you're joking.

Would that help?

CHARLES: Yes, it would.

Sold.

- Sold.

Thank you very much.

Thank you so much, Hilary, for being so gracious.

- Thank you.

- Thank you.

Oh, I say.

TIM WONNACOTT: [CHUCKLES] Looks like your charm's paid off.

That's the mallet for 35 pounds and the gramophone for 80 pounds.

Back on the road, chaps.

So got the DJ box.

And we're quids in, hopefully.

Let's go to the club.

TIM WONNACOTT: Let's see where Debbie and Christina have gotten to.

CHRISTINA: What makes Debbie McGee tick?

I love sculpture.

Oh, really?

Paul was sculpted by a famous sculptor called David Wynne.

And it's amazing.

TIM WONNACOTT: Debbie and Christina are headed to the Watts Gallery Artists' Village in Guildford.

It houses artwork and sculpture by one of the Victorian era's greatest artists.

NICHOLAS: If you'd like to follow me, we can take a look at the art of George Frederic Watts.

DEBBIE: Oh, I can't wait.

TIM WONNACOTT: Dr. Nicholas Tromans, the gallery curator, is on hand to guide them through some of Watts' most notable works.

So who is our man Watts?

Well, George Frederic Watts was born about 200 years ago.

And he was a sculptor, painter, draftsman, creator of huge frescoes and murals.

He had a go at just about everything.

His contemporaries even called him England's Michelangelo.

DEBBIE: Was it something that he'd been doing all his life?

NICHOLAS: Well, he began his career at the age of 10-- apprentice to a SoHo-based sculptor.

CHRISTINA: I find it very hard that he started this at the age of 10.

I mean, that's quite phenomenal, isn't it?

I mean, he didn't decide that, I assume.

No, we know very little, of course, about his very, very early years.

But we do know that he had a sad upbringing in that he lost his mother.

He lost his three brothers as a child.

It was not a wealthy family to start with.

And so I should imagine his father was grateful to be able to find that the lad had this talent, an instinct for art, and was able to find somewhere for him to go, effectively, to school-- but to school not to study languages and maths, but to study art from an extremely early age.

So he has a 70-year career, because he died at the age of 87.

TIM WONNACOTT: It was towards the end of this long career that Watts' focus shifted to large-scale sculpture.

Watts did not make many sculptures.

He made a few, but they were very significant and influential.

And his real fascination in sculpture was trying to capture a sense of the human form or maybe the whole of humanity in a sense of change, evolution, a dynamic process taking place in front of your eyes.

Which, obviously, in the static medium of sculpture, is an extremely great challenge.

TIM WONNACOTT: On display here are two models of his most celebrated work.

This is "Physical Energy," a sculpture that Watts worked on for no less than 20 years from 1884 down to his death in 1904.

A horse and rider, obviously, but more than that, an allegory, a symbol of humanity's progress and the human being's instinctive urge to go forwards, to discover the next challenge.

And eventually, it was cast in 1902 for Cape Town.

Then a few years later for Kensington Gardens in London.

Then there's another cast in Harare.

So it's an image that has been spread around the whole globe.

TIM WONNACOTT: When Lincoln Cathedral decided to commission a sculpture of the late poet laureate Sir Alfred Lord Tennyson, his old friend George Watts was the obvious choice.

Watts began work in 1890, and it took him five years to complete.

And isn't it fascinating that both of them are very similar in scale, but they couldn't be more different in subject?

The movement in that one and the stillness and contemplation-- Interesting note.

Good point.

This sculpture is all about extrovert energy exploding all over the place.

The sculpture of Tennyson is all about this huge, powerful, physically powerful, intellectually powerful man staring at what we are supposed to understand is a tiny little flower in the palm of his hand.

The idea being that the poet believes that if he could just understand why this little flower is quite so beautiful, then the mysteries of the universe would be unveiled to him.

So it's a very centered, concentrated, introverted image despite its huge scale.

TIM WONNACOTT: Though Watts' skill as a sculptor was acknowledged the world over, he was best known as one of the most prolific painters of the period.

CHRISTINA: So can you tell us about some of Watts' most famous works?

Sure.

Well, Watts was probably most famous of all for paintings which dealt with the great big themes of life-- life, death, truth, justice, and hope, which is hanging right next to us.

This has been lent to our exhibition.

It shows a blindfolded young woman seated on top of a globe.

And she's trying to play a musical instrument, a lyre.

But if you look closely, you can see that the lyre only has a single remaining string.

All the others are broken.

So it's an image of someone who really shouldn't be hopeful at all.

They don't know where they're going.

They don't know what they're doing.

They're trying to make sense of the world, but they're probably failing to do so.

And yet, the picture is called "Hope."

And probably because of that fantastic tension in the figure, but also in the meaning of the work.

It's a painting, which in reproductions has really traveled the world and had impact on people all over the globe.

Most famously, perhaps, Barack Obama who as a young man when contemplating a move from the law into politics, we're told, went to hear a sermon at a Chicago church where the pastor created a whole sermon based on this image and encouraging the congregation to not give up hope, even when there didn't seem to be any evidence that hope was viable.

You should still keep hoping.

And, of course, that became a great campaign slogan for Obama in his ultimately successful bid to become president.

So we can honestly say this painting has had a massive impact on history.

TIM WONNACOTT: As one of the finest artists of the Victorian era, Watts firmly secured his place in the annals of art history.

His desire to convey a message of inspiration and change has well and truly been fulfilled.

[MUSIC PLAYING] Let's check in with our boy band, shall we?

Here they come.

CHARLES: On a serious note, to roll back to '91.

And you had, I suppose, that hit of all hits, which I can't get out of my head even now.

It was madness, actually.

Because one minute I was playing piano in pubs, and wine bars, and stuff like that, and the next minute I was playing arenas and traveling the world as a pop star, you know.

It was pretty crazy.

TIM WONNACOTT: Handsome Hawk's next stop is the market town of Alton in Hampshire.

So here there should be a shop.

What, just along here?

Do you see a shop anywhere?

I can't see a shop yet.

Oh, look.

The Tiny Shop-- no wonder you didn't see it.

Look.

A squeeze box already.

I can't believe it.

See?

Can you play a squeeze box?

I've got to see it.

I'll give it a go.

See-- see what we've got here.

Italian maybe-- Naples-- Nepalese little squeeze box.

Here we go.

Are you ready?

I'm not sure this is going to work.

Go on.

I'll play you in.

[LAUGHING] That's like when mash gets smashed, isn't it?

Can you do [INAUDIBLE]?

I-- come on.

Let's go in, shall we?

CHARLES: After you.

Gents first.

It's The Tiny Shop.

TIM WONNACOTT: Tiny it may be, but this shop sells collectibles, curiosities, and bric-a-brac.

Owner Rob is here and happy to help.

CHESNEY: All right.

Oh, hello there.

- Hello.

I'm Chesney.

Nice to meet you.

Very nice to meet you.

And I'm Charles.

Good to see you.

Good to see-- I see why it's called The Tiny Shop.

Yes, yes.

It's cozy.

We're looking for, dare I say it, the one.

Yeah.

Oh, he said it again.

Sorry about that.

TIM WONNACOTT: So you should be, Charles.

I wonder what will catch their eye.

Is it-- it's obviously army or some kind of military.

I think it's Brigadier.

And it's got a nice weight as well.

It feels it, yeah.

Should we-- I always think-- wing-man, it's your size.

Try it on.

Yes, of course it is.

CHARLES: I know you're an entertainer.

Oh, look at that.

CHARLES: Oh yeah.

It's almost an album cover.

There we go.

This belonged to Colonel MH Collins.

And this was acquired from Conway Williams Retailers in Camberley in London.

And what a lovely, lovely quality of-- It's heavy, as you said.

It's very heavy.

CHARLES: It's quality as well.

CHESNEY: You can definitely see this as an album cover.

Hey, hold this.

There's a guitar down here as well.

See if it works well on an-- on an album cover.

Let's take the flag as well behind you.

A bit of patriotic-- - There we go.

It's all going.

- There we go.

[MUSIC PLAYING] TIM WONNACOTT: Lordy, who edits this stuff?

[CHUCKLES] CHARLES: Yeah, it's priced there.

75 pounds.

Let's give Rob a quick call, shall we?

TIM WONNACOTT: You only have 70 pounds left.

Let's hope Rob is in the mood to deal.

Hello.

Come in between us here, sir.

Would you be able to tell us a little more about this?

No more, really, than what's on the label.

I've been told it's Brigadier.

Is there much discount on it, sir?

Well, seeing as I've had it a long while, I think I could probably let it go for 30.

Really?

Yeah.

Less than half price.

That's a good price, yes.

I think we have a deal with that.

TIM WONNACOTT: And with that, Handsome Hawks are all bought up.

Just wear that over your shoulder.

Bye, Rob.

Thank you.

Left, right, we're off.

Run rabbit, run rabbit, run, run, run.

Hey.

[CONTINUE SINGING] TIM WONNACOTT: [LAUGHS] Wouldn't want to live there with that lot going by.

Oh-- that's all the shopping completed for this trip.

Time for the teams to meet up and examine one another's wares.

Ladies first.

- Yeah?

- OK.

Reveal them all.

CHRISTINA: OK, 1, 2, 3.

Oh-- I like what you bought.

Debbie, I commend you.

What worries me a lot is the amber beads.

CHESNEY: Oh, Really?

CHARLES: Yeah, that worries me a lot.

Well, we were amber gamblers with that one.

We don't know.

CHARLES: Is it an amber gamble?

CHRISTINA: It might be.

CHARLES: Is it an amber gamble?

If it's amber, they could be worth 2,000 pounds.

Really?

Yeah, easy.

Oh my goodness.

Well, should we just go home then?

Yeah, no.

No.

Keep the faith.

CHESNEY: What do you think about that table?

CHARLES: I think it's quite shabby.

But yeah, like the girls, it's quite chicy.

DEBBIE: It's shabby chic.

Should we reveal?

OK, we're ready.

A-three, a-two, a-one.

Oh-- oh, I love your weather vane.

What did you pay for that, guys?

CHARLES: It was 180.

Oh, that's OK. That's fine.

I mean, just imagine how much you'd have to pay for a new one.

I'm sure you'd have to pay 150 pounds for a new one.

CHARLES: It might race away.

CHRISTINA: This is intriguing.

CHESNEY: Can I pick this up?

So here you go.

[WOLF WHISTLES] Oh, yes.

Loving that.

Being modeled for you now as well.

And it has the trousers with it.

I like that.

How much did you pay for that?

CHESNEY: It was up for 75.

And he came down to 30 pounds.

CHRISTINA: Oh, brilliant.

Seems to be in very good condition.

I think it's all down to what happens with the vane.

CHARLES: I think if this points in our direction like that, we'll be quids in.

But I think your amber beads might steal the show.

CHESNEY: Are they really amber?

We'll see you at the auction.

We'll find out then.

TIM WONNACOTT: Well, that's that then.

Let's head into the rain and see what they really think.

A potty chair?

CHESNEY: I mean-- useful somehow, somewhere.

And Chesney, you look great in the military uniform.

CHRISTINA: Yeah, hot.

Well, I can tell you what I didn't like-- the table.

Amazing.

CHESNEY: I don't understand that at all.

CHARLES: That's almost, like, you know, a nervous first buy.

CHESNEY: Yeah, perhaps.

CHARLES: And, to me, for 30 pounds, it's almost firewood.

DEBBIE: The weather vane's lovely.

But it's a lot of money to get back, isn't it?

Yeah, it's a big risk.

It's a big risk.

But it could pay off.

I mean, it's a nice thing.

It is a nice thing.

CHARLES: It all hangs on one thing.

The weather vane.

And, you know, look at the weather outside now.

If it's a sunny day, and it strikes in the right direction, we're flying high.

[MUSIC PLAYING] TIM WONNACOTT: What's he talking about?

Our celebrities and experts started out in Reigate.

After scouring Surrey and East Hampshire for antiques, they're now traveling to auction in Ruislip.

[MUSIC PLAYING] CHESNEY: I don't really get the table, to be honest.

DEBBIE: Don't you?

CHESNEY: No.

In fact, Charles described it afterwards as firewood.

I must have a word with him.

If I win-- or me and Charles win-- I'm going to have to make a record with him.

I haven't even thought about it.

Oh yeah.

DEBBIE: But does that mean if I win, I have to make a record with him?

[LAUGHTER] TIM WONNACOTT: Today's sale is at Bainbridge's Auction House.

And we have a car.

Hello.

Wow.

Good morning.

DEBBIE: Hello, hello, hello, hello, hello.

Good morning.

CHARLES: Car's in good shape.

CHESNEY: Good morning, sir.

You look very dapper.

CHARLES: Well, thank you very much.

Are you all set?

- Yeah.

We're all set.

CHRISTINA: And for you, I seriously hope you lose today because otherwise he thinks he's going to be in the band.

You can stay.

I think we're ready.

On your marks, get set, let's go to the auction.

Ladies first.

Ladies first.

TIM WONNACOTT: Chesney and Charles spent 360 pounds on five auction lots.

Whereas, Debbie and Christina only spent 140 pounds on their five lots.

Selling today is auctioneer Peter Bainbridge.

PETER BAINBRIDGE: All furniture, of course, is a problem in this current market.

So a table with a missing top and a missing drawer doesn't stand a lot of chance.

But weather vanes are always lovely things.

They're bigger than you think they are.

This does have a bracket, so that saves them costs in erecting it.

I think we'll have a bit of fun getting rid of these lots.

But we're on the world wide web.

And that's always useful.

[MUSIC PLAYING] TIM WONNACOTT: Yes, it is.

And the room is packed with punters as well.

Time to take your seats.

First up, Debbie's bead necklace.

Will the amber gamble pay off?

PETER BAINBRIDGE: Your starter for 10 pounds.

[AUCTIONEER'S CHANT] Selling today at 25 pounds.

All done.

25 then.

It's a good start for us.

Oh, sorry.

Sorry, girls.

It's a good start.

We're in business.

TIM WONNACOTT: It seems the buyers decided it wasn't amber.

Oh, well.

Worth a try, Christina.

Oh, sorry.

I haven't brought any tissue.

It's OK. TIM WONNACOTT: Right.

Let's see if Chesney's Victorian potty chair is a sinker or a floater.

[AUCTIONEER'S CHANT] Come on.

Go on.

Go on, sir.

PETER BAINBRIDGE: [AUCTIONEER'S CHANT] Selling today-- 32.

You were so close, guys.

So close.

TIM WONNACOTT: I get that sinking feeling.

CHARLES: It just went plop, didn't it?

- It did, yeah.

- Just plopped.

I expect-- I expected you to say something like that, Charles.

Yeah.

TIM WONNACOTT: Predictable as ever, Charles.

[CHUCKLES] Now time for Debbie's silver-mounted hunting flask.

30 pounds-- [AUCTIONEER'S CHANT] It's really beautiful.

Yeah.

[AUCTIONEER'S CHANT] That's a great price.

Bidding 45.

All done.

Well within the estimate.

TIM WONNACOTT: First property of the day and a good one at that.

Congratulations.

It was a find.

Whew.

TIM WONNACOTT: Now can Chesney and Charles turn the tables with their 1930s gramophone?

These are collectible, ladies and gentlemen, please.

20 pounds?

10 pounds to go.

[AUCTIONEER'S CHANT] There it is.

PETER BAINBRIDGE: [AUCTIONEER'S CHANT] We're selling today at 30 pounds.

The rhythm is not with us.

30.

All done.

Oh, man.

55 pounds down.

Doesn't matter.

TIM WONNACOTT: Disappointing result, that.

Oh, you guys, I'm so sorry.

I really thought that would make more.

TIM WONNACOTT: Right.

Time to see if Debbie's table can make a profit.

What are you going to bid me on the piece now?

Give me a bid of 10 pounds.

10 pounds to start the bidding, ladies and gentlemen, please.

Do I see a bid of 10 pounds?

Anybody want to give me a 10 pound note-- Oh, no.

Come on.

It's gorgeous.

We have an internet bid of 10 pounds, but it is very much a characterful item, I'd say.

There is an internet bid as well.

Any further bids today on 10 pounds?

Table selling, 10 pounds.

TIM WONNACOTT: Oh, that's a loss.

Look on the bright side.

You sold it.

It's gone.

It's gone.

We are ahead of our time, Debbie.

TIM WONNACOTT: Next lot under the gavel is Chesney's elm mallet.

Looks great.

Would you use it as your gavel?

PETER BAINBRIDGE: Give me a bid of 10 pounds.

[AUCTIONEER'S CHANT] This must be rare.

At 10 pounds.

Or 15?

Anyone?

I've never seen another one like it.

At 10 pounds.

Come on.

You better give it to me, and I better hammer it down.

Good man.

They're not saying, going, going, gone yet.

PETER BAINBRIDGE: I hope you're insured.

10 pounds, ladies and gentlemen.

Any further bids on 10 then?

We're selling for 10.

What an auctioneer.

Bravo.

Oh.

PETER BAINBRIDGE: [CHUCKLES] Careful.

That thing could do some damage.

Our table was a lot, lot bigger.

So ours is much cheaper firewood than yours.

TIM WONNACOTT: Next up, Debbie's damaged Wemyss style jardiniere.

Ten together, please.

10 pounds.

I'll throw in some glue.

Thank you.

[AUCTIONEER'S CHANT] I thought it was you.

20 pounds.

25, sir?

No.

20 pounds.

The lady in blue.

Well done.

All done at 20.

TIM WONNACOTT: Despite the damage, it doubled its money.

Well done.

Double your money?

Yeah.

But still, you're edging further away.

TIM WONNACOTT: Right.

Time for Chesney's pricey gamble, the Edwardian weather vane.

We can all do that, you know.

[LAUGHTER] Oh, he's a member of the boy band.

PETER BAINBRIDGE: OK, we've got a weather vane, ladies and gentlemen, please, here.

Let's start the bidding, please, at 80 pounds.

Come on now.

At 80 pounds.

50 pounds then, please.

Where do you want to start?

[AUCTIONEER'S CHANT] Come on, wind business.

PETER BAINBRIDGE: [AUCTIONEER'S CHANT] This is simply illegal.

PETER BAINBRIDGE: [AUCTIONEER'S CHANT] What's happening?

PETER BAINBRIDGE: [AUCTIONEER'S CHANT] You can stretch.

Yes!

180?

180 bid.

190?

CHARLES: He's got it.

He's got it.

We've done it.

PETER BAINBRIDGE: 190.

At 200 pounds.

210, thank you, sir.

210, thank you.

220?

No.

Selling last time.

All done.

Well done.

Yes!

Excellent.

Excellent.

Now you have to take him to America with you.

TIM WONNACOTT: Well, the gamble paid off.

Sorry about the noise.

Sorry.

Sorry about that.

TIM WONNACOTT: It's time for Debbie's silver-plated mantel clock.

Nice.

[AUCTIONEER'S CHANT] No?

It's well worth it.

Well, they don't like it.

Not the lot.

OK, how about giving you 40 pounds then?

40.

[AUCTIONEER'S CHANT] Security?

Security?

PETER BAINBRIDGE: 70 pounds.

75 behind you?

75, thank you.

80 pounds?

80 pounds?

80 pounds-- A lot on Tim.

At 80 pounds.

Last time at 80 pounds then.

TIM WONNACOTT: Great profit for Debbie and Christina.

I think there's a high-five.

Congratulations.

Well done.

TIM WONNACOTT: Here comes the last lot of the day, Chesney's uniform.

How about this?

You model the Brigadier jacket.

Lovely Debbie McGee out the front.

This is your target demographic.

I think it could help us.

Just for you two.

Nobody-- I wouldn't do it for anyone else.

Debbie, you're a star.

Cabaret included, ladies and gentlemen.

Here we are.

CHESNEY: Ladies and gentlemen, the lovely Debbie McGee.

[APPLAUSE] PETER BAINBRIDGE: The trousers are labeled Conway Williams London, Colonel Collins.

If only he knew.

OK. What are you going to bid me anyhow-- [AUCTIONEER'S CHANT] Oh, I sure would have cried.

Pall Mall.

Yeah, we know this is the one and only.

Oh, very good.

Bravo.

I appreciate that, sir.

Thank you.

OK, this is the only bid here today at 30 pounds.

35?

Thank you.

Oh, well done.

35 bid.

[AUCTIONEER'S CHANT] Do we hear 40 anywhere?

Absolutely.

I give you.

Sold.

CHESNEY: Debbie McGee, ladies and gentlemen.

Debbie McGee.

PETER BAINBRIDGE: Thank you very much indeed, sir.

TIM WONNACOTT: That's a small profit for Chesney and Charles, but will it be enough to send Charles to LA?

I think it's really close, isn't it?

I think it's close.

Actually, I do think it's really close.

- Yeah.

- Do you?

Keep the faith.

Yeah.

Just keep believing.

OK. TIM WONNACOTT: Time to do the sums.

Chesney and Charles started out with 400 pounds.

And after auction costs, they made a loss of 109 pounds and 90 pence.

So they end the trip with a total of 290 pounds 10 pence.

Bad luck.

Debbie and Christina also started with the same amount.

And after auction costs, they made a profit of seven pounds 60 P. [CHUCKLES] Meaning they finished this road trip with 407 pounds 60 pence-- making them champions.

Cheer up.

All profits go to children in need.

Charlie, I'm sorry.

Your hopes and dreams-- If I do a demo tape for you?

We'll see how we do.

Talk to my agent.

Oh, darling.

Well done.

Well done.

Come on.

I'm driving.

- The boss.

- Take care.

Drive carefully.

CHRISTINA: Hope to see you again.

Good luck next time.

CHESNEY: Oh, it didn't start.

Too soon.

Should we push them?

Let's push them.

Give them a push.

Are you ready?

We have a bump start.

- Ready?

Ready?

To LA, I'm dreaming.

Go.

CHESNEY: Is it going to work?

Oh, there we go.

Call me.

Call me.

Christina!

Call me.

I'll-- I'll send you a demo tape.

Anything to go to LA.

Let it go.

CHESNEY: What a fun few days, Debbie.

Oh, it's been fantastic, hasn't it?

And I'm going to miss being your driver.

Yeah, I know.

Well, and same.

I'm going to miss sliding down in this thing.

TIM WONNACOTT: Bye-bye, you two.

[MUSIC PLAYING]